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User talk:GL3N

Nomination of LegalMatch for deletion
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Wikiproject British TV channels
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File permission problem with File:MarkBanin.jpg
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LDN Wrestling
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ArbCom elections are now open!
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Rollins
WP:ELNO discourages linking social network sites, like Twitter and Facebook.LM2000 (talk) 21:40, 16 January 2016 (UTC)
 * That refers mostly to official websites, see WP:Twitter-EL. If you glance at WP:FA bios, none link to Twitter and Facebook.  You can take this to WT:PW if you want, since your edits affect many articles throughout the wikiproject.  In the past we have not included facebook and twitter external links in wrestler bios.LM2000 (talk) 22:25, 16 January 2016 (UTC)

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Proposed deletion of LDN Wrestling

The article LDN Wrestling has been proposed for deletion because of the following concern:
 * non-notable wrestling promotion. Relies on primary sources.

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Nomination of LDN Wrestling for deletion
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title: User talk:GL3N


text:
The Hatchet Man

The Hatchet Man (1932) is a pre-Code film directed by William A. Wellman and starring Edward G. Robinson. Warner Bros. had purchased the David Belasco/Achmed Abdullah play The Honorable Mr. Wong about the Tong gang wars. Made during the few years before strict enforcement of the Production Code, The Hatchet Man has elements that would not be allowed later, such as adultery, narcotics, and a somewhat graphic use of a flying hatchet.

The opening crawl reads: 'San Francisco's Chinatown 15 years ago (1917) had the largest Oriental population of any colony outside China. Its 40,000 yellow residents were divided into various political factions known as Tongs, each governed by a president and council. These various Tongs were almost constantly at war, so the office of “hatchet man” was one of special importance. The honorable title of “hatchet man” was passed from father to son by inheritance only, and it was he, with the aid of his sharp axe, who dispensed the justice of the great God Buddha...'

Plot
“...Our story opens following the death of Hop Li, member of the powerful Lem Sing Tong, and we see his funeral procession passing down DuPont Street”...

A huge dragon banner unfolds, declaring war. People panic: men sharpen hatchets; shops are shuttered. Wong Low Get is summoned from Sacramento to take revenge for Hop's death. He is stunned when the council president, Nog Hong Fah, tells him that Sun Yat Ming, his friend since childhood, is the guilty party. Sun is surprised and pleased to see Wong. He has prepared for his own assassination: His will leaves everything to his old friend. He also asks Wong to raise his little daughter, Toya San, and marry her when she comes of age. Wong agrees—and then reveals that he is the Lem Sing Tong hatchet man. Wong swears before the Buddha that Toya will never know “the song of sorrow.” Sun calmly kneels and prays and forgives Wong's “innocent hand its stroke of justice.”

Chinatown “today”.. “a far cry from what we have just seen. Gone are the warring Tongs—Gone are the queues and chop-sticks.” Wong, a prominent businessman, is wealthy and happy. Nog detests change, especially the way that women are being spoiled “by intelligence and freedom”. It is Toya's birthday; it should be the day of her betrothal. Nog is appalled to learn that Wong will defy tradition and give her a choice.

Wong offers Toya his mother's ring and declares his love. He is overjoyed when she replies “My father's wish is also mine.” He kneels before the statue of Buddha, affirming his promise to bring her only happiness.

On the day of the wedding, the Bing Foo, an outlaw Tong based in Sacramento, declares war. Wong fears a nationwide conflict and the transformation of Tongs into gangsters. Nog hires bodyguards, and the handsome young gangster, Harry En Hai (Leslie Fenton) is assigned to Wong. Toya is a modern girl with a good education, and at first she gives Harry the brush off.

Wong and Toya are happy together, but threats and blackmail from Sacramento continue. Wong's devoted clerk, Chung Ho, is killed, and Wong goes to Sacramento to meet with the Bing Foo. Only Big Jim Malone, the white gangster who started the war, refuses to cooperate. Wong eliminates him, and the war ends.

Meanwhile, Harry has seduced Toya. When Wong returns, he finds them embracing passionately. She steps between Harry and Wong, and recalls his promise to make her happy, always. Wong gives Toya and her happiness to Harry, making him swear, warning that if he breaks faith Buddha will find him. Because of this “unworthy act”, Wong is stricken from the Tong's records everywhere. Shunned, he falls into poverty.

At last, Wong hears from Toya in a note, “written from a living death” in China, to tell him she loves only him. The government caught Harry selling opium, and deported both of them. Wong redeems his hatchets from pawn and heads across the Pacific to China, working as a stoker.

Toya is prisoner in an opium den/brothel, sold to Madame Si-Si by Harry. Harry sees Wong, but thinks he is a drug-induced hallucination. Toya faints when she sees him, but Wong has only love for her. He confronts Madame Si-Si and demands his wife, by ancient Chinese law and on the honor of a hatchet man. Madame SiSi scoffs; he proves it by hitting the eye of a dragon in a wall painting. Toya and Wong leave. He promises to return for Harry. On the other side of the partition, Madame Si Si shrieks at an unresponsive Harry while her servant removes the hatchet from the partition—and from Harry's skull. Harry's body falls, Cut to the statue of Buddha; Wong repeats his warning to Harry. “The great Lord Buddha will find you no matter where you are on the face of the Earth”.

Cast

 * Edward G. Robinson as Wong Low Get
 * Loretta Young as Sun Toya San
 * Dudley Digges as Nog Hong Fah
 * Leslie Fenton as Harry En Hai
 * Edmund Breese as Yu Chang
 * Tully Marshall as Long Sen Yat
 * J. Carrol Naish as Sun Yat Ming
 * Charles Middleton as Lip Hop Fat
 * E. Alyn Warren as Soo Lat, The Cobbler
 * Edward Peil, Sr. as Bing Foo
 * Otto Yamaoka as Chung Ho
 * Ralph Ince as “Big Jim” Malone

Production
Contemporary reviews, including The New York Times, make the mistake of calling J. Carroll Naish's character “Sun Yat Sen” instead of Sun Yat Ming, a slip probably caused by familiarity with the name of the real Sun Yat Sen, one of the great leaders of modern China.

According to Naish's obituary in The New York Times, this was his first major film and the first of his many dialect roles, but he never played his own ethnicity—Irish.

Throughout the film, Music Director Leo F. Forbstein uses variations on “Poor Butterfly“, a popular song released in 1916. “Poor Butterfly” was inspired by Giacomo Puccinni's tragic opera Madama Butterfly.

The film was released in Britain as The Honourable Mr. Wong.

TCM's Brian Cady observes: “As was typical of the time, almost no Asian actors appear in the cast of a film set completely among Chinese characters. Makeup artists had noticed that audiences were more likely to reject Western actors in Asian disguise if the faces of actual Asians were in near proximity. Rather than cast the film with all Asian actors, which would have then meant no star names to attract American audiences, studios simply eliminated most of the Asian actors from the cast.”

Reception
Mordaunt Hall of The New York Times described the film as a “grim melodrama...a fast-moving tale with an Oriental motif and one of its particularly effective features is the make-up of the players, not so much that of Mr. Robinson but of others, especially Dudley Digges and Loretta Young...” International Photographer commended Robinson for maintaining audience sympathy despite "the gruesomeness of his (character's) art" and described Young's makeup (though not her acting) as "an artistic triumph."

Leonard Maltin gives the picture two and a half out of four stars, calling it a “Fascinating yarn about Chinatown tongs, and Robinson's attempts to Americanize himself. Potent melodrama, once you get past obvious barrier of Caucasian cast.“

Box office
According to Warner Bros. records, the film earned $491,000 in the U.S. and $251,000 elsewhere.

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

title: The Hatchet Man


text:
Talk:Brookline, Massachusetts

Cemeteries

 * Old Burying Ground 1.54 acres 1717
 * Brookline's first cemetery, consecrated in 1717. Many past prominent citizens of the Town are buried here.
 * The Old Burying Ground, also known as Walnut Street Cemetery...

 * Walnut Hills Cemetery (Brookline, Massachusetts) 45.26 acres 1875

Please start an article for the Old Burying Ground, also known as Walnut Street Cemetery -- and add them to the Brookline article. -96.233.19.238 (talk) 15:00, 3 April 2013 (UTC)

 * There is now an article on the Old Burying Ground. It's a bit stubby right now, and could use help if anybody's interested.    Poppy Tomato (talk) 00:04, 9 May 2015 (UTC)

Suburban Town?
I would dispute the characterization of Brookline as a suburban town, which appears at the very beginning of this article. While the southern part of Brookline is suburban in character, the northern part of town (which is also the eastern part of town) is definitely urban in character. It's an affluent urban area, unlike most of the neighboring City of Boston, though not as affluent as the southern part, but it is very densely populated. Bostoner (talk) 22:47, 10 December 2013 (UTC)

 * It was suburban in 1970 (guess), but it became more urban because people moved in. I know because I live there. 26zhangi (talk) 11:51, 12 September 2021 (UTC)

Pronunciation?
Does anyone pronounce "Brookline" as "brook-linn" (i.e., same as Brooklyn, NY, minus any Brooklynese)? When I was in Boston, that's how I remember it being pronounced (the memory is several decades old, however). BMJ-pdx (talk) 19:44, 28 May 2020 (UTC)

 * No, I don't think they do. AJD (talk) 20:01, 28 May 2020 (UTC)

Map
For the x-to-the-yth-power time, I come to Wikipedia with one of the most elementary inquiries on a topic, and what do I find? A good, solid article that otherwise fails to get past square one. Where is a map of your town?

Oh, I see. After a cheerful 18 years this article has been online, the only visual geodata for one of the most noted municipalities in the United States is a map from 1858. Yeah, that'll do.

And when I say map, I mean showing the town line, and within it the major roads, rail lines, neighborhood names, historic places, etc. I came here expressly to ascertain whether a particular feature, very near the town line, lies in Brookline or not. I leave with my question unanswered.

Oh, you think we can simply go to Google Maps instead? Nope. Google has much detail, but as if you hadn't noticed, the dopes withhold municipal boundaries. Except for locations near a town center, you cannot determine in which town anything is located.

So you have a great opportunity to start a new trend on Wikipedia.

Jimlue (talk) 18:38, 18 June 2021 (UTC)

 * Sorry. Ask somebody else for a map or upload one yourself. 26zhangi (talk) 19:19, 13 September 2021 (UTC)

title: Talk:Brookline, Massachusetts


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Mount baronets

The Mount baronets are a family with a baronetcy in the United Kingdom.

The baronetcy was settled on William Mount on 21 June 1921 and is extant.

Wasing, Berkshire, is the family seat.

Mount Baronets, of Wasing (1921)

 * Sir William Arthur Mount, 1st Baronet (1866–1930)
 * Sir William Malcolm Mount, 2nd Baronet TD DL (28 December 1904–22 June 1993)
 * Robert Francis Mount (1907–1969), second son of the 1st Baronet and father of the 3rd Baronet
 * Sir William Robert Ferdinand Mount, 3rd Baronet (born 1939)

The heir apparent to the baronetcy is the 3rd Baronet's eldest son, William Robert Horatio Mount (born 1969).

title: Mount baronets


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Dragon Khan

Dragon Khan is a steel sit-down roller coaster in the PortAventura Park theme park in Salou and Vilaseca (Tarragona), Catalonia, Spain. It has eight inversions, which was a world record until the opening of the ten-inversion Colossus in Thorpe Park, United Kingdom in 2002.

The ride, built by Bolliger & Mabillard (B&M), opened on May 2, 1995 and was one of the two roller coasters present on PortAventura's opening. The track is red with white and pastel blue supports; the trains are green, blue and purple (a third train is run at peak times only).

The ride
After boarding the ride, riders climb to the top of the lift hill 45 m, crossing under one of Shambhala's return airtime hills. At the crest of the lift hill, Dragon Khan's track crosses under Shambhala's lift hill and hits a pre-drop. The track makes a right hand turn, then immediately dives down the first drop, threading under Shambhala's first drop and over its splashdown, and entering a 36 m vertical loop. This is immediately followed by a dive loop. Right after this, the track goes through a zero-g roll which threads through the second vertical loop, and a cobra roll. The track then rises up into the midcourse brake run. Off the midcourse brake run, the track makes a near-miss with Shambhala's first drop as it drops to the right, crossing under the exit from the first loop, and into a second vertical loop which wraps around the zero g roll. Leaving the second loop, the track passes goes through a 270 degree counterclockwise upward helix, before entering a set of interlocking corkscrews. The ride then makes a left turn into the final brake run, passing under the center point in the cobra roll, before re-entering the Chinese-themed station. The track is 1285 m, and the ride's top speed is over 104 km/h. The ride's duration is 1 minute and 45 seconds. The ride, thus far, has more inversions than any other B&M coaster made before or after.

The ride has a total of three trains, each containing seven cars. Riders are arranged four across in a single row for a total of 28 riders per train.

The theme for this ride is based on Chinese mythology: the dragon Khan was the reincarnated spirit of the evil Prince Hu of Beijing. His fury was unleashed each time a human dared to climb atop his back. This links in with the fact that the ride is located at the very back of the park in the Chinese themed area. Due to this ride's placement, it can be seen from anywhere inside the park, as well as from nearby hotels and the Reus airport.

title: Dragon Khan


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The Ant and the Grasshopper

The Ant and the Grasshopper, alternatively titled The Grasshopper and the Ant (or Ants), is one of Aesop's Fables, numbered 373 in the Perry Index. The fable describes how a hungry grasshopper begs for food from an ant when winter comes and is refused. The situation sums up moral lessons about the virtues of hard work and planning for the future.

Even in Classical times, however, the advice was mistrusted by some and an alternative story represented the ant's industry as mean and self-serving. Jean de la Fontaine's delicately ironic retelling in French later widened the debate to cover the themes of compassion and charity. Since the 18th century the grasshopper has been seen as the type of the artist and the question of the place of culture in society has also been included. Argument over the fable's ambivalent meaning has generally been conducted through adaptation or reinterpretation of the fable in literature, arts, and music.

Fable and counter-fable
The fable concerns a grasshopper (in the original, a cicada) that has spent the summer singing and dancing while the ant (or ants in some versions) worked to store up food for winter. When winter arrives, the grasshopper finds itself dying of hunger and begs the ant for food. However, the ant rebukes its idleness and tells it to dance the winter away now. Versions of the fable are found in the verse collections of Babrius (140) and Avianus (34), and in several prose collections including those attributed to Syntipas and Aphthonius of Antioch. The fable's Greek original cicada is kept in the Latin and Romance translations. A variant fable, separately numbered 112 in the Perry Index, features a dung beetle as the improvident insect which finds that the winter rains wash away the dung on which it feeds.

The fable is found in a large number of mediaeval Latin sources and also figures as a moral ballade among the poems of Eustache Deschamps under the title of La fourmi et le céraseron. From the start it assumes prior knowledge of the fable and presents human examples of provident and improvident behaviour as typified by the insects. As well as appearing in vernacular collections of Aesop's fables in Renaissance times, a number of Neo-Latin poets used it as a subject, including Gabriele Faerno (1563), Hieronymus Osius (1564) and Candidus Pantaleon (1604).

The story has been used to teach the virtues of hard work and the perils of improvidence. Some versions state a moral at the end along the lines of "An idle soul shall suffer hunger", "Work today to eat tomorrow", and "July is follow'd by December". In La Fontaine's Fables no final judgment is made, although it has been argued that the author is there making sly fun of his own notoriously improvident ways. But the point of view in most retellings of the fable is supportive of the ant, a point of view influenced by the commendation in the biblical Book of Proverbs, which mentions the ant twice. The first proverb admonishes, "Go to the ant, you sluggard! Consider her ways and be wise, which having no captain, overseer or ruler, provides her supplies in the summer, and gathers her food in the harvest" (6.6–8). Later, in a parallel saying of Agur, the insects figure among the 'four things that are little upon the earth but they are exceeding wise. The ants are a people not strong, yet they provide their food in the summer.' (30.24–25)

There was, nevertheless, an alternative tradition also ascribed to Aesop in which the ant was seen as a bad example. This appears as a counter-fable and is numbered 166 in the Perry Index. It relates that the ant was once a man who was always busy farming. Not satisfied with the results of his own labour, he plundered his neighbours' crops at night. This angered the king of the gods, who turned him into what is now an ant. Yet even though the man had changed his shape, he did not change his habits and to this day goes around the fields gathering the fruits of other people's labour, storing them up for himself. The moral given the fable in old Greek sources was that it is easier to change in appearance than to change one's moral nature. It has rarely been noticed since Classical times. Among the few prominent collectors of fables who recorded it later were Gabriele Faerno (1564), and Roger L'Estrange (1692). The latter's comment is that the ant's "Vertue and Vice, in many Cases, are hardly Distinguishable but by the Name".

In art

Because of the influence of La Fontaine's Fables, in which La cigale et la fourmi stands at the beginning, the grasshopper then became the proverbial example of improvidence in France: so much so that Jules-Joseph Lefebvre (1836–1911) could paint a picture of a female nude biting one of her nails among the falling leaves and be sure viewers would understand the point by giving it the title La Cigale. The painting was exhibited at the 1872 Salon with a quotation from La Fontaine, Quand la bise fut venue (When the north wind blew), and was seen as a critique of the lately deposed Napoleon III, who had led the nation into a disastrous war with Prussia. Another with the same title, alternatively known as "Girl with a Mandolin" (1890), was painted by Edouard Bisson (1856–1939) and depicts a gypsy musician in a sleeveless dress shivering in the falling snow. Also so-named is the painting by Henrietta Rae (a student of Lefebvre's) of a naked girl with a mandolin slung over her back who is cowering among the falling leaves at the root of a tree.

The grasshopper and the ant are generally depicted as women because both words for the insects are of the feminine gender in most Romance languages. Picturing the grasshopper as a musician, generally carrying a mandolin or guitar, was a convention that grew up when the insect was portrayed as a human being, since singers accompanied themselves on those instruments. The sculptor and painter Ignaz Stern (1679–1748) also has the grasshopper thinly clad and shivering in the paired statues he produced under the title of the fable, while the jovial ant is more warmly dressed. But the anticlerical painter Jehan Georges Vibert has male characters in his picture of "La cigale et la fourmi" from 1875. It is painted as a mediaeval scene in which a minstrel with a tall lute on his back encounters a monk on a snow-covered upland. The warmly shrouded monk has been out gathering alms and may be supposed to be giving the musician a lecture on his improvidence. By contrast, the Naturalist Victor-Gabriel Gilbert (1847–1933) pictures the fable as being enacted in the marketplace of a small town in Northern France. An elderly stall-keeper is frowning at a decrepit woman who has paused nearby, while her younger companion looks on in distress. In his lithograph from the Volpini Suite, “Les cigales et les fourmis” (1889), Paul Gauguin avoids making a judgment. Subtitled ‘a souvenir of Martinique', it pictures a group of women sitting or lying on the ground while in the background other women walk past with baskets on their heads. He is content that they exemplify the behaviour proverbially assigned to the insects without moral comment.

For a long time, the illustrators of fable books had tended to concentrate on picturing winter landscapes, with the encounter between the insects occupying only the lower foreground. In the 19th century the insects grew in size and began to take on human dress. It was this tendency that was reproduced in that curiosity of publishing, the 1894 Choix de Fables de La Fontaine, Illustrée par un Groupe des Meilleurs Artistes de Tokio, which was printed in Japan and illustrated by some of the foremost woodblock artists of the day. Kajita Hanko's treatment of the story takes place in a typical snowy landscape with the cricket approaching a thatched cottage, watched through a window by the robed ant. An earlier Chinese treatment, commissioned mid-century by Baron Félix-Sébastien Feuillet de Conches through his diplomatic contacts, uses human figures to depict the situation. An old woman in a ragged dress approaches the lady of the house, who is working at her spinning wheel on an open verandah.

Use of the insects to point a moral lesson extends into the 20th century. In Jean Vernon's bronze medal from the 1930s, the supplicant cicada is depicted as crouching on a branch while the ant rears up below with its legs about a beechnut. Engraved to one side is its sharp reply, Vous chantiez, j’en suis fort aise./ Eh bien, dansez maintenant. (You sang? I'm glad; now you can dance.) Jacob Lawrence depicts much the same scene in his 1969 ink drawing of the fable, but with a different moral intent. There a weeping grasshopper stands before a seated ant who reaches back to lock his storeroom door. It is notable that artistic sentiment has by now moved against the ant with the recognition that improvidence is not always the only cause of poverty. Nevertheless, Hungary used the fable to promote a savings campaign on a 60 forint stamp in 1958. The following year it appeared again in a series depicting fairy tales, as it did as one of many pendents on a 1.50 tögrög stamp from Mongolia. In this case the main stamp was commemorating the 1970 World's Fair in Japan with a picture of the Sumitomo fairy tale pavilion.

Later adaptations
La Fontaine's portrayal of the Ant as a flawed character, reinforced by the ambivalence of the alternative fable, led to that insect too being viewed as anything but an example of virtue. Jules Massenet's two-act ballet Cigale, first performed at the Opéra-Comique in Paris in 1904, portrays the cicada as a charitable woman who takes pity on "La Pauvrette" (the poor little one). But La Pauvrette, after being taken in and fed, is rude and heartless when the situation is reversed. Cigale is left to die in the snow at the close of the ballet.

La Fontaine's poem has also been subverted by several French parodies. In Joseph Autran's Réhabilitation de la fourmi, the ant, while only having straw to eat himself, agrees to share his stocks with the cicada, so long as she sings him a song that would remind them of the summer, which, to him, will be more than worth the price. Tristan Corbière's A Marcelle - le poete et la cigale is a light-hearted literary criticism of a bad poet. In the 20th century, Jean Anouilh uses it as the basis for two almost independent fables. In La fourmi et la cigale the ant becomes an overworked housewife whom the dust follows into the grave. The cicada's comment is that she prefers to employ a maid. In La Cigale, Anouilh engages with the reality of the artistic life, reviewing the cicada as the type of the female musician. In this fable she figures as a night-club singer who asks a fox to act as her agent. He believes that she will be an easy victim for his manipulations but she handles him with such frosty finesse that he takes up singing himself. Pierre Perret's 1990 version in urban slang satirises the cicada's more traditional role as a thoughtless ‘queen of the hit parade’. The subversion lies in the four-line moral at the end, in which he advises that it is better to be an impresario than a performer.

Roland Bacri takes the tale into fresh territory with his Fable Electorale. An unelected politician out of funds visits the ant and, on being asked what he did during the past election, replied that he sang the national anthem. Playing on the final words of La Fontaine's fable (Eh bien, dansez maintenant), the industrialist advises him to stand for president (presidensez maintenant). On the other hand, Francoise Sagan turns the satire against the too industrious. Her ant has been stockpiling all winter and urges the grasshopper to invest in her wares when spring comes. But the grasshopper's needs are few and she advises holding a discount sale instead. To take a final example, the Anti-Cancer League has turned the fable into an attack on smoking. The grasshopper's appeal, out of pocket and desperate for a cigarette, is turned down by another play on the original ending. So, she had smoked all through the summer? OK, now cough (Et bien, toussez).

The English writer W. Somerset Maugham reverses the moral order in a different way in his short story, "The Ant and The Grasshopper" (1924). It concerns two brothers, one of whom is a dissolute waster whose hard-working brother has constantly to bail out of difficulties. At the end the latter is enraged to discover that his 'grasshopper' brother has married a rich widow, who then dies and leaves him a fortune. The story was later adapted in the film Encore (1951) and the English television series Somerset Maugham Hour (1960). James Joyce also adapts the fable into a tale of brotherly conflict in "The Ondt and the Gracehoper" episode in Finnegans Wake (1939) and makes of the twin brothers Shem and Shaun opposing tendencies within the human personality:
 * These twain are the twins that tick Homo Vulgaris.

In America, John Ciardi's poetical fable for children, "John J. Plenty and Fiddler Dan" (1963), makes an argument for poetry over fanatical hard work. Ciardi's ant, John J. Plenty, is so bent upon saving that he eats very little of what he has saved. Meanwhile, Fiddler Dan the grasshopper and his non-conforming ant wife survive the winter without help and resume playing music with the return of spring.

Ambrose Bierce has two variant of the tale in his Fantastic Fable. In the first, "The Grasshopper and the Ant", after the ant asks the grasshopper why it didn't make any stocks, it replies that it actually did, but the ants broke in and took them all away. In another, "The Ants and the Grasshopper", the grasshopper is a miner who was too busy digging to prepare, while the ants are replaced by politicians, for whom it is his work which is "profitless amusement".

John Updike's 1987 short story "Brother Grasshopper" deals with a pair of brothers-in-law whose lives parallel the fable of the ant and the grasshopper. One, Fred Barrow, lives a conservative, restrained existence; the other, Carlyle Lothrop, spends his money profligately, especially on joint vacations for the two men's families, even as he becomes financially insolvent. However, at the end comes an unexpected inversion of the characters' archetypal roles. When Carlyle dies, Fred, now divorced and lonely, realizes that he has been left with a rich store of memories which would not have existed without his friend's largesse.

"Revolution" (La Rivoluzione), a poem by the Italian Communist writer Gianni Rodari, offers an alternative political moral by cutting through the debate over duty, compassion, and utilitarianism that has been the legacy of La Fontaine's fable. He describes simply seeing an ant give half of his provisions to a cicada. Such generosity is the true revolution! In Dmitry Bykov's poem "Fable" (Басня) the grasshopper is perishing from cold and dreams that in Heaven the ant will someday ask her to let him share in her dance, to which she'll answer "Go and work!"

Musical settings

La Fontaine's version of the fable was set by the following French composers:
 * Louis-Nicolas Clérambault, to whom the works in the fables section of Nouvelles poésies spirituelles et morales sur les plus beaux airs (1730–37) have been attributed. The text is modified to fit the tune and is retitled La fourmi et la sauterelle.
 * Jacques Offenbach in Six Fables de La Fontaine (1842) for soprano and small orchestra
 * Charles Gounod, part-song for a cappella choir (1857)
 * Benjamin Godard, the second of Six Fables de La Fontaine for voice and piano, (Op.17 1872/9)
 * Eugenie Santa Coloma Sourget for high voice and piano (1881).
 * Louis Lacombe, set for 4 male voices (Op. 88,2 1887)
 * Charles Lecocq in Six Fables de Jean de la Fontaine for voice and piano (1900)
 * Camille Saint-Saëns in La cigale et la fourmi for voice and piano or orchestra (circa 1860s)
 * André Caplet in Trois Fables de Jean de la Fontaine (1919) for voice and piano
 * Paul-Marie Masson, for voice and piano (1926)
 * Maurice Delage in Deux fables de Jean de la Fontaine (1931)
 * Marcelle de Manziarly in Trois Fables de La Fontaine (1935) for voice and piano
 * Jean-René Quignard for 2 children's voices
 * Charles Trenet, performed with Django Reinhardt and the Hot Club de France in 1941
 * Marie-Madeleine Duruflé as the fifth in her 6 Fables de La Fontaine for A cappella female voices (1960)
 * Claude Ballif, the first of his Chansonettes : 5 Fables de La Fontaine for small mixed choir (Op.72, Nº1 1995)
 * Ida Gotkovsky, the first fable in Hommage à Jean de La Fontaine for mixed choirs and orchestra (1995)
 * Jean-Marie Morel (1934-), a small cantata set for children's choir and string quartet in La Fontaine en chantant (1999)
 * Isabelle Aboulker, the fourth piece in Femmes en fables (1999) for high voice with piano
 * Vladimir Cosma, the first piece in Eh bien ! Dansez maintenant (2006), a light-hearted interpretation for narrator and orchestra in the style of a gavotte.

There were two comic operas that went under the title La cigale et la fourmi in the 19th century. The one by Ferdinand Poise was in one act and dated 1870. The one by Edmond Audran was in three acts and performed in Paris in 1886, in London in 1890 and in New York in 1891. This was shortly followed by the darker mood of Jules Massenet's ballet Cigale, mentioned above. Later adaptations of the fable to ballet include Henri Sauguet's La cigale at la fourmi (1941) and the third episode in Francis Poulenc's Les Animaux modèles (Model Animals, 1941). In the 21st century there has been "La C et la F de la F", in which the dancers interact with the text, choreographed by Herman Diephuis for Annie Sellem's composite presentation of the fables in 2004. It also figures among the four in the film Les Fables à la Fontaine directed by Marie-Hélène Rebois in 2004.

The Belgian composer Joseph Jongen set La Fontaine's fable for children's chorus and piano (op. 118, 1941) and the Dutch composer Rudolf Koumans set the French text in Vijf fabels van La Fontaine (op. 25, 1964) for school chorus and orchestra. There is a happier ending in the American composer Shawn Allen's children's opera, The Ant and the Grasshopper (1999). At the end of this thirty-minute work, the two insects become musical partners during the winter after the ant revives the dying grasshopper.

Ivan Krylov's variant of the fable was set for voice and piano by Anton Rubinstein in 1851; a German version (Der Ameise und die Libelle) was later published in Leipzig in 1864 as part of his Fünf Fabeln (Op.64). In the following century the Russian text was again set by Dmitri Shostakovich in Two Fables of Krylov for mezzo-soprano, female chorus and chamber orchestra (op.4, 1922). A Hungarian translation of the fable by Dezső Kosztolányi was also set for mezzo-soprano, four-part mixed chorus and 4 guitars or piano by Ferenc Farkas in 1977. The Catalan composer Xavier Benguerel i Godó set the fable in his 7 Fábulas de la Fontaine for recitation with orchestra in 1995. These used a Catalan translation by his father, the writer.

There have also been purely instrumental pieces; these include the first of Antal Dorati's 5 Pieces for Oboe (1980) and the first of Karim Al-Zand's Four Fables for flute, clarinet and piano (2003).

Settings of the Aesop version have been much rarer. It was among Mabel Wood Hill's Aesop's Fables Interpreted Through Music (New York, 1920). It was also included among David Edgar Walther's ‘short operatic dramas’ in 2009. In 2010 Lefteris Kordis set the Greek text as the second fable in his "Aesop Project" for octet and voice.

Moral and artistic debate

La Fontaine follows ancient sources in his 17th-century retelling of the fable, where the ant suggests at the end that since the grasshopper has sung all summer she should now dance for its entertainment. However, his only direct criticism of the ant is that it lacked generosity. The Grasshopper had asked for a loan which it promised to pay back with interest, but "The Ant had a failing,/She wasn't a lender".

The readers of his time were aware of the Christian duty of charity and therefore sensed the moral ambiguity of the fable. This is further brought out by Gustave Doré's 1880s print which pictures the story as a human situation. A female musician stands at a door in the snow with the children of the house looking up at her with sympathy. Their mother looks down from the top of the steps. Her tireless industry is indicated by the fact that she continues knitting but, in a country where the knitting-women (les tricoteuses) had jeered at the victims of the guillotine during the French Revolution, this activity would also have been associated with lack of pity.

Other French fabulists since La Fontaine had already started the counter-attack on the self-righteous ant. In around 1800 Jean-Jacques Boisard has the cricket answering the ant's criticism of his enjoyment of life with the philosophical proposition that since we must all die in the end, Hoarding is folly, enjoyment is wise. In a Catholic educational work (Fables, 1851) Jacques-Melchior Villefranche offers a sequel in which the ant loses its stores and asks the bee for help. The ant's former taunt to the grasshopper is now turned on himself:

"Are you hungry? Well then, Turn a pirouette, Dine on a mazurka, Have polka for supper."

But then the bee reveals that it has already given the grasshopper shelter and invites the ant to join him since 'All who are suffering/Deserve help equally.'

La Fontaine's fable also had a number of translations into Russian, in most of which the word used for the grasshopper is strekoza. Though that word means a dragonfly today, at the time it could be used for a grasshopper as well. Ivan Krylov's best known "The Grasshopper and the Ant" (Strekoza i muravej, 1808) follows the French original closely, but in the 1782 variant by Ivan Chemnitzer, simply titled "The Grasshopper", there is an alternative ending. This comments on the ant's final words that they were only spoken for the sake of teaching the grasshopper a lesson, after which the ant really did feed the grasshopper out of pity.

In the 20th century the fable entered the political arena. Walt Disney's cartoon version, The Grasshopper and the Ants (1934) confronts the dilemma of how to deal with improvidence from the point of view of Franklin D. Roosevelt's New Deal. The Grasshopper's irresponsibility is underlined by his song "The World Owes us a Living", which later that year became a Shirley Temple hit, rewritten to encase the story of the earlier cartoon. In the end the ants take pity on the grasshopper on certain conditions. The Queen of the Ants decrees that the grasshopper may stay, but he must play his fiddle in return for his room and board. He agrees to this arrangement, finally learning that he needs to make himself useful, and 'changes his tune' to

"Oh I owe the world a living.... You ants were right the time you said You've got to work for all you get."

In recent times, the fable has again been put to political use by both sides in the social debate between the enterprise culture and those who consider the advantaged have a responsibility towards the disadvantaged. A modern satirical version of the story, originally written in 1994, has the grasshopper calling a press conference at the beginning of the winter to complain about socio-economic inequity, and being given the ant's house. This version was written by Pittsburgh talk show guru Jim Quinn as an attack on the Clinton administration's social programme in the USA. In 2008 Conservative columnist Michelle Malkin also updated the story to satirize the policies of 'Barack Cicada'. There have been adaptations into other languages as well. But the commentary at the end of an Indian reworking explains such social conflict as the result of selective media presentation that exploits envy and fear.

The fable has equally been pressed into service in the debate over the artist's place within the work ethic. In Marie de France's mediaeval version the grasshopper had pleaded that its work was 'to sing and bring pleasure to all creatures, but I find none who will now return the same to me.' The ant's reply is thoroughly materialistic, however: 'Why should I give food to thee/When you cannot give aid to me?' At the end of the 15th century, Laurentius Abstemius makes a utilitarian point using different insects in his similar fable of the gnat and the bee. The gnat applies to the bee for food and shelter in winter and offers to teach her children music in return. The bee's reply is that she prefers to teach the children a useful trade that will preserve them from hunger and cold.

The fable of "A Gnat and a Bee" was later to be included by Thomas Bewick in his 1818 edition of Aesop's Fables. The conclusion he draws there is that 'The many unhappy people whom we see daily singing up and down in order to divert other people, though with very heavy hearts of their own, should warn all those who have the education of children how necessary it is to bring them up to industry and business, be their present prospects ever so hopeful.' The arts are no more highly regarded by the French revolutionary Pierre-Louis Ginguené whose "New Fables" (1810) include "The Grasshopper and the Other Insects". There the Grasshopper exhorts the others to follow his example of tireless artistic activity and is answered that the only justification for poetry can be if it is socially useful.

Such utilitarianism was soon to be challenged by Romanticism and its championship of the artist has coloured later attitudes. In the early decades of the 20th century, the Romanian poet George Topîrceanu was to make the case for pure artistic creation in "The ballad of a small grasshopper" (Balada unui greier mic), although more in the telling than by outright moralising. A cricket passes the summer in singing; autumn arrives, but he continues. It is only in icy winter that the cricket realizes that he hasn't provided for himself. He goes to his neighbour, the ant, to ask for something to eat, but the ant refuses saying, “You wasted your time all summer long.” The English folk-singer and children's writer Leon Rosselson subtly turns the tables in much the same way in his 1970s song The Ant and the Grasshopper, using the story to rebuke the self-righteous ant (and those humans with his mindset) for letting his fellow creatures die of want and for his blindness to the joy of life.

In the field of children's literature, Slade and Toni Morrison's rap retelling of the fable, Who's Got Game?: The Ant or the Grasshopper? (2003), where the grasshopper represents the artisan, provokes a discussion about the importance of art. An earlier improvisation on the story that involves art and its value was written by the Silesian artist Janosch under the title "Die Fiedelgrille und der Maulwurf" (The fiddling cricket and the mole), originally published in 1982 and in English translation in 1983. There the cricket fiddles for the entertainment of the animals all summer but is rejected by the stag beetle and the mouse when winter comes. She eventually encounters the mole who loves her music, especially because he is blind, and invites her to stay with him.

The theme had been treated at an even further distance in Leo Lionni's Frederick (1967). Here a fieldmouse, in a community narrowly focused on efficiently gathering for the winter, concentrates instead on gathering impressions. When the other mice question the usefulness of this, Frederick insists that 'gathering sun rays for the cold dark winter days' is also work. Indeed, the community comes to recognise this after the food has run out and morale is low, when it is Frederick's poetry that raises their spirits.

title: The Ant and the Grasshopper


text:
Rovaniemen Palloseura

Rovaniemen Palloseura (RoPS) is a football club founded in 1950 and based in Rovaniemi, Finland. RoPS participated 32 years in the Finnish Premier Division, (Veikkausliiga) since 1981. In 2021 RoPS withdrew from professional football and voluntarily relegated to the amateur Kakkonen third division. The club plays home games at the Rovaniemen Keskuskenttä in the Arctic Circle of Lapland.

History
RoPS have won the Finnish Cup on two occasions, in 1986 and 2013, and were runners-up in 1962. They placed third in the Finnish Premier Division in 1988 and 1989, before finishing as runner-up in 2015, losing out on the title by 1 point to eventual champions SJK. The club's most notable international achievement was reaching the quarter-finals of the European Cup-Winners' Cup in 1987–88 against Marseille.

Match fixing allegations and scandal
Throughout the 2000s, RoPS became infamous for suspected involvement in match fixing.

In spring 2011 the Finnish National Bureau of Investigation started a large investigation into match fixing. On February 25 Singaporean businessman Wilson Raj Perumal, a convicted match fixer, was arrested after entering Finland with a fake passport. The National Bureau of Investigation suspected that over 30 games between 2008 and 2011, mostly from the Finnish premier league, had been fixed or manipulated.

On July 19, 2011, the Rovaniemi Court of Appeal convicted Perumal and nine RoPS players of match-fixing. Altogether 24 games had been manipulated, and the intended score had been achieved in 11 of them. Perumal was sentenced to two years in prison and ordered to return 150,000 euros deemed to be match-fixing profits. The bribes ranged from 500 euros offered to one player to a total of 80,000 euros offered to eight players. The highest total of bribes for one individual was slightly over 40,000 euros. The players received suspended sentences. The sentenced players were six Zambian and two Georgian players: Godfrey Chibanga, Chileshe Chibwe, Francis Kombe, Stephen Kunda, Christopher Musonda, Chanda Mwaba, Nchimunya Mweetwa, Pavle Khorguashvili, and Valter Khorguashvili.

European history

 * Notes
 * 1R: First round
 * 2R: Second round
 * 1Q: First qualifying round
 * QF: Quarter-finals

Honours

 * Finnish Cup
 * Champions (2): 1986, 2013
 * Ykkönen
 * Champions (2): 2010, 2012

Management
As of 18 February 2020.

Boardroom
As of 18 February 2020

Rovaniemi Football Academy
Rovaniemi Football Academy (RFA) is the reserve team of RoPS. The team plays in Kakkonen in 2020 season. It is coached by Aleksi Tanner.

Managers

 * 🇵🇱 Jerzy Masztaler (1990–91)
 * 🏴 Graham Williams (1991)
 * 🇫🇮 Olavi Tammimies (1992)
 * 🏴 Keith Armstrong (1993–94)
 * 🇫🇮 Timo Salmi (1995)
 * 🏴 Graham Williams (1995)
 * 🇫🇮 Ari Matinlassi (1995)
 * 🇫🇮 Ari Rantamaa (1996–97)
 * 🇫🇮 Kari Virtanen (1997–99)
 * 🇫🇮 Olavi Tammimies (2000)
 * 🇫🇮 Mauri Holappa (2001)
 * 🇫🇮 Tomi Molin (2002)
 * 🇭🇺 György Hamori (Jan 1, 2003 – June 23, 2004)
 * 🇫🇮 Mika Lumijärvi (June 23, 2004 – June 30, 2005)
 * 🇫🇮 Matti Vikman (interim) (June 30, 2005 – Dec 31, 2005)
 * 🇫🇮 Jukka Ikäläinen (2006)
 * 🇧🇪 Tom Saintfiet (Jan 1, 2008 – April 7, 2008)
 * 🇪🇪 Valeri Bondarenko (April 14, 2008 – May 27, 2009)
 * 🇫🇮 Mika Lumijärvi (May 27, 2009 – Oct 6, 2009)
 * 🇿🇲 Zeddy Saileti (Oct 6, 2009 – Dec 31, 2009)
 * 🏴 John Allen (Jan 1, 2010 – Aug 9, 2011)
 * 🇫🇮 Matti Hiukka (Aug 9, 2011 – Dec 31, 2011)
 * 🇫🇮 Kari Virtanen (Jan 1, 2012 – Oct 13)
 * 🇫🇮 Juha Malinen (Nov, 2013 – Oct, 2017)
 * 🇫🇮 Toni Koskela (Oct, 2017 – May 22, 2019)
 * 🇫🇮 Pasi Tuutti (May 22, 2019– )

title: Rovaniemen Palloseura


text:
Talk:Morgan Shepherd

Neutrality
Am I loopy, or does this article read as a little biased? --D-Day(Wouldn't you like to be a pepper too?, on WHEELS?!) 00:05, 25 May 2006 (UTC)

It has been biased in the past, and could use a rewrite. User:Modor

Controversy
Until further notice, I have removed the "controversy" section from the article. If there is a way we can make that notable, then we can include it. -- D -Day I'm all ears How can I improve? 21:38, 18 July 2006 (UTC)

Morgan Today
I'm not questioning Morgan's driving merits; in the early 1990s he was a really great driver. Still, should some mention of Morgan being considered nothing more than a field filler who enters races to claim the last place first be made? Consider that from 2002 untill today Morgan has started 32 cup races, 22 busch races, and 31 truck series races. Yet he has finished only 4 of these 85 races (4%). He has completed 100 laps or more in only 16 of these races. Also, didn't he get busted by Nascar a couple years back for scuffing tires for another team during a race? Andrew Grigg 21:39, 28 October 2006 (UTC)
 * I don't remember hearing about the incicent with another team but there is some fancruft in the page I will be removing --Boss Big (talk) 02:47, 30 January 2008 (UTC)

Earnhardt Jr.'s Uncle
Shepherd's sister Barbara is Dale Jr.'s mother. Timothy Horrigan (talk) 00:08, 3 May 2008 (UTC)

Older driver
He's not the oldest driver to run in the Nationwide series or any other national Nascar series... James Hylton ran a Busch race at the age of 71. But is he in fact the oldest to run a full schedule? Timothy Horrigan (talk) 00:08, 3 May 2008 (UTC)
 * And despite Morgan Shepherd should beat that record in a few minutes, James Hylton has raised it to 76 years – and who knows, maybe he'll try to raise the record to 79 [he plans to for ARCA] --TheK (talk) 21:19, 4 May 2013 (UTC)

He ran the 2013 fall NHMS Sprint Cup race at the age of 71. — Preceding unsigned comment added by Christian Hubbs (talk • contribs) 19:23, 24 February 2014 (UTC)

Page protection
Is it possible to get this page protected? It's getting quite annoying reverting all the table-breaking edits. Jahn1234567890 (talk) 20:22, 4 December 2014 (UTC)

External links modified (February 2018)
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 * Added tag to http://www.stockcarracing.com/featurestories/scrp_0202_morgan_shepherd_moonshiners/viewall.html
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title: Talk:Morgan Shepherd


text:
Saneyoshi Yasuzumi

Viscount Saneyoshi Yasuzumi (実吉 安純) was a pioneer of naval medicine in Meiji Era Japan and an admiral in the Imperial Japanese Navy.

Biography
Saneyoshi was born in Satsuma domain (Kagoshima Prefecture). He entered the medical corps of the early Military Ministry of the Meiji government in 1871, and began work with the early Imperial Japanese Navy from 1872. He was given the rank of lieutenant in 1876, and promoted to lieutenant commander in 1878. From 19 July 1879 – 22 September 1885, he was sent to the United Kingdom to master the latest medical techniques, especially as pertaining to maritime-related medical issues.

After his return to Japan, Saneyoshi was promoted to commander and became an instructor at the Naval Medical Academy. He was promoted to captain in 1886, and became Director of the Naval Medical School from 1889–1891. In 1892, he was promoted to rear admiral.

Saneyoshi wrote a major treatise on naval medical techniques employed during the First Sino-Japanese War entitled The Surgical & Medical History of the Naval War between Japan & China during 1894–95. His book was translated into English, and a copy can be found at the Harvard University library.

On 9 May 1900, Saneyoshi was awarded the title of baron (danshaku) under the kazoku peerage system. Later in 1900, he traveled to Europe to study the latest medical techniques, visiting the United Kingdom, France, Germany, Austria and Russia.

After his return to Japan, Saneyoshi retired from active military service, and served from 1905–1907 as a member of the House of Peers. In September, his title was elevated to that of shishaku (viscount) for his contributions to the development of Japanese medicine.

Saneyoshi was promoted to vice admiral on 23 September 1919, as an honorary title four years after his official retirement from the reserves. Saneyoshi is regarded as one of the founders of Jikei University School of Medicine, a major medical school in Japan, serving as dean from 1920–1921. He died in 1932.

title: Saneyoshi Yasuzumi


text:
John Drainie Award

The John Drainie Award was an award given to an individual who has made a significant contribution to broadcasting in Canada. Although meant to be presented annually, there have been years where it was not presented.

Originally created by ACTRA in 1968 as a standalone award, the award was named in memory of Canadian actor John Drainie following his death in 1966, and was presented as part of the Canadian Film Awards ceremonies for its first four years. Beginning in 1972 it was presented as part of the expanded ACTRA Awards program.

The award was transferred in 1986 to the Academy of Canadian Cinema and Television and presented as part of the Gemini Awards; the award was later transferred back to the ACTRA Awards in the 2000s, and presented as part of the Banff Television Festival.

Unlike other awards which are voted on by the Academy's board of directors, the recipient of the John Drainie Award was selected by a committee of previous winners. Any branch of the Academy's Television Division may put forth nominations to the Drainie Committee for consideration. The recipient receives a plaque with Drainie's likeness rather than a Gemini statuette. It was presented posthumously on some occasions but current ACTRA policy is to present this award to living people.

Winners
The following people have won the award since 1968.

Canadian Film Awards

 * 1968: Esse Ljungh, W.O. Mitchell, Jean Murray, Tommy Tweed
 * 1969: Andrew Allan
 * 1970: Harry J. Boyle
 * 1971: Lister Sinclair

ACTRA Awards

 * 1972: Graham Spry
 * 1973: Rupert Caplan
 * 1974: Len Peterson
 * 1975: Robert Weaver
 * 1976: Jane Mallett
 * 1977: John Reeves
 * 1978: Wayne and Shuster
 * 1979: Ruth Springford
 * 1980: Norman Campbell
 * 1981: Frances Hyland
 * 1982: Mavor Moore
 * 1983: Lucio Agostini
 * 1984: Robert Christie
 * 1985: Fred Diehl
 * 1986: Bernard Cowan

Gemini Awards

 * 1986: Pat Patterson
 * 1987: Ross McLean
 * 1988: Davidson Dunton
 * 1989: Peter Gzowski
 * 1990: Allan McFee
 * 1991: not presented
 * 1992: Gordon Pinsent
 * 1993: Barbara Frum
 * 1994: Max Ferguson
 * 1995: Knowlton Nash
 * 1996: Dodi Robb
 * 1997: Joe Schlesinger
 * 1998 (Mar): Peter Herrndorf
 * 1998 (Oct): Bernie Lucht
 * 1999: Pierre Berton
 * 2000: Shelagh Rogers

Banff World Media Festival

 * 2001: not presented
 * 2002: David Suzuki
 * 2003: Jim Murray
 * 2004: Daryl Duke
 * 2005: Vicki Gabereau
 * 2006: Wendy Mesley
 * 2008: Carol Off
 * 2011: Barbara Budd
 * 2014: Mack Furlong

title: John Drainie Award


text: User talk:84.64.45.63

title: User talk:84.64.45.63


text:
Wikipedia:Articles for deletion/Tri-something

 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. Golbez 03:15, Jun 19, 2005 (UTC)

Tri-something
'Try something' else - this sure ain't notable --Doc (?) 18:31, 13 Jun 2005 (UTC)
 * Delete - it's a promo of a webpage Varnav 18:38, 13 Jun 2005 (UTC)
 * Delete: Advertising and announcement of a website. Wikipedia is not a web guide or a sprite guide. Geogre 19:11, 13 Jun 2005 (UTC)
 * Delete - same as above. Don Diego 19:13, 13 Jun 2005 (UTC)
 * Delete advertising. JamesBurns 07:01, 14 Jun 2005 (UTC)
 * Delete I wish I could delete this accursed sprite comic, but I will have to settle for its advertising on Wikipedia. Ashibaka (tock) 15:11, 14 Jun 2005 (UTC)
 * Delete, possibly redirect to tri-. -Sean Curtin 02:08, Jun 15, 2005 (UTC)
 * This page is now preserved as an archive of the debate and, like some other VfD subpages, is no longer 'live'. Subsequent comments on the issue, the deletion, or the decision-making process should be placed on the relevant 'live' pages.  Please do not edit this page .


text:
User talk:Jostein013~enwiki

Hi, and welcome to Wikipedia! Thanks for your contributions to the coolest online encyclopedia I know of =). I sure hope you stick around; we're always in need of more people to create new articles and improve the ones we already have.  You'll probably find it easiest to start with a tutorial of how the wikipedia works, and you can test stuff for yourself in the sandbox.  When you're contributing, you'll probably find the manual of style to be helpful, and you'll also want to remember a couple important guidelines.  First, write from a neutral point of view, second, be bold in editing pages, and third, use wikiquette.  Those are probably the most important ones, and you can take a look at some others at the policies and guidelines page. You might also be interested in how to write a great article and possibly adding some images to your articles.

Be sure to get involved in the community – you can contact me at my talk page if you have any questions, and you can check out the village pump, where lots of wikipedians hang out and discuss things. If you're looking for something to do, check out the community portal. And whenever you ask a question or post something on a talk page, be sure to sign your name by typing ~~~~.

Again, welcome! It's great to have you. Happy editing! --Spangineer (háblame)  18:31, Jun 13, 2005 (UTC)

Image Tagging Image:JosteinTorst.jpg
Thanks for uploading Image:JosteinTorst.jpg. I notice the 'image' page currently doesn't specify who created the content, so the copyright status is unclear. If you have not created this media yourself then there needs to be an argument why we have the right to use the media on Wikipedia (see copyright tagging below). If you have not created the media yourself then it needs to be specified where it was found, i.e., in most cases link to the website where it was taken from, and the terms of use for content from that page.

If the media also doesn't have a copyright tag then one should be added. If you created/took the picture, audio, or video then the GFDL-self tag can be used to release it under the GFDL. If you believe the media qualifies as fair use, consider reading fair use, and then use a tag such as or one of the other tags listed at Image copyright tags. See Image copyright tags for the full list of copyright tags that you can use.

If you have uploaded other media, consider checking that you have specified their source and copyright tagged them, too. You can find a list of 'image' pages you have edited by clicking on the "my contributions" link (it is located at the very top of any Wikipedia page when you are logged in), and then selecting "Image" from the dropdown box. Note that any unsourced and untagged images will be deleted one week after they have been uploaded, as described on criteria for speedy deletion. Thank you. Shyam ( T / C ) 23:52, 18 March 2006 (UTC)

Your account will be renamed
Hello,

The developer team at Wikimedia is making some changes to how accounts work, as part of our on-going efforts to provide new and better tools for our users like cross-wiki notifications. These changes will mean you have the same account name everywhere. This will let us give you new features that will help you edit and discuss better, and allow more flexible user permissions for tools. One of the side-effects of this is that user accounts will now have to be unique across all 900 Wikimedia wikis. See the announcement for more information.

Unfortunately, your account clashes with another account also called Jostein013. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Jostein013~enwiki that only you will have. If you like it, you don't have to do anything. If you do not like it, you can pick out a different name. If you think you might own all of the accounts with this name and this message is in error, please visit Special:MergeAccount to check and attach all of your accounts to prevent them from being renamed.

Your account will still work as before, and you will be credited for all your edits made so far, but you will have to use the new account name when you log in.

Sorry for the inconvenience.

Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 00:58, 20 March 2015 (UTC)

Renamed
 This account has been renamed as part of single-user login finalisation. If you own this account you can |log in using your previous username and password for more information. If you do not like this account's new name, you can choose your own using this form after logging in: . -- Keegan (WMF) (talk) 14:36, 22 April 2015 (UTC)

title: User talk:Jostein013~enwiki


text:
User talk:Wikier~enwiki

Hi, and welcome to Wikipedia! Thanks for your contributions to the coolest online encyclopedia I know of =). I sure hope you stick around; we're always in need of more people to create new articles and improve the ones we already have.  You'll probably find it easiest to start with a tutorial of how the wikipedia works, and you can test stuff for yourself in the sandbox.  When you're contributing, you'll probably find the manual of style to be helpful, and you'll also want to remember a couple important guidelines.  First, write from a neutral point of view, second, be bold in editing pages, and third, use wikiquette.  Those are probably the most important ones, and you can take a look at some others at the policies and guidelines page. You might also be interested in how to write a great article and possibly adding some images to your articles.

Be sure to get involved in the community – you can contact me at my talk page if you have any questions, and you can check out the village pump, where lots of wikipedians hang out and discuss things. If you're looking for something to do, check out the community portal. And whenever you ask a question or post something on a talk page, be sure to sign your name by typing ~~~~.

Again, welcome! It's great to have you. Happy editing! --Spangineer (háblame)  18:31, Jun 13, 2005 (UTC)

Your account will be renamed
Hello,

The developer team at Wikimedia is making some changes to how accounts work, as part of our on-going efforts to provide new and better tools for our users like cross-wiki notifications. These changes will mean you have the same account name everywhere. This will let us give you new features that will help you edit and discuss better, and allow more flexible user permissions for tools. One of the side-effects of this is that user accounts will now have to be unique across all 900 Wikimedia wikis. See the announcement for more information.

Unfortunately, your account clashes with another account also called Wikier. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Wikier~enwiki that only you will have. If you like it, you don't have to do anything. If you do not like it, you can pick out a different name. If you think you might own all of the accounts with this name and this message is in error, please visit Special:MergeAccount to check and attach all of your accounts to prevent them from being renamed.

Your account will still work as before, and you will be credited for all your edits made so far, but you will have to use the new account name when you log in.

Sorry for the inconvenience.

Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 03:24, 20 March 2015 (UTC)

Renamed
 This account has been renamed as part of single-user login finalisation. If you own this account you can |log in using your previous username and password for more information. If you do not like this account's new name, you can choose your own using this form after logging in: . -- Keegan (WMF) (talk) 20:29, 22 April 2015 (UTC)

title: User talk:Wikier~enwiki


text:
User talk:Anomaly1

Hi, and welcome to Wikipedia! Thanks for your contributions to the coolest online encyclopedia I know of =). I sure hope you stick around; we're always in need of more people to create new articles and improve the ones we already have.  You'll probably find it easiest to start with a tutorial of how the wikipedia works, and you can test stuff for yourself in the sandbox.  When you're contributing, you'll probably find the manual of style to be helpful, and you'll also want to remember a couple important guidelines.  First, write from a neutral point of view, second, be bold in editing pages, and third, use wikiquette.  Those are probably the most important ones, and you can take a look at some others at the policies and guidelines page. You might also be interested in how to write a great article and possibly adding some images to your articles.

Be sure to get involved in the community – you can contact me at my talk page if you have any questions, and you can check out the village pump, where lots of wikipedians hang out and discuss things. If you're looking for something to do, check out the community portal. And whenever you ask a question or post something on a talk page, be sure to sign your name by typing ~~~~.

Again, welcome! It's great to have you. Happy editing! --Spangineer (háblame)  18:31, Jun 13, 2005 (UTC)

Google Earth
"Errors - Better example added" - Hey, wow! those Chicago 'leaning towers' are amazing! Well spotted :-) MPF 01:22, 25 December 2005 (UTC)

ArbCom elections are now open!
MediaWiki message delivery (talk) 13:05, 23 November 2015 (UTC)

title: User talk:Anomaly1


text:
User talk:Shippy Mandy

Hi, and welcome to Wikipedia! Thanks for your contributions to the coolest online encyclopedia I know of =). I sure hope you stick around; we're always in need of more people to create new articles and improve the ones we already have.  You'll probably find it easiest to start with a tutorial of how the wikipedia works, and you can test stuff for yourself in the sandbox.  When you're contributing, you'll probably find the manual of style to be helpful, and you'll also want to remember a couple important guidelines.  First, write from a neutral point of view, second, be bold in editing pages, and third, use wikiquette.  Those are probably the most important ones, and you can take a look at some others at the policies and guidelines page. You might also be interested in how to write a great article and possibly adding some images to your articles.

Be sure to get involved in the community – you can contact me at my talk page if you have any questions, and you can check out the village pump, where lots of wikipedians hang out and discuss things. If you're looking for something to do, check out the community portal. And whenever you ask a question or post something on a talk page, be sure to sign your name by typing ~~~~.

Again, welcome! It's great to have you. Happy editing! --Spangineer (háblame)  18:31, Jun 13, 2005 (UTC)

Just testing something...~ S h  i  p  p  i  n  a  t  o  r  M  a  n  d  y  (For best results, use twice daily.)

I thank you for your polite comment on my summary of my past. I wrote it in story form so that the Wikipedian admins know my honesty and they don't believe. Clan rHrN 15:26, 29 July 2006 (UTC)
 * Personal attack removed. --70.191.189.155 22:12, 30 July 2006 (UTC)

Hi Mandy! ===PsYchOsIs=== 01:42, 7 August 2006 (UTC)

Hi Mand..y - You know who I am!

input sought
In a message to several recent editors of Schiavo-related pages, I write that: Input is sought here: Talk:Government_involvement_in_the_Terri_Schiavo_case.

--GordonWatts 15:43, 12 February 2007 (UTC)

Unspecified source for Image:Shippinator_Mandy.jpg
Thanks for uploading Image:Shippinator_Mandy.jpg. I noticed that the file's description page currently doesn't specify who created the content, so the copyright status is unclear. If you did not create this file yourself, then you will need to specify the owner of the copyright. If you obtained it from a website, then a link to the website from which it was taken, together with a restatement of that website's terms of use of its content, is usually sufficient information. However, if the copyright holder is different from the website's publisher, then their copyright should also be acknowledged.

As well as adding the source, please add a proper copyright licensing tag if the file doesn't have one already. If you created/took the picture, audio, or video then the GFDL-self tag can be used to release it under the GFDL. If you believe the media meets the criteria at Fair use, use a tag such as or one of the other tags listed at Image copyright tags. See Image copyright tags for the full list of copyright tags that you can use.

If you have uploaded other files, consider checking that you have specified their source and tagged them, too. You can find a list of files you have uploaded by following [ this link]. Unsourced and untagged images may be deleted one week after they have been tagged, as described on criteria for speedy deletion. If the image is copyrighted under a non-free license (per Fair use) then the image will be deleted 48 hours after 03:44, 10 November 2007 (UTC). If you have any questions please ask them at the Media copyright questions page. Thank you. Jusjih 03:44, 10 November 2007 (UTC)

title: User talk:Shippy Mandy


text:
User talk:Tarc

 * Archives: 2006-08, 2009-10, 2011-12, 2013-14, 2015, 2016-present

Indefinitely banned
Further to our earlier correspondence with you, the committee has adopted the following motion:

By way of enforcement I have indefinitely blocked your account. Appeal in due course must solely be by email to the committee at.

For the Arbitration Committee, AGK  [•] 22:34, 18 September 2015 (UTC)

 * Well, speaking for myself, Tarc, I'll miss you. ~Amatulić (talk) 23:55, 18 September 2015 (UTC)

 * What? Why? Some explanation please?  --SmokeyJoe (talk) 01:12, 19 September 2015 (UTC)
 * Doesn't sound like they are going to be forthcoming..Tarc although we do not often see eye to eye I wish you the best and a speedy return to the pedia. Hell in a Bucket (talk) 01:41, 19 September 2015 (UTC)

Seems like the only explanation is in this discussion: Wikipedia_talk:Arbitration_Committee/Noticeboard/Archive_29. ~Amatulić (talk) 00:09, 20 September 2015 (UTC)
 * A secret resolution? --SmokeyJoe (talk) 01:00, 20 September 2015 (UTC)
 * Dean Wormer. Collect (talk) 22:24, 21 September 2015 (UTC)
 * The ban, based on secret deliberations about off-Wiki activity, announced with generalities and inadequate explanation, does not enhance the reputation of Wikipedia. Edison (talk) 04:03, 22 September 2015 (UTC)

 * Well, this is crap. I know I'm late to the party here, but I only just found out about it. Very strange and disappointing from ArbCom, who continue to live down to my expectations. Reyk  YO!  12:49, 23 November 2015 (UTC)

Orphaned non-free image File:MxPx - Chick Magnet cover.jpg
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Orphaned non-free image File:BSatPoDCover.jpg
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Note that any non-free images not used in any articles will be deleted after seven days, as described in section F5 of the criteria for speedy deletion. Thank you. --B-bot (talk) 00:20, 26 May 2024 (UTC)

title: User talk:Tarc