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Childe Hassam

Frederick Childe Hassam (October 17, 1859 – August 27, 1935) was an American Impressionist painter, noted for his urban and coastal scenes. Along with Mary Cassatt and John Henry Twachtman, Hassam was instrumental in promulgating Impressionism to American collectors, dealers, and museums. He produced over 3,000 paintings, oils, watercolors, etchings, and lithographs over the course of his career, and was an influential American artist of the early 20th century.

Early years
Hassam was known to all as "Childe" (pronounced like child), a name taken from his uncle. Hassam was born in the family home on Olney Street on Meeting House Hill in the Dorchester neighborhood of Boston, on October 17, 1859. His father, Frederick Fitch Hassam (1825–1880), was a moderately successful cutlery businessman with a large collection of art and antiques. He descended from a long line of New Englanders. His mother, Rosa Delia Hawthorne (1832–1880), a native of Maine, shared an ancestor with American novelist Nathaniel Hawthorne. His father claimed descent from a seventeenth-century English immigrant whose name, Horsham, had been corrupted over time to Hassam. With his dark complexion and heavily lidded eyes, many took Childe Hassam to be of Middle Eastern descent—speculation which he enjoyed stoking. In the mid-1880s, he took to painting an Islamic-appearing crescent moon (which eventually degenerated into only a slash) next to his signature, and he adopted the nickname "Muley" (from the Arabic "Mawla", Lord or Master), invoking Muley Abul Hassan, a fifteenth-century ruler of Granada whose life was fictionalized in Washington Irving's novel Tales of the Alhambra.

Hassam demonstrated an interest in art early. He had his first lessons in drawing and watercolor while attending The Mather School, but his parents took little notice of his nascent talent.

As a child, Hassam excelled at boxing and swimming at Dorchester High School. A disastrous fire in November 1872 wiped out much of Boston's commercial district, including his father's business. Hassam left high school after two years (at age 17), and by 1880 his family had moved to nearby Hyde Park. Despite his uncle's offer to pay for a Harvard education, Hassam preferred to help support his family by working. His father arranged a job in the accounting department of publisher Little, Brown & Company. During that time, Hassam studied the art of wood engraving and found employment with engraver George Johnson. He quickly proved an adept "draughtsman" and produced designs for commercial engravings such as letterheads and newspapers. Beginning to paint artistically, his preferred medium was watercolor, mostly outdoor studies, and around 1879 began creating his earliest oils.

1880s
In 1882, Hassam became a free-lance illustrator (known as a "black-and-white man" in the trade), and established his first studio. He specialized in illustrating children's stories for magazines such as Harper's Weekly, Scribner's Monthly, and The Century. He continued to develop his technique while attending drawing classes at the Lowell Institute and at the Boston Art Club, where he took life painting classes.

By 1883, Hassam had exhibited watercolors in his first solo exhibition at the Williams and Everett Gallery in Boston. The following year, his friend Celia Thaxter convinced him to drop his first name and thereafter he was known as "Childe Hassam". He also began to add a crescent symbol in front of his signature, the meaning of which remains speculative, possibly an allusion to his penchant for implying Middle Eastern or Turkish origins.

Having had relatively little formal art training, Hassam was advised by his friend and fellow Boston Art Club member Edmund H. Garrett to join him on a two-month "study trip" to Europe during the summer of 1883. They traveled throughout the United Kingdom, the Netherlands, France, Italy, Switzerland, and Spain, studying the Old Masters together and creating watercolors of the European countryside. Hassam was particularly impressed with the watercolors of J. M. W. Turner. Sixty-seven of the watercolors that Hassam painted on this trip formed the basis of his second exhibition in 1884. During this period, Hassam taught at the Cowles Art School. He also joined the "Paint and Clay Club", expanding his contacts in the art community, which included prominent critics and "the readiest and smartest of our younger generation of artists, illustrators, sculptors, and decorators—the nearest thing to Bohemia that Boston can boast." Friends found him to be energetic, robust, outgoing, and unassuming, capable of self-mockery and considerate acts, but he could be argumentative and wickedly witty against those in the art community who opposed him. Hassam was particularly influenced by the circle of William Morris Hunt, who like the great French landscape painter Jean-Baptiste-Camille Corot, emphasized the Barbizon tradition of working directly from nature. He absorbed their credo that "atmosphere and light are the great things to work for in landscape painting." In 1885, a noted critic, in part responding to Hassam's early oil painting A Back Road (1884), stated that "the Boston taste for landscape painting, founded on this sound French school, is the one vital, positive, productive, and distinctive tendency among our artists today...the truth is poetry enough for these radicals of the new school. It is a healthy, manly muscular kind of art."

In February 1884, after a courtship of several years, Hassam married Kathleen Maude (or Maud) Doane (born 1861), a family friend. Throughout their life together, she ran the household, arranged travel, and attended to other domestic tasks, but little is known about their private life. By the mid-1880s, Hassam began painting cityscapes; Boston Common at Twilight (1885) was of his first. He joined a few other progressive American artists who were taking to heart the advice of French academic master Jean-Léon Gérôme, who abandoned his traditional subject matter and told his American peers, "Look around you and paint what you see. Forget the Beaux-Arts and the models and render the intense life which surrounds you and be assured that the Brooklyn Bridge is worth the Colosseum of Rome and that modern America is as fine as the bric-a-brac of antiquity." However, one Boston critic firmly rejected Hassam's choice of urban subject matter as "very pleasant, but not art." Although he had shown steady improvement in his oil painting, his watercolors continued provided consistent financial success. He returned with his wife to Paris where in 1886 they were able to engage a well-located apartment/studio with a maid near the Place Pigalle, the center of the Parisian art community. With the exception of fellow American artist Frank Myers Boggs, they lived among the French and socialized little with other American artists studying abroad.

Hassam had moved to France to study figure drawing and painting at the prestigious Académie Julian. He took advantage of the formal drawing classes with Gustave Boulanger and Jules Joseph Lefebvre, but quickly moved on to self-study, finding that "[t]he Julian academy is the personification of routine...[academic training] crushes all originality out of growing men. It tends to put them in a rut and it keeps them in it", preferring instead, "my own method in the same degree". His first Parisian works were street scenes, employing a mostly brown palette. He sent these works back to Boston and their sale, combined with that of older watercolors, provided him with sufficient income to sustain his stay abroad. In the autumn of 1887, Hassam painted two versions of Grand Prix Day, employing a breakthrough change of palette. In this dramatic change of technique, he was laying softer, more diffuse colors to canvas, similar to the French Impressionists, creating scenes full of light, done with freer brush strokes. He was likely inspired by French Impressionist paintings which he viewed in museums and exhibitions, though he did not meet any of the artists. Hassam eventually became one of the group of American Impressionists known as "The Ten".

The completed pictures he sent home also attracted attention. One reviewer commented: "It is refreshing to note that Mr. Hassam, in the midst of so many good, bad, and indifferent art currents, seems to be paddling his own canoe with a good deal of independence and method. When his Boston pictures of three years ago...are compared with the more recent work...it may be seen how he has progressed." Hassam contributed four paintings to the Exposition Universelle of 1889 in Paris, winning a bronze medal. At that time, he remarked on the emergence of progressive American artists who studied abroad but who did not succumb to French traditions: "The American Section...has convinced me for ever of the capability of Americans to claim a school. Inness, Whistler, Sargent and plenty of Americans just as well able to cope in their own chosen line with anything done over here...An artist should paint his own time and treat nature as he feels it, not repeat the same stupidities of his predecessors...The men who have made success today are the men who have got out of the rut."

As for the French Impressionists, he wrote "Even Claude Monet, Sisley, Pissarro and the school of extreme Impressionists do some things that are charming and that will live." Hassam was later called an "extreme Impressionist". His closest contact with a French Impressionist artist occurred when Hassam took over Renoir's former studio and found some of the painter's oil sketches left behind. "I did not know anything about Renoir or care anything about Renoir. I looked at these experiments in pure color and saw it was what I was trying to do myself."

1890s
The couple returned to the United States in 1889, taking residence in New York City. He resumed his studio illustration and in good weather produced landscapes out-of-doors. He found a studio apartment at Fifth Avenue and 17th Street, a view that he painted in one of his first New York oils, Fifth Avenue in Winter. The fashionable street was traveled at that time by horse-drawn carriages and trolleys. It was one of his favorite paintings and he exhibited it several times. It skillfully uses a distinctive dark palette of blacks and browns (normally considered "forbidden colors" by strict Impressionists) to create a winter urban panorama, which Le Figaro praised for its "American character". For his Washington Arch in Spring (1890), he instead demonstrated a bright pastel palette suffused with white similar to what Monet might have employed.

The sudden shift expanded his options and his range. Through the 1890s, his technique increasingly evolved toward Impressionism in both oil and watercolor, even as the movement itself was giving way to Post-Impressionism and Fauvism. During his European stay, he continued to favor street and horse scenes, avoiding some of the other favorite depictions of the Impressionists, such as opera, cabaret, theater, and boating. He also painted garden and "flower girl" scenes, some featuring his wife, including Geraniums (1888) which he presented at the Salon exhibition in 1889. He managed to exhibit at all three Salon shows during his Paris stay but won only one bronze medal.

Hassam became close friends with fellow American Impressionist artists J. Alden Weir and John Henry Twachtman, whom he met through the American Water Color Society, and over the following months he made many connections in the art community through other art societies and social clubs. He contributed works from his European stay to several exhibitions and shows. Hassam enthusiastically painted the genteel urban atmosphere of New York that he encountered within walking distance of his apartment, and avoided the squalor of the lower-class neighborhoods. He proclaimed that "New York is the most beautiful city in the world. There is no boulevard in all Paris that compares to our own Fifth Avenue...the average American still fails to appreciate the beauty of his own country." He captured well-dressed men in bowler hats and top hats, fashionable women and children out and about, and horse-drawn cabs slowly making their way along crowded thoroughfares lined by commercial buildings (which were generally less than six stories high at that time). Hassam's primary focus would forever continue to be "humanity in motion". He never doubted his own artistic development and his subjects, remaining confident in his instinctual choices throughout his life.

It was through Theodore Robinson, who was working alternatively in America and France, that he, Twachtman, and Weir kept in close touch with Claude Monet, who was residing in Giverny at the time. The four Americans represented the core of American Impressionism, dedicated to painting what was real for them, what was familiar and close at hand, out-of-doors when possible, and with the immediacy of light and shadow—which though exaggerated and falsely colored at times—makes a purposeful impact or impression. The urban scene provided its own unique atmosphere and light, which Hassam found "capable of the most astounding effects" and as picturesque as any seaside scene. The challenge for the urban Impressionist, however, was that activity moved very quickly, and therefore, getting down a complete impression in oil was next to impossible. To compensate, Hassam would find a suitable location, make sketches of the components of his planned painting, then return to the studio to construct a total impression that was actually a composite of smaller scenes.

During the summers, he would work in a more typical Impressionist location, such as Appledore Island, the largest of the Isles of Shoals off New Hampshire, then famous for its artist colony. Social life on the island revolved around the salon of poet Celia Thaxter who hosted artists and literary figures. The group was a "jolly, refined, interesting and artistic set of people...like one large family." There Hassam recalled, "I spent some of my pleasantest summers...(and) where I met the best people in the country." Hassam's subjects for his paintings included Thaxter's flower garden, the rocky landscape, and some interior scenes rendered with his most impressionistic brush strokes to date. In Impressionist fashion, he applied his colors "perfectly clear out of the tube" to unprimed canvas without pre-mixing. Artists displayed their work in Thaxter's salon and were exposed to wealthy buyers staying on the island. Thaxter died in 1894, and in tribute Hassam painted her parlor in The Room of Flowers.

Starting in the mid-1890s, Hassam also made summer painting excursions to Gloucester, Massachusetts; Cos Cob, Connecticut; and Old Lyme, Connecticut; all of them by the sea, but each presenting unique aspects for painting. Even though his sales were good, Hassam continued to take on commercial work, including for the World's Columbian Exposition in Chicago in 1893. After a trip to Havana, Cuba, Hassam returned to New York and had his first major one-man auction show at the American Art Galleries in 1896, which featured over 200 works that spanned his entire career to date. The New York Times observed that of the "steadily increasing band of impressionists, Mr. Hassam is a priest high in the councils." Most critics were convinced that he had taken Impressionism too far, one stating that "his key of color has been rising higher and higher until it simply screeches. His impression has been growing more and more bleary-eyed." Another critic declared, "He ignores the public that dearly loves a picture." Hassam realized less than $50 per picture at the auction. Other American artists were also having a difficult time during the general economic slump of 1896. Hassam decided to return to Europe.

Mid-career
The Hassams sailed first to Naples, then to Rome and Florence. Though staying firmly in the Impressionists' corner, Hassam spent much time in galleries and churches studying the Old Masters. The Hassams arrived in Paris in the spring, and then traveled on to England. He continued producing paintings with a very light palette.

Back in New York in 1897, Hassam took part in the secession of Impressionists from the Society of American Artists, forming a new society known as The Ten. The group was energized if not initiated by Hassam, who was among the most radical of members. Their first show at the Durand-Ruel Gallery featured seven of his new European works. Critics dismissed his new work as "experimental" and "quite incomprehensible". Though still interested in including figures in his urban paintings, his new summer works done at Gloucester Harbor, Newport, Old Lyme, and other New England locales show increasing attention to pure landscapes and buildings. His time at the Old Lyme Art Colony, beginning in 1903, caused a shift of the entire colony's output away from the muted colors of Tonalism towards American Impressionism. As his colors became paler and closer in tone to Monet's, which many viewers found unsettling and unfathomable, he was asked how he came up with a particular palette. He responded that "subjects suggest to me a color scheme and I just paint."

In 1900, Hassam visited Provincetown, Massachusetts. Provincetown, once a thriving maritime community had begun to rely heavily on local tourism. In Building the Schooner, Provincetown, he uniquely captures a rare event in the community: the building of a schooner. The ship featured in Hassam's work was paid for by a Chicago millionaire and was the first large ship to be built in Provincetown in a quarter of a century.

Hassam was astute in marketing his work, and was represented by dealers and museums in several cities and abroad. Despite the critics and conservative buyers, he managed to keep selling and painting without having to resort to teaching for financial survival. A colleague described Hassam as an artist "with a keen knowledge of distribution, the tactical ability to place his work." As the new century began, some three decades after the Impressionists' first exhibitions in France, Impressionism finally gained a legitimacy in the American art community, and Hassam began to sell to major museums and receive jury awards and medals, vindicating his belief in his vision. In 1906, he was elected Academician of the National Academy of Design. After a brief period of depression and drinking as part of an apparent mid-life crisis, the forty-five-year-old Hassam then committed himself to a healthier life style, including swimming. During this time he felt a spiritual and artistic rejuvenation and he painted some Neo-Classical subjects, including nudes in outdoor settings. His urban subjects began to diminish and he confessed that he was tiring of city life, as bustling subways, elevated trains, and motor buses supplanted the graciousness of the horse-drawn scenes which he so enjoyed capturing in earlier times. The architecture of the city changed as well. Stately mansions gave way to skyscrapers, which he admitted had their own artistic appeal: "One must grant of course that if taken individually a skyscraper is not much of a marvel of art as a wildly formed architectural freak. It is when taken in groups with their zig zag outlines towering against the sky and melting tenderly into the distance that the skyscrapers are truly beautiful." Hassam's urban paintings took on a higher perspective and humans shrank in size accordingly, as illustrated in Lower Manhattan (1907). He began to spend only his winters in New York and traveled the balance of the year, calling himself "the Marco Polo of the painters." In 1904 and 1908, he traveled to Oregon and was stimulated by new subjects and diverse views, frequently working out-of-doors with friend, lawyer and amateur painter Colonel C. E. S. Wood. He produced over 100 paintings, pastels, and watercolors of the High Desert, the rugged coast, the Cascades, scenes of Portland, and even nudes in idealized landscapes (a series of bathers comparable to those of Symbolist Pierre Puvis de Chavannes). As usual, he adapted his style and colors to the subject at hand and the mood of place, but always in the Impressionist vein.

Late career
With the art market now eagerly accepting his work, by 1909 Hassam was enjoying great success, earning as much as $6,000 per painting. His close friend and fellow artist J. Alden Weir commented to another artist, "Our mutual friend Hassam has been in the greatest of luck and merited success. He sold his apartment studio and has sold more pictures this winter, I think, than ever before and is really on the crest of the wave. So he goes around with a crisp, cheerful air."

The Hassams returned to Europe in 1910 to find Paris much changed: "The town is all torn up like New York. Much building going on. They out American the Americans!" In the midst of the vibrant city, Hassam painted July Fourteenth , Rue Daunou during the Bastille Day celebrations, a forerunner of his famous Flag series (see below).

When he returned to New York, Hassam began a series of "window" paintings that he continued until the 1920s, usually featuring a contemplative female model in a flowered kimono before a light-filled curtained or open window, as in The Goldfish Window (1916). The scenes were popular with museums and quickly snapped up. Hassam was especially prolific and energetic in the period from 1910 to 1920, causing one critic to comment, "Think of the appalling number of Hassam pictures there will be in the world by the time the man is seventy years old!" Hassam truly did produce thousands of works in nearly every medium during his life. Where his friend Weir might paint six canvases in a season, Hassam would do forty.

During that period he also returned to watercolors and oils of coastal scenes, as exemplified by The South Ledges, Appledore (1913), which employs an unusually balanced division of sea and rocks diagonally across a nearly square canvas, giving equal weight to sea and land, water and rock. This painting shows the famous writer Celia Thaxter's home in Appledore Island. The South Ledges, Appledore is owned by the Smithsonian American Art Museum in Washington D.C. He also produced some still-life paintings.

Hassam displayed six paintings at the landmark Armory Show of 1913, where Impressionism was finally viewed as mainstream and nearly an historical style, and displaced by the clamor over the radical revolution of Cubism, fresh from Europe. He and Weir were the oldest exhibitors, nicknamed at a press dinner as "the mammoth and the mastodon of American Art". Hassam viewed the new art trends from abroad with alarm, stating "this is the age of quacks, and quackery, and New York City is their objective point." He was also displeased that the Armory Show drew attention away from the latest exhibits of The Ten.

In 1913, Hassam was honored with a separate gallery showing at the Panama-Pacific Exhibition, featuring thirty-eight pictures. Around 1915, he renewed his interest in etching and lithography, producing more than 400 of these works during his later career. While Hassam found these works artistically satisfying, they received a tepid public response, as he commented, "some sell and some of the best do not."

The Flag series
The most distinctive and famous works of Hassam's later life comprise the set of some thirty paintings known as the "Flag series". He began these in 1916 when he was inspired by a "Preparedness Parade" (for the US involvement in World War I), which was held on Fifth Avenue in New York (renamed the "Avenue of the Allies" during the Liberty Loan Drives of 1918). Thousands participated in these parades, which often lasted for over twelve hours.

Being an avid Francophile, of English ancestry, and strongly anti-Germany, Hassam enthusiastically backed the Allied cause and the protection of French culture. The Hassams joined with other artists in the war relief effort from nearly the beginning of the conflict in 1914, when most Americans, as well as President Woodrow Wilson, were decidedly isolationist. Hassam considered volunteering to record the war in Europe, but the government would not approve the trip. He was even arrested (and quickly released) for innocently sketching naval maneuvers along the city's rivers. In addition to the time he gave to many committees, several of his flag pictures were contributed to the war relief in exchange for Liberty Bonds. Although he had great hopes that the entire series would sell as a war memorial set (for $100,000), the pictures were sold individually instead after several group exhibitions, the last at the Corcoran Gallery in 1922.

Claude Monet, among other French artists, had also painted flag-themed works, but Hassam's have a distinctly American character, showing the flags displayed on New York's most fashionable street with his own compositional style and artistic vision. In most paintings in the series, the flags dominate the foreground, while in others the flags are simply part of the festive panorama. In some, the American flags wave alone and in others, flags of the Allies flutter as well. In his most impressionistic painting in the series, The Avenue in the Rain (1917), which has been in the White House permanent collection since the Kennedy administration, the flags and their reflections are blurred so extremely as to appear to be viewed through a rain-smeared window. On entering the White House, Barack Obama chose to display it in the Oval Office. Hassam's flag paintings cover all seasons and various weather and light conditions. Hassam makes a patriotic statement without overt reference to parades, soldiers, or war, apart from one picture showing a flag exclaiming "Buy Liberty Bonds". Flag paintings by Hassam are in the collections of The Metropolitan Museum of Art, the New York Historical Society, the Virginia Museum of Fine Arts, the Princeton University Art Museum and the National Gallery of Art.

Final years
In 1919, Hassam purchased a home in East Hampton, New York. Many of his late paintings employed nearby subjects in that town and elsewhere on Long Island. The post-war art market boomed in the 1920s, and Hassam commanded escalating prices, though some critics thought he had become static and repetitive, as American art had begun to move on to the Realism of the Ashcan School and artists like Edward Hopper and Robert Henri. In 1920, he received the Gold Medal of Honor for lifetime achievement from the Pennsylvania Academy of the Fine Arts and numerous other awards through the 1920s. In 1925 he was featured on 32nd Annual Exhibition of American Art at the Cincinnati Art Museum, together with Louise Woodroofe, Robert Henri and Mary Cassatt. His work was also part of the painting event in the art competition at the 1928 Summer Olympics. Hassam traveled relatively little in his last years, but did visit California, Arizona, Louisiana, Texas, and Mexico. He died in East Hampton in 1935, at age 75.

He denounced modern trends in art to the end of his life, and he termed "art boobys" all the painters, critics, collectors, and dealers who got on the bandwagon and promoted Cubism, Surrealism and other avant-garde movements. Until a revival of interest in American Impressionism in the 1960s, Hassam was considered among the "abandoned geniuses". As French Impressionist paintings reached stratospheric prices in the 1970s, Hassam and other American Impressionists gained renewed interest and were bid up as well.

title: Childe Hassam


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Strypi

Strypi is a two-stage US sounding rocket. Its first stage consists of two Recruit, the second of one Castor. It is 31 inches (79 centimeters) in diameter, and has a maximum flight height of 124 miles (200 kilometers).

It was originally designed and built in 1962 by teams from the Sandia National Laboratories in an around-the-clock program that was a part of a larger nuclear weapons testing program, undertaken prior to the imposition of the Limited Test Ban Treaty (LTBT) in October, 1963. It was designed to take a nuclear warhead into space for extra-atmospheric testing. Though it performed this function only once, in Test Checkmate of Operation Fishbowl, it became the "workhorse" of Sandia's rocket research program. The rocket's name came from the efforts of the Sandia teams, which had "taken the tiger by the tail".

In 1968, a modified Strypi was used in Material Test Vehicle (MTV) booster tests. Although atmospheric nuclear testing was now banned, as a part of the Test Readiness Program the U.S. Air Force continued to develop the means of testing, should the ban be lifted.

American target missile. Family of re-entry vehicle test boosters and anti-missile targets using a Castor first stage with two recruit strap-ons, plus a range of upper stages.

Derivatives
The SPARK, also known as the Super Strypi, is a three-stage derivative of the Strypi powerful enough to place a 250 kg payload into Sun-synchronous orbit. The Super Strypi was first launched on 3 November 2015, although on that test the first stage failed soon after lift-off.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Strypi


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Kate Valk

Kate Valk (born March 6, 1957) is a founding member of The Wooster Group, a collective of artists who make new work for the theater. Kate Valk began her work with the group in 1979 while she was a student at New York University's Tisch School of the Arts.

In 2003 she was awarded a Foundation for Contemporary Arts Grants to Artists Award, and in 2006, the New York Times published an article featuring Valk.

Early life
Kate Valk was born on March 7, 1956, in Spokane, Washington. Her mother was a nurse, while her father was a jack-of-all-trades; he worked, at various times, at a cement company, a post office, a remodeling company, and on real estate ventures. They moved consistently during her childhood, including to Wisconsin, Pennsylvania, and Maryland. This lower-middle-class childhood did not give her much exposure to the arts. At age 16, she worked part-time at Shepherd Pratt, a nursing home. She attended Towson State in Baltimore, Maryland, for two years before moving to New York City at the age of 19 to pursue a career in theatre. She attended NYU in the studio program and worked with Stella Adler for two years. During her last semester, she worked with the Experimental Theatre Wing while the Wooster Group was teaching for the semester and really enjoyed her experience with them. During her time in NYC, she worked for Ding-a-Ling Taxi.

Theatre career
After she finished college, she turned back to theatre and went to the Wooster Group in search of a job. She had worked as a seamstress during her time in the theatre, so starting in 1979, Elizabeth LeCompte hired her to work as a seamstress and for general help with production, including making props and transcribing. Her first role with the Wooster Group as an actress was in Route 1 & 9, an adaption of Thornton Wilder’s Our Town staged in 1981. She has appeared in every Wooster Group show since. She has also worked in film, appearing most notably in The Manchurian Candidate as Agent Volk. In recent years, she has founded two different arts education programs. One of them is an in-school theatre curriculum at Dr. Sun Yat Sen Middle School in Chinatown, founded in 1992. The other arts education program is a free, three-week summer program for high school students, called the Wooster Group’s Summer Institute, founded in 1997.

Stage credits
Her stage credits include:

The Hairy Ape as Mildred Douglas, 1997

Hamlet as Gertrude/Ophelia, 2007, at St. Ann’s Warehouse

The Emperor Jones as Brutus Jones, 2009, at Owen Bruner Goodman Theatre

North Atlantic as performer, 2010, at The Roy and Edna Disney/CalArts Theater

Vieux Carré as performer, 2010-2011, at The Roy and Edna Disney/CalArts Theater

Early Plays as performer, 2012, at St. Ann’s Warehouse

Cry, Trojans! as performer, 2014, at The Performing Garage

The Room as performer, 2015-2016, at The Performing Garage

Film credits
Her film credits include:

The Golden Boat as Amelia Lopes (1990)

The Cabinet of Dr. Ramirez as Sue (1991)

Dead Flowers Alice (1992)

Fresh Kill (1994)

The Manchurian Candidate as Agent Volk (2004)

Utopians as Dr. L

title: Kate Valk


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Burmese star tortoise

The Burmese star tortoise (Geochelone platynota) is a critically endangered tortoise species, native to the dry, deciduous forests of Myanmar (Burma).

Description
The Burmese star tortoise has radiating star-shaped patterns on its strongly domed carapace. It has bumps on its shell that look like stars. This tortoise can easily be distinguished from the more common Indian star tortoise by comparing the plastrons of the two species.

Captive breeding
The breeding of the Burmese star tortoise is difficult, and its first successful breeding in captivity was in Taipei Zoo, Taiwan, where a few Burmese star tortoises were hatched in 2003.

Yadanabon Zoological Gardens is also currently engaged in a captive-breeding program to attempt to increase the population of this tortoise.

Starting with 200 tortoises in 2004, by October 2017, there were 14,000 tortoises in breeding programs and 1000 have been reintroduced into the wild. On 31 July 2021, Richard Branson announced two baby Burmese star tortoises were born on his private island, Necker Island, as part of his ongoing conservation work for the species.

title: Burmese star tortoise


text: Category:Hungarian boxers

title: Category:Hungarian boxers


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User talk:CPES

User:CPES/Books
Hey there! I'm making a centralised "library" if you will of books that Wikipedians own; the idea is to give a single place of reference where users can go to find other users who might have texts on a subject they are writing about, rather than what we have at the moment (various users having indexesbooks they own scattered around in places). Would you have any problem with me including your texts given here in the library? Ironholds (talk) 23:13, 10 February 2009 (UTC)

No probs. Please help yourself. CPES (talk) 20:37, 20 October 2009 (UTC)

Assassination of Archduke Franz Ferdinand of Austria

 * Thanks TJRC (talk) That's very kind of you.  CPES (talk) 19:52, 31 October 2009 (UTC)

Citing sources
The section on non-english sources is about sources (that is outside works used to support material) that are not in English. All references (descriptions of the source on Wikipedia) should be in English. See the same section at WP:V. Christopher Parham (talk) 15:55, 3 December 2009 (UTC)
 * In general, please stop changing the term "source" to "reference" in this guideline. You are making the page more confusing. Christopher Parham (talk) 16:02, 3 December 2009 (UTC)

 * Hello Christopher Parham thanks for your comments. I'm surprised that you say I'm making this help article more confusing because my aim is quite the opposite. In the article, as was, there was an inconsistent use of the words 'references', 'referencing', 'citation', 'source' and 'sourcing' which made it more difficult to follow  than necessary (I found it so when trying to gen up on citations and references).

 * In the specific case of the 'Non-English sources' title which you reverted to from 'Non English references': this is another case of confusion because it is not the Non English 'sources' that is the issue it is the 'Non English references'. It's the references that the Wiki pages list under the specific level 2 title of 'References'. Suggest that the title in the help page be put back to 'Non English references'.

 * I do not mean to criticise the article and, in spite of the above, I did find it to be very helpful and generally easy to use- obviously the result of much good work.

 * CPES (talk) 16:37, 3 December 2009 (UTC)
 * On this page, a "source" is an outside work that can act as reliable backing for info on Wiki. Although the term "reference" is somewhat ambiguous, it is generally used to mean anything connecting sources with article content; "referencing" is the process of indicating what content is supported by which sources. A "citation" is the specific notation connecting a particular fact with a particular source work. So we don't cite references, we cite sources (outside works). "Reference" and "citation" are often interchangeable but generally "reference" and "source" mean different things in this guideline. So the issue is not non-English references, which wouldn't belong on this Wikipedia, but non-English sources - instances where outside works in say, French, are used to support content here. Christopher Parham (talk) 20:36, 3 December 2009 (UTC)

 * Yes, that's more or less how it is now. But, my feeling is that 'References', 'Sources', 'Citations' or whatever term is used for the area of which we speak could be rationalised and simplified which would make it easier for new editors (and possibly experinced ones). Of course, as you imply, it is a Wiki wide issue which, if done at all, needs to be done from the top down rather than the other way around. (by the way there are some thoughts about 'Citations' at User:CPES/Wikipedia comments)  CPES (talk) 11:18, 5 December 2009 (UTC)

Wikipedia:Citing sources
These two edits:, have broken shortcut WP:SAYWHEREYOUGOTIT. It's no good having a shortcut which is intended to link to a particular section which actually takes you to the top of the document; users who are directed to check this won't know what I'm on about. Please rectify. --Redrose64 (talk) 19:54, 6 December 2009 (UTC)

 * Apologies for messing up your link Redrose64 it was unintentional. The link is fixed now CPES (talk) 13:57, 7 December 2009 (UTC)
 * Thanks, but it wasn't my link; just one which I often direct people to. --Redrose64 (talk) 14:08, 7 December 2009 (UTC)

Calendar years vs model years
Thank you for you edit at Toyota Land Cruiser Prado. However, in most countries the phrase "2014 Prado" means the Prado that was introduced during the 2014 calendar year while in the US it means the Prado that was introduced in the 2013 calendar year (typically August 2013 to August 2014). It's best to say either "...in 2014 the Prado ..." or "... the 2014 model year Prado ..." or "... in 2013 (for the 2014 model year) the Prado ...".  Stepho  talk 23:18, 7 September 2014 (UTC)

 * Thanks for pointing that out Sepho

Rising Damp; My Mistake
I am sorry I made a mistake, actually two mistakes, on Rising Damp. It appears to me in retrospect that I thought content had been removed but it had been moved. I also seem to have misinterpreted the improvements you have been making. The revert was an "automated" edit but it should have left a brief summary. In any event, it was a mistake and I am glad you caught it. I apologize for the mistake and inconvenience. Donner60 (talk) 03:22, 26 September 2014 (UTC)

 * No probs my friend. It's a big person who apologises. I make mistakes all the time- for example in this case I forgot to log in. CPES (talk) 03:56, 26 September 2014 (UTC)

Bo Diddley
Re this edit, did you mean to use the spelling Bo Diddly, with no e? I've never seen his name spelled that way. If not, I don't think the name should be listed as an alias, given that the article itself is given that name. Ghmyrtle (talk) 11:34, 2 October 2015 (UTC)

Hi Ghmyrtle thanks for your message. No it was just an error. Good of you to point it out. Will correct CPES (talk) 14:26, 2 October 2015 (UTC)

 * I will do some copyediting at some point, but will wait till you take a break to avoid edit conflicts. Nothing major, I think, but some details - for instance, Jo Ann Campbell was pioneering in being a female rockabilly singer, not in simply being a rockabilly singer.  Ghmyrtle (talk) 14:29, 2 October 2015 (UTC)

 * Yes, a good point. I will hang up now and leave it to you. Cheers CPES (talk) 14:38, 2 October 2015 (UTC)

ArbCom elections are now open!
MediaWiki message delivery (talk) 12:57, 23 November 2015 (UTC)

Oxford comma.
Although the manual of style allows the use of the Oxford comma in an article, it does require that the usage is consistent throughout the article. Adding such a comma to an article that did not have any (Royer oscillator) can be seen as disruptive (not to mention WP:LAME). Also you added one to Worcester despite there being over 250 examples of non usage. 212.183.128.105 (talk) 13:45, 7 March 2016 (UTC)

 * Please do not send me nonsense messages like this. None of what you say makes sense. As for adding an Oxford comma being disruptive- don't be so ridiculous. Reverting and commenting about adding an Oxford comma is disruptive by the same token. Besides which Wiki rules say that the last edit should stand if it makes sense.
 * As for quoting edit wars that does not make sense either- what edit wars are you talking about? I have improved the English. sense, grammar, punctuation, etc on endless articles on Wikipedia which you obviously haven't bothered to chec. You are both impertinent and inaccurate and arn't even a registered member of Wikipedia so that I could take this matter further, if I was so inclined. Who are you? CPES (talk) 10:24, 8 March 2016 (UTC)
 * Where did I mention 'edit wars'? Something you made up?  Just like you made up, "Wiki rules say that the last edit should stand if it makes sense".  Nothing of what I posted was nonsense unlike much of your reply.
 * The Wiki policy on the Oxford comma (which you obviously didn't bother to read) states, "Editors may use either convention so long as each article is internally consistent " (my emphasis). Making articles non consistent is disruptive.  It is even more disruptive as you are not following your claimed policy above given that you are not allowing a previous edit to stand. So I am not inaccurate.  As for your other remark, that could be grounds for taking further (see WP:CIVIL).
 * As for my being an unregistered editor, what makes you think that would be grounds for 'taking the matter further'. Wikipedia is an encyclopedia anyone can edit.  Unregistered editors are as entitled to edit and comment on other users edits in exactly the same way as registered users - whether you like it or not.  If you wish to start a campaign against unregistered editors, you might like to bear in mind that the last registered user's attempt, that I witnessed, ended in an editing restriction on interacting with unregistered editors (there was strong support for an indefinite block but he narrowly got away with it).  85.255.233.211 (talk) 14:42, 8 March 2016 (UTC)

Polymer niobium capacitors
Hi CPES, I never found a polymer niobium capacitor at AVX. I delete your remark --Elcap (talk) 16:50, 11 July 2016 (UTC)

Hy Elcap, good work. I confused niobium oxide with polymer niobium: http://www.avx.com/products/niobium/ CPES (talk) 08:38, 13 July 2016 (UTC)

title: User talk:CPES


text:
Avocet Line

The Avocet Line is the railway line in Devon, England connecting Exeter with Exmouth. It was originally built by the London and South Western Railway, and was historically known as the Exmouth branch railway. The line follows the Exe Estuary for about half of its route, from just outside Topsham (on the Exmouth end) to Exmouth, giving views of the estuary. The line is named after the pied avocet, which lives in the estuary.

History
The line was constructed in 1861, connecting the City of Exeter and the port town of Exmouth. Built in two portions by two railway companies, it worked as a single entity.

A series of false starts
The City of Exeter lies on the river Exe in Devon, but the river is not navigable as far as the city. Exmouth, eleven miles further south on the east bank of the river at its mouth, became important before the days of railways and reliable roads as the point of arrival for goods by coastal shipping, and the harbour there grew in importance. Topsham, also on the eastern bank of the river and only four miles from Exeter, also shared in growth.

The Exeter Ship Canal had been built in the sixteenth century to alleviate this problem, but use of the canal was inconvenient and limited to small vessels.

As early as 1825, Exeter merchants held a meeting to discuss the possibility of building a railway connection from Exmouth to the city. At this date there were no other railways nearby, and there was no thought of connecting the line to a network. However the proposal — estimated to cost £50,000 — was discontinued when the Corporation of the City of Exeter agreed to extend the canal southwards to Turf, opposite Topsham, enabling 400 ton vessels to reach the head of the canal by passing a difficult reach of the river channel.

In 1845 the Railway Mania was at its height, and two similar schemes for an "Exeter Topsham and Exmouth Railway" were publicised in August of that year. A few months later the Great Western Railway issued a prospectus for a "Great Western & Exeter, Topsham & Exmouth Junction Railway", and the South Devon Railway also issued a prospectus, proposing to run an atmospheric-powered broad gauge line from the Exminster pumping station, across the canal and crossing the River Exe on a 14-span viaduct to Topsham, and thence to Exmouth.

The financial frenzy subsided and the front-running proposal was to build a standard-gauge line from about the location of the present-day Exeter Central station, following the eastern bank of the river Exe and terminating at Exmouth. Joseph Locke was appointed engineer, and parliamentary authorisation was received on 3 July 1846 for the Exeter and Exmouth Railway. However the promoters had depended upon the standard-gauge London and South Western Railway (L&SWR) building a line reaching Exeter; their intention was to lease the line to the L&SWR. The larger company had been planning a line from Dorchester to Exeter, but at this stage they found that they could not finance the long route and cancelled the project, in effect killing the prospects of the E&E company as the powers expired.

The planned route of the Exeter and Exmouth scheme was revived in December 1853, and generated considerable support in Exmouth particularly, but the broad gauge interest countered with a revival of its scheme to make a branch from Exminster, crossing the river Exe by viaduct. By this time, broad gauge railways had been in Exeter since 1844, while in 1853 the standard gauge L&SWR was no closer than Salisbury, which it reached by a branch line from Bishopstoke (Eastleigh). Local people therefore considered the broad gauge railways a better partner, and an Exeter and Exmouth Railway Act was passed on 2 July 1855, for the broad gauge line from Exminster to Exmouth, crossing the Exe.

The first stages of constructing the line were proceeding and on 1 August 1857 the directors of the company announced that they had arranged with the Bristol and Exeter Railway and the South Devon Railway to lease their line for ten years at £3,000 per annum. However at the shareholder meeting, the shareholders appointed a committee to review the cost of the construction, (estimated at £94,435) and the committee reported back rejecting the lease to the broad gauge interest, and recommending altering the route of the line to join the anticipated route of the L&SWR into Exeter. The L&SWR had by now made real progress in constructing a direct line to Exeter, and its subsidiary, the Yeovil and Exeter Railway, undertook to make a branch line between Exeter and Topsham; the Exeter and Exmouth Company would confine its endeavours to the section between Topsham and Exmouth. The L&SWR would work the entire line for 50% of the gross receipts in proportion to the mileages respectively constructed. The costs of Topsham station and the quay line there would be shared,

A viable proposal at last
Suddenly the Exeter and Exmouth Railway had the mileage they had to construct substantially reduced (to about 5+1/2 mi) and avoided the river Exe bridge. Exmouth would get its railway.

A new Act of Parliament was needed to authorise the change of route and reduce the share capital, and this was obtained on 28 June 1858; the original capital had been £160,000 with authorisation for loans to £53,000 but this was now reduced to £50,000 share capital and £16,600 in loans. As the Exeter and Exmouth would now only build a line from Topsham to Exmouth, the L&SWR needed authority to build the part from Exmouth Junction to Topsham, and it obtained an Act for purpose on 12 July 1858. (The line joined the L&SWR Salisbury to Exeter main line at Exmouth Junction.) Just after opening the E&ER company raised an additional £30,000 in loans at 5% to cancel forfeited shares, and a further £25,000 was raised in June 1861.

The engineer of the line was W. R. Galbraith and the contractor for Topsham to Exmouth was James Taylor of Exeter, for the sum of £39,000. Not without setbacks, the line was completed and inspected by Col Yolland of the Railway Inspectorate on 27 April 1861, and the line opened on 1 May 1861. The first train was pulled by the 2-2-2 Beattie well tank no. 36 Comet.

Absorption of the Exeter and Exmouth Company by the L&SWR was authorised by Act of 5 July 1865, taking effect on 1 January 1865.

Train services in the nineteenth century
The branch line, operated as a single entity, was exceptionally successful, and 2,000 passengers a day used the line in the first week. Passenger trains in the early days were worked by Beattie 2-2-2 well tanks, with a varied collection of coaching stock transferred from elsewhere on the L&SWR system.

At first there were five trains each way seven days a week, increased to seven trains each way (but four on Sundays) from 1 July in the opening year.

Topsham Quay
The branch to Topsham quay was 700 yd long, and was opened by the L&SWR on 23 September 1861; the purpose was to facilitate the transfer of goods, principally to Exeter, from ships too large to reach the city direct. Exmouth Dock did not exist at this time. In the early days the branch was only permitted to be worked during daylight.

The gradients were steeply falling to the quay, with sections at 1 in 38 and 1 in 44. Train movements were limited to eight wagons; there was a runaway in 1925 which ended up in the water. The main traffic in the 1930s was guano imported from South America, and destined for Odam's fertiliser factory, less than a mile away. The line closed in 1957.

Exmouth Harbour connection
The Exmouth Dock Railway was incorporated in 1864, a 40 ch extension of the Exeter and Exmouth company. It opened in 1866 and was absorbed into the L&SWR along with the Exmouth branch line as a whole.

The dock at Exmouth could take vessels up to 750 tons; most traffic was inwards, but outwards traffic included herrings for London. Wagons for the dock were propelled as there was no run-round facility there. Formal termination of the use of the dock took place in December 1967; the dock itself continued in use until December 1990.

Budleigh Salterton Railway

After a number of abortive attempts to get a railway to the town, the Budleigh Salterton Railway was incorporated on 20 July 1894, with powers to build a line from Tipton (later Tipton St Johns) on the Sidmouth Railway to Budleigh. The connection at Tipton gave access to the L&SWR's London to Exeter main line at Sidmouth Junction, and no direct connection towards Exmouth.

The line was worked by the L&SWR from its opening on 15 May 1897.

Exmouth and Salterton Railway
Promoters of a line to fill the gap between Budleigh Salterton and Exmouth formed the Exmouth and Salterton Railway. The L&SWR agreed to take over the scheme, and the line got parliamentary authority as part of an L&SWR Act on 25 July 1898. The contractors were Henry Lovatt & Sons and the engineer was J. W. Jacomb-Hood of the L&SWR, and the line was built as an integral part of the larger company. It opened on 1 June 1903, with an intermediate station at Littleham.

The L&SWR considered at this stage making the junction at Exmouth a triangle, enabling a through Exeter - Exmouth - Budleigh Salterton service, but this was dropped on grounds of cost. (On some Ordnance Survey maps a pathway is indicated on the alignment that the third leg of the triangle would take, but the pathway was on the bank of a stream and there is no evidence that such a line was seriously planned. Carter Avenue now occupies part of this alignment.)

Operation after 1903
By 1903 the network was complete, with a line from Exeter to Exmouth and a line from Sidmouth Junction to Exmouth.

From 1906 the L&SWR introduced steam railmotors in the Exeter area to Honiton on the main line, as a response to the competitive threat from street tramways. A new halt was opened at Lions Holt on 26 January 1906, between Exeter Central and Blackboy Tunnel, on the main line. (The halt was renamed St James' Park Halt on 6 October 1946 to emphasise the proximity to the local football ground.)

On 31 May 1908 the line between Exmouth Junction and Topsham was doubled. Two Drummond H13 class steam railcars, nos 5 and 6, had been operating local stopping services on the main line to Honiton, and from 1 June 1908 they (and presumably sister units) operated shuttle trains between Exeter Queen Street and Topsham also, with ten services each way (five on Sundays). Two additional halts were opened on the same day. Polsloe Bridge Halt was immediately on the Exmouth side of Exmouth Junction; it was extended in 1927. Clyst St Mary & Digby Halt was made of sleepers; the reference to Digby is to a hospital nearby. The halt was closed on 27 September 1948.

In 1916 the shuttle service to Topsham was discontinued and the railmotors withdrawn or transferred.

After 1923 the train service throughout to Exmouth increased to 20, and the peak was in 1963 with 31 each way, eighteen on Sundays.

The branch was significantly a commuter line for Exeter, as well as carrying holiday traffic, and during the steam era non-corridor stock for the majority although corridor stock was frequently used. Services mostly ran to and from Queen Street, later Central station at Exeter, using the bay platforms there.

Woodbury Road was renamed Exton on 15 September 1958.

Diesel multiple units were introduced on the branch from 15 July 1963.

In 1973 the double track section from Exmouth Junction to Topsham was singled (on 5 February), with Topsham having a crossing facility.

A new station was opened on 3 May 1976 called Lympstone Commando, adjacent to the Commando Training Centre of the Royal Marines. There was already a Lympstone station and it was renamed Lympstone Village on 13 May 1991. On 23 May 1995 Digby & Sowton station was opened near the site of the earlier Clyst St Mary & Digby halt; it was funded by Devon County Council and Tesco plc. Newcourt railway station opened on 4 June 2015.

Route
The towns and cities served are:
 * Exeter (including the suburbs of Stoke Hill, Whipton, Digby, Sowton and Newcourt)
 * Topsham
 * Exton
 * Lympstone
 * Exmouth

The route follows the West of England Main Line in the suburbs of Exeter before diverging to the south.

There is a ferry service from Exmouth harbour to Starcross railway station on the opposite shore of the River Exe.

Services
The typical daytime frequency is a train every 30 minutes with most trains extended beyond Exeter to and from Paignton. Trains only stop once an hour at St James Park, Polsloe Bridge, Exton and Lympstone Commando, the latter two being request stops. It is operated by Great Western Railway. The section between Exeter St Davids and Exeter Central is shared with South Western Railway services on the West of England line to London Waterloo.

Between 2006 and 2020 it operated using, 150 or 153 diesel multiple units (DMUs) either singly or in multiple. Between December 2007 and December 2011 DMUs were also used. Since 2020 it has been chiefly operated using 150 or 166 diesel multiple units as 3, or 4 car formations.

Infrastructure
The line is double track from Exeter St Davids to Exmouth Junction, but is single thereafter except for a passing loop at Topsham, where many trains are scheduled to cross each other. All movements on the line are under the control of the signal box at Exmouth Junction, which remotely operates the level crossing at Topsham as well as the loop there.

Passenger volume
The busiest station on the branch is Exmouth, which is the fifth busiest in Devon. The numbers of passengers using the line each year have shown an increase in particular Digby & Sowton and St James Park. Comparing all stations on the year beginning April 2002 to the Year beginning April 2010 there are a variety of trends. The biggest increases have been at Digby & Sowton by 157% and St James Park with 105%. The increases in descending order from there are Topsham by 89%, Polsloe Bridge by 82%, Exton by 60%, Lympstone Village by 31% and the smallest with Exmouth by 6%. Meanwhile, Lympstone Commando has declined by 33%.

title: Avocet Line


text:
What I Like About You (TV series)

What I Like About You is an American television sitcom co-created by Wil Calhoun and Dan Schneider. It is set mainly in New York City, following the lives of two sisters: vivacious teenaged sister Holly (Amanda Bynes) and her responsible older sister Val (Jennie Garth). The series ran on The WB from September 20, 2002, to March 24, 2006, with a total of 86 episodes produced. With the exception of a brief period early in the second season, What I Like About You was a headline on The WB's Friday night comedy block.

Cast and characters
Throughout their time on the series, two main characters—Vince and Lauren—are never given last names. Jeff is also never given a last name, although in the artwork for the season 1 DVDs, he is listed as "Jeff Campbell".

Recurring

 * Dan Cortese as Vic Meladeo (seasons 1 & 4)
 * Edward Kerr as Rick (seasons 2–4)
 * David de Lautour as Ben Sheffield (season 3)

Guest

 * Abigail Breslin
 * Fran Drescher
 * Megan Fox
 * JoAnna Garcia
 * Rebecca Gayheart
 * Tony Hawk
 * Minka Kelly
 * Cameron Mathison
 * Jesse McCartney
 * Jenny McCarthy
 * Jason Priestley
 * JC Chasez
 * Luke Perry
 * Ian Ziering
 * Penn Badgley
 * Jenna Fischer

Theme song and opening sequences
The series takes its title from the 1980 song of the same name by American rock band The Romantics; it was written by the group's members Wally Palmar, Mike Skill, Rich Cole, and Jimmy Marinos. A cover version of the song, performed by the Canadian all-female rock group Lillix, is used as the theme song for the show. Lillix's cover version can also be heard on the soundtrack of the 2003 remake of Freaky Friday and the soundtrack of the film 13 Going on 30. The theme was remixed into a techno/dance style theme for the second season by Philip Steir, who composed all the music for remainder of the series.

The pilot episode has a short opening sequence, and the cast members' names are only shown over the cold open. The first season's opening sequence features intercut scenes (as from home movies) of two girls portraying younger versions of Holly and Val, with shots of Bynes and Garth sticking their tongues out at the camera, mixed with footage excerpted from the first four episodes. The opening title sequence for the rest of the series features the show's cast in front of digitally inserted scenes of New York at night. Different versions of the sequence are used for SD and HD broadcasts.

Due to music costs, and rights, DVD and streaming releases replace the theme song of Lillix 's cover. Remarking upon it when the series was added to HBO Max in January 2021 with the replacement music, TVLine called it "royalty-free garbage that not even Shazam can identify."

History
What I Like About You premiered on Friday, September 20, 2002, in the 8PM timeslot. When the second season premiered on September 11, 2003, the series moved to Thursday nights at 9PM, alongside The Jamie Kennedy Experiment. On January 9, 2004, the series moved back to Friday nights, in the 8:30PM timeslot. With the third season premiere on September 17, 2004, the series moved back to its original 8:00PM timeslot and remained there until the series finale in March 2006.

International
In Canada, the series aired on YTV and later on Nickelodeon.

In Italy, the series aired under the name Le cose che amo di te (The things I Love about you) on Rai 2 from July 7, 2006 until August 2, 2008.

Streaming
From January 2021 to January 2023, all four seasons of What I Like About You, began streaming on HBO Max.

Syndication
From April to September 2006, reruns of What I Like About You aired as part of The WB’s Daytime WB weekday afternoon programming block alongside 8 Simple Rules. Reruns of the series moved to The CW (which replaced The WB) on September 18, 2006, airing for a full hour at 3:00PM on weekdays alongside Reba. On September 24, 2007, The CW reduced its daytime reruns of What I Like About You to one episode per day to accommodate the addition of reruns of All of Us, remaining until September 2008. Following the series' departure from The CW, the show began airing on ABC Family (now Freeform) in various timeslots during the daytime. The N aired the series in early 2009, a few months before their rebranding to TeenNick, where the series aired before subsequently being removed in 2013.

Home media
On May 1, 2007, Warner Home Video released the complete first season on DVD in region 1. The three-disc set included a gag reel as its only bonus feature. Due to high music licensing issues, Lillix's cover of the theme song was removed and replaced with a generic pop-rock song produced specifically for the set. Due to low sales and high music licensing costs, no further seasons were given a general retail release.

On March 7, 2017, Warner Archive released the second season on DVD in region 1 in a three-disc set. The third season was released on November 27, 2018 in a three-disc set, and the fourth season was released on February 26, 2019 in a two-disc set. The releases for seasons two through four are Manufacture-on-Demand (MOD) releases, frequently pressed on DVD-R discs. Although the final three seasons were originally broadcast in widescreen high definition, the episodes are presented on DVD in fullscreen.

Awards and nominations
GLAAD Media Award Teen Choice Awards Young Artist Awards

title: What I Like About You (TV series)


text:
Riviera Line

The Riviera Line is the railway between the city of Exeter, towns Dawlish and Teignmouth, and the English Riviera resorts of Torbay in Devon, England. Its tracks are shared with the Exeter to Plymouth Line along the South Devon sea wall. It is part of the Network Rail Route 12 (Reading to Penzance).

History
The line from Exeter to Teignmouth was opened by the South Devon Railway Company on 30 May 1846 and was extended to Newton Abbot on 30 December 1846. After the company had completed its main line to Plymouth, it opened a branch from Newton Abbot to Torquay (the present Torre railway station) on 18 December 1848. Nine years later, this was extended as the independent Dartmouth and Torbay Railway to Paignton on 2 August 1859.

These lines were built as single-track, broad gauge railways by Isambard Kingdom Brunel. They were designed for atmospheric power and, although this was only used from 13 September 1847 until 9 September 1848, the remains of several of the South Devon Railway engine houses used for the stationary engines can still be seen by the side of the line. The track was converted to standard gauge on 21 May 1892. Double track was laid in sections over a period of several years, requiring the widening or removal of several tunnels near Teignmouth.

The Dartmouth and Torquay Railway was operated from the outset by the South Devon Railway and amalgamated with it in 1872. This company, in turn, amalgamated with the Great Western Railway on 1 February 1876. The GWR was nationalised on 1 January 1948 as part of British Railways.

In 1977, the Parliamentary Select Committee on Nationalised Industries recommended considering electrification of more of Britain's rail network and, by 1979, BR presented a range of options to do so by 2000. Some included electrifying the Bristol to Exeter line, Exeter to Plymouth Line, Riviera Line and Cornish Main Line. Under later governments, the proposal was not implemented. At present, there are no proposals to electrify the line or any others in Devon or Cornwall.

South West Trains operated some services between London Waterloo and Paignton via Salisbury for several years, as well as some to Plymouth or. From December 2009, their services only operated east of Exeter St. Davids.

Services
Local passenger services on the line are currently operated by Great Western Railway. Mondays-Saturdays see an approximately half-hourly service calling at most stations, which runs beyond Exeter to and from Exmouth along the Avocet Line. On Sundays, a more restricted service operates, most of which terminate at Exeter.

Other services on the line include Great Western Railway express trains to/from London Paddington and CrossCountry services from the Midlands and the North. These mostly call only at Exeter St Davids, Dawlish, Teignmouth, Newton Abbot, Torquay and Paignton. Other long-distance services of the same operators call at Exeter, Dawlish, Teignmouth and Newton Abbot before continuing to Plymouth and sometimes Penzance.

Infrastructure
Trains going towards Paignton are described as travelling in the "down" direction; those towards Exeter in the "up". The line is double track throughout except for a long single-lead junction at Newton Abbot where trains are turned off the main line onto the Paignton branch. Loops at Dawlish Warren allow slower trains to be overtaken, as does the flexible layout at Newton Abbot where all three platforms can access the Paignton branch. At Exeter St Davids, Riviera Line trains generally use platforms 1 and 3 as these are the only ones with access to and from Exeter Central and the Avocet line; starting or terminating trains may also use platforms 4, 5 and 6. At Paignton down trains generally arrive in platform 2; if they arrive in platform 1 they must shunt across to platform 2 before departure, generally via the sidings at Goodrington Sands.

Between Exeter and Newton Abbot the predominant speed limit is 60 mph, the route availability is RA8, and freight loading gauge is W7. On the Paignton branch the predominant speed limit is 40 mph, the route availability RA6, and the freight loading gauge W6A. Multiple aspect signals are controlled from the panel signal box at Exeter and allow a headway between trains of four minutes from there to Newton Abbot and seven minutes onwards to Paignton. The sea wall section is signalled for trains to run either way on the up (landward) line to allow for restricted working in the event of sea damage to the down line.

The Paignton branch has been identified as a "fragile route" where the addition of any further loco hauled traffic would have a significant impact on the residual life of track and/or structures. The three stations on the branch are currently under consideration for the provision of improved facilities but this is dependent on third-party funding being made available.

Route description
The route is described from Exeter to Paignton for a passenger facing the direction of travel, which will put the sea on their left.

Exeter to Newton Abbot
Communities served: Exeter – Starcross (and Exmouth via a seasonal ferry service) – Dawlish Warren – Dawlish – Teignmouth – Newton Abbot

On leaving Exeter St Davids, the line crosses the River Exe and a parallel flood relief channel, then passes above the suburbs of Exeter along a stone viaduct on which is situated Exeter St Thomas railway station. The church of St David with its spire, and the older Exeter Cathedral, can be seen on the hill above the river. Beyond this is an industrial area where two lines used to branch out. On the left a short line went down to the Exeter Canal at City Basin; on the right a longer branch ran to Heathfield on the Newton Abbot to Moretonhampstead branch.

Once out in the countryside the line crosses marshes as it runs alongside the canal and river. What looks like a level crossing in the fields near Countess Wear is actually a lifting bridge across the canal. After passing the site of Exminster railway station the canal comes more clearly into view on the left and joins the River Exe, as does the railway, at Turf. The square pond next to the line is the site of Turf engine house. This stretch of the line used to have long water troughs between the rails from which steam locomotives could refill their water tanks without stopping. From Powderham Castle the railway is right alongside the river; on the right of the line is the castle's deer park, while on the left, across the river, trains on the Avocet Line may be seen near Lympstone Commando railway station. Our train now enters the village of Starcross; beyond Starcross railway station is the pier for the Exmouth to Starcross Ferry and the old Starcross engine house.

A little further along the river the railway crosses the mouth of Cockwood harbour. Near the shipwreck here was the 1285 ft long Exe Bight Pier, in use from 1869 for about ten years. Dawlish Warren now comes into sight; the sand dunes are home to a nature reserve where many wading and sea birds can be seen. The railway line opens out into four lines at Dawlish Warren railway station, where the platforms are alongside loop lines that allow fast trains to overtake stopping services.

On the left is the beach and seaside amusements; on the right are some camping coaches in the old goods yard. The railway now comes onto the Sea Wall which it shares with a footpath, although it quickly enters the short and deep cutting at Langstone Rock. Emerging above the beach, views can be had across the sea towards Torbay.

Approaching Dawlish railway station, Coastguard's Cottage is on the right. Although now a café, this building was used by the railway during its construction and then sold to the coastguard. Their boat house is below the footbridge. The town can be seen off to the right from Colonnade Viaduct at the other end of the station.

The line now enters its first tunnel, the 265 yd Kennaway Tunnel beneath Lea Mount, beyond which is Coryton beach where the footpath along the Sea Wall ends, and then 227 yd Coryton tunnel. The next beach is the private Shell Cove and then the railway passes through 49 yd Phillot Tunnel and 58 yd Clerk's Tunnel, emerging onto a section of sea wall at Breeches Rock before diving into 513 yd Parson's Tunnel beneath Hole Head. The last two tunnels are named after the Parson and Clerk Rocks, two stacks in the sea off Hole Head. When the tunnel was dug the workers cut into a smugglers tunnel which ran from a hidden entrance above the cliff down to a secluded cove.

Beyond Parson's Tunnel is a short viaduct across Smugglers Lane and then the footpath resumes alongside the line for the final stretch of the Sea Wall past Sprey Point to the cutting at Teignmouth Eastcliff. On the right side of the railway near Sprey Point can be seen the remains of a lime kiln used during the construction of the line.

The railway passes through to Teignmouth railway station then continues through a cutting to emerge behind Teignmouth Harbour, after which the railway resumes its course alongside the water, the River Teign. The cuttings on both sides of the station were originally tunnels and were opened out between 1879 and 1884. The railway passes under the Shaldon Bridge and then follows the river past the small promontories at Flow Point, Red Rock, and Summer House, opposite which can be seen the waterside inn at Coombe Cellars.

After leaving the riverside the line crosses Hackney Marshes and passes between the railway sidings at Hackney Yard (left), and the race course and former Moretonhampstead branch (right). The industrial area to the left of Newton Abbot railway station is the site of the South Devon Railway Company locomotive workshops – the older stone buildings are the only surviving railway buildings.

Newton Abbot to Paignton
Communities served: Newton Abbot – Torquay – Paignton

Leaving Newton Abbot the railway widens out to four tracks; the two for Penzance diverge to the right at Aller Junction while the two for Paignton pass through the concrete beam 270m long Aller Tunnel, constructed in 2015 to carry the new South Devon Highway. From here the Riviera Line trains climb and then slowly descend towards the sea at Torquay. First though, they pass through the remains of the former Kingskerswell railway station.

Just before Torre railway station the line curves through a cutting; the Torquay engine house still stands on the top of the cutting on the right. The stone building on the left is the old goods shed, while sidings for coal traffic were situated on the opposite side of the line. The disused signal box on the eastbound platform was unusually tall to allow the signalman to look over the footbridge to see trains approaching up the steep gradient.

The train now descends this to reach Torquay railway station opened in 1859, although today's large stone buildings and old signal box date from 1878. Unlike the original Torquay station (now Torre), this one is right by the beach at Abbey Sands and a level promenade links it with the harbour and town centre.

On leaving the station the line passes beneath an ornamental cast iron bridge, through a small cutting, and then climbs alongside Livermead Beach to the site of Torquay Gas Works, now a park on the right of the line. It then passes a headland at Preston before dropping down again into Paignton, with more views of the beaches and sea. Immediately outside Paignton railway station is a busy level crossing right in the town centre. The ticket office is now situated in the 1859 goods shed; the bus station is right outside the front door while the Dartmouth Steam Railway is situated alongside on the other side of the station.

The railway line continues beyond the station to reach carriage sidings at Goodrington Sands and to provide a connection that allows special trains to run through to Kingswear over the heritage railway.

Passenger volume
Traffic growth in recent years has been largely on the main line section between Exeter and Newton Abbot, although reduced in 2014 due to the Dawlish seawall breach.

The statistics are for passengers arriving and departing from each station and cover twelve-month periods that start in April.

Plans
In 2009 the Association of Train Operating Companies identified Brixham as one of fourteen towns for which the provision of a new railway service would have a positive benefit-cost ratio. This would be an extension of the Great Western Railway service beyond Paignton to Churston station on the Dartmouth Steam Railway, which would then act as a railhead for Brixham. It would also serve other housing developments in the area since the opening of the steam railway, and may require the doubling of that line between Paignton and Goodrington Sands.

South West Coast Path
The South West Coast Path is the longest national trail in the United Kingdom and the Riviera Line runs alongside it for much of its length. The Path crosses the River Exe on the ferry to Starcross station and then follows the road to Dawlish Warren where it joins the Sea Wall to Dawlish. It then climbs up onto the cliffs above Kennaway Tunnel before rejoining the Sea Wall at Parsons Tunnel to follow the line to Eastcliff at Teignmouth.

It again follows closely from Abbey Sands (by Torquay station) to Preston Sands at Paignton. It also follows alongside the Dartmouth Steam Railway from Goodrington to Broadsands, the beach near Churston railway station.

The Path thus gives opportunities to observe trains at close hand, and also provides links for linear walks between stations, including Kingswear.

Storm damage
The sea wall has always been prone to damage during stormy weather as it runs alongside the open sea at the base of cliffs for four miles. The first time this occurred was in September 1846, just a few months after the line opened. The most recent closure was in 2014 when a major breach at Dawlish closed the line from 4 February until 14 April 2014.

title: Riviera Line


text:
Pitcher (container)

In American English, a pitcher is a container with a spout used for storing and pouring liquids. In English-speaking countries outside North America, a jug is any container with a handle and a mouth and spout for liquid – American "pitchers" will be called jugs elsewhere. Generally a pitcher also has a handle, which makes pouring easier.

Ewer is an older word for a pitcher or jug of any type, though tending to be used for a vase-shaped pitcher, often decorated, with a base and a flaring spout. The word is now unusual in informal English describing ordinary domestic vessels. A notable ewer is the America's Cup, which is awarded to the winning team of the America's Cup sailing regatta match.

Etymology
The word pitcher comes from the 13th-century Middle English word picher, which means earthen jug. The word picher is linked to the Old French word pichier, which is the altered version of the word bichier, meaning drinking cup.

The word's origin goes as far back to the Medieval Latin word  from the Greek word βῖκος : bîkos, which meant earthen vessel. Compare with Dutch beker, German Becher, English ' and Italian '.

Ancient examples
In the typology of Greek vase shapes jug or pitcher shapes include various types of oenochoe, and the olpe.

An early mention of a pitcher occurs in the Book of Genesis, when Rebekah comes to Abraham's servant bearing a vessel with water. In the Book of Judges, Gideon gives empty pitchers containing lamps to three hundred men divided into three companies. In the gospels of Mark and Luke, Jesus tells two of his disciples to go into the city of Jerusalem, where they will meet a man carrying a pitcher of water (Greek: κεράμιον ὕδατος : kerámion hydatos), and instructs them to follow him to locate the upper room to be used for the Last Supper.

The pitcher of Marwan Ibn Mohammad, on display at the Museum of Islamic Art in Cairo, predates the 8th century.

During the Tang dynasty, ewers fashioned from glazed earthenware bore illustrations of Persian textiles and metalwork and depicted increased cultural diversity in populated Chinese cities. Once coveted by the upper classes, ewers eventually became commonplace.

Idiomatic usage
The proverb "little pitchers have big ears" cautions adults that children are not always as naïve as they seem.

title: Pitcher (container)


text:
Foam Lake

Foam Lake is a town in the Canadian province of Saskatchewan. It had a population of 1,123 in 2006. It is located in a mixed agricultural area approximately 220 km south-east of Saskatoon on the Yellowhead Highway. Foam Lake, the lake for which the town is named, is located about 5 km to the north-west.

History
Foam Lake was founded in 1882 by Joshua Milligan, an English fur trader. It was subsequently settled by Icelanders, Ukrainians, and various English-speaking nationalities. It was incorporated as a town in 1924.

The Foam Lake Museum (c. 1926) is a Municipal Heritage Property on the Canadian Register of Historic Places. In the summer of 2006, two major fires destroyed a major part of Main Street in Foam Lake. The first fire destroyed three businesses and one home. These included the water fountain/Sears outlet/Backyard Studios, the doctor's office, and Dennis' Cafe, which was also the owner's home. The second fire started in one of the three grain elevators, burning the first elevator to the ground and spreading to the second one. The volunteer fire department was able to put out the blaze with the help of two water bombers and volunteer fire departments from surrounding communities.

Demographics
In the 2021 Census of Population conducted by Statistics Canada, Foam Lake had a population of $1,183$ living in $543$ of its $584$ total private dwellings, a change of NaN% from its 2016 population of $1,141$. With a land area of 6.04 km2, it had a population density of in 2021.

Sports and recreation
Quill Lakes International Bird Area north-west of Foam Lake attracts bird watchers from all over the world. The Foam Lake Water Park features a 128 ft waterslide, hot tub, vortex and beach entry and is the summer hub of the community. Foam Lake's Annual Veselka Ukrainian Heritage Festival occurs each year and celebrates Ukrainian culture through food, music, art, and entertainment.

Foam Lake Flyers
The Foam Lake Flyers of the amateur senior men's Long Lake Hockey League play at the Foam Lake Recreation Centre. They have been in existence since the 1940s. Many notable players and coaches have been a part of this team. Frank "Buzz" Boll coached the team for a few years in the late 1940s. He was a former National Hockey League player. Former Flyers also include Hockey Hall of Fame honoured member Bernie Federko, Canadian Olympian Ted Hargreaves, and many former junior stars including the Washington Capitals draft pick Jeff Lucky.

Education
Foam Lake Elementary School and Foam Lake Composite High School are in the Horizon School Division No. 205. The high school's football team is called the Foam Lake Panthers.

Notable people

 * Bernie Federko, professional ice hockey player.
 * Pat Elynuik, professional ice hockey player.
 * Dennis Polonich, professional ice hockey player.
 * Tania Miller, youngest and first female conductor of a major Canadian Symphony Orchestra.

title: Foam Lake


text: User talk:67.80.11.253

title: User talk:67.80.11.253


text: User talk:68.168.201.190

title: User talk:68.168.201.190


text:
Talk:Lumbar puncture

I think its worth noting in the procedure section that the lumbar puncture must also penetrate the arachnoid. - JRS —Preceding unsigned comment added by 155.58.11.16 (talk) 21:29, 12 June 2008 (UTC)

Question
How long do the headaches last after a spinal tap has been done?

 * Hours to days, depending on the speed by which the CSF was drained. Some people keep on "seeping" CSF into their epidural space; they sometimes require a "blood patch" to stop this; the headaches resolve almost instantly. JFW | T@lk  07:41, 7 Feb 2005 (UTC)

Complication of LP
The article says, 'Some authorities believe that withdrawal of fluid when initial pressures are too low could result in spinal cord compression or cerebral herniation...' Cerebral herniation is accepted in standard texts as a well known complication of raised intracranial pressure which may occur with space occupying lesions in the brain. If what the article claims is well researched, it should be presented as an adjunct to this fact which surprisingly doesn't find a mention.

 * sofixit. JFW | T@lk  13:49, 28 December 2005 (UTC)

 * I'm the author of the text you quoted. I can't tell whether your criticism is because you think it's obvious that LP can cause cerebral herniation, or because you think it's obvious that LP could never cause cerebral herniation and that it must always be due to the presence of space-occupying lesions in the brain and never due to LP.  -Ikkyu2 02:58, 30 December 2005 (UTC)

 * Oh, I see what your deal is. It's not whether the LP is causative, but the phrase "initial pressures too low."  The idea is that in obstructive hydrocephalus the spinal pressure is significantly lower than the above-obstruction pressures, and that lowering it further can worsen the pressure gradient and cause herniation.  Not everyone believes this, and even the 'too low' measured pressure is usually higher than normal in this model.  I will modify the statement to weasel around this and please everyone, regardless of their interpretation of the Monroe-Kellie doctrine.  -Ikkyu2 03:02, 30 December 2005 (UTC)

Why is it that this article is completely devoid of any acknowledgment of the risks of shift? That is to say, the dangers of someone having a suspected space-occupying lesion in the brain prior to the tap, which can then cause the brain to "shift" into the growth causing fatal complications. - April 4 2006

 * The article is still devoid of this. Some studies say that neuroimaging is only required if there is a suspected mass lesion, while other recommend it in focal signs, decreased level of consciousness or signs of raised ICP (papilloedema, decerebrate positioning etc.) I personally have never seen any junior doctor in the UK do an LP without a CT scan, probably because they are easy to obtain in patients whose history is bad enough to warrant an LP. JFW | T@lk  13:14, 21 January 2008 (UTC)

Trivia?
Since one can never be sure of the reasons that a reader might be searching for this article, I wonder if it might be worthwhile to include a mention of the urban myth that spinal taps are "routinely" performed to determine if someone has used LSD. Perhaps a brief mention in a newly added "Trivia" section would be in order. - Ugliness Man 11:24, 23 February 2006 (UTC)

 * Sources please for the urban myth? JFW | T@lk  13:14, 21 January 2008 (UTC)

Most painful thing ever
I heard someone on the radio say that a lumbar puncture is the most painful thing in the world ever... exactly how painful is it? --124.180.103.210 09:55, 25 June 2007 (UTC)

 * Child birth? —Preceding unsigned comment added by 71.86.54.3 (talk) 05:44, 29 March 2008 (UTC)

I'm pretty sure if you had a lumbar puncture done you would be sufficiently numbed up so that you couldn't feel it, otherwise you could jerk and be paralyzed.

I've been told that no anesthetics can be used, as they will distort the composition of the fluid. I sincerely hope that I will never have to undergo such a thing, though. --74.132.11.37 23:01, 7 August 2007 (UTC)

 * See comment below. It is probably nonsense. No it is not.JFW | T@lk  13:14, 21 January 2008 (UTC)

--I have had a lumbar puncture when it was suspected I contracted meningitis. It was forbidden to administer any anesthetic/numbing medications as that will contaminate the sample and/or mask symptoms. Also... if you're sick enough, and of the type, to need a lumbar puncture, giving you drugs that affect your nervous system is probably a bad idea.

How painful was it? Yes, I can safely say it was the most physically painful thing I've ever experienced. Even though I was only 13, I needed several nurses/orderlies to pin me down when they drew it.

So here's how I (poorly) describe the pain of the experience: You ever wonder if there is a centre to your body, like a core or a column that runs right down the middle? I don't mean the spinal column, I mean more like a metaphysical, hard to describe, centre of your being. Now also think of all the nerves in your body, from deep inside you to the very extremes of your body - your fingertips, the soles of your feet, your scalp.

When the lumbar needle (which feels as thick as coat-hanger wire, btw) gets tapped in, it's like someone pounding a nail into the wall to hang a picture. Except that wall is your soul. Every nerve, every cell, every ounce of your being rings and trembles like it's been hit by a sledgehammer... it's electrifying. In an instant you can feel the whole totality and mass of your body. It's not like being hit in a fight, struck by a car, or falling. This pain comes from deep inside you and radiates outwards.

Once it's in and they're drawing the CSF, it ain't so bad. I couldn't tell you about the headaches afterwards, since it wasn't too long after that I started convulsing and hallucinating.

 * It sounds awful. But how certain are you that no local anaesthetic was used? Lidocaine, when injected under the skin, gives a pretty nasty burning sensation that precedes the numbness. JFW | T@lk  13:14, 21 January 2008 (UTC)

Agree with the depiction of the pain. It should probably be mentioned on the article. As they told me, the could use anesthetic but that only works for the skin and muscle part of the pain, which is just as any injection. The pain that comes when they touch and penetrate the dura mater and arachnoid mater inside the spine. —Preceding unsigned comment added by 144.171.157.73 (talk) 21:45, 23 November 2010 (UTC)

Local anesthesia for LP and the "give" entering the dura mater
1) Local anesthesia with lidocaine is standard procedure for an LP. It should never be performed without this, and lidocaine is included in all lumbar puncture kits that I have seen.  I wonder what year the incident occurred in which the man writing below (above, comment was moved JFW |  T@lk ) had an LP without anesthesia - if it wasn't a very long time ago then he has grounds for a lawsuit. 2) I believe that the "give" which the author refers to in the procedure section is the needle puncturing the ligamentum flavum just before entering the dura mater. —Preceding unsigned comment added by 128.252.16.235 (talk) 14:20, 26 September 2007 (UTC)

 * Thanks. I agree that LP without analgesia is not of this day and age. Mind you, the lidocaine does not actually mix with the CSF. All it does is dull the nerve endings of the skin and subcutaneous tissues.
 * Everyone always says that the "give" is the penetration of the dura. Having done my own bunch of LPs I can definitely identify with its description. JFW | T@lk  13:14, 21 January 2008 (UTC)
 * I have stuck a lot of needles through the ligamentum flavum and the dura and I concur with JFW. The ligamentum flavum is resilient and it grips the needle (most noticeable with a Tuohy needle, which is relatively blunt and bigger, at 16g or 18g, than anything you should use for an LP). There is no 'pop' or 'give' when you go through to the other side of the LF because the needle is still gripped by the ligament; instead, penetration of the LF is detected by sudden loss of resistance to injection. Using a pencil point needle for an LP (and I submit that only the ignorant or cruel would use anything else these days) there is usually a noticeable 'pop' as the tip passes through the dura-arachnoid, which is most helpful. I do not think people who use cutting needles get this sign.Moletrouser (talk) 13:06, 12 March 2017 (UTC)

..

Platelets
10.1111/j.1365-2141.2009.07899.x review of safety of LPs in people with low platelets. JFW | T@lk  18:29, 15 December 2009 (UTC)

10.1002/14651858.CD012497.pub2 - Cochrane, no good data on use of plasma in those with abnormal coagulation studies. JFW | T@lk  19:56, 28 January 2018 (UTC)

Can IV sedation be used when a doctor does a lumbar puncture?
The doctor tried doing a lumbar puncture without success. The local medication used did not numb the area and when the puncture needle was being inserted, I felt lots of pressure and pain. I have very sensitive nerves due to polyneuropathy. The doctor tried two or three times and just gave up as I was moving around too much and he couldn't take the chance of doing it. My Neurologist is trying to rule out CIDP and other muscular diseases. I was wondering if this procedure can be done using IV sedation? An answer would be very appreciated.

70.173.117.53 (talk) 11:12, 2 April 2010 (UTC)

 * I'm sure this is done occasionally, but you should discuss this with your neurologist in the first instance. JFW | T@lk  10:46, 2 March 2014 (UTC)

Pictures
I love reading about medical things but actual pictures of it make me go berserk. Is there any way to like turn of medical pictures or things like this? An option or anything? 71.161.201.163 (talk) 14:17, 24 February 2011 (UTC)

 * Your browser should have a setting for that. Wikipedia is not censored, so I'm afraid you can't get us to do it for you. JFW | T@lk  10:46, 2 March 2014 (UTC)

Who does it?
Is this procedure typically done by a neurologist or surgeon, or is it also done in primary-care practice? Or, do physician assistants and advanced-practice registered nurses (nurse-anesthetists or nurse-practitioners) also do it? 74.96.75.216 (talk) 04:21, 11 January 2014 (UTC)

 * Difficult to answer without a source. In the UK it is done almost invariably by doctors. JFW | T@lk  10:46, 2 March 2014 (UTC)

Updating
The article needs work, but things could be worse. Per WP:MEDMOS, we should be grouping "contraindications" under "indications" and we should discuss the principles of the procedure under a section called "Mechanism" before describing the actual procedure in "Procedure". The analysis and interpretation comes under a further section called "Interpretation", followed by "Adverse effects" and finally "history". I will make these changes.

 * 1) Indications - build this on 1-2 sources (journal and/or textbook)
 * 2) Mechanism - expand using Wright and at least 1-2 other sources
 * 3) Procedure - make prose a little less dense, add information about fluoroscopy and ultrasound as adjuncts in difficult procedures
 * 4) Interpretation - rearrange using less bullet points, perhaps converge towards less sources
 * 5) Adverse effects - Wright reviews this in detail
 * 6) History - some expansion needed

Sources:
 * I am keen to drop Sempere and Gröschel as sources considering they're not in English and there are other English papers available
 * All sources that don't comply with WP:MEDRS should be dropped
 * We could get more information from Straus and Roos
 * Wright 10.1007/s00415-012-6413-x is a strong source that can help
 * (Cooper 2011) has some stuff that might complement the other sources

No timeframe is intended, but the above are my intentions. JFW | T@lk  12:17, 14 March 2014 (UTC)

Why do "rachicentesis" and "rachiocentesis" redirect here?
Not mentioned in article. 109.157.79.50 (talk) 04:33, 9 January 2015 (UTC)

Peer Review
Just a few comments and suggestions for this article, broken down by section:

The Lead: I like how concise the lead is. You may want to add a definition of "Cerebellar tonsils herniation" to something more easily readable to general population, such as "compression of brain tissue". Potential to place citations throughout the lead, as there are currently no citations present in the lead.

Medical uses and Indications: Might want to add in "therapeutic" section of doing LP's pseudo-tumor cerebri.

Contraindications: May want to clarify if something is an absolute vs relative contraindication.

Adverse effects: The content of this section is good. I would try to cut down on the sentence length, as some of them are quite long.

Citations would be helpful in the 3rd paragraph of Adverse effects (the paragraph beginning with "The procedure us not recommended when…"

Technique: I really like the pictures on the side depicting patient positions and the needle piercing the appropriate layers. Citations would be helpful for certain paragraphs within this section, including the 2nd paragraph "The upright seated position…" and 3rd paragraph "Patent anxiety during…" within the procedures section.

For the special consideration for pediatric patients, you can leave out the "One study with 132 patients compared…" part and just treat it as a statement. No need to add in methodology to a specific study.

Interpretation: Good organization, I like the included table with citations.

Overall, very good improvements to the article!

- — Preceding unsigned comment added by Glam316 (talk • contribs) 20:58, 14 November 2015 (UTC)

Opening Pressure?
The pressure of the CSF at lumbar puncture is often referred to as opening pressure but I have not seen, in Wikipedia or elsewhere, any explanation of the meaning intended by the word opening in this context. The article uses the expression three times, but the rest of the time refers only to pressure or CSF pressure; the article on CSF does not use the expression. Does anyone know what opening pressure conveys that pressure does not? Moletrouser (talk) 13:19, 12 March 2017 (UTC)

 * The precise etymology of "opening pressure" isn't clear to me, but if CSF is removed then the pressure recorded at the end of the procedure is called the "closing pressure". I therefore presume that it is the pressure at the "opening" of an LP session. If I come across anything else I will add it. JFW | T@lk  15:36, 14 February 2018 (UTC)

Lancet Neurology
10.1016/S1474-4422(18)30033-4 review by the Dutch meningitis people. JFW | T@lk  15:36, 14 February 2018 (UTC)

Wiki Education assignment: Wikipedia for the Medical Editor
— Assignment last updated by Apetko3 (talk) 09:04, 9 November 2023 (UTC)

title: Talk:Lumbar puncture