text:
Talk:Eustachian tube

Images
WHY??? I am asking the question...  'Why does almost every 'image' [diagram] of the Eu tube show the top end, but NOT the bottom end??? including 'Gray's Anatomy' [the medical reference book, not the TV show]...   WHY? I have had problems equalizing the air pressure in my ears when we came down from the mountains when I was a teen...  and when I fly on airplanes, every time...   I cant get 'into' my ear (at the top end), I use an anti-histamine to effect things at the lower end, where the Eu tube goes to the 'inferior nasal cavity'...   I will FIND a pic and put it in the article... dNorm 03:41, 21 June 2012 (UTC) — Preceding unsigned comment added by Dnorm (talk • contribs)

Linkage between Figures
The two main figures share only one common term (Eustachian Tube) and that appears to have been added. It raises questions that I can't answer like "Do the Malleus and Incus in the bottom figure define the parts of the Ossicles in the upper figure?" Any help in replacing these two figures with one or more better figures would be helpful. Thanks.
 * Ossicles = Malleus, Incus, Stapes
 * Ear drum = Tympanum = Tympanic Membrane
 * Ear Canal = Auditory Canal
 * AerobicFox (talk) 19:50, 20 June 2011 (UTC)

Any miracle cures?
Have had problems with my Eustachian tube for 5 days. My doctor thinks thinks this is a bi product of a heavy cold which has hung around this February. He has prescribed a nasal spray to clear my lingerring chest infection.

Are there any miracle cures out there? Would welcome an email from anyone with help? grapow@btinternet.com — Preceding unsigned comment added by 81.41.218.45 (talk • contribs) 01:53, April 24, 2005

 * one word...  Chlor-Trimeton [brand name] ...   buy a bottle of the 'store-brand' [generic] '4-hour' pill, a hundred for about $5...   regards...   dNorm 03:30, 21 June 2012 (UTC)  — Preceding unsigned comment added by Dnorm (talk • contribs)

Nature vs nurture in muscle control.
From the article: Some people are born with the ability to contract just these muscles voluntarily, similar to people who can wiggle their ears.

Can anyone verify whether this ability is naturally inborn or trained? I didn't know how to wiggle my ears until I was 10. :-) changed 15:17, 5 July 2006 (UTC)

 * As long as I can remember I've been able to control the muscles of my eustachian tube. - RyanAH 12 July 2006

 * You mean not everyone can do that? Wow. I never knew any word for it either, just 'clicking your ears'... if you can't do it voluntarily, how do you relieve pressure when you go up in an elevator? — Preceding unsigned comment added by 64.122.208.51 (talk • contribs) 15:10, February 16, 2007

 * Swallow or yawn. This is a reason that chewing gum is so popular on airplane flights. -Warriorness 22:08, 4 April 2007 (UTC)

 * I think this ability is naturally inborn, however finding out whether one has the ability is by accident and only if one is somehow made aware of this through the coincidence of 'clicking my ears' with 'pressure relief' without resorting to jaw movements (neither swallowing nor yawning). - sdyue (one who added comment about 'kalikkity')  As long as I can remember, I too have always had the ability as well as my brother, and my children.  Discovered ability from the ordeal of airline trips when very young (aged around 2 to 4).  Always wanted to know if there was a more biological 'technical' or 'medical' term for this ability, but have not yet found it (already asked my family doctor, to which there was no answer). — Preceding unsigned comment added by 72.137.216.149 (talk • contribs) 12:58, July 9, 2007

 * Interesting! I can "click my ears" but I never read about it. I asked a doctor long ago and he gave me a blank look and said he'd never heard of it. Thanks, wikipedia. Bealevideo (talk) 01:35, 26 November 2007 (UTC)

 * I can also click my ears. Didn't think anyone knew/talked about it till I finally looked it up. Cool! I can also do this thing where I open the tubes up, pinch my nose, and breath out, so air builds up behind my eardrums like balloons. It actually feels good because sometimes my muscles feel "strained" there. LOL. Sometimes though it's impossible to do if you have a cold (had a cold on a plane and tried desperately to pop them but it seemed like it was sealed closed. Had to let them pop themselves)- Tina 29 April 2008 —Preceding unsigned comment added by 75.82.29.79 (talk) 20:39, 29 April 2008 (UTC)

 * You know, if you open your Eustachian tube and take a short sharp sniff through your nose, it will do the same thing, you don't need to hold you nose. -- Tex Jernigan Texjer (talk) 01:03, 10 April 2010 (UTC)

 * I 'learned' how to do this when I was ten, during a flight from New York to London. I couldn't get the pressure to equalize in my ears, so I spent hours moving my jaw and yawning trying to clear it.  After the flight, I found I could pop my ears at will, and I've been doing it for over 20 years now.Foij00 (talk) 22:13, 12 May 2008 (UTC)

 * I've been able to do this for as long as I can remember. I've tried explaining it to people, but nobody could get it. When I do it, I'm able to hear my breathing loudly and if I hold my breath (without closing off my airway), I can also hear my pulse. I use it as an indication of my congestion level as I can't open these tubes completely (in one or both sides) when congested.) Ccsccs7 (talk) 20:48, 12 November 2009 (UTC)

 * I've explained voluntary ear clicking to others in my family and they look at me like I am crazy. I therefore assumed I could click my ears and others couldn't because I had a buildup of scar tissue in my ears and tubes from childhood ear infections. It's interesting to hear others can do this too. The scar tissue may still play a role because I hear a scatchy-click sound when I pop my ears instead of a pure single click (every time a doctor looks in my ears they comment on the amount of scarring). It sure comes in handy on airplane trips. By the way, Wikipedia talk pages are for discussing how to improve the article and not for general discussion of the topic (I am guilty here too). 129.63.129.196 (talk) 19:55, 8 January 2013 (UTC)

 * Can any of you also suck mucus down into your mouth from what appears to be a passage in the soft palette? I can do the whole "clicking" thing, with my ears, and it delighted me to hear about the "roaring" sound that occurs when I hold my Eustachian tube open.  I went on a plane flight when I was 7, and it just naturally came to me to release the pressure.  Cool to hear a name for it finally.  There should be a word for innate special abilities like this.  I can do ALL of the Entoptic Phenomena (That's my floaters picture), or see faces of people and animals in the popcorn textured ceilings (Pareidolia), and the latest, which I'm arguing with my girlfriend with, I can pull mucus from a hole in the roof of my mouth, onto the tip of my tongue.  What is this? -- Tex Texjer (talk) 01:00, 10 April 2010 (UTC)

Eustachian
What, are there pseudo-stachian tubes? — Preceding unsigned comment added by 64.122.208.51 (talk • contribs) 15:10, February 16, 2007

 * help me i dont know what the eustachian tube does.... -xoxo- -zaranian- g6 needing your help- —Preceding unsigned comment added by 122.2.231.240 (talk) 12:29, 19 September 2008 (UTC)

Copyright violation?
The paragraph starting with "Behind the nose and up above the tonsils" is verbatim from Chapter 6 of Dr. Gerald Poesnecker's "It's Only Natural." Could that count as fair use? BradAGrantham 19:55, 15 September 2006 (UTC) Then attribute it. This would be considered fair use, I believe. If not, change some words, rearrange sentence structure and make it not verbatim anymore.

Breathing?
The article said that when a person who has voluntary control over the muscles opens or closes the 'tubes, they are forced to breathe. As one of these people, I can certainly say that this is not the case. I've deleted the misinformation - if it turns out that I'm just a freak of nature, you can find it in the history. -Warriorness 22:08, 4 April 2007 (UTC)

 * I have to sort of force myself to breathe (except when sleeping). I doubt that this is related I think a lot of people don't breathe deep enogh. PS I can control my ear pressure as well. My girlfrind thinks I'm lying when I talk to her about it. —Preceding unsigned comment added by 69.7.167.129 (talk) 22:22, 12 April 2009 (UTC)

 * For what it's worth, I can perform this action while completely blocking my airway. It's definitely not linked to breathing, although an individuals learned method of controlling these muscles may be breath dependent. 66.118.149.200 (talk) 10:17, 17 August 2009 (UTC)

Eustacian tube problems!!
I have had issues with my ears for a number of years now. On a 'specialists' advice I had surgery on my septum to straighten it - supposedly to eleviate my ear stress. This changed nothing. The air just does not flow properly. All the medical tests say I am fine. I have hearing loss so bad at times I can't talk on the phone. Does anybody have any advice at all??? - Desperate! bluebery@telus.net — Preceding unsigned comment added by Heidiblueberry (talk • contribs) 22:48, June 19, 2007

 * I'm pretty sure mine are related to poor posture/neck and back issues. I find if lie in bed on my side with a pillow underneath my armpit and rest my head flat on another pillow my eustachian tubes pretty much stay open in that position. --72.39.75.155 (talk) 04:24, 28 April 2009 (UTC)

Popityclickety
What part of the eustachian tube causes the popetyclickety sound? —Preceding unsigned comment added by 70.231.228.0 (talk) 06:34, 17 March 2008 (UTC)

 * The following mechanism is just a guess, but: The muscle that is under voluntary control in opening the eustachian tube, the tensor veli palatini, shares innervation with the tensor typmani muscle and these are both active during mastication. (The tensor tympani tightens to quiet the noise of chewing)  Voluntarily contracting the TVP might also activate the TT and cause a clicking noise as the ossicles move.  So, it might be that no part of the tube makes a noise.  It's just a floppy meat hose anyway.  —Preceding unsigned comment added by 98.160.104.29 (talk) 04:25, 10 April 2008 (UTC)

 * The surface tension of the moisture in the tube, breaking. This happens so close to the inner ear, that you can hear it internally while you wouldn't hear it next to your ear, for instance. Kind of like a bubble popping, if you will. 66.118.149.200 (talk) 10:18, 17 August 2009 (UTC)

Voluntary tube opening
16/03/2010 - Edit: Added the french reference to Voluntary tube opening (BTV). Deleted the Frenzel Maneuver link, that maneuver has nothing to do with Voluntary tube opening, since it's a method that requires nose pinch, same as valsava, so it doesn't count as a voluntary opening of the tubes, it is a pressure-forced opening. - Alejandro Sastre —Preceding unsigned comment added by 200.126.93.56 (talk) 17:48, 16 March 2010 (UTC)

 * It's still a manual means to equalize the pressure, which is the topic of that section. JeramieHicks (talk) 03:36, 12 April 2010 (UTC)

Eustachian tube name
The Terminologia Anatomica, the offical medical dictionary does not recognize the name Eustachian tube ( as it is derived of the name of an anatomist ). In the same way, names of all similarly named structures were replaced by proper and recognized nomenclature. Therefore it is illogical to have Pharyngotympanic tube redirected to Eustachian tube instead of vice versa!! Change of page name recommended! —Preceding unsigned comment added by 161.53.243.70 (talk) 23:15, 4 November 2010 (UTC)
 * Typically the common name is used on Wikipedia, so when Eustachian tube becomes obsolete the title of this article will be replaced. The name pharyngotympanic tube is still relatively new, to the extent that one of my instructors had never heard of the term.AerobicFox (talk) 21:07, 19 May 2011 (UTC)
 * Just checking in from 2021! Students of anatomy in medical school continue to be taught the term "pharyngotympanic tube" almost exclusively; every textbook has it as such. Anecdotally, my class this year was told that we would not be receiving credit for "Eustachian tube" on our exams. But, it is also my understanding that in a clinical context the term "Eustachian" continues to be used. Perhaps this should be revisited, as it has been approximately one decade since the "relatively new" term has been the standard anatomical term. Userbrn (talk) 18:53, 14 March 2021 (UTC)
 * It's an interesting question, though it makes me feel old! My experience is that Eustachian tube is still predominant in everyday clinical practice (UK). More importantly from an article naming point of view, Eustachian tube has a general level of understanding in the population that I think will continue to mean it remains the common name for the foreseeable future. As such, I would suggest keeping the current set up for now. |→ Spaully ~talk~ 21:35, 14 March 2021 (UTC)
 * My unscientific observation is that "Eustachian tube" continues to be the WP:COMMONNAME. It may not be what's taught in med schools, but most people are not med students or medical doctors, so that's not a particularly pertinent factor. TJRC (talk) 23:18, 14 March 2021 (UTC)

Presence in other animals?
Some important zoology questions not mentioned here: DMahalko (talk) 10:30, 15 March 2011 (UTC)
 * Is the Eustachian tube present in all mammals, or just some? Currently only humans and horses are mentioned.
 * Is it present in reptiles and other species?

 * I imagine all mammals have them, as well as probably any land dwelling creature with ears. At the very least some type of tube is needed to equalize the pressure of the air within the inner ear with the pressure from outside, so anything with a tympanic membrane will likely have something like this to fulfill that function(but for all I know there could really be hundreds of exceptions or other ways some other animals have to do this).AerobicFox (talk) 21:10, 19 May 2011 (UTC)
 * It would appear that auditory detection could work with a permanently fluid filled inner ear, and which would not require pressure balancing. DMahalko (talk) 16:40, 20 May 2011 (UTC)

It is present in all mammals in one form or another. This information is all over the internet from reputable sources. I would suggest to EVERYONE to use this area to talk about things that require serious research or has conflicting information available, not for stuff that takes a 30 second google search. — Preceding unsigned comment added by Crazybuk (talk • contribs) 12:26, 5 August 2011 (UTC)

Equalizing one side by lobe tugging
(Yeah yeah, Wikipedia is not for OR, which is why this is on the talk page.)

So anyway I seem to have discovered a better way to direct air into one ear or the other when experiencing an inner ear infection. The usual suggested way is to pinch the nose shut and pressurize the inner nasal cavity very gently, but this often results in air entering the "wrong" ear since the one with problems is already plugged up.

It appears that tugging/wiggling the earlobe on the side when I want the air to go helps to partially open the Eustachion tube on that the side of my head where I want the air to go and make the air only go to that ear.

I am not aware of this method being described anywhere else. DMahalko (talk) 16:45, 20 May 2011 (UTC)

Equalizing: cover and externally pressurize the other ear canal
This is another (OR, alas) option for getting air into one specific inner ear region when one of the Eustachian tubes is plugged with an infection or just not cooperating.

While pinching the nose, apply slight pressure with the end of your thumb of your other hand over the ear canal of the ear where you DON'T want the air to go, and then gently pressurize the nasal cavity.

Covering the opposite side ear canal and pressing in with the thumb slightly pressurizes the outer ear canal and eardrum, making it more likely that air will enter the other inner ear cavity through the fluid-blocked tube.

DMahalko (talk) 13:20, 7 June 2011 (UTC)

Proposed merge with Bony part of pharyngotympanic tube
Needless fragmentation to be separate; would improve quality of information and readability of displayed on the same page. Could be re-expanded at a later date if necessary. LT910001 (talk) 23:27, 10 April 2014 (UTC)

Proposed merge with Cartilage of pharyngotympanic tube
As above. LT910001 (talk) 23:27, 10 April 2014 (UTC)
 * No objections in 9 months, so ✅. --Tom (LT) (talk) 05:32, 25 January 2015 (UTC)

Requested move 26 August 2015

 * The following is a closed discussion of a requested move. Please do not modify it. Subsequent comments should be made in a new section on the talk page. Editors desiring to contest the closing decision should consider a move review. No further edits should be made to this section.

The result of the move request was: not moved. No consensus the proposed title is the most common name. Jenks24 (talk) 20:12, 3 September 2015 (UTC)

Eustachian tube → Auditory tube – TA preferred synonym. A move to a commonly used title that readers can actually understand and are familiar with ("auditory") and a move away from the current eponymous title. Tom (LT) (talk) 00:35, 26 August 2015 (UTC)

 * Oppose for now. What's TA?  Where's evidence that it's their preferred synonym, assuming TA is relevant?  Where's evidence that "Auditory tube" is more commonly used (e.g. ngrams, scholarly usage)?  If it's NOT more commonly used, then by definition readers are more familiar with "Eustachian tube" (which is personally the only version I've heard, but I'm just one data point). SnowFire (talk) 01:54, 27 August 2015 (UTC)
 * I have never heard of an auditory tube. But in scuba diving etc I have often heard of Eustachian tubes. (In these modern years of clearing the eponyms out of human anatomy, I have seen it called a pharyngotympanic tube.) Anthony Appleyard (talk) 05:02, 28 August 2015 (UTC)
 * Oppose - I never heard it called "auditory tube", and I taught medical anatomy for 3 years. HCA (talk) 02:57, 29 August 2015 (UTC)

 * The above discussion is preserved as an archive of a requested move. Please do not modify it. Subsequent comments should be made in a new section on this talk page or in a move review. No further edits should be made to this section.

Diameter of Eustachian tube?
Is there any information available about the average diameter of the Eustachian tube for adult men and women? I am aware it probably varies in diameter along the length of the tube. Is there a direct proportional relationship between the diameter of the skull and the size of the tube? I assume yes.

I don't know how to get more detail about this question, other than asking a hospital to do an elective MRI of my own head so I can examine the 3D scan data myself.

-- DMahalko (talk) 17:15, 8 February 2016 (UTC)

Apparently 3mm http://www.medicinenet.com/eustachian_tube_problems/article.htm HCA (talk) 17:57, 8 February 2016 (UTC)

Proposed merge with Pharyngeal opening of auditory tube
Needless fragmentation, can easily be represented in a single article Tom (LT) (talk) 00:14, 25 February 2016 (UTC)

 * Merge. I don't think Pharyngeal opening of auditory tube is likely to grow beyond its present stub, and readers are better served by having all of this material in one place, rather than having to go to another article to get a few more sentences. This is consistent with the earlier merger of the bony part article,  as discussed above. TJRC (talk) 00:40, 25 February 2016 (UTC)

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Remove reference to phenylephrine in the "Mucus drainage" section
Since phenylephrine has been demonstrated to be no more effective than placebo as a decongestant, removal of the reference to phenylephrine in this section should be considered — Preceding unsigned comment added by 75.118.102.82 (talk) 21:15, 20 September 2018 (UTC)

Capitalization?
Should 'eustachian' be capitalized? I don't see it discussed here nor is the article consistent in that possible error. Jojalozzo (talk) 21:52, 17 August 2021 (UTC)

 * I think if it were Eustachi's tube it would make more sense to capitalize. However, that's my personal opinion. |Google Ngram Viewer shows the capitalized version many many times more popular in the 19th century but less so in the 20th. I don't think it's conclusive for the lowercase version, so I'd be happy to find consensus for the uppercase version since it already predominates in the article. Jojalozzo (talk) 22:25, 17 August 2021 (UTC)

 * My sense is that a proper noun ("Eustachi") transformed into an adjective ("eustachian") ought not to be capitalized. I wouldn't capitalize "platonic love" or "procrustean bed" for example (although I see the article for platonic love agrees with me, but the one for procrustean bed does not). I would capitalize Lewy body, for example, because it still is the proper noun "Lewy" rather than a derivative non-proper adjective such as "lewian" or the like.

 * I agree with Jojalozzo that possessives (islets of Langerhans, Parkinson's disease) clearly should be capitalized, but that's not the case here.

 * For comparison, I note that Fallopian tube seems to pretty consistently capitalize this structure named for Gabriele Falloppio, but I would disagree with that, too.

 * Merriam-Webster lists it as "eustachian tube noun, often capitalized E"; the OED is silent in capitalization.

 * Medical Subject Headings says "'eustachian' is not capitalized in titles or translations", but I don't know how helpful that is in this context.

 * (Interesting factoid: as I type this, my Firefox browser flags "eustachian" as a misspelling, suggesting "Eustachian" instead, but what do they know?)

 * In sum, I'd prefer not capitalizing it, but there's no clear practice or authority, and it seems both forms are in common use. TJRC (talk) 00:39, 18 August 2021 (UTC)

title: Talk:Eustachian tube


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Mario Lanza Sings Songs from The Student Prince and The Desert Song

Mario Lanza Sings Songs from The Student Prince and The Desert Song is a 1989 compilation album by Mario Lanza.

This RCA Victor CD features most of the songs recorded by Mario Lanza for the 1954 Metro-Goldwyn-Mayer film The Student Prince. These include several that would become closely identified with the tenor: "Serenade," "Drink! Drink! Drink!," "Beloved," and "I'll Walk With God." The last two selections are not by Sigmund Romberg, the original composer of The Student Prince, but were written especially for the film version by Nicholas Brodszky and Paul Francis Webster. Generally regarded as being among Lanza's finest renditions of English-language songs, The Student Prince was recorded in 1952, with one remake ("Beloved") in May 1953. For contractual reasons, the singing of soprano Ann Blyth (who originally sang with Lanza on two of the numbers) has been replaced by that of Elizabeth Doubleday on this disc. Constantine Callinicos was appointed Mario Lanza's musical director for the film, and most of the soundtrack recordings were made with Constantine Callinocos conducting the MGM Orchestra.

The second half of the CD consists of highlights from another Romberg operetta, The Desert Song. Recorded in Rome in August and September 1959 at a time when Lanza was recovering from a bout of double pneumonia, these are the tenor's final recordings. He died on October 7, 1959, shortly after the recordings were made. Lanza is accompanied here on several selections by soprano Judith Raskin, who recorded her contributions in New York a year after the tenor's death. Constantine Callinicos conducted these 1959 selections.

Track listing
All tracks for The Student Prince written by Sigmund Romberg and Dorothy Donnelly, unless otherwise noted.

All tracks for The Desert Song written by Sigmund Romberg, Oscar Hammerstein II, Otto Harbach and Frank Mandel

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


text:
User talk:Jim8675309

Ponder
List of incidents famously considered great blunders is a wonderfully useful article and the subject of a number of books and documentaries. Viciously attacked by deletionists, of course. What's your opinion of the article? - Pioneer-12 06:51, 24 Apr 2005 (UTC)

title: User talk:Jim8675309


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Charles A. Gabriel

Charles Alvin Gabriel (January 21, 1928 – September 4, 2003) was the 11th Chief of Staff of the United States Air Force. As chief of staff, Gabriel served in a dual capacity. He was a member of the Joint Chiefs of Staff which, as a body, acts as the principal military adviser to the president, the National Security Council, and the Secretary of Defense. In his other capacity, he was responsible to the Secretary of the Air Force for managing the vast human and materiel resources of the world's most powerful aerospace force.

Early life and education
Gabriel was born in Lincolnton, North Carolina, on January 21, 1928. Following graduation from high school, he attended Catawba College, Salisbury, North Carolina, for two years before entering the United States Military Academy. He graduated from the academy in 1950 with a Bachelor of Science degree and a commission in the United States Air Force. Gabriel earned a Master of Science degree in engineering management from George Washington University, Washington, D.C., in 1963. He graduated from the Command and Staff Course at the Naval War College, Newport, Rhode Island, in 1962; and the Industrial College of the Armed Forces, Fort Lesley J. McNair, Washington, D.C., in 1967.

Military career
After graduation from West Point, Gabriel entered pilot training at Goodfellow Air Force Base, Texas, and completed advanced training at Craig Air Force Base, Alabama, in December 1951. His first assignment was to South Korea, where he flew 100 combat missions in F-51 Mustangs and F-86 Sabres and was credited with shooting down two MiG-15s.

From December 1952 to November 1955, Gabriel was assigned to the 86th Fighter-Interceptor Wing, Landstuhl Air Base, Germany, as a pilot and later a squadron air operations officer. He then spent three years as an air officer commanding at the United States Air Force Academy, Colorado.

In July 1959, Gabriel transferred to Moody Air Force Base, Georgia, where he served as adjutant for the 3550th Pilot Training Group and commander of the Headquarters Squadron Section. Following graduation from the Naval War College in August 1962 and completion of his master's degree at George Washington University in August 1963, he was assigned as a staff officer in the Directorate of Plans, Headquarters U.S. Air Force, Washington, D.C. In August 1966 he entered the Industrial College of the Armed Forces.

Returning to Europe in August 1967, Gabriel served as executive officer to the chief of staff, Supreme Headquarters Allied Powers Europe, Mons, Belgium. He returned to the United States for combat crew training in July 1970 and was subsequently assigned as commander of the 432nd Tactical Reconnaissance Wing at Udon Royal Thai Air Force Base, Thailand, flying 152 combat missions in F-4 Phantom IIs. While wing commander he accepted orders from General John D. Lavelle to falsify classified operations reports. General Lavelle was forced to retire because of these orders. He returned to the Air Staff in July 1972, as deputy for operational forces and deputy director of operations.

Gabriel served as deputy chief of staff for operations at Headquarters Tactical Air Command, Langley Air Force Base, Virginia, from February 1975 to August 1977. He then became deputy commander in chief, U.S. Forces Korea and deputy commander in chief, United Nations Command, Seoul, South Korea.

In April 1979, Gabriel returned to Air Force headquarters as deputy chief of staff for operations, plans and readiness. He served as commander in chief, United States Air Forces in Europe and commander of Allied Air Forces Central Europe at Ramstein Air Base, Germany, from July 1980 to June 1982. Gabriel was promoted to general on August 1, 1980, and retired on July 1, 1986.

Gabriel died in Arlington County, Virginia, of Alzheimer's disease, on September 4, 2003. He is buried at Arlington National Cemetery.

Flight information
Rating: Command pilot

Flight hours: More than 4,200 flying hours

Aircraft flown: F-51 Mustang, F-86 Sabre, and F-4 Phantom II

title: Charles A. Gabriel


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Andrew R. Ciesla

Andrew R. Ciesla (born July 24, 1953) is an American Republican Party politician who served in the New Jersey Senate from 1992 to 2012, where he represented the 10th Legislative District. From 1994 to 1997, Ciesla was the Assistant Majority Leader in the Senate. Ciesla served on the Transportation Committee and the Environment Committee. Ciesla announced in January 2011 that he would not run for another term and would leave the Senate when his term ended in 2012.

Career
From 1987 to 1991, Ciesla served on the Brick Township Council and he was President of the Council from 1989 to 1990. Ciesla was a delegate to the 1992 Republican National Convention.

Born and raised in Point Pleasant, New Jersey, Ciesla graduated from Point Pleasant Borough High School in 1971. He graduated with a B.A. from Montclair State University majoring in Political Science and was awarded an M.P.A. from Syracuse University. He has three sons: Alex, Andrew, and Adam Ciesla.

In January 2011, Ciesla announced that he would not run for re-election in November, saying that 20 years in office "seemed to me the amount of time to dedicate to public service" given how much he had accomplished.

Ciesla stated that "it's time to pass the torch", expecting the district's two representatives in the New Jersey General Assembly, James W. Holzapfel and David W. Wolfe, to pursue his vacant seat in the Senate. Holzapfel won the nomination and retained the seat for the Republicans in the November 2011 general election, defeating Democrat Charles Tivenan by a 64%-36% margin.

title: Andrew R. Ciesla


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Day Tripper

"Day Tripper" is a song by the English rock band the Beatles that was released as a double A-side single with "We Can Work It Out" in December 1965. The song was written primarily by John Lennon with some contributions from Paul McCartney and was credited to the Lennon–McCartney partnership. Both songs were recorded during the sessions for the band's Rubber Soul album. The single topped charts in Britain, Ireland, the Netherlands and Norway. In the United States, "Day Tripper" peaked at number five on the Billboard Hot 100 chart and "We Can Work It Out" held the top position.

"Day Tripper" is a rock song based around an electric guitar riff and drawing on the influence of American soul music. The Beatles included it in their concert set-list until their retirement from live performances in late August 1966. The band's use of promotional films to market the single anticipated the modern music video.

In the UK, "Day Tripper" / "We Can Work It Out" was the seventh highest selling single of the 1960s. As of December 2018, it was the 54th best-selling single of all time in the UK – one of six Beatles singles included in the top sales rankings published by the Official Charts Company.

Background and inspiration
"Day Tripper" was written early in the Rubber Soul sessions when the Beatles were under pressure to produce a new single for the Christmas market. John Lennon wrote the music and most of the lyrics, while Paul McCartney contributed some of the lyrics. Lennon based the song's guitar riff on that from Bobby Parker's "Watch Your Step", which had also been his model for "I Feel Fine" in 1964. In a 1980 interview, Lennon said of "Day Tripper": "That's mine. Including the lick, the guitar break and the whole bit." In the 1997 book Many Years from Now, McCartney claims that it was a collaboration but Lennon deserved "the main credit".

Lennon described "Day Tripper" as a "drug song" in 1970, and in a 2004 interview McCartney said it was "about acid" (LSD). The song title is a play on words referring to both a tourist on a day-trip and a "trip" in the sense of a psychedelic experience. Lennon recalled: "Day trippers are people who go on a day trip, right? Usually on a ferryboat or something. But [the song] was kind of ... 'you're just a weekend hippie.' Get it?" In Many Years from Now, McCartney says that "Day Tripper" was about sex and drugs; he describes it as "a tongue-in-cheek song about someone who was ... committed only in part to the idea. Whereas we saw ourselves as full-time trippers ..."

During the sessions for Rubber Soul, a rift was growing between McCartney and his bandmates as he continued to abstain from taking LSD. After Lennon and George Harrison had first taken the drug in London early in 1965, Ringo Starr had joined them for their second experience, which took place in Los Angeles when the Beatles stopped there during their August 1965 US tour. Given McCartney's continued abstinence, author Ian MacDonald says that the song's lyrics may well have been partly directed at him, a perspective shared by music journalist Keith Cameron.

When writing and recording their new songs, the Beatles drew on their experiences from the recent US tour. Throughout the summer, soul music had been one of the dominant sounds heard on American radio, particularly singles by acts signed to the Motown and Stax record labels. Author Jon Savage writes that in the British pop scene of late 1965, American soul music was "everywhere", and the Beatles readily embraced the genre in both "Day Tripper" and the Rubber Soul track "Drive My Car". According to MacDonald, Lennon possibly came up with the riff in an effort to improve on the Rolling Stones' 1965 hit single "(I Can't Get No) Satisfaction", which similarly showed the influence of Stax soul.

Guitar riff
The main compositional feature of "Day Tripper" is its two-bar, single-chord guitar riff. The riff opens and closes the song, and forms the basis of the verses. In addition, the pattern is transposed to the IV chord during the verses and to the V chord for the bridge.

In musicologist Alan Pollack's description: "[The] riff has both the overall shape of a non-symmetrical rising arch whose descent does not completely balance out its ascent, yet it makes an impression of upward bound saw-tooth angularity; note particularly the way it drops a full octave in the space of a single eighth note whenever it repeats. Harmonically it outlines a bluesy I9 chord (with the flat seventh!). Rhythmically, it places hard syncopations on the eighth note preceding both the first and third beat of the second measure, while its final three eighth notes provide momentum that effectively leads into the repeat."

Musicologist Walter Everett highlights the riff as an example of the Beatles drawing inspiration from other artists and improving on the source material. He sees the "Day Tripper" riff as a combination of the ostinatos heard on Motown recordings such as the Temptations' "My Girl", Barrett Strong's "Money (That's What I Want)" and Marvin Gaye's "I'll Be Doggone", while also incorporating a rockabilly element that recalls Roy Orbison's "Oh, Pretty Woman".

Musical structure
The song is in common time throughout and the home key is E major. It opens with the riff played in unison on lead and rhythm guitar, followed by a staggered entrance of bass guitar, tambourine and finally drums. After this extended intro, the song's structure comprises two verses, a bridge that serves as an instrumental break, then a final verse, and the outro.

The verse adheres to the twelve-bar blues form for eight bars, with a change to the IV chord followed by the expected return to I. The chorus portion of the verse then departs from the form by moving to the parallel major version of the home key's relative minor. As throughout the song, only major chords are used in this portion: F♯7 for four bars, and one bar each of A7, G♯7, C♯7 and B7.

The bridge remains on the B chord for its entirety and takes the form of a "rave-up". The section begins with repetitions of the main riff and ends with a blues-inflected guitar solo accompanied by wordless harmony singing. A 12-note rising guitar scale sounds on the second beat of each bar, starting with a mid-range B note and climbing over an octave to F♯. In Everett's view, the intensity of the bridge – the bass pedal, rising scale, guitar solos, cymbal playing, and increased attack on the vocalised "aah"s – conveys the realisation that the singer is being used by the female day-tripper and "express a gradually-arising, yet sudden sensation of, enlightenment".

Vocal line and lyrics
"Day Tripper" follows a strand of Lennon's writing style in which the lyrics put down a woman who claims to be more than what she delivers, a theme commonly found in rhythm and blues and blues songs. In the description of music critic Tim Riley, the song is about "being awakened and jilted all at once", as best conveyed in the singer's declaration that "It took me so long to find out". The line "She's a big teaser" was a code for "She's a prick teaser."

The vocal line over the verses contrasts with the flowing and circular quality of the main riff by including downward and abrupt phrasing. Pollack cites this aspect as an example of the composition's manipulation of harmonic rhythm. He also highlights the judicious use of falsetto and change of wording in the final chorus – where the day tripper's "one-way ticket" becomes a reference to her as a "Sunday driver" – as examples of the song's avoidance of "rote consistency" and its ability to continually surprise. In music journalist Paul Du Noyer's view, the song reveals "multiple layers in play". He cites "the triple implication of 'day tripper' as flighty girlfriend, or weekend hop-head, or uncommitted disciple of the new wisdom", adding that the ascending wordless vocalisation in the bridge serves as a "self-reference to that defining Beatle moment" in their 1963 cover of "Twist and Shout".

Recording
The Beatles recorded the song at their first session after completing "Drive My Car". The session took place at EMI Studios (now Abbey Road Studios) in London on 16 October 1965. Unusually for the time, the group allowed visitors into the studio, as Lennon's wife Cynthia and his half-sisters Julia Baird and Jacqui Dykins attended part of the session. The band rehearsed the song for much of the afternoon before taping the basic track. The line-up was Lennon and Harrison on rhythm and lead guitar, respectively, McCartney on bass and Starr on drums.

Take 3 was selected for overdubs, having been the only take in which the performance did not break down. On the studio tapes from the session, Starr can be heard encouraging his bandmates to "really rock it this time" before take 1. MacDonald describes Starr's drumming over the choruses as "another in-joke", further to the Beatles' channelling of the Stax sound on "Drive My Car", as his reversion to fours on the bass drum recalls Al Jackson's playing with Booker T. & the M.G.'s.

Lennon and McCartney overdubbed lead vocals, with McCartney the more prominent singer in the verses' first and third lines, and Harrison added a harmony vocal over the choruses and the instrumental bridge. Starr overdubbed the tambourine.

Music journalist Rob Chapman views the guitar interplay on "Day Tripper" as an example of the Beatles' "baroque sonata" approach to musical arrangements. Harrison played the bridge's rising scale using a guitar volume-pedal effect, and overdubbed a second lead guitar part over the same section. Everett, Riley and authors Jean-Michel Guesdon and Philippe Margotin say that Harrison played the blues solo, while MacDonald credits Lennon. After completing the song late that evening, the band recorded the basic track for "If I Needed Someone" in a single take.

A-side status and promotional clips
"Day Tripper" had been conceived as the A-side of the Beatles' next single but the band came to favour "We Can Work It Out", which was predominantly written by McCartney and recorded later in the Rubber Soul sessions. Lennon continued to argue for "Day Tripper". To promote the upcoming release, the Beatles filmed mimed performances of the two songs on 1–2 November for inclusion in the Granada TV special The Music of Lennon & McCartney. At the start of "Day Tripper", the band were accompanied by a group of go-go dancers.

On 15 November, EMI announced that the A-side would be "We Can Work It Out", only for Lennon to publicly contradict this two days later. As a compromise, the single was marketed as a double A-side. Lennon's championing of "Day Tripper" was based on his belief that the Beatles' rock sound should be favoured over the softer style of "We Can Work It Out".

Further to the Granada filming, the Beatles decided to promote the single solely through pre-recorded film clips for the first time. On 23 November, they filmed three black-and-white promotional clips for each of the songs at Twickenham Film Studios in south-west London. The clips were designed to be sent to various television music and variety shows around the world, to air on those programmes in lieu of personal studio appearances. Directed by Joe McGrath and later known collectively as the "Intertel Promos", the filming also included mimed performances of "I Feel Fine", "Ticket to Ride" and "Help!" for inclusion in Top of the Pops' round-up of the biggest hits of 1965.

As with the other clips, the promos for "Day Tripper" showed the Beatles making minimal effort to appear as though they were performing the song. In the first clip, the band members are dressed in black and perform on a stage in front of shiny pillars. Following the song's bridge, Starr marches rather than plays, seated at his drum kit.

For the second promo, they wore their military-style jackets from their August 1965 concert at New York's Shea Stadium. Surrounded by travel-themed props, they perform in front of a backdrop of tinsel and a New Year's greeting in French. Lennon and McCartney stand behind an aeroplane, while Harrison and Starr play through the windows of a railway carriage. With no drum kit visible, Starr discards his drumsticks in favour of a saw and begins sawing through the carriage. In music critic Richie Unterberger's view, Starr's antics lend the performance "a dash of surrealism (by 1965 pop group standards at any rate)".

Release and reception
The single was released on EMI's Parlophone label in Britain (as Parlophone R 5389) on 3 December 1965, the same day as Rubber Soul. On the front page of its issue published the previous day, Melody Maker confirmed the release dates as well as the dates for the promos' airing on British TV and for the band's UK tour; the editors called the week ahead "National Beatles Week". In the United States, Capitol Records issued the single on 6 December (as Capitol 5555).

The release coincided with speculation in the UK press that the Beatles' superiority in the pop world since 1963 might be coming to an end, given the customary two or three years that most acts could expect to remain at the peak of their popularity. In addition, after receiving their MBEs for services to the national economy in October, the group were temporarily perceived as being part of the establishment. Cash Box's reviewer predicted that the Beatles would "quickly trip the [US] charts fantastic for the umpteenth time" with "We Can Work It Out" and described "Day Tripper" as a "hard-pounding, raunchy ode all about a gal who is somewhat of a tease". Derek Johnson of the NME said that "Day Tripper" "generates plenty of excitement" but it was "not one of the boys' strongest melodically", and "the other side is much more startling in conception." In his role as guest reviewer for Melody Maker, the Animals' Eric Burdon said he preferred "Day Tripper" and especially admired Harrison's guitar contributions, saying that rather than musical prowess, "It's what he does and when he does it." Burdon also wrote: "It's fantastic that every Beatles record that comes out gets knocked, then two or three days after everybody likes it. But I like this immediately."

"Day Tripper" / "We Can Work It Out" entered the UK Singles Chart (at the time, the Record Retailer chart) on 15 December, at number 2. Although three singles had previously entered at number one, "Day Tripper" / "We Can Work It Out" was the first ever UK Singles Chart debut at number 2. It would then hold the top position for five consecutive weeks. The single also failed to top the national chart published by Melody Maker in its first week – marking the first occasion since December 1963 that a new Beatles single had not immediately entered at number 1. Although it was an immediate number 1 on the NME's chart, the Daily Mirror and Daily Express newspapers both published articles highlighting the apparent decline.

The record was the Beatles' ninth consecutive chart-topping single in Record Retailer and their tenth on the country's other charts, and for the third year in succession they had the Christmas number 1 hit as well as the top-selling album. "Day Tripper" / "We Can Work It Out" was also the band's fastest-selling single in the UK since "Can't Buy Me Love" in 1964. Alan Smith, the reporter assigned to cover the Beatles' UK tour for the NME, commented: "Anyone who says they're finished – particularly with 'Day Tripper' / 'We Can Work It Out' at No. 1 in the NME Chart in its first week – must be out of his head!"

In the US, both songs entered the Billboard Hot 100 on the week ending 18 December. In early 1966, "We Can Work It Out" spent three non-consecutive weeks at number 1, while "Day Tripper" peaked at number 5. The single was certified gold by the Recording Industry Association of America, for sales of 1 million or over, on 6 January. The record topped charts in many other countries around the world, although "We Can Work It Out" was usually the favoured side.

Live performances
The Beatles included "Day Tripper" in the set list for their December 1965 UK tour. They continued to perform it live throughout 1966. When they played it at Cleveland's Municipal Stadium on 14 August, the song triggered a crowd invasion that some commentators likened to the race riots that had recently taken place in the east of Cleveland. Over 2,000 fans broke through the security barriers separating the audience from the open area housing the elevated stage, causing the Beatles to stop the performance and shelter backstage for half an hour until order was restored. The song prompted a similar response when the group returned to Shea Stadium on 23 August.

During the band's final press conference as a performing act, held at the Capitol Tower in Los Angeles on 28 August, a reporter asked what they thought of Time magazine's recent dismissal of pop music, particularly the writers' contention that "Day Tripper" was about a prostitute and "Norwegian Wood" was a song about a lesbian. McCartney joked that "We were just trying to write songs about prostitutes and lesbians, that's all." When introducing the song at San Francisco's Candlestick Park the following night, during the Beatles' final commercial concert, Lennon described it as being "about the very naughty lady called Day Tripper".

McCartney included the song in his tour set list from 2009 to 2012. A live version appears on his 2009 live album Good Evening New York City.

Subsequent releases and mixes
In June 1966, "Day Tripper" was included on Yesterday and Today, an album configured by Capitol for the North American market. In November that year, a new stereo mix was created for the EMI compilation A Collection of Beatles Oldies. "Day Tripper" later appeared on the band's 1962–1966 compilation, released in 1973. CD versions of that album used the November 1966 remix, as did the Past Masters, Volume Two compilation, released in 1988.

Whereas in the 1965 stereo mix, one of the guitars is inaudible for the first couple of seconds of the intro, the remix has both guitars entering from the start. The 1966 stereo mix also adds extra reverb on the vocals and edits out a stray "yeah" from Lennon at the start of the coda. The 1965 and 1966 mixes contain some audible engineering errors. Drop-outs occur in the track containing lead guitar and tambourine early in the third verse (after the line "Tried to please her") and in the coda. Riley comments on the significance of the first error, saying that "technical flaws are so rare on a Beatles recording that its inclusion is strange." The drop-outs were fixed for the release of the 2000 compilation 1, by copying the required sounds from another point in the song.

One of the November 1965 promotional clips was included in the Beatles' 2015 video compilation 1, and two appear in the three-disc versions of the compilation, titled 1+. The mimed performance from The Music of Lennon & McCartney was also included on 1+.

Impact and legacy
The success of "Day Tripper" / "We Can Work It Out" popularised the double A-side format and, in giving equal treatment to two songs, allowed recording artists to show their versatility. The Beatles' decision to send out independently produced films to promote their music anticipated the modern music video and the rise of MTV in the 1980s. According to music journalist Robert Fontenot, "Since these performances [of 'Day Tripper' and 'We Can Work It Out'] were not filmed in front of an audience, they can be considered the world's first music videos as we understand the format today."

According to author and musician John Kruth, the guitar riff on "Day Tripper" was a part that every young guitarist in the UK and the US "had to learn". Lenny Kaye, an aspiring musician in 1965, later described it as one of the era's "great riffs" and highlighted the song as an example of how the Beatles' music was always harder to master than that of contemporaries such as the Rolling Stones and the Yardbirds. The song's use of an octave-doubled guitar riff anticipated a characteristic of Cream and Led Zeppelin later in the 1960s, particularly in their respective songs "Sunshine of Your Love" and "Good Times Bad Times" and "Heartbreaker". Lennon said that McCartney's riff-driven "Paperback Writer", the A-side of the Beatles' May 1966 single, was "son of 'Day Tripper'".

Although Lennon expressed dissatisfaction with the song, it has remained popular with critics and fans. Dave Marsh described "Day Tripper" as the most authentic approximation of a genuine soul recording the Beatles had yet made. Tim Riley deems it "Lennon's guitar heaven", with a mid-song "rave-up to end all rave-ups" and a "brilliant yet coolly irreverent" riff. He also admires Starr's drumming, particularly over the coda, saying that it serves as one of "Ringo's finest moments" on record. Less impressed, Ian MacDonald says the track suggests that wit in the form of musical jokes had become the band's "new gimmick". He considers it to be "Musically uninspired by The Beatles' standards" and ruined by the engineering error in the third verse. Alex Petridis of The Guardian finds the song inferior to "We Can Work It Out", writing: "Its addictive riff aside, there is something unappealingly snooty about Day Tripper: the sound of an acid initiate sneering at someone insufficiently hip to have turned on, tuned in and dropped out."

"Day Tripper" / "We Can Work It Out" was one of the "Treasure Island" singles listed in Greil Marcus's 1979 book Stranded. It was also included in Marsh's 1989 book The 1001 Greatest Singles Ever Made, ranked at number 382, and in Paul Williams' 1993 book Rock and Roll: The 100 Best Singles of All Time. The NME ranked it at number 25 in the magazine's list of "The Top 100 Singles of All Time" in 1976, and Mojo ranked it 62nd in a similar list compiled in 1997.

In 2010, Rolling Stone ranked "Day Tripper" 39th in its list of "The 100 Greatest Beatles Songs". In Mojo's list, published in 2006, the track appeared at number 74, a ranking that Keith Cameron bemoaned as too low in his commentary for the magazine. He said it was the most riff-oriented of all the Beatles' songs and praised the group's performance, highlighting Lennon and McCartney's "finest tag vocal melodrama", Starr's effective drum rolls, and Harrison's ascending sequence over the middle eight for "lur[ing] us to the verge of hysteria". "Day Tripper" was ranked the 30th best Beatles song by Ultimate Classic Rock in 2014 and by the music staff of Time Out London in 2017.

By November 2012, the single had sold 1.39 million copies in the UK, making it the group's fifth million-seller in that country. As of December 2018, the double A-side was the 54th best-selling single of all time in the UK – one of six Beatles entries in the top sales rankings published by the Official Charts Company.

Cover versions and musical references
In 1966, the song was covered by Otis Redding, whose version peaked at number 43 on the Record Retailer chart in 1967. According to MacDonald, Redding was delighted by the Beatles' imitation of his sound in "Drive My Car" and responded by recording "his own, madly up-tempo" arrangement of "Day Tripper". Jon Savage cites Redding's covers of "Day Tripper" and the Rolling Stones' "(I Can't Get No) Satisfaction" as part of a trend by Stax artists and other African-American soul musicians that acknowledged the Beatles, the Rolling Stones and Bob Dylan but was "also an assertion of pop equality – 'We're just as good as you.'" Having backed Redding on his cover, as the Stax house band, Booker T. & the M.G.'s also recorded the song for the label.

Kruth highlights Mae West's 1966 version, on Way Out West, for its sexual suggestiveness as she transposes the lyrics into a first-person perspective, singing "I'm a big teaser / I took him half the way there", and includes a "sizzling striptease groove" in the musical backing. According to Kruth, Nancy Sinatra provided another "hot" female reading on her album Boots, which also includes a provocative interpretation of "Run for Your Life", Lennon's "sexist 'sermon'" from Rubber Soul. Richie Unterberger pairs Jimi Hendrix with Redding as the major artists who realised "the inherent soulfulness of 'Day Tripper'" in their cover recordings. Described by Kruth as "red-hot", Hendrix's version was recorded for BBC Radio in 1967 and subsequently issued on his 1998 album BBC Sessions.

Lennon was indifferent about Redding's version; in his 1968 Rolling Stone interview, Lennon said he especially liked José Feliciano's recording of the song. "Day Tripper" was the lead track on the Irish band Beethoven's 1989 Him Goolie Goolie Man, Dem EP. Steven Wells of the NME named the record "Single of the Week", writing that "The centrestone of this jewel of a record is the kidnapping, tarring and feathering, mugging, shagging and destruction of 'Day Tripper'."

Pauline Oliveros's tape-delay collage piece "Rock Symphony", which she debuted at the San Francisco Tape Music Center in December 1965, used samples of "Day Tripper" and "Norwegian Wood", along with recent recordings by the Animals, the Bobby Fuller Four and Tammi Terrell. Rob Chapman cites the Oliveros composition as an example of mid-1960s avant-garde composers being quick to incorporate the latest pop sounds into their work, thereby expanding the scope of their medium.

Eric Clapton included the riff from "Day Tripper" in the song "What'd I Say" on the 1966 album Blues Breakers with Eric Clapton. That same year, Buffalo Springfield included the riff in "Baby Don't Scold Me", a track available on the original pressing of the band's debut album, Buffalo Springfield. Yes used it in the introduction to their 1969 cover of the Beatles' "Every Little Thing". April Wine also used the riff, along with that of the Stones' "Satisfaction", at the end of their 1979 song "I Like to Rock".

Personnel
According to Ian MacDonald:

 * John Lennon – double-tracked lead vocal, rhythm/lead guitar
 * Paul McCartney – double-tracked lead vocal, bass guitar
 * George Harrison – lead guitar, harmony vocal
 * Ringo Starr – drums, tambourine

title: Day Tripper


text:
Nassau Family Pact

The Nassau Family Pact was a mutual pact of inheritance and succession made in 1783 by princes of the House of Nassau. It confirmed that Salic Law was to operate in favor of all the agnatic lines of the family, specifically the two senior surviving lines which had originated in the Middle Ages, the Walramian and the Ottonian. The pact chiefly provided that in case of one of these lines becoming extinct, the other would succeed in its hereditary Nassau lands ("the main concept of the pact was that if either the Ottonian or Walramian male line would become extinct the other line would succeed").

There was a clause to provide for a so-called Semi-Salic continuation to the dynasty in an undefined way if both the lines were to die out in the male line ("also arranged for that in the absence of all male successors, females could succeed"). In case of the extinction of all male lines, the closest heir to the last male will succeed and in turn will be succeeded by the heirs of that closest one. If the closest heir happens to be a woman, the pact was silent about whether her husband receives rights or not. There was no precise stipulation as to what precisely was to happen after that closest heir: would the succession evolve to heirs general, or only to heirs male, and what would happen if that line also died out.

The pact was agreed to be applied to "Imperial fiefs" which meant those territories owned or acquired in the then Holy Roman Empire. The pact thus in 1890 determined the succession of the Grand Duchy of Luxembourg, a territory acquired into the dynasty only after the pact was sealed, but in exchange for the handing of some of the Nassau-lands of the Ottonian branch to Prussia and that at the time became a member of the German Confederation, a body that was regarded as the successor to the Holy Roman Empire. The pact did not apply to the succession in the Kingdom of the Netherlands, a state not regarded as formerly imperial. Luxembourg was thus inherited by the Weilburg branch, the only extant branch from that date onward.

In 1907, the Grand Duke of Luxembourg, William IV, head of the House of Nassau, determined that the branch of the Count of Merenberg was, as morganatic, incapable to succeed to the sovereignty of the House of Nassau. This effectively meant that the Grand Duke himself was then the only surviving agnate of the House.

Having himself only daughters, he felt the need to organize the succession further and remedy some of the undefined points. In April 1907 the Grand Duke decreed (approved in July 1907 by legislature of Luxembourg and thereafter enacted) amendments to the house law of Nassau. The succession law thus amended governs the current succession in Luxembourg, and apparently the succession specifically provided by the pact itself is fulfilled and its impact is exhausted.

Marie-Adélaïde succeeded according to the 1907 law, an outcome that was identical with the stipulations of the pact.

Were any successions of the House of Nassau outside Luxembourg to need to be adjudicated afterwards, it is unclear what the pact would provide — whether a line identical with that of modern Luxembourg's, or different.

title: Nassau Family Pact


text:
Peckerwood

Peckerwood is a term for a woodpecker which is used in the Southern United States and it is also used as a racial epithet for white people, especially poor rural whites. Originally an ethnic slur, the term has been embraced by a subculture related to prison gangs and outlaw motorcycle clubs. The term was in use as an inversion of woodpecker by the 1830s, with the sense referring to white people documented from the 1850s. African-American folklore in the 1920s contrasted the white "peckerwood" bird with the African-American blackbird. The word became a common term in Jive.

History
Use of the term, an inversion of woodpecker, dates to the early 19th century. The Oxford English Dictionary traces the earliest printed use to an Alabama newspaper in 1835. Peckerwood was in use in reference to white people by 1859; it often suggested a white person who was rustic or poor. The shortened form peck was in use in the same sense in the 1920s. In African American folklore during the 1920s, the woodpecker symbolically represented White Americans, in contrast to the blackbird that represented African Americans.

Subculture
Historically, the term "peckerwood" was commonly applied to white prisoners in general. The cemetery at Leavenworth Penitentiary, officially known as Mount Hope, is informally known as "Peckerwood Hill" by prisoners and guards. In the later half of the 20th century the term narrowed to apply to a white subculture associated with street gangs and prison gangs, such as the Aryan Brotherhood. This subculture is also known as PW, P-Dub, or collectively as "the Woodpile". Men in this group are called "peckerwoods" and women "featherwoods". The woodpecker is often used as a general symbol for the group, such as in prison tattoos. It is usually drawn with a long beak, sometimes drawn to resemble Woody Woodpecker or Mr. Horsepower. Sometimes the letters "PW" or "APW" (Peckerwood and American Peckerwood) are used.

The term is also used for entry-level recruits of the Aryan Brotherhood. Within the prison system, peckerwoods may advance in the social hierarchy and become formal members of the gang, or similar gangs such as the Nazi Lowriders. Becoming a higher-ranking member involves the act of committing more and more serious crimes. Peckerwood is also used by some prison systems as a generic name for any white supremacist threat group, which has sometimes been a source of confusion. In and out of prison, the peckerwood subculture is most common in California, Texas and the U.S. South and Southwest, but less in the Midwest and Northeast.

Much of the peckerwood prison subculture had its beginnings in the desegregation of United States prisons. Aryan Brotherhood had its beginnings in the San Quentin State Prison in 1964 as a response to the newly formed black prison gang Black Guerilla Family. The San Quentin State Aryan Brotherhood uses the gang Family Affiliated Irish Mafia (FAIM) for its street-operated activity. The Aryan Brotherhood of Texas was formed in the 80s after the dismantling of the "building tender" system in which groups were segregated. ABT originally formed as a hybrid of the two gangs Aryan Society and Aryan Brothers.

In 1985, the Aryan Circle formed out of peckerwoods who did not join the newly formed Aryan Brotherhood of Texas. Aryan Circle members believed ABT did not truly stand for white supremacy. Fronted by Mark "Cowboy" Gaspard, the group was originally called Aryan Christians but changed its name due to members' varying beliefs. A group known as the "International Peckerwood Syndicate" has been listed by in the Oregon Department of Justice as operating in Oregon prisons. According to the ADL, the group, also known as the "Insane Peckerwood Syndicate", formed in 2005 and also has a presence in Washington state. Other prison gangs using the term "peckerwood" as part of their name have been documented in Connecticut, Minnesota, Missouri, Nebraska, Nevada, New Mexico.

On May 4, 2013, Charles Gaskin, who was a member of the gang according to his probation report, was sentenced for 26 years to life for the murder of registered sex offender Neil Lee Hayes. According to the report, Gaskin was required to physically harm a white person with a history of child molestation under "peckerwood law".

Street gangs
The peckerwood subculture has established street gangs that mix elements from white power skinhead culture and conventional street gang activity, such as illegal drugs. These "Peckerwood" street gangs generally form in lower-income white neighborhoods. These gangs are the manifestation of a modern "white power" subculture that combines the elements of California Latino culture, extreme sports and cannabis subculture. Stylistically these gangs combine elements of Latino gang culture (Pendleton flannel and baggy pants) and skinhead culture (Doc Marten boots, bomber jackets, and shaved heads). As well, Peckerwood gang members identify with the color white and are known for wearing white caps and handkerchiefs. The most common gang sign for Peckerwoods is forming the thumb, index finger and middle finger of the right hand to form the letter "P," and the four fingers of the left to form the letter "W".

Many of these Peckerwood gangs in California are subservient to the authority of Nazi Lowriders, which includes the punk gangs Vicious Circle and La Mirada Punks, as well as Insane White Boys, Independent Skins, Orange County Skins, and a rigid alliance with Southern California Skinhead Alliance (SoCal Skins). Leading the alliance with Nazi Lowriders, the Peckerwood gang Public Enemy No. 1 (PEN1) was established in Long Beach, California during the late 80s, and known for recruiting middle-class "latchkey kids" within the Southern California punk scene. PEN1 also known by its derivative Peni Death Squad, gained establishment as a Peckerwood gang in the late 90s in Orange County, being recruited by the Nazi Lowriders. Members of PEN1 also established a regional chapter of the straight edge street gang FSU (Fuck Shit Ups) in Huntington Beach as well. In 1993, the gang Insane White Boys (IWB) was incepted in Orange County and came into prominence being recruited by the Nazi Lowriders as well. The smaller gangs such as Public Enemy No. 1 and Insane White Boys are considered "kids" within the Peckerwood gang world, where as Nazi Lowrider groups are led by "seniors" who induct "kids" into membership. A kid can become a "junior", and a junior can become a senior if elected by three other seniors.

Within the U.S. court system, membership within a Peckerwood group has not always been accepted as indicating the existence of a larger Peckerwood gang. Peckerwood groups tend to lack a constitution, and to be more loosely organized than formal gangs. The Smalltown Peckerwoods, a gang of about a hundred members on the U.S. West Coast, was not ruled to be part of a larger Peckerwood organization in the 2008 People v. Williams case, as the main commonalities were ideology and the name, rather than organizational. Peckerwood Motorcycle Club is also the name of a Santee, California-based outlaw motorcycle club formed in 1987. According to local police, the club's patches and clothing include Nazi imagery, and members have been associated with hate crimes, although the club has denied that it is racist.

title: Peckerwood


text:
House of Moroni

The Moroni family (sometimes "Morone") was a moderately powerful noble family in Italy. Their Baroque Palazzo Moroni in Bergamo is a tourist attraction.

Notable members and descendants

 * Andrea Moroni
 * Giovanni Morone
 * Count Pietro Moroni
 * Dado Moroni
 * Gaetano Moroni
 * Ginetta Moroni
 * Giovanni Battista Moroni
 * Mario Moroni
 * Antonio Stradivari
 * Testaferrata Moroni Viani
 * Sergio Moroni
 * Gregorio Moroni
 * Mia Moroni
 * Genna Moroni
 * Peter Moroni
 * Plinio Moroni - from Sao Paulo, Brazil
 * Giorgio Moroni
 * Barry Moroney

title: House of Moroni


text:
Talk:Allen Coage

Haemophilia?
I question the validity of this source. Coage's colleage may think Coage suffered from Haemophilia, but anyone who knows anything about that disease knows that it's incredibly dangerous to engage in physical activities that could result in getting cut. Coage was a high-level Judoka, participated in Judo in the olympics, and then was involved in pro wrestling for many years. IMO he would have been absolutely crazy to become a Judoka if he was a haemophiliac, not to mention become a wrestler, as both of these activities can very easily result in cuts, abrasions, heavy bruising, etc. all of which could be DEADLY for a haemophiliac. TheQuandry 15:35, 9 March 2007 (UTC)

Unfair Link Removal
I linked the website where Coage did his final interview before his death and it was removed for "Spamming."

I don't understand why this isn't considered a valid link. — Preceding unsigned comment added by 69.122.74.150 (talk • contribs) 19:26, 28 June 2007

Wrestlemania 4
DO NOT remove his trophy win under his accomplishments because that is the only recorded time that WWF/E has given a trophy for winning a battle royal. —Preceding unsigned comment added by 74.93.167.109 (talk) 04:02, 18 June 2009 (UTC)

WWF vs. New Japan/Stampede
This article makes it appear as if his late 1980s WWF stint was a highlight or major part of his career, making his tenures with New Japan and Stampede appear insignificant in comparison. I realize that similar scenarios exist with far too many pro wrestling biography articles, but in this case, it is especially easy to cry bullshit.RadioKAOS (talk) 21:29, 14 November 2010 (UTC)

Florida
Why is there absolutely no mention of his time in Florida listed or even mentioned? He was credited with "running" Lex Luger out of Florida and held all 3 of Florida's singles titles (Southern, Florida, & Bahama Islands) at the same time. Yet, no mention. — Preceding unsigned comment added by 173.106.110.147 (talk • contribs) 20:46, 7 March 2011
 * Wikipedia is a work in progress. Simply put the editors who have the sources and knowledge of such information have not edited it yet to reflect those things. Since you seem to know about those things feel free to edit it. Be Bold.98.204.184.148 (talk) 18:27, 29 June 2011 (UTC)

Requested move

 * The following discussion is an archived discussion of a requested move. Please do not modify it. Subsequent comments should be made in a new section on the talk page. Editors desiring to contest the closing decision should consider a move review. No further edits should be made to this section.

The result of the move request was: not moved. Most of the support !votes are little more than a statement of support and give no reason for the !vote. The support votes that have a basis in policy rely on common name but don't give any evedience to support that is is the common name yet evedience has been given that it isn't the common name. Hence I find the consensus is against the move. Dpmuk (talk) 05:20, 8 August 2013 (UTC)

Allen Coage → Bad News Brown – This is the name the wrestler was better known as during his period of greatest exposure (on television while wrestling in the WWF). This name is most recognisable. This will allow more direct linking. --Relisted. --  tariq abjotu  00:01, 30 July 2013 (UTC) McPhail (talk) 20:12, 19 July 2013 (UTC)
 * Support as nominator. McPhail (talk) 20:14, 19 July 2013 (UTC)
 * Support --HHH Pedrigree (talk) 20:26, 19 July 2013 (UTC)
 * Support per nom. LM2000 (talk) 20:47, 19 July 2013 (UTC)
 * Support - As the clear WP:COMMONNAME.  STATic  message me!  22:48, 19 July 2013 (UTC)
 * Comment - Bad News Brown is a disambiguation page.
 * Comment I would support a move to Bad News Brown (wrestler).LM2000 (talk) 02:10, 20 July 2013 (UTC)
 * Support move to Bad News Brown. Per WP:HATNOTE, a hatnote directing the reader to Bad News Brown (musician) would suffice. There is no need for a disambiguation page. Feed  back  ☎ 19:09, 20 July 2013 (UTC)
 * Oppose Bad News Allen is about as equally well-known, moreso in the non-WWF universe. Likely had more exposure in WWF, but for only three years of a 22-year career. If it wasn't for the ubiquity of WWF, I'd say it was absolutely clear that "Allen" is the common name, but since WWF is weighted heavily, it's something like a tie, and "Allen Coage" works by default. InedibleHulk (talk) 18:56, 21 July 2013 (UTC)
 * And his Olympic bronze in judo as himself is worth considering, too. Sure, it's not gold, but pretty significant part of his story. InedibleHulk (talk) 02:03, 22 July 2013 (UTC)

 * Oppose To somewhat echo IEHulk's comments, take into consideration:
 * 1) What little fame or notability he may have under his own name by virtue of being an Olympic medal winner;
 * 2) Wrestled in New Japan Pro Wrestling as Bad News Allen, where he received network television exposure (on TV Asahi) and significant mainstream media coverage besides.  In Ring of Hell (a reliable source in that it was published under editorial control), about Coage's friend Chris Benoit, Matthew Randazzo V speaks of this era of professional wrestling when stating that Benoit's debut in New Japan was viewed "by more people than had ever watched Hulk Hogan in America."  I'm pretty sure that comparative television ratings were not much different during Coage's heyday in New Japan several years earlier, approximately 1980–1984.  Additionally, Coage's exploits in competitive judo (and therefore, his real name) were well-known to the general public;
 * 3) Wrestled in Stampede Wrestling as Bad News Allen.  The television program Stampede Wrestling enjoyed a long run of national television exposure through syndication because of Canadian content laws.
 * In the case of both New Japan and Stampede, Coage wrestled for many years in these promotions in a featured role. OTOH, he didn't appear in the WWF for nearly as long, and wasn't nearly as featured.  I likened his WWF tenure to someone like Ron Bass;  they both drew actual money working in other promotions, but came to the WWF to wind down their careers, collecting a few paychecks while being just another part of the show.  Aside from a feud and silly race-baiting angle with Roddy Piper, which led to a featured spot in a WrestleMania, I can't recall anything he did in the WWF which was as significant as, say, the Jeff Gouldie angle.
 * One more thing: as with the RMs for Sonny King and Stevie Ray, this delves into WP:PRIMARYTOPIC and WP:TWODABS issues, and I doubt that all interested parties have been invited to participate in the discussion. I'm on a public computer at a place which is closing soon, or I would take care of all that footwork myself. RadioKAOS  –  Talk to me, Billy  06:41, 26 July 2013 (UTC)
 * I've informed the Guitarist Wikiproject of Stevie Ray and the Musicians of Bad News. Sonny King seems to be under the general Biography umbrella only, so not sure if it's appropriate to bother them about it. Maybe. InedibleHulk (talk) 01:06, 27 July 2013 (UTC)

 * Oppose. "Bad News Brown" seems to be the least common of the options; it returns only 337 Google Books hits, compared to 738 for "Bad News Allen"; and 570 for "Allen Coage". This book lists him under "Bad News Allen". If there's a move I suggest "Bad News Allen", though his real name splits the difference between both ring names and is well enough known.
 * However, the wrestler appears to be the most common use of the name "Bad News Brown". "Bad News Brown" musician only returns 74 Gbooks hits, most of them irrelevant or Wikipedia ripoffs. Per WP:TWODABS I'd suggest redirecting "Bad News Brown" to the wrestler's article and distinguishing the musician through a hat note.--Cúchullain t/ c 16:34, 5 August 2013 (UTC)
 * The above discussion is preserved as an archive of a requested move. Please do not modify it. Subsequent comments should be made in a new section on this talk page or in a move review. No further edits should be made to this section.

title: Talk:Allen Coage


text:
Samba rock

Samba rock (also known as samba soul, samba funk, and sambalanço) is a Brazilian dance culture and music genre that fuses samba with rock, soul, and funk. It emerged from the dance parties of São Paulo's lower-class black communities after they had been exposed to rock and roll and African-American music in the late 1950s.

As a development of 1960s música popular brasileira, the genre was pioneered by recording acts such as Jorge Ben, Tim Maia, and Trio Mocotó. It gained a wider popularity in the following decades after breaking through into discotheques. By the 2000s, samba rock had grown into a broader cultural movement involving dancers, disc jockeys, scholars, and musicians, who reinvented the genre in a modernized form.

Origins
Samba rock's origins lie in the predominantly black favelas of São Paulo during the late 1950s, when Brazilian radio and dance halls were reached by the global spread of American rock and roll and related African-American music such as blues and jazz. Its first incarnation was as a dance phenomenon at community block parties that began to play these styles alongside traditional samba and bolero music. These parties eventually moved to larger venues hosted by disc jockeys.

The first known samba-rock deejay Osvaldo Pereira—known by his stage name "Orquestra Invisível (Invisible Orchestra) Let’s Dance"—debuted in 1958 in downtown São Paulo. "The parties started to get crowded, and the rooms for the parties started to get larger", Pereira recounted. "Then, I thought of building my own equipment, which had to be powerful, and faithful to the sound of the live orchestras." His early equipment included a 100-watt sound system featuring a rudimentary version of a crossover, which allowed Pereira to control the frequencies of the music.

Dance culture
In the earliest samba-rock parties, deejays played music from a number of genres, including Partido Alto sambas and Italian rock, while attendees joined in pairs and engaged in rock and roll (Lindy Hop, Rockabilly) and samba dances (Samba de Gafieira). In 1957, Brazilian pianist Waldir Calmon recorded a samba version of Bill Haley's "Rock Around the Clock", which was a turning point for the events; according to Brazilian journalist Beatriz Miranda, "gradually, partygoers turned all the rock and samba moves into one single dance style, later named samba rock."

The dances of samba rock honor an exchange between the original music and a variety of other styles, according to Mestre Ataliba, one of São Paulo's first samba-rock dance instructors. "Dance wise, samba rock is about relaxation and concentration, all at once", he said. "It blends the African 'ginga' (body flow from Capoeira), which is present at the feet and the hips, and the European reference of the ballroom etiquette. We can dance it to the sound of Rita Pavone, samba pagode, reggae, R&B. It really embraces every music culture".

Musical development

The samba-rock genre developed during the 1960s with popular Brazilian recording musicians who fused samba with American rock, soul, and funk influences. This development occurred alongside the Tropicália artistic movement within mid-1960s música popular brasileira (MPB), which itself had modernized traditional bossa nova rhythms with influences from other Brazilian and international pop rock sounds. Originators of samba rock included Trio Mocotó, Tim Maia, and Jorge Ben, who has been considered the "father of samba rock".

Ben's early music contributed significantly to the genre's rhythmic identity. Departing from bossa nova's European musical influences, the singer drew on African-American styles—such as jazz, rhythm and blues, and eventually soul, funk, and rock music—to develop a unique rhythm, which he called "sacundim sacundem". Stylistically, Ben combined samba with instruments and features from rock and roll, including the electric guitar, drum kit, and reverberation. According to Impose magazine's Jacob McKean, "the horn-heavy big band sound" on the song "Take It Easy My Brother Charles" (from Ben's 1969 self-titled album) is a key element of the genre. His 1970 album Fôrça Bruta, recorded with Trio Mocotó, was also pioneering of samba rock in its fusion of the band's groove-based accompaniment and the more rockish rhythms of Ben's guitar. Their instrumental set-ups during the 1970s often featured guitar, the pandeiro, and the timbau, a traditional drum.

Many other musicians emulated and expanded on Ben's style. Their sound became known as samba rock; it has also been referred to as samba soul, samba funk, and sambalanço (a portmanteau of samba and balanço, meaning swing or beat in Portuguese). The genre became defined by the drum kit, bass guitar, keyboard, brass instruments, a strong groove, and "tumxicutumxicutum", an onomatopoeia referring to samba rock's distinctive rhythm. According to Clube do Balanço vocalist and guitarist Marco Mattoli, "the song must always be good to dance to, otherwise it does not make sense. It does limit the composing process, but creates a cultural identity to our band. Today, we cannot see it as rock, samba, soul or funk anymore. Samba rock turned into an original thing."

Popularity and modernization
Samba rock reached mainstream audiences in the late 1960s. It became more popular during the 1970s and 1980s, especially in discotheques. This gave more exposure to Ben, Trio Mocotó, and other acts from São Paulo's black music scene, although none of them declared themselves samba-rock artists. Ben's songs in particular became enduring favorites at traditional samba-rock parties. In subsequent years, samba rock developed from a dance phenomenon and music style into a complex cultural movement, involving musicians, producers, DJs, dancers, visual artists, and scholars. The parties eventually came to include big bands and hip hop, alongside samba music.

In the early 2000s, the genre was refashioned in a more modernized form featuring electronic samples, departing from the traditional set-up of Ben and Trio Mocotó's 1970s music. This newer form was typified by the bands Sandália de Prata and Clube do Balanço, who first played middle-class areas of São Paulo. The new wave of artists deliberately created music that would suit samba-rock dances. In 2001, Universal Music Brasil capitalized on this resurgence of samba rock with the "Samba Soul" reissue series, re-releasing albums by Ben and other 1970s performers of the style. Ben, who still performed at this time, was recognized by Time Out as an "aging maestro" representative of the "favela samba rock" contingent in the contemporary MPB scene.

Samba rock's modernization has seen its incorporation into dance academy curriculum, gym classes, party productions, dance collectives, and other events. Samba-rock dance forms of the past were revisited in the 2000s by black Brazilian and dance-club culture, as well as Brazilian hip hop groups such as Soul Sisters. Samba-rock culture has also faced debates surrounding gender equality. An advocacy project, "Samba Rock Mulheres" ("Samba Rock Women"), was created in response to the marginalization of women as supporting dancers to the predominantly male stars at dance events.

In 2010, three figures associated with the samba-rock movement—dancer Jorge Yoshida, musician Marco Mattoli, and producer Nego Júnior—started a grassroots campaign to have samba rock registered as a cultural heritage of São Paulo. The campaign eventually attracted the participation of various artists, musical groups, producers, political leaders, and citizens of São Paulo. In November 2016, the Municipal Council of Historic, Cultural and Environmental Preservation of the City of São Paulo (CONPRESP) finally declared samba rock a cultural heritage of the municipality.

title: Samba rock


text: Template:PD-Philippines

title: Template:PD-Philippines


text:
Talk:Guthlac of Crowland

Untitled
This must be merged with Guthlac ~ Dpr 07:05, 24 Apr 2005 (UTC)

Inclusion of modern icon of St. Guthlac
I reverted the edit by User:Mathsci. Mathsci had reverted an edit which added a modern icon of St. Guthlac. Mathsci's objection was that the icon had no "educational value." I'm not certain that "educational value" is the criterion used on this page, else why are there the pictures of churches named for St. Guthlac, which pictures have nothing to do with the person himself? The inclusion of the modern icon shows that there is currently some cultus of the saint, just as the church pictures give witness to a medieval cultus. (Full disclosure: I am the custodian of the icon in question, though I had nothing at all to do with the photo being uploaded to wikimedia or added to the article.) Queezbo (talk) 20:52, 14 April 2012 (UTC)
 * The other images are of the Guthlac rolls from the British Library. These are ancient texts which have been written about extensively and have immense historical value. An icon produced in the twentieth century has no educational value whatsoever. Previous editors of the article have chosen to mention the St Guthlac family of churches and they are illustrated in the gallery. As far as I am aware almost none of the churches have a direct link with any cult of Guthlac: there is no indication of that in the article. The cult of Cuthbert (and Godric) is well documented by Reginald of Durham, amongst others. Mathsci (talk) 06:34, 15 April 2012 (UTC)

Ague and Marsh fever
The current text says he suffered from ague, which is a piped link to fever, and "marsh fever", which redirects to History of malaria. Now, I always thought that ague was malaria, but according to ague can mean either that or fever in general. Do we know which is ment in this case? (The source isn't cited). If the source just says "ague" with no further explanation, then it should probably link to that rather than being interpreted to mean something more specific, and "marsh feaver" should either be explained and/or link directly to malaria. Iapetus (talk) 16:33, 11 June 2013 (UTC)

title: Talk:Guthlac of Crowland


text:
Wikipedia:Articles for deletion/Adedapo Macaulay

 This page is an archive of the discussion about the proposed deletion of the article below. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was delete. — Xezbeth 09:32, May 2, 2005 (UTC)

Adedapo Macaulay
It's on VFD for vanity. Zzyzx11 | Talk 07:05, 24 Apr 2005 (UTC)
 * Delete, Wikipedia is not a high-school yearbook, nor is it a crystal ball. Oh, and before I forget, yes it's vanity too. Master Thief Garrett 07:15, 24 Apr 2005 (UTC)
 * Delete. Vanity? Oh, no! Don't say! José San Martin 20:22, Apr 24, 2005 (UTC)
 * Delete - he can have an NPOV article if he becomes president or becomes otherwise notable. Thryduulf 20:47, 24 Apr 2005 (UTC)
 * Delete, not notable, vanity. Megan1967 03:24, 25 Apr 2005 (UTC)
 * Delete Future presidents of Nigeria are not notable. Dsmdgold 14:35, Apr 25, 2005 (UTC)

 * This page is now preserved as an archive of the debate and, like some other VfD subpages, is no longer 'live'. Subsequent comments on the issue, the deletion, or the decision-making process should be placed on the relevant 'live' pages. Please do not edit this page.


text:
User:Akshat~enwiki

hi, Akshathere.too good for a projecton glaciers. aks--210.18.138.190 07:06, 24 Apr 2005 (UTC)

title: User:Akshat~enwiki


text:
Wikipedia:Featured picture candidates/Waspstinger1658.jpg

Wasp stinger with venom droplet
Self nomination. I took the photo (and it cost me). I think it portrays clearly the mechanism of wasps to inject venom. It has been used on the venom page.Pollinator 07:13, Apr 24, 2005 (UTC)
 * I've been asked for a larger format version, which I don't have access to in this computer, but I should be able to get in a couple days. However, as I recall, the image was heavily cropped. It was shot by holding down a young polistes wasp with its abdomen hanging over the edge of a picnic table, and awkwardly shooting one handed with the camera. I took many shots but had only a couple of the stinger that were useable. I got popped a couple times while disassembling the nest, but I can't blame them for that, right? I also took photos of the larvae and pupae, but they were not so good.
 * I do not like to "pose" a photo, but had little choice here, as I wished to show the stinger extended. When done, I released the wasp; she and her sisters rebuilt the damage to the nest surprisingly quickly. BTW I regard the criticism about too little color as unfair. What am I supposed to do, paint the wasp? Pollinator 03:50, Apr 25, 2005 (UTC)

+10 / -4 / 1 neutral (not including presumed support from Pollinator. Promoting second version, although preference isn't clear. -- Solipsist 20:48, 11 May 2005 (UTC)
 * Oppose, fuzzy and not much color. Mgm|(talk) 09:06, Apr 24, 2005 (UTC)
 * Support An excellent illustration for the article, and bonus marks for danger money. -- Solipsist 09:45, 24 Apr 2005 (UTC)
 * Oppose. Agree with Mgm. Also too low res. Interesting object though. Jonas Olson 15:27, 24 Apr 2005 (UTC)
 * Support. Useful illustration. --MarkSweep 22:20, 24 Apr 2005 (UTC)
 * Support. Nice work. Triddle 22:50, 24 Apr 2005 (UTC)
 * Support. Great image regardless of technical limitations.  Postdlf 03:26, 25 Apr 2005 (UTC)
 * Support. Images that are hard to make (and a closeup macro of an extended stinger of a living wasp definately goes into that category) while showing interesting stuff (not many people will have seen such a clear view of an extended wasp stinger) deserve my support. Bonus points for not killing the wasp. Janderk 11:28, 25 Apr 2005 (UTC)
 * Could use some sharpening, but still gets my SupportCirceus 23:27, Apr 25, 2005 (UTC)
 * Oppose. Interesting, but it being small and fuzzy with a lack of colour or contrast outweight that. ed g2s  •  talk  16:31, 26 Apr 2005 (UTC)
 * Support. It would indeed be a better photograph with better color (although I have difficulty imagining how that could be arranged; maybe a top wildlife photographer could pull it off) but the difficulty of the subject and the value of the picture in enhancing both articles far outweighs that. --Andrew 16:34, Apr 26, 2005 (UTC)
 * Support what Janderk said. Lorax 02:26, Apr 27, 2005 (UTC)
 * Support. It's a little fuzzy yes, but on weighing up interesting and technical composition, I think interesting wins here. Enochlau 12:40, 27 Apr 2005 (UTC)
 * I've added an auto-leveled version which puts the color back into it. Support either.  -- brian0918  ™  21:31, 27 Apr 2005 (UTC)
 * Oppose - I want to zoom out and see how this stinger fits into things. Perhaps a magnified image within an image would achieve this. - Pioneer-12 23:19, 27 Apr 2005 (UTC)
 * Support auto-leveled; I believe this image deserves to be a featured picture because of its uniqueness. Ground 18:38, 3 May 2005 (UTC)
 * Support, unique and certainly practical. A bit fuzzy, but I doubt you can pose a better photo with a wasp.  --Alexwcovington (talk) 08:50, 4 May 2005 (UTC)
 * Neutral. A highly illustrative image, and a better (and braver!) one than I've ever taken, but the composition is iffy.  It'd benefit from a tighter crop (particularly to remove brown blur in the upper left), but I'm waiting on the higher res version Pollinator mentioned before taking a go. —Korath (Talk) 22:49, May 7, 2005 (UTC)


text:
Wikipedia:Articles for deletion/Nation of Celestial Space

 This page is an archive of the discussion about the proposed deletion of the article below. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was keep. — Xezbeth 09:53, May 2, 2005 (UTC)

Nation of Celestial Space
41 Google hits is not notable; sets a precedent for the authenticity of adding other such vague micronations. Master Thief Garrett 07:12, 24 Apr 2005 (UTC)
 * Delete all micronations. Master Thief Garrett 07:12, 24 Apr 2005 (UTC)
 * Delete. Firebug 07:13, 24 Apr 2005 (UTC)
 * Interesting, well-written article with cited references and pix. 20,000 members is what I'd call "notable". Eccentric, but a definite keep. --Centauri 08:54, 24 Apr 2005 (UTC)
 * Weak keep somewhat notable maybe, coins, that thing with flag being raised near UN, and article itself is ok so maybe it can stayDeirYassin 09:03, 24 Apr 2005 (UTC)
 * Weak keep I've heard of this before, and I find the whole thing rather interesting. Just above the bar of notability for inclusion on Wikipedia imho. Oliver Keenan 09:58, Apr 24, 2005 (UTC)
 * Keep. as per DeirYassin. --Veritol 12:51, 24 Apr 2005 (UTC)
 * User has ~25 edits.
 * Keep - interesting, informative, referenced article. Tonderai 13:06, Apr 24, 2005 (UTC)
 * Week Keep Can the number of members be verified with any accuracy? TigerShark 15:11, 24 Apr 2005 (UTC)
 * Delete all micronations. RickK 19:11, Apr 24, 2005 (UTC)
 * Delete as grandson vanity. José San Martin 20:17, Apr 24, 2005 (UTC)
 * Keep I'm a leading citizen. Klonimus 23:20, 24 Apr 2005 (UTC)
 * Keep - interesting, well referenced article. It seems it was far more notable than the average micronation. Thryduulf 20:45, 24 Apr 2005 (UTC)
 * You'd be surprised, the other ones were not quite so well written but had more Google hits than this one! Master Thief Garrett 21:28, 24 Apr 2005 (UTC)
 * Hardly surprising for something that became defunct in the 1960s. Unbelievable as it may seem to those aged 30 or under, Google is not the sum total of reality. --Centauri 06:19, 25 Apr 2005 (UTC)
 * No, I'd say Google is the librarian of reality, but you still have a point... Master Thief Garrett 08:39, 25 Apr 2005 (UTC)
 * Keep, normally I would vote delete for micronations, however this "cosmonation" and James Thomas Mangan seems to have garnered some notoriety, appearing on national television in 1958 to claim space and in front of the UN. I dont know too many micronation creators that would go to the trouble he has in promoting his claim. Megan1967 03:33, 25 Apr 2005 (UTC)
 * Keep. Gets "I've heard of it" comments from Wikipedia regulars not affiliated with the micronation. Wiwaxia 07:50, 25 Apr 2005 (UTC)
 * Delete. If the kooks behind these one-person "micronations" have actually gotten enough attention to be notable, then write an article about that person and describe their pet project within it, but don't pretend like these things have any independent existence.  I don't even know what that crap about the flag being seen by millions and being "formally raised" at the UN is referring to—it seems patently false on its face, and is at best overblown hyperbole of what was probably one kook waving a painted bedsheet on the corner of 1st and 43rd.  I'm surprised at the lax critical thought in some of the above votes in assessing the veracity of the article's claims, especially considering how three of the four "sources cited to are nothing more than collectors' references (so the kook did make his own stamps and coins) and the fourth was obviously self-promotional material.  Postdlf 08:19, 25 Apr 2005 (UTC)
 * Keep. I wrote the article, so I'm biased, but I see no reason why Wikipedia should not document historic eccentrics, non-conformists and oddities of this type; Mangan's particular obsession clearly had a resonance for the times, and the references are all perfectly valid sources documenting that - Postdlf's rant notwithstanding.--Gene_poole 23:48, 25 Apr 2005 (UTC)
 * Rant? Yes.  I was tired.  But I still stand by the substance of my comments, and dispute that the NCS flag was "formally raised" at the UN Building—who exactly was it raised by?  The article right now makes it sound like the UN did it as an official action.  And what are the details of this supposed television broadcast?  Postdlf 23:58, 25 Apr 2005 (UTC)
 * I don't have the time nor the inclination to address the many inconsistencies, false assumptions and factual errors in your rant, however the article is based entirely on the cited sources, which of course is why they are cited in the first place. If details are lacking it is because the sources available don't provide that data. There are probably other sources that do clarify those details, and when and if they come to hand the article will be modified accordingly. --Gene_poole 00:10, 26 Apr 2005 (UTC)
 * I have to say that I don't care for the particular sentence in question. Your wording suggests that the flag raising was an official UN ceremony, or at least approved by the UN. Common sense suggests that this was unlikely, and that they simply staged the flag raising while the UN guards weren't looking. Of course, you can't insert your own inferences, but if your sources our incomplete, your language should reflect the fact. ---Isaac R 00:20, 26 Apr 2005 (UTC).
 * I agree - I've removed the word "formally", as it implies a degree of recognition on which the sources are silent. Having said that we shouldn't automatically be dismissive of the idea that someone at the UN facilitated a flag-raising ceremony - after all the fellow who founded the World Service Authority and Prince Philippe of Araucania and Patagonia have both given addresses to the General Assembly at various times. --Gene_poole 01:15, 26 Apr 2005 (UTC)
 * Felipe has renounced his claim to the Kingdom of A&P, but continues as an advocate of indiginous rights. Presumably he spoke to the UN in the latter capacity. As the WSA, I'm a little suprised that anybody at the UN would give them the time of day -- aren't they sort of in competition? ---Isaac R 01:56, 26 Apr 2005 (UTC)
 * Keep. What's vague about it? The guy claimed to own all of outer space. Simple enough. Wonky of course, but so what? Notability is the only issue. On that score, compare the NCS with Emperor Norton, who considered himself the sole ruler of much of North America -- and had much less documentation to back himself up! ---Isaac R 00:03, 26 Apr 2005 (UTC)
 * keep this please - well written and many people have heard of it Yuckfoo 01:06, 26 Apr 2005 (UTC)
 * Weak keep although I tend towards deletionism on micronations.Capitalistroadster 04:51, 26 Apr 2005 (UTC)
 * Weak keep, this one is a close exception. (\/)OO(\/) 21:34, 27 Apr 2005 (UTC)
 * Keep. National TV coverage, solid gold currency and having their flag raised over the UN establishes a great deal of notability AFAIC.  There is also a host of external references.  Most short articles on any subject should be so concise. - Lucky 6.9 21:53, 27 Apr 2005 (UTC)
 * Keep. Well-written and fauirly prominent for a micronation. Secretcurse 01:31, 29 Apr 2005 (UTC)
 * 41 hits strikes you as fairly prominent? Master Thief Garrett 01:54, 29 Apr 2005 (UTC)
 * Keep***. Events of the 1960s do not always translate into google hits. -Tim Rhymeless (Er...let's shimmy)  02:00, 29 Apr 2005 (UTC)
 * Keep Stop debating! We must keep it forever!--Ed Telerionus 01:16, 30 Apr 2005 (UTC)

 * This page is now preserved as an archive of the debate and, like some other VfD subpages, is no longer 'live'. Subsequent comments on the issue, the deletion, or the decision-making process should be placed on the relevant 'live' pages. Please do not edit this page.