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Sylvia (ballet)

Sylvia, originally Sylvia, ou La nymphe de Diane, is a full-length classical ballet in two or three acts, first choreographed by Louis Mérante to music by Léo Delibes.

The ballet's premiere took place on 14 June 1876 at the Palais Garnier, but was largely unnoticed by the critics. The first seven productions were commercially unsuccessful, but the 1952 revival, choreographed by Frederick Ashton, popularized the work. Productions in 1997, 2004, 2005, and 2009 productions were all based on Ashton's choreography.

Preparations
The origins of the ballet Sylvia are in the Italian poet Tasso's play Aminta (1573), which provided the basic plot for the French composer Leo Delibes to set to music. Jules Barbier and Baron de Reinach adapted this for the Paris Opera. The piano arrangement was composed in 1876 and the orchestral suite was done in 1880.

In 1875, the Paris Opera chose Barbier and Reinach's libretto for Sylvia. The decision to invite Louis Mérante to choreograph the ballet was based primarily on Mérante's experience in the field and position as the premier maître de ballet at the Paris Opera. Other suitable choreographers were unavailable.

Rehearsals for Sylvia began on 15 August 1875, when only the first third of the music was complete. Delibes revised his music throughout the rehearsal period, helped by Mérante and the lead dancer Rita Sangalli. The score's development was made more difficult by Mérante, who demanded that Delibes make changes to the score to accommodate the choreography.

1876 premiere
Sylvia, ou la nymphe de Diane was the first ballet to be shown at the newly built Opera Garnier. The scenery for the ballet, designed by the artist Jules Chéret, was lavish but suffered from poor stage lighting. The costumes, designed by Lacoste were well appreciated. In the end it was Delibes' score that saved the production. Without such highly esteemed music, the ballet would have soon drifted into obscurity.

At the age of 27, Sangalli was the Opéra's principal ballerina and thus the obvious choice to star as Sylvia. Sangalli was described as having a "superb physique", but not spectacular dancing skills. Nonetheless, she was the only ballerina taught the rôle, and on one occasion the ballet had to be temporarily closed when she injured herself.

1901 Russian production
Among the important versions of Sylvia, ou la nymphe de Diane that followed the original 1876 production in Paris was one presented by the Imperial Ballet at the Mariinsky Theatre in St. Petersburg, Russia on 15 December 1901. The ballet had been performed in Russia before. In 1886 the ballerina Antonietta Dell'Era, notable for creating the role of the Sugar Plum Fairy in The Nutcracker, had performed excerpts from Sylvia at the Arcadia Theatre of St. Petersburg, and in 1892, Carlotta Brianza, who created the role of Princess Aurora in The Sleeping Beauty, performed the full-length work at the Fantasia Theatre in Moscow.

The Mariinsky Theatre's production was originally planned for the 1900–1901 season in a staging supervised by Sergei Diaghilev, with décors and costumes designed by Alexandre Benois and choreography by the brothers Sergei and Nikolai Legat. But differences between Diaghilev and the director of the Imperial Theatres, Serge Wolkonsky, led to the project's cancellation as well as the end of Diaghilev's association with the Imperial Theatres, an event that led Diaghilev to eventually form the original Ballets Russes in 1909. Nevertheless, the ballet was rescheduled for the 1901–1902 season in a version mounted by the Imperial Theatre's second maître de ballet Lev Ivanov, whose death in December 1901 caused the director to hand the project over to the noted premier danseur Pavel Gerdt. Ivanov changed the ballet's title to Sylvia. The cast included the great prima ballerina Olga Preobrajenska in the title role and the danseur Sergei Legat as the shepherd Aminta. Also included among the ballet's secondary characters was a young Agrippina Vaganova as a nymph of the Goddess Diana, and Pavel Gerdt in the rôle of Orion.

Although the dances of the ballerina Preobrajenska were a great success, the first performance was not. The editor-publisher of the Saint Petersburg Gazette, Sergei Khudekov, himself a ballet expert and noted for co-authoring the librettos for several ballets staged at the Mariinsky, was one of several critics who complained that the Ivanov/Gerdt choreography was of poor quality, and that the libretto was extremely slight. Another element that contributed to the ballet's failure was the fact that the direction did not allow any new décors to be created, and instead sets were utilized from works that were no longer being performed. After five performances Sylvia was removed from the company's repertoire; excerpts from the ballet were included in gala events.

The ballerina Anna Pavlova occasionally included many of these extracts from the 1902 production on her world tours in a revised staging by balletmaster Ivan Clustine. In attendance for one of her London appearances was a young Frederick Ashton, whose memories of Pavlova's performance would inspire him to create his own renowned version in 1952, for the ballerina Margot Fonteyn.

1952: The Royal Ballet
Ashton re-choreographed Sylvia in 1952. He placed a strong emphasis on the lead role, and designed the ballet as a tribute to Fonteyn. The American drama critic Clive Barnes noted that "the whole ballet is a garland presented to the ballerina by her choreographer." Ashton's production was performed by the Royal Ballet at the Royal Opera House, London on 3 September 1952. Ashton adjusted Barbier's libretto to increase the audience's interest in the story.

Along with Fonteyn, Aminta was played by Michael Somes, and Orion by John Hart and Eros by Alexander Grant.

2004: San Francisco Ballet
When the San Francisco Ballet opened their production of Sylvia in April 2004, it was the first time that the full ballet was shown in the United States. This production is also the only recent one not to be based on Ashton's work. At the request of Helgi Tomasson, Mark Morris choreographed it based on the original 1876 production and adhered quite closely to Mérante's methodology and style. As Morris said, "I'm using the score and libretto exactly as they're built". Morris's reasoning behind this is quite simple: the nature of the music is inextricably intertwined with Louis Mérante's choreography, a consequence of the circumstances of composition. Because of this, Morris's revival of Sylvia is very true to the original, more so than any other recent production. The San Francisco Ballet performed Sylvia from April 21 through May 7, 2006, after successful runs in 2004 and 2005. At the premiere in 2004, the lead was Yuan Yuan Tan.

2004: Royal Ballet
This production of Sylvia, the Royal Ballet's third, performed November 4 to December 3, 2004, as a part of the "Ashton 100" celebration, a season dedicated to the company's founder. The ballet was recreated by Christopher Newton who (from both mental and visual records) reconstructed Ashton's original choreography and staged it for the Royal Ballet. While it ran, there were three different casts. The first consisted of Darcey Bussell and Jonathan Cope, the second of Zenaida Yanowsky and David Makhateli and the third of Marianela Núñez and Rupert Pennefather.

2005: American Ballet Theatre
Ashton's Sylvia was also recently re-staged by Newton for The Metropolitan Opera House, where it was recently performed by the American Ballet Theatre. Newton's version is shortened (originally the ballet included some music from La Source) to be shown in two acts, with a musical break in place of the second intermission.

The last production at the Metropolitan Opera, as of June 4, 2005, had Paloma Herrera cast as Sylvia, Angel Corella as Aminta, Jesus Pastor as Orion, Craig Salstein as Eros and Carmen Corella as Diana.

2019: Houston Ballet
Choreographed by Stanton Welch AM of the Houston Ballet, this 2019 production of Sylvia was co-produced with The Australian Ballet. Welch returned to the three-act format and elevated the roles of some of minor characters. He was joined by Jérôme Kaplan for sets and costumes, Lisa J. Pinkham for lighting, and Wendall K. Harrington for effects achieved with projections. The lead roles of Sylvia and the shepherd alternated between two duos: Karina Gonzalez and Connor Walsh, and Nozomi Iijima and Ian Casady. The production subsequently made its Australian premiere in November 2019 at the Sydney Opera House.

Music
Sylvia is one of the first modern ballets. Tchaikovsky himself remarked to fellow composer Sergei Taneyev upon the ingenuity of Sylvia, calling it "... the first ballet, where the music constitutes not only the main, but the only interest. What charm, what elegance, what richness of melody, rhythm, harmony." While this statement may be a little hyperbolic, it says something very important about the uniqueness of the ballet. Sylvia's score is varied and rich, and it stands out, drawing the focus from the sets, the dancers, the costumes. Instead of receding into the background, setting only the mood, Delibes' score sets the action. The music of Sylvia was also notable for its new, more developed use of leitmotifs. Such a stylistic choice is characteristic of Delibes, who was a great admirer of Wagner. Indeed, echoes of Wagner's influence are quite obvious in the music such as its "symphonic" nature, as described by Ivor Forbes Guest in the 1954 edition of The Ballet Annual.

Another interesting choice of Delibes was his pronounced use of brass and wind instruments, especially in the characteristically powerful prelude. Delibes was also one of the first composers to write for the alto saxophone, an instrument used extensively in the heavier wind sections such as the barcarolle in Act III.

The prelude to the first act and the pizzicati in the third are the significantly more famous sections of this already notable score. The latter, the more famous, is a well-known example of pizzicato style. This section is, according to The New Grove Dictionary of Music and Musicians, "traditionally played in a halting, hesitant style that appears to have been no part of Delibes's conception."

Tchaikovsky's Swan Lake was written just before Sylvia was released and is generally considered one of the best ballets of the era. However, Tchaikovsky himself preferred Sylvia to his own work, calling his own masterpiece "poor stuff in comparison". Tchaikovsky said to Taneyev, "I was ashamed. If I had known this music early then, of course, I would not have written Swan Lake".

Choreography

Louis Mérante's choreography for Sylvia was praised by contemporary critics, but it did not survive the ballet's initial run at the Paris Opera.

Sir Frederick Ashton created quite contemporary choreography for his 1952 production at the Royal Opera House, while retaining a classic feel, it has been modernized. In the 1952 choreography, Sylvia incorporated new and interesting techniques such as the blending of mime and dance and more intricate footwork, as are typical of Ashton's works. As writer Arnold Haskell said, "he accepts the challenge in Sylvia of coping with period music without descending to pastiche; and never once does the movement he provides strike us as modern or as 'old world'". Gillian Murphy, the lead rôle in the 2005 ABT production, noted this choreography was very challenging. Ashton designed the ballet specifically around Fonteyn's talent and skill. Thus, any who play the part must be able to do everything she could, and at the time "the range of her dancing [was] unequalled"(Barnes).

It is notable that this choreography features a few difficult pas de deux, including a spectacular one in the third act, which constitutes the climax of the ballet.

Lead roles
Source:
 * Sylvia – A chaste huntress nymph, loyal to Diana, object of Aminta's desire.
 * Aminta – A simple shepherd boy who is in love with Sylvia. Parallels can be drawn to Endymion, another shepherd who was Diana's young love.
 * Eros – The Greek god of love, focal in the ballet as an object of great worship and scorn.
 * Diana – The Roman goddess of the hunt and chastity. It is at Diana's temple that the bacchanal in the third act takes place.
 * Orion – An evil hunter who stalks Sylvia and kidnaps her.

Minor roles
Source:
 * Hunt attendants—Sylvia's posse of female hunters.
 * Goats – Two goats that are about to be sacrificed as a tribute to Bacchus, but are saved by the commotion caused by Orion.
 * Naiads
 * Dryads
 * Fauns
 * Peasants

Libretto
Frederick Ashton recognised the weakness of the libretto, and reworked the ballet to help make the story more interesting. Mark Morris simplified the story for his 2004 production for the same reasons. He called it, "a big wonderful mishmash of mythology and history", so he changed it to make it more "clear and beautiful".

Act I: A Sacred Wood
The ballet begins with a scene of worship as creatures of the forest dance before Eros. Aminta, a lowly shepherd, stumbles in on them, disrupting their ritual. Now Sylvia, the object of Aminta's desire, arrives on the scene with her posse of hunters to mock the god of love. Aminta attempts to conceal himself, but Sylvia eventually discovers her stalker and, inflamed, turns her bow towards Eros. Aminta protects the deity and is himself wounded. Eros in turn shoots Sylvia. She is hit, and though not badly wounded, the injury is enough to drive her offstage.

A hunter, Orion, is revealed to also have been watching Sylvia, when he is seen celebrating the unconscious Aminta. Orion conceals himself again as Sylvia returns; this time she is sympathetic towards Aminta. As the huntress laments over her victim, she is kidnapped by Orion and carried off. Peasants grieve over Aminta's figure until a cloaked Eros revives the shepherd. Eros reveals his true identity and informs Aminta of Orion's actions.

Act II: Orion's Island Cave
Captive in Orion's island hideout, Sylvia is tempted by him with jewels and wine to no avail. Sylvia now grieves over Aminta, cherishing the arrow pulled from her breast nostalgically. When Orion steals it from her, Sylvia gets her captor drunk until he is unconscious, whereby she retrieves her arrow and appeals to Eros for help. Sylvia's invocations are not in vain, for Eros quickly arrives and shows his summoner a vision of Aminta waiting for her. The duo depart for the temple of Diana, where Sylvia's love awaits.

Act III: The Sea Coast near the Temple of Diana
Aminta arrives at the temple of Diana to find a bacchanal but no Sylvia, who will soon arrive with Eros. After a few moments of mirth at the reunion, Orion shows up, seeking Sylvia. He and Aminta fight; Sylvia barricades herself in Diana's shrine and Orion attempts to follow. The goddess of the hunt, outraged at this act, smites Orion and denies Aminta and Sylvia congress. Compassionate Eros gives Diana a vision. The goddess reminisces over her own young love of Endymion, also a shepherd. Diana has a change of heart and repeals her decree. Aminta and Sylvia come together under the deities' good will.

Résumé of dances and scenes
Taken from the original 1876 theatrical program of the Paris Opéra.

Act I
 * No. 01 Prélude
 * No. 02 Scène du bois sacré d'Éros
 * No. 03 Le Berger–Entrée d'Aminta
 * No. 04 Pas des chasseresses—
 * —a. Entrée
 * —b. Valse lente

 * No. 05 Scène
 * No. 06 Cortège rustique
 * No. 07 Scène
 * No. 08 —
 * —a. Entrée du sorcier
 * —b. Finale

Act II
 * No. 09 Entr'acte
 * No. 10 La grotte d'Orion
 * No. 11 Danse des Éthiopiens
 * No. 12 Chant bacchique
 * No. 13 Scène et danse de la Bacchante
 * No. 14 Scène finale

Act III
 * No. 15 Grand cortège de Bacchus
 * No. 16 Scène
 * No. 17 Danse barcarolle

 * No. 18 Divertissement—
 * —a. Pizzicato – Variation de Mlle. Rita Sangalli
 * —b. Andante
 * —c. Pas des esclaves
 * —d. Variation de Mons. Louis Mérante
 * —e. Galop générale

 * No. 19 Finale–Le temple de Diane
 * No. 20 Apothéose–L'apparition d'Endymion

List of productions
This list mentions only full-length or otherwise significant productions; however, there have been many performances of short excerpts, especially in London.

In popular culture
In the 1892 novel written by the brothers George and Weedon Grossmith The Diary of a Nobody, Carrie Pooter practises the Sylvia Gavotte on the Pooters' new cottage piano, 'bought on the three years system, manufactured by W. Bilkson (in small letters) from Collard and Collard (in very large letters)'.

In the 1931 Marx Brothers film Monkey Business, Chico Marx plays the pizzicato on the piano, racing against the orchestra, and says, "Hah, I beat you that time!"

The theme song from the 1982 television series Knight Rider is based on "Cortège de Bacchus" from the third act.

In one episode of The Muppet Show, the pizzicato is played in one sketch that features characters with balloons for heads, including the conductor, who leads the balloon-headed orchestra into popping their heads in time. The sketch ends with the conductor popping his own balloon head.

In the movie Babe (film), the pizzicato strings create a supported tension as Babe and Ferdinand the Duck sneak into the Hoggett house to steal an alarm clock, aka "The Mechanical Rooster."

title: Sylvia (ballet)


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User talk:AMOS LARKINS II

Stop removint VfD tags
Your pages are being considered vanity. All of that stuff about you should be under your user space. Sasquatch′↔Talk↔Contributions 05:25, Jun 5, 2005 (UTC)

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

title: User talk:AMOS LARKINS II


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Talk:Orthodontics

Wiki Education Foundation-supported course assignment
This article was the subject of a Wiki Education Foundation-supported course assignment, between 2 February 2021 and 14 May 2021. Further details are available on the course page. Student editor(s): Eniko55.

Above undated message substituted from Template:Dashboard.wikiedu.org assignment by PrimeBOT (talk) 05:52, 17 January 2022 (UTC)

Question about contents page
How in the world do you create a contents page? I thought the ==section== tag would automatically create a contents page.

Looking for information on ancient times
I'm wondering how people treated bad orthodontia problems in ancient times when they used things like traditional Chinese medicine and accupuncture? DyslexicEditor 22:49, 21 November 2005 (UTC)

 * Isn't this all a bit too long and technical? Maeglin 16:13, 12 September 2006 (UTC)

 * Unfortunately, this article is strongly biased. The user Dr. Georg Risse inserted a vast amount of information which is not backed by sufficient evidence. He also added links to his own website as well as to that of his company.

212.240.16.7 15:30, 16 September 2006 (UTC)

POV
Dear colleges!

Would you please regard the discussion in the german article Kieferorthopädie. The user Dr. Risse is permanently trying to place advertisments for his company in the articel.

Greetings -- Andreas Werle 15:42, 17 September 2006 (UTC)

 * Forgive me if I'm wrong but Dr Risse almost singlehandedly made this article. Before his additions it was a pretty worthless article, but now it is full of information. Billyb 10:12, 17 October 2006 (UTC)

 * I’ve noticed something quite humorous about this. When you run the German talk page through Google translate, Google cannot tell that Risse is a name, and translates it to “cracks.” One might note that this is very similar to the term “Quacks,” which in English means a person who dishonestly claims to have special knowledge. Fruitprint (talk) 06:11, 1 June 2023 (UTC)

You are not wrong. He wrote a lot. Unfortunately what he wrote is his very personal opinion about orthodontics. Dr. Risse claims that common orthodontic methods are wrong. He insists that in order to avoid harming patients it is neccessary to adopt the concepts developed by him and his company. He failed to provide evidence for these concepts. He had to fail because there is no clinical study proving his point. Dr. Risse is a german orthodontist whose comments and concepts are not confirmed by any orthodontic faculty. Neither in germany nor elsewhere. In this article he put himself in a position equal to Angle and Andrews, which frankly is not where he belongs. If article length is what matters then this article is fine but sadly this article is filled with misleading information forged to support Dr. Risse's company. 81.219.62.100 22:18, 18 October 2006 (UTC)

This article has been tagged "disputed". Much of the text is self-serving philosophical views from Dr. Risse, and are not based on clinical evidence or studies. This article is currently not 'encyclopedic' neutral and is extremely biased. This article needs to be heavily edited and cleaned-up. It is poorly structured and needs to be wikified. To begin with, everything involving BFO should almost entirely be deleted. It is not a part of mainstream orthodontics. Most external links are related to Dr. Risse's personal interests and should be removed. --- The article of Dr. Risse is definitely not a personal opinion. Each single postulation in this article is documented among other things by the literature of evidence based theories of official Anatomy and Evolution. The problem is, that central findings of Andrews on 120 plaster models and in this context with straight wires are in opposition to the evidence based theory of official anatomy. This of course is a threat for Straight-wire-techniques. The theory of official functional anatomy opens a bright spectrum for orthodontic treatments, stability and aesthetics. As official anatomy is in prime evidence, each patient has to be informed about it and about different treatment goals of straight wire anatomy.

 * Welcome to this discussion, Dr. Risse. Your postulations are only documented by yourself.
 * Where are the universities teaching your theories?
 * Which textbooks (not written by yourself) share your point of view?
 * You can easily prove me wrong by providing an independent study about your treatment concept but there is none. It is not even proven to be usable in human beings. In the past you cited from various works but your theories were not even mentioned in any of them.
 * The only available independent report about your findings was commissioned by german orthodontics society in 2004. It quite clearly states that your techniques should not be used:
 * 149.9.0.59 21:21, 21 October 2006 (UTC)

@IP: full ack. See also the discussion in Kieferorthopädie. Greetings -- Andreas Werle 17:43, 22 October 2006 (UTC)

RFC
Andy asked me to comment on the state of the article. It is immediately clear that Dr Risse, while expanding the article in quite a good way, has crossed the boundary into suggesting that his methods are better than "mainstream" ones.

To inform the debate, we need some information on how the profession sees Dr Risse's innovations. If they are a well-known school of thought (for which we would need evidence), they should be included. If not, there are probably notability issues with the innovations of one single practicioner. After all, this article is meant to describe how orthodontists generally practice in their field, not how it ought to be practiced according to X, Y or Z. A quick look at WP:TIGERS may be helpful here.

I would hope someone addressed the way citations are handled in this article, and it would be nice to have it Wikified a bit. Finally, the section headers are presently way too long - they go beyond describing the content on the sections. JFW | T@lk  19:51, 22 October 2006 (UTC) ____________________

With the last comment the discussion is getting serious, but still there are essential misinterpretations of my article. I´m not introducing a new "treatment method", rather I´m presenting the complexity of the masticatory organ by means of official textbook theories, among others of the internationally accepted anatomist G.-H. Schumacher and international accepted theories of Curve of Spee / Compensations Curve in relation with orthodontics. They are basics for general medicine, general dentistry and evolution. Additional my article is presenting the theory of occlusal morphology of L.F. Andrews, which is the result of studies of 120 plaster models. The main postulations of this theory are in opposition to all textbook theories in this field, which is presented and explained in my article. The definitions of official anatomy are obligatory for medicine and jurisdiction. They are no private findings of Dr. Risse, they are officially accepted definitions, worldwide. On the other hand, the anatomy of straight-wire-theory is a personal theory of L.F. Andrews on the background of a study of 120 plaster models, fitting to straight wires. Do you think, that this is a representative sample for an evidence based theory for teeth angulations and functional occlusion, and are your intentions to inform the public of Straight-Wire-Anatomy only? A dictionary should describe the morphology and the complexity of orthodontics with functional occlusion of the masticatory organ. This was done by Dr. Risse by a bright list of international accepted references. Beside this coordination of literature a "private" addition of Dr. Risse in this article is the focus on "age adapted anatomy and teeth angulations" on the study of head plates, as an orthodontist mostly is treating young growing patients. These findings of "age adapted angulations" support official textbook anatomy even more.

Dr. G. Risse 25 October 2006 (UTC)

 * Sir, you are describing your reasons for believing what you believe but even if you were right you would still lack general acceptance.
 * Angle's and Andrews' works are generally accepted. They are being taught at universities. Textbooks are based on them. Your findings are not taught at any faculty. I hope this clarifies why what you say is not even remotely accepted.
 * This far we can say: Regardless of correctness your concepts are not generally accepted and therefore do not belong into wikipedia.
 * Now you are claiming that Andrews was wrong and that thousands of orthodontists who adopted his techniques during the past decades are wrong. You still failed to provide evidence. Citing from anatomy textbooks is no evidence for your opinion. Please provide an independent scientific study which proves you right. We both know there is none.
 * Finally Jfdwolff asked for information on how the profession sees your innovations. The German Orthodontic Society report mentioned above gives us a hint on that. As you once wrote yourself the profession refuses to talk to you.
 * However, maybe universities are wrong, maybe the profession is wrong and maybe you are the only one who is right and history will prove all this one day but we should really wait until then before we write your name next to Angle and Andrews.

69.56.216.142 19:49, 26 October 2006 (UTC) ____________________

Dear Anonymus,

the level of this dispute is: the evolution of 120 plaster models against official textbook anatomy, lectured all of the world. You asked for references, click here: (I hope you will be able to perform that) | http://www.uni-rostock.de/fakult/medfak/anatomie/ProfSchumacher.htm

 * Dear Dr. Risse,
 * the level of this dispute is orthodontics as it is practiced today.
 * Neither the website behind your link which i actually managed to click on nor the book you refer to even mention orthodontics, let alone support your theory.
 * By the way: Aren't Andrew's teachings lectured on all over the world, too?
 * 69.56.216.142 08:56, 27 October 2006 (UTC)

____________________ Your argumentation is absurd. Again, I do not have a personal anatomical theory except "age related angulations". I refer to the literature of official textbook anatomy, among others to G.-H. Schumacher. The official textbook theory of anatomy is the obligatory evidence based theory in dentistry! It is absurd to argument, that the theory of anatomy should mention orthodontics. Orthodontics has to rely on findings of anatomy for diagnosis and treatment objectives. The "Curve of Spee" and the "Compensation Curve" are internationally accepted conditions for a functional occlusion in general dentistry too. In denying them, straight-wire-anatomy of Andrews in orthodontics on the level of 120 plaster models is out of legality. Dr. G. Risse 30 October 2006 (UTC)

____________________

I don't relish intruding on this heated argument, but the state of this article is inexcusable.

Perhaps the orthodontic profession has something important to learn from Dr. G. Risse. In any case, I am not offended by seeing Dr. G. Risse's name placed together with Angle and Andrews. But Wikipedia articles are not the place for challenging the status quo. Orthodontics is just not practiced the way that Dr. G. Risse wants it to be and the arguments advanced in his favor take up much more of the article than necessary. Remember that NPOV (neutral point of view) must guide all articles. See also what Wikipedia is not.

I am therefore giving the article a much needed cleanup.

--Hanina

see also links
may i ask why the U of Illinois at Chicago dental school is more notable than the others in ortho? also, for the lay person, a word or two about how fluoride therapy is related to ortho treatment would be helpful (braces makes you more susceptible to cavity and fluoride helps...etc.) Mct mht 04:54, 12 January 2007 (UTC)

Removed 3 links. They belonged to an individual practitioner who also sells orthodontic equipment and materials so they can be considered advertisement. 213.239.205.69 17:03, 18 February 2007 (UTC)

Fair warning to prospective patients
As a young teen, I took elective orthodontic work because it was considered a normal thing to do, to have "perfect" teeth. However, I feel compelled to warn off against this particular piece of Americana: this is a serious undertaking. The article isn't kidding about the possibility of wearing retainers indefinitely, i.e. for life. Because my case was not serious, the orthodontist recommended that I not extract any teeth, and in all perhaps that was a good call. But at the same time, it also means that my teeth will start crowding at the first opportunity, leading to chronic aches if I ever skip wearing my retainer for a few weeks. Choosing to take this procedure can be a lifetime commitment: know and understand what you are getting into. Of course, I understand that some people have serious problems with their teeth (Austin Powers, for example) -- and I'm not saying you should avoid it all costs. But at what price, beauty? The problem is that in America most kids get this at an age where vanity often overrides judgment. This is really a decision that should be made as an adult, especially if the procedure is elective for you (teeth don't have to be perfect, and if there's nothing particularly wrong about your smile or bite, decide carefully whether it's worth it to lose a unique part of yourself for the sake of conformity). 146.74.228.241 (talk) 20:22, 11 January 2008 (UTC)

 * Most teens are minors, in which cases the decision lies with the parents or legal guardians, not with the "young teens." Good parents should take their child's wishes into consideration of course, and as a practical matter childen who refuse treatment will seldom be treated against their will. But this is not really the place for big-brotherly advice. Try My Space. —Preceding unsigned comment added by 69.203.64.233 (talk) 03:06, 10 July 2008 (UTC)

2 things
A. This discussion page is not meant to be a forum about the artcile's subject (so the arguments above shouldn't even be here!) If you want to argue about the effectiveness of one treatment over another there are pleanty of orthodontic websites to do that, but this is an article about the nature of orthondontics as it is practiced in the mainstream. Of course you can mention 3rd party sources that reccommend one treatment over another, but don't be offended when someone includes another 3rd party source referencing an alternative.

and

B. This article lacks a proper ammount of citations. I especially find this odd considering how widespread Orthodntics is around the world. Surely there are probably more sources than you can shake a stick at. But right now, just one? 75.186.111.99 (talk) 22:50, 31 July 2009 (UTC)

Neutrality of Article
This articles focuses too heavily on only one (or I guess you could say "three") methods of orthodontic treatment. It does not give a broad enough base (overview) in the history, for full understanding. It is far too generalized. (i'm not saying to be overspecific, but to be "more" specific. There is only one definition of orthodontics given (and it is not sourced!) 70.61.247.31 (talk) 20:35, 29 September 2009 (UTC)

Where is the criticism of orthodontic treatment?. The research of John Mew documents that orthodontics deforms bone structure. This article is not particularly informative and merely presents propaganda without citing the risks of orthodontic treatment. Young people researching this treatment should be informed of the possible complications and risks--or at the very least that a debate exists. Infolamb (talk) 13:36, 28 July 2013 (UTC)

What's the benefit? What's the evidence?
I don't understand this article. My niece started orthodontia treatment. I'm trying to find out whether she and her friends actually need orthodontia, and what the benefit is. I want to find the evidence for orthodontia.

There's a concept recently of medicalization of normal conditions. A pharmaceutical company will identify "social anxiety disorder" as a disease, and market a drug to reduce social anxiety disorder. Other doctors will say that social anxiety disorder is just a normal part of life and treating it with a drug will do more harm than good.

What is the problem that orthodontia is supposed to solve? The entry says that orthodontia treats "malocclusion." Why is malocclusion a problem? Why is overbite a problem? Does it cause pain, discomfort, difficulty eating, periodontal disease, loss of teeth, or any objective harmful outcome? If not, why treat it? If so, what is the published evidence that orthodontia improves the outcome?

Most people seem to get orthodontia for cosmetic reasons. When is it cosmetic and when is it needed?

I'm prepared to believe orthodontia is beneficial, if there is peer-reviewed, published evidence. But I can't find any. Nbauman (talk) 23:29, 27 January 2010 (UTC)

 * I cannot see how this relates to the article under discussion. Surely we cannot expect an article on "Orthodontics" intended for the lay public to explain how dentists differentiate between cosmetic indications for orthodontics vs. more pressing concerns. It is sufficient that the article mentions both possibilities.Hanina (talk) 03:47, 11 May 2010 (UTC)

Editing the Orthodontics page
Hi, I would like to start a project with some students editing the Orthodontics page. Any suggestions on where to start? Dlcortho7889 (talk) 14:37, 26 September 2017 (UTC)

Trimming
I've trimmed this article down significantly with the goal of summarizing and making the article accessible to the layperson. See this former version of this article, it had slowly accumulated so many technical paragraphs that it was unreadable. The article should of course be expanded, but we should have the essay Make technical articles understandable in mind :) – Thjarkur (talk) 00:36, 28 August 2019 (UTC)

The section on Invisalign reads like an ad
I think the section on Invisalign should be completely removed. There's already another page on Clear aligners which goes more in-depth into the topic and doesn't seem so biased. 2001:8A0:6CC0:4C00:4685:FF:FE54:F9A2 (talk) 17:21, 23 May 2021 (UTC)

braces
why are they so popular 68.206.26.69 (talk) 03:21, 22 December 2023 (UTC)

title: Talk:Orthodontics


text:
Talk:AMM (band)

Rowe's departure
I've tried to bring this up to date by noting Rowe's departure from the group. (You could get into the blow-by-blow history--the release of Duos for Doris (a duo with Tilbury), Prevost's hostility to the eai movement and to Rowe's participation in it in his book Minute Particulars, the release of a Prevost/Tilbury duo on Matchless.... but probably this needn't be elaborated here.

Two points:

1) I don't think it appropriate that there's a lengthy (promotional?) bit on the AMM/MEV album, when it's hardly their best or most representative work.

2) Shouldn't there be an accent on the "e" in "Prevost" consistently throughout? ND 05:27, 5 Jun 2005 (UTC)

I went back & fixed the accent thingy. ND 06:49, 6 Jun 2005 (UTC)

 * I added a bit on the Prévost book, which seems like an important catalyst for Rowe's departure. --Richardrj talkemail 15:23, 21 September 2006 (UTC)

The AMM?
I've just spent a few weekends transcribing a 1991 tape interview with Keith Rowe, in which he uniformly refers to the group as "The AMM." (I.e. he always uses the definite article.) If anyone can point to something that would suggest that this isn't just his personal idosyncracy, I'd be tempted to update the article to reflect his usage. Tom Duff 00:43, 14 February 2006 (UTC)
 * Interesting, but I've never heard of that usage being employed elsewhere. Sounds a bit like the way Pink Floyd were referred to as 'The Pink Floyd' in their early days.  Suggest we leave it without the 'The'. --Richardrj talkemail 15:23, 21 September 2006 (UTC)

Apogee
Re: Rowe's not OKing the release of Apogee see this thread:

http://www.jazzcornertalk.com/speakeasy/showthread.php?t=10866

--posts 28 & 57 (by Jon Abbey, from correspondence with Rowe). ND 13:52, 17 May 2006 (UTC)

What it stands for
I deleted this sentence: "There is an unconfirmed story that one of the group's members told John Stevens, in a confidence that Stevens failed to keep, that the letters stood for Art, Music, Madness." Interesting if true, but there's no cite, & it's so dubiously sourced that I can't see it belonging here. If someone can find an interview with Stevens or the like with the tale, then that's OK. ND 01:12, 21 September 2006 (UTC)

List of members
I've tried to start a list of members with their dates of being in the group - fully aware that this is a minefield, what with all the comings and goings. But I think it would be a useful addition to the page. The names and dates I've put are taken from the article and/or the history here, and may well be incorrect or incomplete (I'm not sure if Hobbs was ever a member, for example). The sleevenotes on the CDs are pretty good at saying who played on what, but I don't have access to my copies of them. Any additions or corrections gratefully received. --Richardrj talkemail 15:11, 21 September 2006 (UTC)

Dead external links to Allmusic website – January 2011
Since Allmusic have changed the syntax of their URLs, 1 link(s) used in the article do not work anymore and can't be migrated automatically. Please use the search option on http://www.allmusic.com to find the new location of the linked Allmusic article(s) and fix the link(s) accordingly, prefereably by using the Allmusic template. If a new location cannot be found, the link(s) should be removed. This applies to the following external links: --CactusBot (talk) 10:00, 2 January 2011 (UTC)
 * http://www.allmusic.com/cg/amg.dll?p=amg&sql=Aex5uaknk0m3k
 * fixed --BNutzer (talk) 01:55, 20 March 2013 (UTC)

title: Talk:AMM (band)


text:
Réal Lapierre

Réal Lapierre (born August 5, 1944) is a Canadian politician and former École Pointe-Lévy geography teacher.

Born in Saint-Charles-de-Bellechasse, Quebec, Lapierre started out in politics as city councillor in Beaumont, Quebec in 1971. In 1974 he became mayor where he remained until 1985. After a nine-year hiatus, he was elected mayor again, which he remained until 2004. From 2001 to 2004 he was also a prefect in the Bellechasse MRC. In the 2004 Canadian federal election, he was elected into the House of Commons of Canada as a Bloc Québécois member in the riding of Lévis—Bellechasse. He was defeated in the 2006 election.

title: Réal Lapierre


text:
Talk:Roger Frogley

Untitled
Does anyone know the dates for Frogley's birth and death?

Date of death, according to London Gazette archive, 30th June 1974, See: — Preceding unsigned comment added by 188.220.17.197 (talk) 17:13, 16 November 2011 (UTC)

Yes - Birth: 13th July 1908, Death: June 1974 (typed on behalf of his son, from memory). — Preceding unsigned comment added by 109.235.22.109 (talk) 20:22, 30 May 2011 (UTC)

Also, there is a hint of his later career in flying here, although we could use a more complete and authoratative source. -- Solipsist 05:27, 5 Jun 2005 (UTC)

title: Talk:Roger Frogley


text:
Israel Moore Foster

Israel Moore Foster (January 12, 1873 – June 10, 1950) was a Republican Representative in the United States Congress from the state of Ohio, serving three terms from 1919 to 1925.

Biography
Born in Athens, Ohio, Foster attended the public schools, and graduated from the Ohio University at Athens in 1895. He studied law at the Harvard Law School in 1895 and 1896, and graduated from the Ohio State Law School in 1898, commencing practice the same year in Athens, Ohio.

He served as prosecuting attorney of Athens County from 1902 to 1910. He served as member and secretary of the board of trustees of the Ohio University for twenty-four years, and was Secretary of the Republican State central committee in 1912.

Congress
Foster was elected as a Republican to the Sixty-sixth, Sixty-seventh, and Sixty-eighth Congresses (March 4, 1919 – March 4, 1925). He was an unsuccessful candidate for renomination in 1924. While in Congress, he is best known for proposing the Child Labor Amendment to the United States Constitution.

Later career
After serving in Congress, he was appointed a commissioner of the court of claims on April 1, 1925, and served until April 1, 1942, when he retired. He died in Washington, D.C., and is buried in Washington's Rock Creek Cemetery.

He has a residence hall at Ohio University named after him, located on South Green. Ohio University administration planned to demolish it in 2014.

title: Israel Moore Foster


text:
Bob Clarke (illustrator)

Robert J. "Bob" Clarke (January 25, 1926 – March 31, 2013) was an American illustrator whose work appeared in advertisements and MAD Magazine. The label of the Cutty Sark bottle is his creation. Clarke was born in Mamaroneck, New York. He resided in Seaford, Delaware.

Clarke's style in MAD was distinctive, showing a mastery of line and an eye for the humorous side of things. "I was known as the "thing" artist", said Clarke. "Whether it was a telephone or a slot machine or whatever, I would draw the things". MAD editor Al Feldstein called Clarke "a singular valuable asset to MAD ... his arrival upon the scene was a godsend". Feldstein's successor John Ficarra said of Clarke, "He was a great designer, and he also was a terrific mimic of other people’s styles... And if there was a problem you could give it to Bob, and he could usually solve it for you".

Clarke's earliest professional job was at the age of 17, as an uncredited assistant on the "Ripley's Believe It or Not!" comic strip. Ripley traveled the world collecting his fantastic trivia tidbits and sent them back to Clarke who drew them, captioned them and circulated them among the vast number of magazines and newspapers who carried the strip. Years later, he illustrated MAD's occasional "Believe It or Nuts!" parody. After two years with Ripley, Clarke joined the army, where he worked for the European edition of Stars and Stripes and met his wife. Clarke remained with Stars and Stripes after being discharged as a civilian contributor, before eventually returning to America and joining the advertising firm Geyer, Newell, and Ganger. That job would prepare Clarke well for his MAD work: "I learned about typefaces and layouts, how to prepare comps in the styles of many artists and cartoonists". Clarke was among the GNG artists who designed the box for the children's game Candyland.

Clarke was one of the artists who took up the slack after original editor Harvey Kurtzman left MAD, taking two of its three primary artists (Will Elder and Jack Davis) with him. In his first year at MAD, Clarke illustrated 24 separate articles; he would eventually draw more than 600. Clarke was a mainstay of the magazine as it rose in circulation, being one of four general-purpose artists who took MAD through the late 1950s and earliest 1960s, the others being Wallace Wood, George Woodbridge and Joe Orlando (Jack Rickard's work appeared in mid-1961, while Don Martin, Mort Drucker and Dave Berg produced more specialized topics or features).

Of the Wood-Orlando-Woodbridge-Clarke quartet, Bob Clarke had the most cartoon-like style. This was exploited by the two circus panoramas that ran in MAD #41; the first depicted an old-time circus done by Wallace Wood, a breathtakingly elaborate vision of impossible spectacle. The circus drawn by Clarke was simple and uncluttered, showing small routine acts. The point of the article was the decline of the circus, and the artistic contrast sold the premise.

But the versatile Clarke was also able to provide intricate detail. In a 1999 interview, he remembered one challenging MAD assignment:
 * "Tom [Koch] had this thing that was supposed to be a calendar or something. In this little one-inch space he wanted everything crammed into this tiny little space. He had a stagecoach, robberies, a bank, and explosions going off in this tiny little spot and I put every single thing in there. [Art Director] John Putnam really appreciated that".

Like many of Mad's contributors, Clarke occasionally appeared in the humorous photos that appeared in the magazine. His most revealing pose was for a 1989 MAD Special for which he'd been assigned to create an actual pair of men's boxer shorts with a repeating pattern of Alfred E. Neuman's face. Clarke impishly arrived at Mad's offices while wearing the underpants, and from there, it took little convincing to get him to model them on the cover of the Special.

Of Clarke's 600+ MAD articles, his favorite was "A MAD Look at the Joys of Scuba Diving", a collaborative 1966 piece that came together with writers Dick DeBartolo and Al Jaffee during a staff trip to San Juan. "We wrote it underwater", recalled Clarke.

He died of pneumonia on March 31, 2013.

title: Bob Clarke (illustrator)


text:
Duck Edwing

Don "Duck" Edwing (1934 – December 26, 2016) was an American gag cartoonist whose work has appeared for years in Mad. His signature "Duck Edwing" was usually accompanied by a small picture of a duck, and duck calls were heard on his answering machine. Mad editor John Ficarra said, "He's exactly how people picture a Mad magazine writer." In 2007, Edwing told an interviewer, "I always believed that when you choose your field, you should specialize. You never deviate. I chose 'sick puppy'."

Early life and career
Born in Brooklyn, New York, Edwing began drawing at age nine. He started making the rounds with his cartoons after leaving the navy in 1958, receiving $5 for his first sale in 1960. His 49-year tenure with Mad spanned six decades, beginning with his first two gag cartoons for the magazine: an installment of the recurring "Scenes We'd Like to See" feature and a sequence called "Nuclear Jitters," both from Mad #70 (April 1962). His last piece appeared in the 515th issue in 2012.

Before drawing his own cartoons, Edwing was the uncredited writer for many of Don Martin's cartoon gags. During Don Martin's final decade with Mad, Edwing began receiving a writer's byline for many of Martin's cartoons, as well as new material from Martin's paperback books. An example from 1986 is "Early One Evening In Las Vegas," in which a man finds that the only way to summon the fire department is to put a dollar bill in an alarm box which is built like a gambler's slot machine. With the exception of a single page of art, Edwing was exclusively a writer at Mad for more than a dozen years before becoming an occasional illustrative contributor in the early 1980s. After Martin left Mad in late 1987, Edwing effectively replaced him as the magazine's one-page gag cartoonist.

Following Martin's death in 2000, Edwing was asked about their working relationship:
 * Martin and I corresponded mostly with phone calls. The Mad editors did all the work by putting us together. I merely cheered Don up on a daily basis by telling him jokes, which had nothing to do with the work in front of him. I marveled at how he would take my chicken scratch sketches of a gag and transform them into a 2-D, animated, spectacular scene. The man was a major talent... l miss him.

Other work
Edwing also wrote Spy vs. Spy for about 12 years, as well as the Spy vs. Spy syndicated comic strip, along with his own feature, Tales from the Duckside. As Mad's "bizarre biz-artist" he authored and drew 17 Mad paperbacks. He also wrote three "Spy vs. Spy" books and Don Martin's "Captain Klutz" material.

Edwing collaborated with Paul Coker Jr. on two comic strips, Lancelot and Horace and Buggy. His cartoons have appeared in Playboy, Look, The Saturday Evening Post and other magazines. Interviewed in 2002, Edwing was asked about his work outside Mad:
 * Dave Manak and myself just finished up working on Spy vs. Spy, the comic strip, and in the past I did a strip with Paul Coker called Horace and Buggy, about smart-ass insects, and I did some writing and artwork for Bob Thaves' Frank and Ernest. For Sweden, I did Super Sock and various lunatic Edwing characters that were highly successful adventures.

The short-lived Spy vs. Spy comic strip was a full-color Sunday strip syndicated by Tribune Media Services as part of Mad's year-long 50th-anniversary celebration. Charter subscribers included The Los Angeles Times, Seattle Post-Intelligencer, Denver Post and Atlanta Journal-Constitution. TMS Director of Creative Services Fred Schecker commented, "We're excited to represent a comic that so many newspaper readers already know and love. It is still as fresh and appealing as ever. In fact, it's aged a whole lot better than I have."

Personal life
Edwing met Clair, who was known as Cluck Edwing, in Virginia in the late 1970s. They married and moved to Florida, where they lived together until her death in 2008.

Edwing created the Golden Gator Award which is given to the wives of cartoonists. In 2003, he began designing slot machines for International Game Technology, the world's largest slot machine developer.

title: Duck Edwing


text:
Darragh O'Mahony

Darragh O'Mahony (born 18 August 1972) is an Irish former rugby union player who played on the wing for Moseley, Bedford Blues, Saracens and Ireland.

title: Darragh O'Mahony


text:
Artel

An artel (арте́ль) was any of several types of cooperative associations and (later) corporate enterprises in the Tsardom of Russia, the Russian Empire, and the Soviet Union. They began centuries ago but were especially prevalent from the time of the emancipation of the Russian serfs (1861) through the 1950s. In the later Soviet period (1960s–1980s), the term was mostly phased out with the complete monopolization of the Soviet economy by the state.

Artels were semiformal associations for craft, artisan, and light industrial enterprises. Often artel members worked far from home and lived as a commune. Payment for a completed job was distributed according to verbal agreements, quite often in equal shares. Often artels were for seasonal industry; fishing, hunting, harvesting of crops, logging, and gathering of wild plants, berries, and mushrooms were prime examples of activities that were in many cases seasonal (although not invariably).

In a 1918 article on Russian education and social structures (as of the late period of the Russian Empire, just before the Soviet Union took shape), Manya Gordon described the artel as follows:

The Artel (association) is another term for the collective ownership and operation of industry. It is one of the oldest and most widespread institutions in Russia. The most ancient of these is the famous fishing Artel of the Cossacks of the Ural. This association had a membership of 15,000 to 20,000 men whose work was carried on under conditions of absolute equality. The fishing-waters, as well as the necessary equipment, were owned in common. The proceeds were divided equally among the members without regard to special skill or any other considerations. The association as a whole was divided up into groups, or minor Artels, of perhaps a score of workers. Each group had its "Elder" who supervised the work and looked after the accounts. The various branches had complete freedom of action, though they shared expenditures and profits.

The organization of the Artel was much simpler than that of the Mir [village collective]. There were no written agreements. Slacking was dealt with by admonition and in chronic cases by expulsion from the Artel. No admission fees were required. All that was required was the capacity and willingness to work. A rather disjointed organization, one would say. On the contrary, it was almost militaristic in the unquestioning obedience rendered to the Elder who was elected annually. Apart from the duties he owed to the Artel, every member was a free agent.

I have described the most powerful of the Artels. But this scheme of association was by no means restricted to the fishing industry. As a rule, small groups of men engaged in active labor organize themselves into an Artel. Although the various Artels prefer the communal mode of living, their general characteristics vary. Some associations, unlike the one I have described, do not own their equipment. In that case, by general agreement the wealthier members of the Artel, who supply the necessary implements, receive extra recompense for their property. Again, there is the Artel which is hired by an employer, or a person who supplies the capital. The Artel members share their earnings in common.

In the later portion of the era of artels, some formalized types of artels emerged, with internal hierarchy and legal agreements. By the 1960s, Soviet reality had mostly killed the original spirit of the artel institution, such that in Yuri Krotkov's 1967 memoir, the term artel is defined for English-language readers in a footnote as "a small workshop, ostensibly co-operative, but actually under government control."

In present-day Russia, there is no legally defined business term "artel" as a type of association; however, some companies use the word "artel" in their name, especially in areas traditionally handled by artels.

title: Artel


text:
Jari Vilén

Jari Pekka Olavi Vilén (born 17 April 1964 in Kemi) is a Finnish diplomat and a politician. Vilén served in the Finnish Parliament, representing the National Coalition Party and the district of Lapland from 1999 to 2007.

Political life
Vilén served as the Minister of Foreign Trade and European Affairs in Prime Minister Paavo Lipponen's second cabinet in 2002–2003. As Minister for Foreign Trade he was responsible for OECD cooperation, competition and trade policy, consumer affairs and tourism. As Minister for European Affairs he was responsible of the enlargement negotiations of the European Union.

Vilén was a member of European Convention from 9 May–10 July 2003. Mr Vilén was chosen as Member of the European Union Convention on Future to be the successor for Matti Vanhanen, sitting Finnish Prime Minister. Its purpose was to produce a draft constitution for the European Union.

Vilén served as a chairman of the Grand Committee of the Parliament of Finland since 18 June 2004 until 21 March 2007. Mr Vilén has become a prominent figure regarding European and international politics in Finland. He writes frequently about wide variety of issues concerning European Union, international, financial and economic policy, education, regional policy as well as defence policy. He has also published and edited writings on the future of European Union.

Mr Vilén has also held numerous confidential posts during his career. Among others he has served as Chairman for the European Movement in Finland (2003–2007), Chairman for the administrative council of the Finnish Fund for Industrial Cooperation Ltd (FINNFUND) (2000–2001, 2003–2007), Chairman for the National Educational Association 2004-, Vice-Chairman for the National Coalition Party Council 1995–2000, Chairman for the Finnish Teacher Student Association 1988–1989, and Chairman for the Conservative Group at the Nordic Council 2001.

During the Mohammed cartoon wars, mr Vilén was the first Finnish politician to condemn the publication of the cartoons in Finland and therefore influencing the Minister of Interiors' decision to initiate the criminal investigations against the organization Suomen Sisu, which published the cartoons on their website.

Foreign service
Vilén announced on 9 December 2006 that he will not run again in elections because there is a chance that he might be moving to international duties after elections.

The President of the Republic, Tarja Halonen, appointed Vilén as the Finnish ambassador to Hungary from 1 August 2007. Vilén has served as a civil servant at the Ministry for Foreign Affairs since 1 April 2007.

On 17 February 2012, the president decided to appoint Vilén as Finland's new ambassador to Warsaw, Poland, effective from 10 September 2012.

In 2014 he was appointed the new EU ambassador to the Council of Europe and took up his functions on 1 September 2014.

From October 2018 to March 2020 ambassador Vilen served as the Senior Advisor in Arctic policy matters in the European Political Strategy Centre (EPSC), the in-house think tank of the European Commission serving President Juncker.

Since March 2020 ambassador Vilén has been serving as Finland's ambassador to Barents and the Northern Dimension in the Ministry of Foreign Affairs.

In May 2023, he was appointed as Finland's ambassador to Canada in Ottawa from September 1, 2023. There he got three written warnings for inappropriate behaviour and sexual harassment.

Education
After finishing his studies and getting the degree of Master of Education from the University of Oulu 1990 Vilén continued his academic career as researcher in Trinity College and as teacher in St Andrews College, Dublin, Ireland 1990–1991, as assistant in the University of Oulu 1991–1992, and as researcher on a grant from the Academy of Finland in Vrije Universiteit, Brussels, Belgium 1992 - 1994. Following allegations of plagiarism, the University of Oulu published an investigation concerning Vilén's master's thesis in 1991. According to the investigation, approximately 50 percent of the text in the thesis is almost identical to other sources without relevant references.

During 2001–2002, after Vilén's election as a minister University of Oulu reinvestigated after a tip Vilén's master thesis from 1989 and concluded that part of the thesis were copied from another source without proper citation. Vilén, his thesis supervisor and Faculty board were all reprimanded. University also stated that there were no legal basis to dissolve the acceptance of the thesis.

Family
In 2005, Jari Vilén married Janina Koski, who at the time of the marriage worked as a parliamentary assistant to Janina Andersson, a member of the Finnish Parliament representing the Green League. Their divorce was announced in 2009. Vilén married again in 2011 in Budapest, this time to Eva Söregi, who is the head of cabinet of the former President of the Hungarian Parliament, Katalin Szili. They had a baby boy on December 10, 2017.

Publications

 * Kiitoskortti Hitleriltä - SS-mies Jorma Laitisen päiväkirjat 1941-43, Vilen, Jari (Author), Jokisipilä, Markku (Author), Minerva, ISBN 9789523750272
 * Suurlähettiläänä kuohuvassa Keski-Euroopassa, Vilen, Jari (Author), Minerva, ISBN 9789523753655

title: Jari Vilén


text:
Paul Peter Porges

Paul Peter Porges (February 7, 1927, Vienna – December 20, 2016, Kingston, Jamaica) was an American cartoonist whose work appeared in many places, including The New Yorker, Mad magazine, Playboy, Harper's, Look and the Saturday Evening Post.

Early life
Paul Peter Porges was born in Vienna in 1927 and was raised in the district of Fünfhaus. His father had a grocery store in Moeringgasse. Following Nazi Germany's invasion of Austria, his parents sent him and his older brother Kurt to the Château de la Guette de Germaine de Rothschild, a children's camp near Paris, in March 1939. In 1940–41 he wandered through the French countryside alone at the age of 13 to avoid capture by the Nazis. Sixty-seven years later, Porges remembered, "It was fantastic! But don't tell anyone!"

Porges was ultimately captured and interned in a deportation camp. He escaped by hiding in a garbage collection, and was smuggled to Switzerland along with other juvenile refugees in 1942. The Swiss authorities discovered them and sent all but Porges back to France; he was spared because he was the only one younger than sixteen. He remained there for the rest of the war, attending art school (today: fr:Haute École d'art et de design Genève ), receiving his certificat d'etude, and meeting his future wife, Lucie Eisenstab. The two had been born months apart in the same hospital back in Vienna.

Immigration to the United States
Porges's brother Kurt had managed to reach England, and eventually joined the U.S. Army. After the war, he obtained a visa for Paul to come to America. He also got visas for their parents, both of whom had been sent to a concentration camp but survived.

Porges's wedding to Eisenstab was delayed by a stint in the army during the Korean War. While in uniform, Porges drew cartoons for army newspapers, including a recurring strip in Stars and Stripes. After being discharged, he began to establish himself as a gag cartoonist for magazines.

Work at Mad magazine
After a few sales, he became a regular contributor to Mad magazine in 1971. His first contribution to Mad was the cover idea for issue #106, in 1966. Over the next four decades he contributed over 200 articles to Mad. Porges was primarily a writer for the first seven years, but Mad began using his artwork more regularly in 1978; between 1986 and 1993, he appeared in 52 consecutive issues. His last feature appeared in Mad #500.

Though he used different illustrative styles in his career, he is perhaps best known for an energetic line combined with monochrome wash.

Following his death, Mad editor John Ficarra wrote a remembrance that included the admiring words "It takes a special kind of twisted mind to imagine what it was like to play shuffleboard on Columbus' ship, the Santa Maria (MAD #223) or dream up "Other Uses for Live Lobsters."

Exhibitions and archive
In 2000 the Jewish Museum Vienna presented a double personal exhibition named Style and Humor, which attracted 64,000 visitors.

In 2001 this exhibition was shown in New York. The opening planned for September 11 was canceled because of the attack on the World Trade Center on that day. In 2007 the museum invited to a fashion show by Lucie Porges.

The pullover that Porges wore from 1939 to 1945 became part of the permanent exhibition in 2013; the family donated the Vienna family archive and major works by Lucie and Paul Peter Porges to the Jewish Museum Vienna in 2015.

Personal life, family and death
Porges's wife Lucie Porges studied fashion in the United States and became a fashion designer for the New York label Pauline Trigère. She died in 2011. PPP, as family and friends called him, went into seclusion. He died on December 20, 2016. He was survived by two daughters, Vivette and Claudia.

title: Paul Peter Porges


text:
Talk:Jari Vilén

Untitled
If anyone has any more information on Jari, please do add it to this article, thanks!--Moosh88 05:31, 5 Jun 2005 (UTC)

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title: Talk:Jari Vilén


text:
Shredded wheat

Shredded wheat is a breakfast cereal made from whole wheat formed into pillow-shaped biscuits. It is commonly available in three sizes: original, bite-sized (¾×1 in) and miniature (nearly half the size of the bite-sized pieces). Both smaller sizes ("Mini-Wheats" and "little bites") are available in a frosted variety, which has one side coated with sugar and usually gelatin. Some manufacturers have produced "filled" versions of the bite-size cereal containing a raisin at the center, or apricot, blueberry, raspberry, cherry, cranberry or golden syrup filling.

In the United States, shredded wheat is most heavily advertised and marketed by Post Consumer Brands, which acquired the product in 1993 through its parent company, Kraft Foods, buying it from its long-time producer Nabisco. Kellogg's sells eight varieties of miniature, or bite-sized, shredded wheat cereal. Manufacturer Barbara's Bakery, a division of Weetabix Limited, also offers a version of plain shredded wheat. In the United Kingdom, the Shredded Wheat brand is owned by Cereal Partners, a Nestlé/General Mills company, although there are many generic versions and variants by different names. It was first made in the United States in 1893, while UK production began in 1926.

United States and Canada
Henry Perky invented shredded wheat cereal in Denver, Colorado, in 1890, as well as founding the "Cereal Machine Company". In 1895, Perky received United States Patent Number 548,086, dated 15 October 1895. The biscuits proved more popular than the machines, so Perky moved East and opened his first bakery in Boston, Massachusetts, and then in Worcester, Massachusetts, in 1895, retaining the name of The Cereal Machine Company, and adding the name of the Shredded Wheat Company. Inspired by his observation of a dyspeptic diner blending wheat with cream, he developed a method of processing wheat into strips that were formed into pillow-like biscuits.

The wheat is first cooked in water until its moisture content reaches about 50%. It is then tempered, allowing moisture to diffuse evenly into the grain. The grain then passes through a set of rollers with grooves in one side, yielding a web of shredded wheat strands. Many webs are stacked together, and this moist stack of strands is crimped at regular intervals to produce individual pieces of cereal with the strands attached at each end. These then go into an oven, where they are baked until their moisture content is reduced to 5%.

Perky first sold his shredded wheat cereal to vegetarian restaurants in 1892, distributing it from a factory in Niagara Falls, New York. A health-oriented publication, The Chicago Vegetarian, recommended the use of shredded wheat biscuits as soup croutons. At the same time, Perky leased cereal-manufacturing machines to bakers in Denver and Colorado Springs through his Cereal Machine Company and sold wheat processors.

One of his wheat-processor buyers, Dr. John Harvey Kellogg, admired Perky's manufacturing process for his shredded wheat cereal. Kellogg declined to purchase Perky's patent on it, however, considering it too weak in taste, "like eating a whisk broom." However, after co-founding the Battle Creek Toasted Corn Flake Company—later the Kellogg Company cereal manufacturer—with his brother Will Keith Kellogg in 1906, John Kellogg observed the success of Perky's product and offered to buy its patent from him, but at too low a price to pique Perky's interest.

Premiering to the public at Chicago's World Columbian Exposition in 1893, shredded wheat cereal was then manufactured by The Natural Food Company in Niagara Falls, New York, in 1901. It became the Shredded Wheat Company in 1904. It was bought by Nabisco (National Biscuit Company) in December 1928.

United States production of Shredded Wheat moved to Naperville, Illinois, in 1954, where it is still made. In 1993, Nabisco sold the brand to Kraft General Foods, but it was still under the Nabisco name until 1999, whereupon it was sold under the slogan "Nabisco brought to you by Post."

Canadian production has been at Niagara Falls, Ontario, since 1904 due to nearby hydro-electric power. Shredded Wheat was also produced in Niagara Falls, New York, first at Nabisco's factory on Buffalo Avenue beginning in 1901. In 1954, a new plant on Rainbow Boulevard opened less than a mile away and the Buffalo Avenue factory was sold. Despite being listed in the National Historic Register in 1974, the Buffalo Avenue plant was demolished in 1976. Production continued at the Rainbow Boulevard plant until it was closed in 2001 as production was consolidated on the Canadian side of the border.

In 1920, Henry Perky's son, Scott Henry Perky, developed a round shredded wheat cereal, which he named Muffets. The Muffets Corporation was sold to the Quaker Oats Company in 1927. The cereal is still marketed in Canada as Muffets, but in the U.S. is now sold as Quaker Shredded Wheat.

History
The original company opened a factory in Welwyn Garden City, Hertfordshire, in 1926 at which time Welgar was its registered trade mark, which became part of Nabisco in 1928. The tall concrete cereal silos that formed part of the factory are a local landmark and are listed structures. The first 18 storage units were completed in 1926 with a further 27 constructed in 1938; in both instances they were built by Peter Lind & Company of London who continues in business today.

In 1988, Nabisco sold the UK site to Rank Hovis McDougall (who made own-label cereals for supermarkets), whose breakfast cereals division briefly became the Shredded Wheat Company. In 1990, RHM sold the site to Cereal Partners. Since 2007, all Shredded Wheat is made at Staverton, Wiltshire, and the Welwyn Garden City site was shut in 2008. The "Bitesize", "Fruitful" and "Honey Nut" Shredded Wheat variants are also made in the UK.

Advertising
Shredded Wheat has a particular place in UK popular culture due to a long-running television advertising campaign. The campaign in the 1970s featured Linda Hoyle, singing the lyrics:
 * "There are two men in my life,
 * To one I am a mother,
 * To the other I'm a wife,
 * And I give them both the best
 * With natural Shredded Wheat"

The Three Shredded Wheat campaign, which came later, suggested that the cereal was so nourishing that it was impossible to eat three. Even a black hole was shown as exploding when the third biscuit was sucked into it. Phrases such as "I bet you can't eat three" and "He must have eaten three" were in common use as humorous remarks in the 1970s and 1980s, with celebrities such as Brian Clough, Peter Shilton, Richard Kiel and Ian Botham all 'unable' to eat three. A later UK poster advertisement for Carling Black Label showed a bowl with four Shredded Wheat and the caption "I bet he drinks Carling Black Label."

Trademark of the term "Shredded Wheat"
After Henry Perky died in 1906 and the patent on his Shredded Wheat biscuit expired in 1912, John Harvey Kellogg saw that as an opportunity for Kellogg's to sell its own version of the product. Kellogg obtained a patent on the biscuit in 1915, and Kellogg's Shredded Wheat was born. This provoked National Biscuit Company to sue Kellogg for trademark infringement, attempting to enjoin him from using Shredded Wheat as a trade name and from manufacturing the cereal in its pillow-shaped form. This series of litigations led to the United States Supreme Court case Kellogg Co. v. National Biscuit Co. in 1938. The Supreme Court ruled that shredded wheat was generic and not trademarkable; and that in any case, when the first patent for shredded wheat machinery expired in 1912, the right to apply the name "shredded wheat" to the product passed into the public domain along with that patent.

Serving and nutrition
Shredded wheat consists entirely of whole wheat. Two biscuits (47 g) contain 160 calories, 1 g of fat and 6 g of dietary fiber (12.8% by weight).

title: Shredded wheat


text:
Talk:Unconscionable

Anything can be called "unconscionable", but if you go to court, you will be raising the defense of "unconscionability". -- BD2412 talk 05:32, 2005 Jun 5 (UTC)

title: Talk:Unconscionable


text:
Stan Hart

Stan Hart (September 12, 1928 – July 27, 2017 ) was an American comedy writer with many television credits.

His work also appeared for decades in Mad. He was closely associated with another Mad writer, Larry Siegel; though the two wrote separately for the magazine, both contributed to the off-Broadway musical The Mad Show, and later to The Carol Burnett Show (for which they won multiple Emmy Awards).

Hart retired and volunteered his time as a writing consultant with a performing arts school in Westchester County called the Youth Theatre Interactions, Inc. Hart died on July 27, 2017.

Filmography

 * Eat and Run (1986) (Movie)
 * The Wonderful World of Disney (1981) (TV)
 * The Hal Linden Special (1979) (TV)
 * Oh, Nurse! (1972) (TV)
 * Move (1970) (as Stanley Hart)
 * The Carol Burnett Show (1967) TV Series (writer) (as Stanley Hart)
 * Wonder Woman: Who's Afraid of Diana Prince? (1967) (TV)

title: Stan Hart


text:
Larry Siegel

Lawrence H. Siegel (October 29, 1925 – August 20, 2019) was an American comedy writer and satirist who wrote for television, stage, magazines, records, and books. He won three Emmys as Head Writer during four seasons of The Carol Burnett Show along with one Writers Guild award and a dozen Emmy and Writers Guild nominations for his work in television comedy on shows like Burnett and Laugh-In. He was one of Mad Magazine's top movie satire writers, and a member of the "usual gang of idiots" for almost 33 years as well as one of the earliest humor and satire writers for Playboy. He was also a WWII Veteran, and the only American comedy writer to have ever both won an Emmy and received a Purple Heart.

Early life
Siegel was born in New York City on October 29, 1925, to a family of Jewish descent. His first published work was a poem, Oh Dear What Can Sinatra Be?, which tweaked both the singer and his bobbysoxer fans, and ran in Earl Wilson's syndicated newspaper column in 1943. The verse read in part:
 * A quivering lip
 * Blaring lovesick rhyme,
 * Her insides flip in double time.

 * A slender frame with sagging knees
 * Yet garnering fame with uncanny ease
 * The stricken dame pants the breeze.

 * Eyes of blue, two hands alike
 * Stretching forth true
 * Lovingly to strike
 * Close to you? No, his mike.

At the age of 18, Siegel was drafted into the Army soon after his contribution to Wilson's column. In early 1944, after concluding infantry basic training in Georgia, he volunteered for additional stateside training with the 10th Mountain Division. The 10th landed in Naples, Italy for battle in January 1945. Siegel became an Army Rifleman and decorated war hero who received a Purple Heart, Bronze Star Medal, American Theater Ribbon, EAME Theater Ribbon with two Bronze Stars, Victory Medal, Combat Infantry Badge, and a Good Conduct ribbon.

After the war ended, Siegel enrolled at the University of Illinois on the G.I. Bill. He wrote for the school humor magazine, Shaft, for two years. He became editor of the publication when his predecessor, Hugh Hefner, graduated, a college connection that would influence his future comedy career. While at college, Siegel had stories published in Fantasy and Science Fiction and American Legion Magazine. Siegel graduated and returned to his family in New York in 1950.

In 1955, while on vacation in Nantucket, Siegel fell in love with Helen Hartman, an aide in the office of United Nations Secretary-General Dag Hammarskjöld in New York. He proposed on their first date and they were married until Siegel's death.

New York
In the late 1950s, Hugh Hefner would enter his life once again when Siegel found work as Eastern Promotion Manager for Chicago-based Playboy. Siegel started writing humorous articles and satirical pieces for Playboy, Humbug and Mad Magazine. He wrote nearly 300 articles for the latter, which appeared in more than 150 issues. Siegel's output for Mad included nearly 80 movie and television parodies, including "The Oddfather," "Balmy and Clod" and "Flawrence of Arabia" as well as a dozen "primers," and several imaginary magazine parodies on topics ranging from medicine, to 1960s protesters, to "gun nuts." Siegel also wrote song parodies, including several of those in the Mad special issue which ultimately provoked a failed lawsuit by Irving Berlin and other composers which established certain copyright law protections that endure to this day.

In 1965, at the behest of composer Mary Rodgers and Mad publisher William Gaines, Siegel collaborated with Stan Hart on The Mad Show.

California
The world-wide success of The Mad Show brought the Siegel and Hart families to Los Angeles in 1968. There, they wrote a Flip Wilson special for NBC and a pilot for 20th Century Fox producer David Gerber called Oh Nurse!

In 1970, Siegel was hired by producer George Schlatter to write for Laugh-In. He later broke contract to write for Carol Burnett with Stan Hart. The team spent three years with Burnett, during which they won two Emmys and were nominated for another. Siegel and Hart parted from the Burnett show in 1974, and Siegel helped launch That's My Mama on ABC. He returned for the final season of Carol Burnett's show in 1977 and won a third Emmy.

In the early 1980s, Siegel was hired as part of a team of writers to pen a sequel of sorts to the hit LP record The First Family. Titled The First Family Rides Again and highlighting mimic Rich Little, the follow-up dealt with the life of Ronald Reagan.

During the 1990s, Siegel spent three years teaching comedy writing at UCLA before turning to acting and joining the Screen Actors Guild. He did commercials for companies including IBM and Northwest Airlines and also performed in stage musicals in the Los Angeles area. At the age of 87, Siegel was still doing improvisational comedy, writing, and performing in sketches for shows at the Broad Theater in Santa Monica, California. He died on August 20, 2019, at the age of 93.

title: Larry Siegel


text: User talk:69.66.74.190

title: User talk:69.66.74.190


text:
Wikipedia:Articles for deletion/Alisonfire

 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. — Trilobite (Talk) 15:06, 15 Jun 2005 (UTC)

Alisonfire
Non notable as per WP:MUSIC Sasquatch′↔Talk↔Contributions 05:33, Jun 5, 2005 (UTC)
 * Delete, I can find no evidence of passing WP:MUSIC. Btw Sasquatch I think you need to use subst:vfd2 not just vfd2 when nominating, or we can't edit the page. Kappa 08:20, 5 Jun 2005 (UTC)
 * Delete. Doesn't pass WP:MUSIC guidelines. Also, Wikipedia is not a crystal ball. Sarg 13:25, 5 Jun 2005 (UTC)
 * Delete band vanity. Wait til they make it big. --Etacar11 23:33, 5 Jun 2005 (UTC)
 * Delete Alexisonfire is an existing band. Surely they could think up a more original name...  Grue   05:13, 6 Jun 2005 (UTC)
 * Keep This is a viable entry about a viable band --User:Gluesniffer525
 * Note this page gets vandalized often.  Grue   18:59, 9 Jun 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:
SSEM

SSEM can refer to:
 * Manchester Baby or Small-Scale Experimental Machine, historic computer
 * South Seas Evangelical Mission, missionary organization in the Solomon Islands
 * Serial-section electron microscopy (ssEM), a form of transmission electron microscopy

Abreviación de la Secretaria de Seguridad del Estado de México S.S.E.M. (Policía del Estado de México) anteriormente Comisión Estatal de Seguridad Ciudadana (CES) y que se le modifico el nombre al tomar posesión de la gobernatura el Lic. Alfredo del Mazo 2017.

title: SSEM


text:
Angelo Torres

Angelo Torres (born April 14, 1932, in Santurce, Puerto Rico) is an American cartoonist and caricaturist whose work has appeared in many noteworthy comic books, as well as a long-running regular illustrator for Mad.

EC Comics
Torres was friends with artist Al Williamson in the early 1950s and occasionally assisted him on work for EC Comics with fellow artists Frank Frazetta and Roy Krenkel (known as the Fleagle Gang). The story which was to be Torres' first solo EC story, "An Eye for an Eye" in Incredible Science Fiction #33 (Jan.-Feb. 1956), was rejected by the Comics Code and did not see print for the first time until 1971.

Atlas Comics
When the EC comics line ended after the enforcement of the Comics Code, Torres (and several other EC alumni) went to Atlas Comics (later to be known as the Marvel Comics Group) and drew a number of short stories for their mystery titles in 1956-57, titles such as Astonishing, Spellbound, Uncanny Tales, Marvel Tales and many others.

Warren Publishing
Torres later worked for Warren Publishing under editor Archie Goodwin. He contributed art on 20 stories for Creepy, Eerie and Blazing Combat from 1964 through 1967.

Mad Magazine
From October 1969 until April 2005 he drew the satires of contemporary U.S. television shows (and later movies) as the penultimate feature in Mad magazine (whereas Mort Drucker drew the movie parodies in its opening portions).

He was named #61 in Atomic Comics' (retailer) list of The Top 100 Artists of American Comic Books.

Recent work
Torres drew five "what if?"-pseudo-covers for comic historian Grant Geissman's book The History of EC Comics, appearing in the end of the book, under the general guideline, " what if the anti-comics crusade which took down EC and countless competitors had been able to survive the McCarthy Era censorship assault, and EC had asked Torres to illustrate its covers?"

Society of Illustrators Museum of Illustration Exhibition
For his 90th birthday, The Society of Illustrators in New York City fêted Torres with a comprehensive exhibition of his vast body of work: "What, Me PANIC? Celebrating Angelo Torres" from May 11 through September 3, 2022 with several hundred never-before-seen pieces of original art from his tenure with EC, Marvel, Warren, MAD and more, photos, comics, magazines and memorabilia. Robert L. Reiner curated the show with assistance from Clint Morgan, who also designed the exhibition program (https://societyillustrators.org/shop/books-media/si-publications/signed-what-me-panic-celebrating-angelo-torres-exhibition-catalog), and the filmmakers Ian Scott McGregor and Will Mayo produced a short documentary - My Dinner with Angelo - interviewing and revisiting the career of Angelo Torres (https://www.youtube.com/watch?v=eycPHlNU_48)

The Unwanted by Otto Binder
Angelo Torres provided layouts and pencils for a "new work" by the late Otto Binder (1911-1974). Adapted by Robert L. Reiner, the story was written in 1953 and was previously unpublished. Stefan Koidl, a Salzburg-based sculptor and master digital artist provided finishing art. Titled, "The Unwanted," the story is a parable where a society learns to be careful what it wishes for and to understand what it means to be unwanted. Fantagraphics is the publisher.

title: Angelo Torres


text:
Jack Rickard

Jack Rickard (March 8, 1922 – July 22, 1983) was an American illustrator for numerous advertising campaigns and multiple comic strips but was best known as a key contributor to Mad for more than two decades. Rickard's artwork appeared in more than 175 Mad issues, including 35 covers; he also illustrated sixteen Mad paperback covers.

After attending the Rochester Institute of Technology on an art scholarship, Rickard did commercial art for Chaite Studios in the 1950s. He illustrated covers for "men's magazines" such as "Adventure" and "True Detective", contributed to Charlton Comics and worked as an assistant on the Li'l Abner comic strip. Soon after, he became a mainstay in the advertising field, where his work attracted the attention of Mad's editors. He began illustrating for the humor magazine in 1961 and remained a regular until his death from cancer 22 years later.

Comic strip
In 1966–1967, he collaborated with Mell Lazarus on a newspaper comic strip, Pauline McPeril (a.k.a. The Adventures of Pauline McPeril) for Publishers-Hall Syndicate. Lazarus used the pseudonym "Fulton" on this strip, which followed the misadventures of blonde secret agent McPeril.

Mad
Mad editor Nick Meglin commented, "I think of all the artists we've had, we miss Jack the most. Jack had so many styles, such a total command of all techniques. He was especially useful when we wanted something to have a real rounded, 3-D look to it." After Norman Mingo semi-retired in 1976, Rickard became Mad's main cover artist until his death seven years later.

He also illustrated for the original Mad paperbacks, including Frank Jacobs' Mad About Sports (1972). Some of his Mad work was reprinted in Richard Linklater's ''Dazed and Confused: Teenage Nostalgia. Instant and Cool 70's Memorabilia (MCA, 1993), a tie-in with Linklater's 1993 film, Dazed and Confused''.

Film posters
Rickard's style was in demand for film promotional artwork and posters. Among his numerous assignments, he created the poster art for two Sidney Poitier films, Uptown Saturday Night and Let's Do It Again, and for two Peter Sellers films, the 1963 film The Pink Panther and the 1974 Soft Beds, Hard Battles (a.k.a. Party for Hitler and Undercovers Hero). Rickard illustrated both the original film poster for Bob & Carol & Ted & Alice and its parody on the cover of Mad #137.

title: Jack Rickard


text:
Category:Armenian actors

This category is for actors who were nationals of the modern nation of Armenia. Ethnic Armenians who were nationals of India, the Ottoman Empire, Egypt, Lebanon, the United States, the Soviet, the Russian Empire, France, Russia, the United Kingdom or other countries should be in Category:Ethnic Armenian actors.

title: Category:Armenian actors


text:
Florida State Road 570

State Road 570 (SR 570), also known as the Polk Parkway, is a 24 mi controlled-access toll road which runs through Polk County, Florida. It is operated as part of Florida's Turnpike Enterprise system of tolled freeways. The Polk Parkway mainly serves as a beltway around Lakeland forming a semicircle, which along with I-4 circumscribes most of the city limits of Lakeland.

As part of Florida's Turnpike network, SunPass, E-Pass, and LeeWay electronic toll collection were recognized along with coin collection at toll plazas and interchange ramps. The Polk Parkway didn't, however, employ open road tolling like numerous other toll roads in Florida until on September 23, 2022, at 8:00 pm, when it went to all-electronic tolling, like the other toll roads within the network.

Route description
SR 570 provides easier access to I-4 from Polk County cities Lakeland, Winter Haven, Bartow, Mulberry, and Auburndale, as well as providing quick routes from city to city. The road is signed east–west, although the section from SR 540 (exit 14) to the eastern I-4 junction runs nearly south to north. The control cities for the highway's signage are Tampa (westbound) and Orlando (eastbound). The Polk Parkway is a four lane divided expressway for most of its length, although between Old Dixie Highway (Exit 18) and 0.5 mi south of Pace Road (exit 23), the highway is a two-lane expressway, with one lane in each direction. As of 2015, the toll is $1.25 cash or $1.06 with SunPass at the three mainline toll plazas and $0.00-0.75 cash or $0.00-$0.53 with SunPass at junctions. The maximum toll for any trip along the Polk Parkway is $3.75 cash or $3.18 with SunPass.

The Polk Parkway begins at Interstate 4 near the Hillsborough-Polk County line west of Lakeland. Until reaching Harden Boulevard (exit 5), the Polk Parkway passes through mostly undeveloped land. Just east of Airport Road (exit 3), the highway passes a large building with a green glass facade, which is the corporate headquarters for Publix Supermarkets. Before reaching exit 4, the highway runs a half mile northeast of Lakeland Linder International Airport—a large general aviation airport—passing beneath the path of air traffic on Runway 5/23. Between Harden Boulevard (exit 5) and South Florida Avenue (exit 7), the Polk Parkway was built along the alignment of Drane Field Road, which is now truncated at Harden Boulevard and continues to South Florida Avenue as frontage roads along the Polk Parkway. The first mainline toll plaza is located between South Florida Avenue and Lakeland Highlands Road. The eastbound exit and westbound entrance at SR 540 (exit 14) are located at the Central Toll Plaza. After crossing De Castro Road, the Polk Parkway curves to the north, passing the only operating landfill in Polk County. Along the curve is the westbound exit and eastbound entrance of the SR 540 junction, which is the location of the planned interchange with the future Central Polk Parkway. The Polk Parkway continues north for the remainder of its length. A 4 mi segment between Old Dixie Highway and Pace Road is a two-lane highway; the only overpass along this segment was built to accommodate a second carriageway west of the current highway. About midway between Old Dixie Highway and Pace Road is the Eastern Toll Plaza. The Pace Road interchange collects tolls with SunPass only and was added to the highway in 2011 to provide access to Florida Polytechnic University, located on the southwest corner of the I-4/Polk Parkway interchange.

History
The Polk Parkway was originally conceived in the 1950s as a circumferential route around Lakeland, and after several delays in planning due to funding shortfalls, it was revived as the Imperial Parkway by the Polk County Commission in 1986. Due to the delays, a proposal in the 1970s/1980s that would have connected the parkway with the Lee Roy Selmon Expressway never came to fruition. In the spring of 1990, the Florida Legislature led by Senate leader and Winter Haven resident Bob Crawford, incorporated the Polk Parkway into the Turnpike Expansion Program, a part of Senate Bill 1316. The Parkway's groundbreaking was on January 25, 1996. The western 7.5 mi of the Parkway opened to traffic on August 9, 1998. The central section, approximately 10 mi in length, opened to traffic on 2 August 1999. The easternmost 7.5 mi of road opened to traffic on 12 December 1999, completing the highway at a cost of $490 million.

In the late summer of 2009, the Turnpike began widening the Polk Parkway from Interstate 4 at Polk City south to Pace Road from two lanes to four lanes. This $48 million design-build project includes construction of a SunPass-only interchange at Pace Road (exit 23), featuring a modified cloverleaf design, with a 25 cent toll for the to-and-from the east (north) movement. The to-and-from the west (south) movement is not tolled as there is a mainline plaza to the west where the toll will be collected. The interchange opened on November 10, 2011, providing access to the new Florida Polytechnic University campus. The project is a public-private partnership between the Florida Department of Transportation—Florida’s Turnpike Enterprise, USF Polytechnic, the Polk County Board of County Commissioners and The Williams Company.

The 1998 Florida Legislature designated the western 7 mi of the Polk Parkway (between Interstate 4 and South Florida Avenue (State Road 37) as the James Henry Mills Medal of Honor Parkway. Mills was the only native of Polk County to receive a medal of honor in World War II, in recognition of his heroic actions in Cisterna, Italy.

Future
The Polk Parkway has become an important part of Polk County's transportation infrastructure as traffic has increased in the growing county.

There have been several plans presented to the public regarding a proposed Heartland Parkway which would be a roughly 110 mi parkway extending from the Polk Parkway to Southwest Florida near Ft. Myers.

There has also been a proposal to construct an extension from the Polk Parkway encircling Winter Haven and connecting with I-4 near the Polk-Osceola county line. Another proposed parkway would connect the southeast corner of the Polk Parkway with State Road 60 east of Lake Wales. These will be realized as the Central Polk Parkway (SR 570B), which is currently in the design phase.

title: Florida State Road 570


text:
List of chutney musicians

This is a list of chutney musicians:

Individuals

 * Ravi Bissambhar
 * Ramdew Chaitoe
 * Rikki Jai (1998, 1999, 2001, 2002, joint-2003 Chutney Soca Monarch)
 * Sundar Popo
 * Neeshan Prabhoo
 * Drupatee Ramgoonai
 * Heeralal "Hero" Rampartap (1997, joint-2003, 2005 Chutney Soca Monarch)
 * Adesh Samaroo
 * Kumari Kanchan Dinkerao Mail Shah
 * Ras Shorty
 * Rakesh Yankaran

title: List of chutney musicians