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Tin Machine II

Tin Machine II is the second and final studio album by the Anglo-American rock group Tin Machine, released on 2September 1991 through Victory Music. The band, composed of David Bowie, Reeves Gabrels on guitar and brothers Tony Fox and Hunt Sales on bass and drums, respectively, recorded it in Sydney, Australia in late 1989 at the conclusion of the Tin Machine Tour. After Bowie completed his solo Sound+Vision Tour in late 1990, recording resumed in Los Angeles, California until March 1991. The production was handled by Tin Machine and Tim Palmer, who produced their debut studio album (1989), with additional production by Hugh Padgham on "One Shot". While the album musically retains a hard rock sound, the songs are more melodic compared to its predecessor, with lyrics focusing on love.

The cover artwork features four Greek Kouroi and was controversial in the US due to the statues' genitalia. Tin Machine II received mostly mixed reviews from music critics, with many highlighting individual tracks but considering the project as a whole mediocre. Some recognised it as an improvement over Tin Machine. Supported by three singles, the album peaked at number 23 in the UK and number 126 in the US. The band's accompanying It's My Life Tour received mixed reviews; a live album from the tour, Tin Machine Live: Oy Vey, Baby, was released in 1992. At the tour's completion, Tin Machine disbanded and Bowie resumed his solo career, releasing his eighteenth studio album, Black Tie White Noise (1993). Gabrels remained Bowie's collaborator for the rest of the 1990s. Bowie's biographers have given Tin Machine II mixed reactions, with most recognising it as inconsistent in quality and panning two tracks sung by Hunt Sales. The album was reissued for the first time in 2020 on both vinyl and CD.

Background
Tin Machine was formed in 1988 by David Bowie, who was at an artistic low point and looking to revitalise his career. The completed lineup included American guitarist Reeves Gabrels and brothers Tony Fox and Hunt Sales on bass and drums, respectively; Kevin Armstrong acted as an additional guitarist. The band recorded their eponymous debut album in late 1988 with producer Tim Palmer. Despite a clash in personalities between the Sales brothers and Gabrels, the sessions were extremely productive, with over 35 songs recorded in six weeks. The album's tracks were recorded raw and live with few overdubs to capture the energy of Tin Machine, resulting in a hard rock sound with lyrics discussing world issues and love.

The band were responded to with mixed reviews from critics. When promoting Tin Machine, Bowie made it clear to interviewers that the band were a democratic unit, with biographer Nicholas Pegg calling it the mindset of "anyone wanting to interview David would get the rest of the band as well". This move would be written off by critics as a publicity stunt by an artist who is unsure of what he wants to do next. Released in May 1989, Tin Machine was met with mixed reviews and sold well at first but declined quickly. Some reviewers later noted that Tin Machine were exploring styles of grunge and alternative rock before those styles became popular. Like the album, the band's supporting Tin Machine Tour received mixed reviews. At the conclusion of the tour, Tin Machine took a break before reconvening in Australia in late 1989 to begin recording their next album.

Recording and production
Recording for Tin Machine II began in September 1989 in Sydney, Australia, where the band spent three weeks recording new material. They maintained the lineup of Tin Machine, with Armstrong as an additional guitarist. Tin Machine played an impromptu show at a small Sydney venue on 4 November 1989 before taking a rest in January 1990 as Bowie conducted his solo Sound+Vision Tour and filmed a role in The Linguini Incident (1991). The tour concluded in September 1990, after which Bowie announced his split with EMI. According to Pegg, EMI were continuously expecting another success equivalent of Let's Dance (1983) and became fed up with Bowie's uncommercial work as part of Tin Machine to the point where they refused to market another Tin Machine record, leading Bowie to depart. At the time, EMI were undertaking a reissue campaign with the American label Rykodisc of Bowie's back catalogue, which remained unaffected by the split.

In March 1991, Tin Machine signed with Victory Music, a newly formed record label created by the JVC corporation, with worldwide distribution by London Records and PolyGram. The same month, the band reconvened at A&M Studios in Los Angeles to record three new tracks. The label requested a radio-friendly hit so Hugh Padgham, Bowie's co-producer for Tonight (1984), was hired to oversee work on the song "One Shot". Padgham told biographer David Buckley that he was not a fan of Tin Machine's prior work, stating it "sounded like a mad bunch of people". Upon working with them, he praised Gabrels' guitar contributions but called the Sales brothers "basically mad". Tim Palmer, who produced their debut album, was brought back to produce and mix Tin Machine II.

Some tracks originated from the sessions for Tin Machine. Bowie and Gabrels had begun working on "Shopping for Girls" in August 1988 before the sessions began, while "If There Is Something", a Roxy Music cover, was the second song the band recorded after "Heaven's in Here". Bowie stated: "We were so exhausted that we didn't have it in us to write another song, so we used an old song to show how we as a band would approach someone else's material." The song was then shelved and placed on Tin Machine II, with Bowie saying "we pulled it out to see how it sounded. We really got off on it."

Music and lyrics
Gabrels considered the music of Tin Machine II to be "as aggressive as [its predecessor]", but found the songs more melodic. He told Rolling Stone in 1991: "Last time, we were screaming at the world. This time, I think, they're all love songs in a strange kind of way." Author James Perone agreed, calling the tracks more accessible than the debut, featuring more conventional hard rock sounds and less "incessant gloom". Nevertheless, Dave Thompson felt the band continued their "loud and rambunctious" sound, while the lyrics were "forthright and confrontational". Bill Wyman of Entertainment Weekly noted the presence of blues, hard rock, art rock and schmaltz, a sentiment echoed by The Economist. Perone finds certain tracks reminiscent of Bowie's prior work. He compares "You Belong in Rock n' Roll" to his work with the Spiders from Mars and the music of "Amlapura" to the folk rock on Bowie's 1969 album Space Oddity, although notes that the lyrics, which describe "images of dead children", are a lot darker than the material of that era.

Gabrels used greater experimentation on guitar for Tin Machine II, including the use of a vibrator on some tracks. He later stated that at the time, he was deeply into Nine Inch Nails' album Pretty Hate Machine (1989) and was looking for an industrial edge to his own guitar work for the album. Ultimately (after recording track after track of guitar noise), he found a "shard of guitar noise" that he liked and used it on "Shopping for Girls", a song about child prostitution in Thailand. Buckley notes that as a way to show the band to be a "democratic unit", Hunt Sales took lead vocals on two tracks, "Stateside" and "Sorry", the latter of which he wrote by himself. "Goodbye Mr. Ed" is lyrically a farewell to the title character of the television series Mister Ed, who was a talking horse. Perone compares the song's musical style to the 1970s work of the Jam and the 1960s work of the Who. Jon Pareles of The New York Times found the lyrics mostly focus on love, signalling out "Baby Universal" and "Betty Wrong" as clear examples.

Release and promotion
The cover artwork was created by Edward Bell, who previously created the artwork for Bowie's 1980 album Scary Monsters (and Super Creeps). It depicts four Kouroi—Greek statues dating to the sixth century BC—that represent individuals who lack identity, which Pegg believes encapsulates the "ethos" of Tin Machine. The British cover showed the statues' genitalia, but for the American release of Tin Machine II, the genitalia were airbrushed out. Bowie commented, "Only in America ... [...] Even Canada has the original cover!" He teased the idea of allowing American album-buyers to send away to Victory Music for the genitalia that were struck from their version of the cover, but the label balked. He said: "then [the fans] could paste them back on. But the label freaked out at the idea. Sending genitals through the mail is a serious offense." The back cover was a rear-view of the front cover with a torn photo of Sales' shoulders overlaid, which Pegg describes as similar to Scary Monsters.

Tin Machine II was released through Victory Music and London Records on 2September 1991 on different LP and CD formats, with the catalogue numbers 8282721 and 8282722, respectively. Its release coincided with Rykodisc's reissue of Bowie's Berlin Trilogy. The album peaked at number 23 on the UK Albums Chart, becoming Bowie's first album in nearly 20 years to not hit the UK top 20. It fared far worse in the US, peaking at number 126 on the Billboard Top Pop Albums chart. Like its predecessor, Tin Machine II was supported by three singles. The first, "You Belong in Rock n' Roll" backed by "Amlapura (Indonesian version)", was released on 19August and peaked at number 33 on the UK Singles Chart. The second, "Baby Universal" backed by an extended version of "You Belong in Rock n' Roll", followed in October, which peaked at number 48 in the UK. The third and final single, "One Shot" backed by "Hammerhead", was issued the next month in other territories besides Britain.

Tin Machine supported the album with a seven-month tour called the It's My Life Tour, which started in October 1991 and concluded in February 1992. They recorded one show for fans on 1September 1991 at the Los Angeles airport which was taped for broadcast in the US as part of the ABC In Concert series, aired on 6September. The setlist for the tour included most of Tin Machine and all of Tin Machine II, with covers including the Pixies' "Debaser" (1989), Neil Young's "I've Been Waiting for You" (1968) and the Moody Blues' "Go Now" (1964). Reviews for the shows were mixed, with some complaining over the lack of Bowie's older hits. Following the release of the live album Tin Machine Live: Oy Vey, Baby in 1992, Tin Machine disbanded. Bowie married supermodel Iman in 1992 and resumed his solo career with Black Tie White Noise (1993); Gabrels remained his collaborator for the rest of the decade.

Critical reception
Tin Machine II was met with mixed reviews from music critics on release. Adrian Deevoy of Q, in a review that asked "Are Tin Machine Crap?" on the cover, felt that the album does not "quite match up to their wonderfully overwrought but sadly under bought debut", while praising individual tracks such as "If There Was Something", "You Belong in Rock 'n' Roll" and "Shopping for Girls". In a more favourable review, Max Bell of Vox called the majority of the tracks "passable bordering on dull", concluding that it is "better than could have been expected". Wyman similarly called the album mediocre overall but praised certain tracks including "Goodbye Mr. Ed" and "You Belong in Rock n' Roll". He also recognised Tin Machine II as the "truer" collaboration for the band due to the more varied songwriting.

Nevertheless, the album did receive some positive reviews. In Creem, Steve Appleford found Tin Machine II "a return to raw form" and called it "the best music Bowie's released since 1980's Scary Monsters". A reviewer for NME gave the album a thumbs up, while a Billboard writer approved of Padgham's work on "One Shot". Pareles praised the album, particularly Gabrels' guitar work, which he described as "two parts Robert Fripp, one part Eddie Van Halen and one part speeding ambulance". In the late 1990s, some critics have suggested that the album was "unjustly" harshly reviewed at the time of its release. This was echoed by Tony Horkins of International Musician magazine, who initially hypothesised that "maybe, like the rest of Bowie's career, it'll all make a lot more sense in a few years time".

Indeed, in 2010 and again in 2015, Uncut placed the album on their list of 50 Great Lost Albums (their list of great albums not currently available for purchase), calling it "extraordinary". In a retrospective review for AllMusic, Mark Allender considered Tin Machine II a "well-conceived and well-executed" album, lamenting that it had perhaps been released before radio listeners were ready to listen. He noted the improved production from their debut and highlighted "Amlapura", "Goodbye Mr. Ed", "Baby Universal" and "You Belong in Rock 'n' Roll" as standouts. Nevertheless, Ted Asregadoo of Ultimate Classic Rock found the album has "none of the anger, the immediacy, or the power of the debut album". In 2006, Q ranked Tin Machine II tenth in their list of the 50 worst albums ever.

Legacy
Bowie's biographers have given Tin Machine II mixed reactions. Pegg calls the record overall "mediocre", stating that it contains both improvements on Tin Machine and moments that are "simply unspeakable". He states that the album features "more balanced and polished" production than their debut and greater instrumentation, calling Bowie's saxophone playing on the record some of his best in years. Furthermore, Pegg highlights the likes of "Baby Universal", "Shopping for Girls" and "Goodbye Mr. Ed" as great tracks but pans the Hunt-sung tracks as some of the "most frighteningly bad songs ever to find their way into the Bowie canon". Buckley agrees, finding the record to be a mixed bags of both good and bad tracks, praising "Shopping for Girls" and "Goodbye Mr. Ed" while panning "Stateside" and "Sorry". Paul Trynka also denounces the Hunt-sung tracks and similarly says that the album prevails "the same virtues and drawbacks" as the debut, but "each of them magnified".

In 2020, the Bowie estate announced that the album would be reissued for the first time since its original release on 17July via label Music on Vinyl, on both vinyl and CD. However, Gabrels immediately stated after the initial announcement that neither he nor Palmer knew anything about the re-release.

Personnel
According to the liner notes and biographer Nicholas Pegg.

Musicians
 * David Bowie – lead (1–7, 9, 10, 12) and backing (8, 11) vocals, rhythm guitar, piano, saxophone
 * Reeves Gabrels – guitar, backing vocals, vibrators, organ
 * Tony Fox Sales – bass, backing vocals
 * Hunt Sales – drums, percussion, backing and lead (8, 11) vocals
 * Kevin Armstrong – rhythm guitar (4), piano (9)

Production
 * Tin Machine – producers, mixing
 * Tim Palmer – producer, mixing, additional piano and percussion
 * Hugh Padgham – production, engineering and mixing on "One Shot"
 * Guy Gray, Simon Vinestock, Justin Shirley-Smith, Eric Schilling, Ruggie Simkins, Chuck Ferry – engineering
 * Reiner Design Consultants, Inc. – design
 * Edward Bell – illustration
 * Sally Hershberger – photography

title: Tin Machine II


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John Baldessari

John Anthony Baldessari (June 17, 1931 – January 2, 2020) was an American conceptual artist known for his work featuring found photography and appropriated images. He lived and worked in Santa Monica and Venice, California.

Initially a painter, Baldessari began to incorporate texts and photography into his canvases in the mid-1960s. In 1970 he began working in printmaking, film, video, installation, sculpture and photography. He created thousands of works which demonstrate—and, in many cases, combine—the narrative potential of images and the associative power of language within the boundaries of the work of art. His art has been featured in more than 200 solo exhibitions in the U.S. and Europe. His work influenced that of Cindy Sherman, David Salle, Annette Lemieux, and Barbara Kruger among others.

Education

 * 1949–53 B.A., San Diego State College, California
 * 1954–55 University of California, Berkeley
 * 1955 University of California, Los Angeles
 * 1955–57 M.A., San Diego State College, California
 * 1957–59 Otis Art Institute, Los Angeles
 * Chouinard Art Institute, Los Angeles

Early life and career
Baldessari was born in National City, California, to Hedvig Marie Jensen (1896-1950), a Danish nurse, and Antonio Baldessari (1877-1976), an Italian salvage dealer. Baldessari and his elder sister were raised in Southern California. He attended Sweetwater High School and San Diego State College. Baldessari grew up in relative isolation during the Great Depression.

In 1959, Baldessari began teaching art in the San Diego school system. He taught for nearly three decades, in schools and junior colleges and community colleges, and eventually at the university level. When the University of California decided to open up a campus in San Diego, the new head of the Visual Art Department, Paul Brach, asked Baldessari to be part of the originating faculty in 1968. At UCSD he shared an office with David Antin. In 1970, Baldessari moved to Santa Monica, where he met many artists and writers, and began teaching at CalArts. His first classes included David Salle, Jack Goldstein, Mike Kelley, Ken Feingold, Tony Oursler, James Welling, Barbara Bloom, Matt Mullican, and Troy Brauntuch. While at CalArts, Baldessari taught "the infamous Post Studio class", which he intended to "indicate people not daubing away at canvases or chipping away at stone, that there might be some other kind of class situation." The class, which operated outside of medium-specificity, was influential in informing the context for addressing a student's art practice at CalArts, and established a tradition of conceptual critique at CalArts that was carried on by artists such as Michael Asher. He quit teaching at CalArts in 1986, moving on to teach at UCLA, which he continued until 2008. At UCLA, his students included Elliott Hundley and Analia Saban.

Early text paintings
By 1966, Baldessari was using photographs and text, or simply text, on canvas. His early major works were canvas paintings that were empty but for painted statements derived from contemporary art theory. An early attempt of Baldessari's included the hand-painted phrase "Suppose it is true after all? WHAT THEN?" (1967) on a heavily worked painted surface. However, this proved personally disappointing because the form and method conflicted with the objective use of language that he preferred to employ. Baldessari decided the solution was to remove his own hand from the construction of the image and to employ a commercial, lifeless style so that the text would impact the viewer without distractions. The words were then physically lettered by sign painters, in an unornamented black font. The first of this series presented the ironic statement "A TWO-DIMENSIONAL SURFACE WITHOUT ANY ARTICULATION IS A DEAD EXPERIENCE" (1967).

Another work, Painting for Kubler (1967–68) presented the viewer theoretical instructions on how to view it and on the importance of context and continuity with previous works. This work referenced art historian George Kubler's seminal book, The Shape of Time: Remarks on the History of Things. The seemingly legitimate art concerns were intended by Baldessari to become hollow and ridiculous when presented in such a purely self-referential manner.

Disowning of early work
In 1970, Baldessari and five friends burnt all of the paintings he had created between 1953 and 1966 as part of a new piece, titled The Cremation Project. The ashes from these paintings were baked into cookies and placed into an urn, and the resulting art installation consists of a bronze commemorative plaque with the destroyed paintings' birth and death dates, as well as the recipe for making the cookies. Through the ritual of cremation Baldessari draws a connection between artistic practice and the human life cycle. Thus the act of disavowal becomes generative as with the work of auto-destructive artist Jean Tinguely.

Juxtaposing text with images
Baldessari is best known for works that blend photographic materials (such as film stills), take them out of their original context and rearrange their form, often including the addition of words or sentences. Related to his early text paintings were his Wrong series (1966–1968), which paired photographic images with lines of text from an amateur photography book, aiming at the violation of a set of basic "rules" on snapshot composition. In one of the works, Baldessari had himself photographed in front of a palm precisely so that it would appear that the tree were growing out of his head. His photographic California Map Project (1969) created physical forms that resembled the letters in "California" geographically near to the very spots on the map that they were printed. In the Binary Code Series, Baldessari used images as information holders by alternating photographs to stand in for the on-off state of binary code; one example alternated photos of a woman holding a cigarette parallel to her mouth and then dropping it away.

Another of Baldessari's series juxtaposed an image of an object such as a glass, or a block of wood, and the phrase "A glass is a glass" or "Wood is wood" combined with "but a cigar is a good smoke" and the image of the artist smoking a cigar. These directly refer to René Magritte's The Treachery of Images; the images similarly were used to stand in for the objects described. However, the series also apparently refers to Sigmund Freud's famous attributed observation that "Sometimes a cigar is just a cigar", as well as to Rudyard Kipling's "… a woman is only a woman, but a good cigar is a smoke."

In "Double Bill", a 2012 series of large inkjet prints, Baldessari paired the work of two selected artists (such as Giovanni di Paolo with David Hockney, or Fernand Léger with Max Ernst) on a single canvas, further altering the appropriated picture plane by overlaying his own hand-painted color additions. Baldessari then names only one of his two artistic "collaborators" on each canvas's lower edge, such as …AND MANET or …AND DUCHAMP.

Arbitrary games
Baldessari has expressed that his interest in language comes from its similarities in structure to games, as both operate by an arbitrary and mandatory system of rules. In this spirit, many of his works are sequences showing attempts at accomplishing an arbitrary goal, such as Throwing Three Balls in the Air to Get a Straight Line (1973), in which the artist attempted to do just that, photographing the results, and eventually selecting the "best out of 36 tries", with 36 being the determining number just because that is the standard number of shots on a roll of 35mm film. The writer eldritch Priest ties John Baldessari's piece Throwing four balls in the air to get a square (best of 36 tries) as an early example of post-conceptual art. This work was published in 1973 by a young Italian publisher: Giampaolo Prearo that was one of the first to believe and invest in the work of Baldessari. He printed two series one in 2000 copies and a second more precious reserved to the publisher in 500 copies. Following Baldessari's seminal statement "I will not make any more boring Art", he conceived the work The Artist Hitting Various Objects with a Golf Club (1972–73), composed of 30 photographs of the artist swinging and hitting with a golf club objects excavated from a dump, as a parody of cataloging rather than a thorough straight classification.

Pointing
Much of Baldessari's work involves pointing, in which he tells the viewer not only what to look at but how to make selections and comparisons, often simply for the sake of doing so. Baldessari's Commissioned Paintings (1969) series took the idea of pointing literally, after he read a criticism of conceptual art that claimed it was nothing more than pointing. Beginning with photos of a hand pointing at various objects, Baldessari then hired amateur yet technically adept artists to paint the pictures. He then added a caption "A painting by [painter's name]" to each finished painting. In this instance, he has been likened to a choreographer, directing the action while having no direct hand in it, and these paintings are typically read as questioning the idea of artistic authorship. The amateur artists have been analogized to sign painters in this series, chosen for their pedestrian methods that were indifferent to what was being painted. Baldessari critiques formalist assessments of art in a segment from his video How We Do Art Now (1973), entitled "Examining Three 8d Nails", in which he gives obsessive attention to minute details of the nails, such as how much rust they have, or descriptive qualities such as which appears "cooler, more distant, less important" than the others.

Dots
Circular adhesive dots covering up the faces of photographed and painted portraits are a prevailing motif in Baldessari's work from the mid-1980s onward. The artist himself suspected that, despite the broad array of approaches he's taken over the course of his career, he will be best remembered as "the guy who puts dots over peoples faces." Examples of the "dot portraits" would include—for example—Bloody Sunday (1987) or Stonehenge with Two Persons (2005), though these works are numerous and it is difficult to identify an exemplar. The dots in these paintings evoke brightly colored price-stickers sometimes seen at garage sales, thrift stores or placed on retail items during a sale. Indeed, these stickers appear to have been the inspiration for the method. Describing his initial intuitive leap in this direction, Baldessari said, "I just had these price stickers I was using for something else, in some graphic way and I put them on all the faces and I just felt like it leveled the playing field." The dot-faced works may sometimes be described as paintings, collages, or may be released as print editions.

Prints

Baldessari began making prints in the early 1970s and continued to produce editions. He created his first print – I Will Not Make Any More Boring Art (1971) - as an edition to raise funds for the Nova Scotia College of Art and Design, Halifax. The lithograph was created in conjunction with the now renowned exhibition for which – at Baldessari's request – students endlessly wrote the phrase "I will not make any more boring art" on the gallery walls. The artist has since worked internationally with premier publishers including Arion Press of San Francisco, Brook Alexander Editions of New York, Cirrus Editions of Los Angeles, Crown Point Press of San Francisco, Edition Jacob Samuel of Santa Monica, Gemini G.E.L. of Los Angeles, Mixografia of Los Angeles, Multiples, Multi Editions of Los Angeles, Inc. of New York, and Peter Blum Editions of New York. His 1988 prints, The Fallen Easel and Object (with Flaw), represented a major shift in Baldessari's approach to presentation, allowing a more complex relationship between his found imagery. In both prints, Baldessari expertly contrasts unrelated photographs to suggest a mysterious and/or ominous undercurrent. In the 1990s Baldessari began working with Mixografia Workshop to create three-dimensional prints utilizing their unique process of printing from metal molds. Baldessari's interest in dimensionality has carried over to recent editions from Gemini G.E.L., including the Person with Guitar series (2005) and the print series Noses & Ears, Etc. (2006–2007) in which screen-printed images are constructed in three layers on sintra with hand painting. A 2007 publication from Gemini is God Nose, a cast aluminum piece that is designed to hang from the ceiling. Baldessari also contributed to the 2008 Artists for Obama portfolio, a set of prints in a limited edition of 150 published by Gemini G.E.L.

Performance and film
Originally conceived in 1970, Unrealised Proposal for Cadavre Piece would have visitors look through a peep-hole and see a dead male body laid out with its feet towards them inside a climate-controlled vitrine, made to resemble Andrea Mantegna’s painting, The Lamentation over the Dead Christ (1480). Hans Ulrich Obrist, the co-director of London’s Serpentine Gallery and Klaus Biesenbach, the director of MoMA PS1, first attempted to realize Baldessari’s idea in 2011 and the resulting paperwork of failed attempts to procure a willing male cadaver was displayed in the exhibition "11 Rooms" at the Manchester International Festival.

Baldessari's film Police Drawing documents a 1971 performance, Police Drawing Project. In this piece, the artist walked into a class of art students who had never seen him, set up a video camera to document the proceedings, and left the room. Subsequently, a police artist entered and, based on the students' testimony, sketched a likeness of the artist. In the black-and-white video I Am Making Art (1971), Baldessari stands facing the camera; for nearly 20 minutes, he strikes and then holds various poses — crossing his arms over his chest or swinging one arm out to one side or pointing directly at the lens, for example — and with each new gesture, he states "I am making art." In a 1972 tribute to fellow artist Sol LeWitt, Baldessari sang lines from LeWitt's thirty-five statements on conceptual art to the tune of popular songs. Other films include Teaching a Plant the Alphabet and the Inventory videos, also from 1972.

A riff on his 1977 color video Six Colourful Inside Jobs, in Thirteen Colorful Inside Jobs (2013) a room is repainted by a performer in a different colour every day for the duration of the exhibition, carefully following the instructions of the artist.

Sculpture
Baldessari created his first ever sculpture, Beethoven's Trumpet (with Ear) Opus # 127, 130, 131, 132, 133, 135 (2007), a series of 6 resin, fiberglass, bronze, aluminum, and electronics components in the form of a gigantic bronze trumpet extending off an oversized ear sculpted on the wall. The sculpture was produced with Beyer Projects. When the viewer speaks into the trumpet, the sounds causes a short recital of a phrase from a Beethoven string quartet. Baldessari has gone on to create sculptural works that often incorporate resin, bronze, and steel, such as the approximately 2.4 m carrot (Fake Carrot, 2016) and an elongated bronze figure trapped wearing a wooden barrel in a nod to Giacometti (Giacometti Variation, 2018).

Exhibitions
Baldessari was in over 200 solo shows and 1,000 group shows in his six-decade career. He had his first gallery solo exhibition at the Molly Barnes Gallery in Los Angeles in 1968. His first retrospective exhibition in the U.S. in 1981 was mounted by the New Museum of Contemporary Art in New York, and traveled to the Contemporary Arts Center, Cincinnati, the CAM, Houston, the Van Abbemuseum, Eindhoven, and the Museum Folkwang, Essen.

His work has since been exhibited in:
 * Documenta V (1972) and VII (1982)
 * the Whitney Biennial (1983)
 * the Carnegie International (1985–86)
 * the 47th Venice Biennial (1997)

Solo presentations of his work at museums have included exhibitions at:
 * Cornerhouse, Manchester (1995)
 * the Albertina, Vienna (1999)
 * Sprengel Museum, Hannover (1999–2000)
 * Museo d'Arte Moderna Contemporanea di Trento e Rovereto, Trento (2000–2001)
 * Museum Moderner Kunst Stiftung Ludwig Wien, the Kunsthaus Graz, and Deutsche Guggenheim Berlin (2004)
 * Museo Jumex, Mexico City (2017)

Retrospectives of his work were shown at MOCA, Los Angeles, which traveled to SFMOMA, the Hirshhorn Museum and Sculpture Garden, the Whitney Museum and the Musée d'Art Contemporain, Montreal in 1990–92; at Cornerhouse, Manchester, and traveled to London, Stuttgart, Ljubljana, Oslo, and Lisbon in 1995-96 entitled "This Not That"; and Pure Beauty opened at the Tate Modern, London, in 2009 and travelled to MACBA, Barcelona; LACMA, Los Angeles; and The Metropolitan Museum of Art, New York, through 2011.

There was an "Artist's Choice: John Baldessari" at the Museum of Modern Art in 1994, and the artist was invited to curate the exhibition "Ways of Seeing: John Baldessari Explores the Collection" at the Hirshhorn Museum and Sculpture Garden in 2006, and he created the exhibition design for "Magritte and Contemporary Art: The Treachery of Images" at the Los Angeles County Museum of Art.

For the 2017/2018 season at the Vienna State Opera he designed the large-scale image (176 m2) "Graduation" for the ongoing series "Safety Curtain", conceived by museum in progress.

Publications

 * Choosing: Green Beans. Milan: Edizioni Toselli
 * Ingres and Other Parables. Texts in English, French, German, and Italian. London: Studio International Publications
 * Throwing Three Balls in the Air to Get a Straight Line (Best of Thirty-Six Attempts). Milan: Giampaolo Prearo Editore S.r.L.; and Galleria Toselli
 * Four Events and Reactions. Florence: Centro Di; and Paris: Galerie Sonnabend.
 * Throwing a Ball Once to Get Three Melodies and Fifteen Chords, John Baldessari: 1973. Berkeley, California: Regents of the University of California; and Irvine, California: Art Gallery, University of California at Irvine
 * Brutus Killed Caesar. Akron, Ohio: Emily H. Davis Art Gallery, University of Akron; in cooperation with Sonnabend Gallery, New York, and Ohio State University, Columbus, Ohio.
 * Fable - A Sentence of Thirteen Parts (With Twelve Alternate Verbs) Ending in FABLE. Hamburg, West Germany: Anatol AV und Filmproduktion
 * Close-Cropped Tales. CEPA Gallery and Albright—Knox Art Gallery, Buffalo, NY, 1981.
 * The Life and Opinions of Tristram Shandy. Images by John Baldessari, text by Laurence Sterne, Arion Press, San Francisco, CA.
 * The Telephone Book (With Pearls). Gent, Belgium: Imschoot, Uitgevers for IC.
 * Lamb. Images by John Baldessari, story by Meg Cranston. Valencia, Spain: IVAM Centre Julio Gonzlez
 * Zorro (Two Gestures and one Mark). Oktagon Verlag, Cologne, Germany.
 * The Metaphor Problem Again. Collaboration with Lawrence Weiner. Ink-Tree Kunsnacht and Mai 35 Galerie Zurich, Switzerland.
 * Brown and Green and Other Parables. Reykjavik, Iceland: i8 and Reykjavik Art Museum, Iceland, 2001.
 * Yours in Food, John Baldessari: With Meditations on Eating by Paul Auster, John Baldessari, David Byrne, Dave Eggers, David Gilbert, Tim Griffin, Andy Grundberg, John Haskell, Michael More, Glenn O’Brien, Francine Prose, Peter Schjeldahl, Lynne Tillman. New York: Princeton Architectural Press, 2004.
 * The Metaphor Problem Again: A Conversation Moderated by Beatrix Ruf. Heidelberg, Germany: Springer-Verlag, 2006. Transcription of a conversation with John Baldessari, Liam Gillick, Lawrence Weiner, Beatrix Ruf, and Cristina Bechtler.
 * Prima Facie: Marilyn's Dress, A Poem (In Four Parts). Cologne: Verlag Der Buchhandlung Walther König, 2006.
 * Again the Metaphor Problem and Other Engaged Critical Discourses about Art: A Conversation Between John Baldessari, Liam Gillick and Lawrence Weiner, Moderated by Beatrix Ruf. Vienna and New York: SpringerWienNewYork, 2007.
 * John Baldessari: Alejandro Cesarco: Retrospective. Cologne:Verlag der Buchhandlung Walther König, 2007. Collaborative work with Alejandro Cesarco.
 * John Baldessari: Koen van den Broek: This an Example of That. Gemeenteplein (Belgium): bkSM (beeldende kunst Strombeek/Mechelen), 2008. Collaborative work with Koen van den Broek.
 * Parse. Zurich: JRP|Ringier, 2010. Artist's book version of the Ringier Annual Report 2009 project.
 * John Baldessari: A Catalogue Raisonne of Prints and Multiples, 1971–2007, by Sharon Coplan Hurowitz, published by Hudson Hills Press, 2009.

Collections
Baldessari's work is held in the following permanent collections:
 * Art Institute of Chicago: 5 works (as of 18 August 2021)
 * Museum of Modern Art: 113 works (as of 18 August 2021)
 * Guggenheim Museum: 2 works (as of 18 August 2021)
 * Los Angeles County Museum of Art: 267 works (as of 18 August 2021)
 * Hirshhorn Museum and Sculpture Garden
 * Broad Collection

Recognition
Baldessari has been the recipient of numerous awards, among others:
 * 1986   Guggenheim Fellowship
 * 1996   Oscar Kokoschka Prize, Austria
 * 1997   Governor's Award for Lifetime Achievement in the Visual Arts, California.
 * 1999   Spectrum-International Award for Photography of the Foundation of Lower Saxony, Germany
 * College Art Associations Lifetime Achievement Award

 * 2002   "Best Web-Based Original Art," AICA USA Best Show Awards, 2001/2002 Season.
 * Los Angeles Institute for the Humanities Fellow, sponsored by the University of Southern California

 * 2003   "2nd Place Best Show Commercial Gallery National by US Art Critics Association for exhibit at Margo Leavin, 2003
 * 2004 Fellow of the American Academy of Arts and Sciences
 * 2005 Lifetime Achievement Award, Americans for the Arts, New York, October 11, 2005
 * Rolex Mentor and Protégé Arts Initiative, Honoring, New York, November 7, 2005.
 * 2006 Certificate of Recognition, the Los Angeles Convention and Visitors Bureau, Los Angeles, CA.
 * 2009 Golden Lion Lifetime Achievement, 53rd International Art Exhibition Venice Biennale, Venice, Italy
 * 2011 Honoree, LACMA Art + Film Gala, Los Angeles, November 5, 2011.
 * 2012 Goslarer Kaiserring (City of Goslar's Kaiser Ring), Germany
 * 2015 Honoree, Museum of Contemporary Art, Los Angeles, May 31, 2015.

In 2013, the California Institute of the Arts opened its John Baldessari Art Studio Building, which features approximately 7,000 square feet of space—much of it used as studio space for art students and faculty.

Other activities

 * Museum of Contemporary Art, Los Angeles, Member of the Board of Trustees
 * California Institute of the Arts, Member of the Board of Overseers
 * Americans for the Arts, Member of the Artists Committee
 * Anhiel Foundation, Member of the Board of Trustees
 * John Simon Guggenheim Foundation, Member of the Jury
 * Lucelia Artist Award, Member of the Jury

Art market
Baldessari set a personal auction record when his acrylic-on-canvas piece Quality Material (1966–1968) was sold for $4.4 million at Christie's New York in 2007.

In 1972, Ileana Sonnabend agreed to represent him worldwide. In 1999, after twenty-six years with the Sonnabend Gallery, Baldessari went to Marian Goodman. He was also represented by Margo Leavin (1984-2013), Sprüth Magers (from 1998), Mai 36 Galerie and Galerie Greta Meert. Since 2021, the artist's estate has been working with Sprüth Magers worldwide.

Personal life
Between 1960 and 1984, Baldessari was married to Montessorian teacher Carol Ann Wixom; they had two children.

In 1990, Baldessari purchased a bungalow in the coastal Ocean Park neighborhood of Santa Monica and enlisted architects Ron Godfredsen and Danna Sigal for a redesign. He also owned a Frank Gehry-designed vacation home in Venice, California. He operated a studio on Main Street in Santa Monica alongside Richard Diebenkorn and James Turrell.

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

title: John Baldessari


text:
User:Hariraja

 My User Page

Links
Below is a list of a few links to articles that I am interested in. This list will probably tell you a lot more about me than 2 pages of my life story, so I have included it below.
 * Science
 * Physics
 * Radioactivity
 * Nuclear fusion
 * Nuclear fission
 * Quantum mechanics
 * Energy
 * Chemistry
 * Biology
 * Wikispecies
 * Sport
 * Cricket
 * Tennis
 * Badminton
 * insert other racquet type sport
 * Computing
 * HTML
 * Java

 * This page is considered official factual data on Wikipedia.

It has wide acceptance among living beings and is considered an essential truth that everyone should accept. Except for minor agreements, please make use of the discussion page to propose changes to this page.

title: User:Hariraja


text:
George Poage

George Coleman Poage (November 6, 1880 – April 11, 1962) was an American track and field athlete. He was the first black and the first African-American athlete to win a medal in the Olympic Games, winning two bronze medals at the 1904 games in St. Louis.

Early life
Born in Hannibal, Missouri, his family moved to La Crosse, Wisconsin in 1884. After his father, James, died in 1888, George Poage, along with his mother and surviving sibling, moved into the home of Mary and Lucian Easton; Lucian was the son of local lumberman Jason Easton, who employed James in his stables.

At La Crosse High School Poage excelled as both a student and an athlete; he was considered the top athlete at the school and, in 1899, was the class salutatorian, becoming the school's third African-American graduate, after Florence Birney in 1887, and George's sister, Nellie in 1897.

College and Olympic years
The following fall he became a freshman at the University of Wisconsin. After competing with the freshman track squad in 1900, he joined the varsity track and field team during his sophomore year. Poage was the first black athlete to run for UW, specializing in the short sprints and hurdles. A consistent point winner for his team, he quickly became well respected. When the track coach was called out of town in 1902, he placed Poage in charge of the team in his absence.

Poage graduated in 1903 with a degree in History. His senior thesis was titled "An Investigation into the Economic Condition of the Negro in the State of Georgia During the Period of 1860–1900". He returned to the University for the 1903–04 school year to take graduate classes in History, supported by the UW athletic department, which hired him as an athletic trainer for the football team. In June 1904, he became the first African-American individual Big Ten track champion in conference history, placing first in both the 440-yard dash and the 220-yard hurdles.

The Milwaukee Athletic Club sponsored Poage to compete in the 1904 Summer Olympics in St. Louis, Missouri. Many prominent African-American leaders had called for a boycott of the games to protest racial segregation of the events in St. Louis. An integrated audience was not allowed at either the Olympics or the World's Fair as the organizers had built segregated facilities for the spectators. Poage chose to compete in four events and became the first black and the first African-American to medal in the Games by winning the bronze in both the 200-yard and 400-yard hurdles.

Later years
Poage remained in St. Louis after the Olympics, working as a school principal for a year before becoming a teacher at segregated Charles Sumner High School. At Sumner, he was the head of the English department, teaching English composition, literature, and Latin, helped coach the school’s sports teams, and supervised various extracurricular activities such as debate and theater. In 1914, Poage left his job at Sumner. According to a former student, he purchased a farm in Minnesota, although no land records of the purchase have been found. Local historian Margaret Lichter and Bruce Mouser have speculated that the land was owned by the Easton family.

In 1920, Poage moved to Chicago. He worked in a restaurant for four years. In 1924, Poage was hired by the United States Postal Service and worked as a postal clerk for nearly thirty years. After his retirement in the 1950s he remained in Chicago until his death in 1962.

Personal life
Decades after his death in 1962, George C. Poage was revealed to have been a member of the LGBTQ+ Community. As featured in a 2023 PBS documentary entitled Wisconsin Pride.

George C. Poage never married and never had children.

Legacy
Poage was elected to the Wisconsin Athletic Hall of Fame in 1998.

In 2013, the La Crosse City Council renamed Hood Park to George C. Poage Park in Poage's honor.

In 2023, Poage was honored with a community dinner and presentation of a PBS documentary Poage was featured in, entitled Wisconsin Pride. The event took place at Poage Park in La Crosse, WI.

title: George Poage


text:
Bus plunge story

Bus plunge stories are a nickname for a journalistic practice of reporting bus accidents in short articles that describe the vehicle as "plunging" from a bridge or hillside road. The phenomenon has been noted in The New York Times, which published many bus plunge stories from the 1950s through the 1980s, running about 20 such articles in 1968 alone.

Commentators on the "bus plunge" phenomenon have suggested that such reports were printed not because they were considered particularly newsworthy, but because they could be reduced to a few lines and used to fill gaps in the page layout. Further, the words "bus" and "plunge" are short, and can be used in one-column headlines within the narrow, eight-column format that was prevalent in newspapers through the first half of the 20th century. Columnist John McIntyre has called the reports "phatic journalism" that pretends to inform the reader about world events without any significant news gathering. The development of computerized layout tools in the 1970s eventually reduced the need for such filler stories, but newswires continue to carry them.

title: Bus plunge story


text:
Expression cassette

An expression cassette is a distinct component of vector DNA consisting of a gene and regulatory sequence to be expressed by a transfected cell. In each successful transformation, the expression cassette directs the cell's machinery to make RNA and protein(s). Some expression cassettes are designed for modular cloning of protein-encoding sequences so that the same cassette can easily be altered to make different proteins.

An expression cassette is composed of one or more genes and the sequences controlling their expression. An expression cassette comprises three components: a promoter sequence, an open reading frame, and a 3' untranslated region that, in eukaryotes, usually contains a polyadenylation site.

Different expression cassettes can be transfected into different organisms including bacteria, yeast, plants, and mammalian cells as long as the correct regulatory sequences are used.

title: Expression cassette


text:
J. Clyde Mitchell

James Clyde Mitchell (usually known as J. Clyde Mitchell; 21 June 1918 Pietermaritzburg – 15 November 1995) was a British sociologist and anthropologist.

In 1937 Mitchell helped found the Rhodes-Livingstone Institute group of social anthropologists/sociologists, now a part of the University of Zambia. He was influenced by Max Gluckman and conducted important research on social network analysis at the University of Manchester (see Manchester School). In the 1940s he carried out field research into social systems and social conditions in Central Africa (southern Malawi) interviewing heads of households in villages and urban areas and observing customs. In 1952 he was on the editorial committee of the Northern Rhodesia Journal.

Mitchell studied network analysis and was a founding member of the International Network for Social Network Analysis, contributing to its Connections magazine.

For a detailed story of his life refer to the following by Susan J. Smith: J. CLYDE MITCHELL James Clyde Mitchell 21 June 1918 – 15 November 1995 elected Fellow of the British Academy 1990 by SUSAN J. SMITH, Fellow of the Academy

Publications

 * The Kalela dance: Aspects of social relationships among urban Africans in Northern Rhodesia, Manchester: Manchester University Press, 1956
 * The Yao Village: a Study in the Social Structure of a Malawian Tribe Manchester: Manchester University Press, 1956, 1966, 1971
 * Social Networks in Urban Situations: Analysis of Personal Relationships in Central African Towns Manchester: Manchester University Press, 1969
 * Networks, Norms & Institutions, 1973
 * Configurational Similarity in Three Class Contexts in British Society, in Sociology, Vol. 19, 1985
 * Cities, Society, and Social Perception: A Central African Perspective 1987

title: J. Clyde Mitchell


text:
Talk:Tetraquark

Comments
This page has been redirected to exotic meson because there is a more detailed description there. The candidate states earlier described here do not appear in the 2004 Reviews of Particle Properties, and are therefore unconfirmed. The material here has consequently not been merged into the page on exotic mesons. Bambaiah 07:09, Jun 8, 2005 (UTC)

"dimeson"?
I notice that dibaryon is about a hexaquark particle of the same kind of configuration as a baryon doubled... and not about a two-baryon composite particle. dimeson would seem to be the equivalent term form this 4-quark particle of the same kind of configuration as a meson doubled... but "dimeson" seems to be about composite particles composed of two mesons? Seems like inconsistent terminology? -- 65.94.77.36 (talk) 23:23, 14 April 2014 (UTC)

diquark-antidiquark
According to X(3872) article, one tetraquark configuration is the diquark-antidiquark configuration, but statements about Z(4430) seem to say it is a doubled-up meson? -- 65.94.77.36 (talk) 00:36, 15 April 2014 (UTC)

 * Rename the article to bimeson please. Hcobb (talk) 02:31, 15 April 2014 (UTC)

External links modified
Hello fellow Wikipedians,

I have just added archive links to 1 one external link on Tetraquark. Please take a moment to review my edit. If necessary, add

after the link to keep me from modifying it. Alternatively, you can add to keep me off the page altogether. I made the following changes:
 * Added archive http://web.archive.org/web/20040401115040/http://www.kek.jp:80/press/2003/belle4e.html to http://www.kek.jp/press/2003/belle4e.html

When you have finished reviewing my changes, please set the checked parameter below to true or failed to let others know (documentation at ).

Cheers.—cyberbot II  Talk to my owner :Online 12:30, 28 February 2016 (UTC)

$\overline{q}$$\overline{q}$QQ discovery confirmed?
Not making the edit as I am by no means an expert on this subject, but in July 2021 CERN reported the discovery of the Tcc+, which contains cc$\overline{u}$$\overline{d}$. I think this means that the sentence in "History and discoveries" that reads "The existence and stability of tetraquark states with the qq$\overline{Q}$$\overline{Q}$ (or $\overline{q}$$\overline{q}$QQ) have been discussed by theoretical physicists for a long time, however these are yet to be reported by experiments" should either be removed or updated, right? Tpth (talk) 03:35, 26 August 2021 (UTC)

Discoveries on July 5th 2022
CERN announced discovery of "first-ever pair of tetraquarks" here. Should it be added to the article? ElfDecker (talk) 08:07, 6 July 2022 (UTC)

title: Talk:Tetraquark


text:
Based on a True Story (The Starting Line album)

Based on a True Story is the second studio album by American pop punk band the Starting Line. The group's label Drive-Thru Records had a distribution deal which allowed MCA Records to acquire their bands. After MCA Records was absorbed into Geffen Records in mid-2003, the band spent most of 2004 writing and demoing songs for their next album. Following pre-production in July 2004, the band began recording for Based on a True Story, finishing in September. The album was recorded at various studios in New York state and California. Separate sessions were produced by Tim O'Heir, Howard Benson and Eric Rachel.

Prior to the album's release, "Bedroom Talk" was issued as a single in April 2005, and the band went on tour debuting a handful of songs from the album. Based on a True Story was released through Drive-Thru and Geffen Records on May 10. Peaking at number 18 on the Billboard 200, the album received mixed to positive reviews. Following its release, the band went on the Warped Tour throughout the summer. While on the tour, a music video was released for "Bedroom Talk". Soon after, Geffen de-prioritized the album, which resulted in the band leaving the label in December. Further tours in the UK and the US followed.

Background
The Starting Line formed in 1999, signing with independent label Drive-Thru Records shortly afterwards. The band's debut album Say It Like You Mean It, released in July 2002, was a joint release by Drive-Thru and major label MCA Records. MCA's distribution deal allowed it to acquire Drive-Thru Records' bands over a period of time. By the time the group sold around 300,000 copies, the band was signed to MCA Records, who saw the group's potential. Vocalist Kenny Vasoli said they were content with the label, based on the label's success with contemporaries New Found Glory and Blink-182. Following the conclusion of a US tour with Sum 41 in April 2003, the band took a brief break before they started writing for their next album.

Say It Like You Mean It lone single "The Best of Me" received attention from MTV2, and was to be released to radio while the group performed on the Warped Tour in the summer. However, MCA Records was absorbed by Universal Music Group (UMG) subsidiary Geffen Records in mid-2003, which resulted in its staff and roster being moved to Geffen. According to guitarist Matt Watts, "We ended up on Geffen, and it just seemed like no one there would assume responsibility for our band." On meeting people from the label, the group were told they would be treated like a new act, which left them disappointed.

In November, they finished writing and were aiming to record their next record in early 2004. Despite this earlier claim, the group said they had only finished writing in January 2004. They subsequently spent over half of the year writing new material and recording demos in Vasoli's basement. After the demos were unexpectedly leaked on the Internet, the band's fans thought it was their next album, but they were just "rough sketches" of what the band was going for. According to Watts, when the band played the demos for their label, the label responded by playing New Found Glory's Catalyst (2004). The label people said: "'These demos aren't this CD, you guys should sound like this.' And that's not us."

Composition
According to Watts, Geffen Records wanted the band to write a Simple Plan-esque record that had a pop sensibility to it that the label could release to the radio. The label pushed the band to write singles, however, the group "fought to the death" to write the record they wanted rather than Say It Like You Mean It, Part 2. According to Vasoli, most of the themes on Based on a True Story stem from having the songs but being frustrated by having to wait to get into the studio to record them. He thought the band had "definitely got more comfortable" with the songwriting process. Vasoli claimed the band expanded their musicality with Based on a True Story. When asked about the allusions to cameras in the song titles, they said that they "didn't realize there were so many camera references, I thought it was just in 'Making Love' [...] I think it's just about being in the Spotlight, not necessarily the camera".

"Inspired by the $" came about when Vasoli attempted to write a song their record label would view as a hit. Fed up, he wrote "Inspired by the $", a song which satisfied his "musical needs more than theirs." According to Vasoli "Bedroom Talk" was inspired by the knowledge he would lose his virginity to someone who would "love me for longer than that night". With this in mind, he wanted the song's lyrics to symbolize the "physical and passionate sides of love" while being honest. Vasoli viewed "Photography" as a typical love song that he wanted to tell "the actual feeling of love". Watts considered the song the band's "November Rain". Similar to "Inspired by the $", "Ready" was another song Vasoli felt went against what the label wanted him to do. They wanted the song to have a verse/chorus formula, which he refused to write.

Recording
Geffen Records attempted to force the group into a direction which they did not want to go in and wanted Neal Avron to produce the album, but the band was determined to do their "own thing" according to Watts. Pre-production began on July 6 and lasted for two weeks while the band worked on 15 songs. During pre-production, Watts felt for the first time that the band was making a record as opposed to a bundle of songs that they simply liked. On August 1, it was announced that the band was one week into recording. On the same day, drummer Tom Gryskiewicz' drum parts were completed. On September 22, following eight weeks of work, recording was finished. Watts called the process "great and really laid back".

Tim O'Heir was enlisted as Vasoli enjoyed Say Anything's ...Is a Real Boy (2004), which O'Heir produced. He produced and engineered "Inspired by the $", "Surprise, Surprise", "Photography", "Autography", "Artistic License", "Stay Where I Can See You", "The B-List", "Ready", "Cut! Print It" and "The World". These tracks were recorded at Mission Studios in Brooklyn, New York. Watts said O'Heir gave the songs an "organic feel" where "it's not all computed and Pro Tools and stuff like that". Additional engineering was done by Oliver Strauss. Additional recording took place at redruM Studios. David "Garo" Yellin arranged the strings on "Photography", and performed cello on the track. David Gold, Amy Kimbal and Taguchi Hiroka played violins on the track. Benjy King played the Hammond B3 organ on "Photography" and "Cut! Print It". Say Anything frontman Max Bemis contributed backing vocals on "Ready". Watts said it was "an honor" to have Bemis sing on the track as the band were big fans of Say Anything. Bemis was invited to sing after O'Heir learned that he was in the city for a gig.

Vasoli said Geffen were not satisfied with how some songs sounded and wanted them to re-record the singles. The band then began working with Howard Benson. Benson produced a new version of "The World", and "Bedroom Talk", with recording taking place at Bay 7 Studios, Valley Village and Sparky Dark Studio in Calabasas, California. The tracks were recorded by Mike Plotnikoff, with additional engineering by Eric Miller. They were also edited using Pro-Tools by Paul DeCarli. Benson also played keyboards and provided programming on the tracks. Eric Rachel produced and engineered "Making Love to the Camera" recorded at Trax East in New York. Shawn Corrigan served as production assistant. Additional production was done by Vasoli. All the recordings were mixed by Chris Lord-Alge, with assistance from Dimtar Krnjaic, at Resonate Music in Burbank, California. Greg Calbi mastered the recordings at Sterling Sound in New York City.

Release
The Starting Line went on a brief tour with Park in October 2004. In February 2005, the band embarked on a US tour with Days Away, JamisonParker and Further Seems Forever, which lasted for six weeks. In April, the group went on tour with Armor for Sleep, Mae, and Suicide Pack, and debuted several new songs: "Surprise, Surprise", "Bedroom Talk", "Ready", "Inspired by the $", and "Photography". Around this time, the band filmed a music video for "Bedroom Talk", which was done on a budget of $35,000. On April 12, 2005, "Bedroom Talk" was released as a single. On April 17, "Inspired by the $" was made available for streaming via the group's PureVolume account, followed by three more songs on April 22. Following this, they appeared at The Bamboozle and Flipside festivals. Based on a True Story was made available for streaming on May 1, 2005, before being released by Drive-Thru and Geffen Records nine days later. The Japanese edition of the album included "Nights and Weekends" as a bonus track. It was later released in Canada on May 24 and in the UK on August 15. Fans who ordered the album within a week of pre-orders being posted received an autographed booklet. Everyone who pre-ordered was entered in a contest to win a Fender Telecaster guitar, and a lesson from a band member. Two runners-up received an assortment of Nike clothing.

To promote its release, the group did a few in-store performances, and appeared at the Y100 radio festival in Philadelphia, Pennsylvania. Between mid-June and mid-August, the group went on the 2005 edition of Warped Tour. On July 11, the music video for "Bedroom Talk", directed by Corey Petrick, was released. Shortly afterwards, Geffen Records de-prioritized the album and, as a result, despite the band's increasing popularity, provided very little promotion for the single. Vasoli said of the situation: "It was like to go from such a perfect high point and have momentum going so well, then have it slowed down so much by the label". From late-September to late-November, the group went on the 2005 edition of the Nintendo Fusion Tour. On November 3, Alternative Press reported that the band had left Geffen Records and was in discussion with other labels.

The band's departure from Geffen Records was made official in mid-December. According to Watts, the band talked with Geffen president Jordan Schur who understood their concerns and the reasons they wanted to leave the label. "He finally gave us the option to leave, and we did that." Vasoli added that it was "probably like an hour[-long phone] call with them really hashing it out". Vasoli also said that to be released from their contract with Geffen, the band "forfeited rights to the recordings of Based On A True Story. We might run into trouble if we ever try to re-record that stuff". In January 2006, the band co-headlined a UK tour with MxPx, with support from the Matches and I Am the Avalanche. In February and March, the group headlined the Screaming Is for Babies tour, with support from Copeland, Gatsbys American Dream, Cartel, and New Atlantic. The album was released on vinyl in 2013.

Reception
Based on a True Story charted at number 18 on the Billboard 200 chart. The album received mixed to positive reviews from critics. AbsolutePunk founder Jason Tate wrote that the band's sound was "still catchy, the music still bouncy" with "plenty of guaranteed sing along choruses". He considered it an unexpected release: "I figured it would be good, I never expected it to be great. I'm glad I was wrong." He concluded by calling it "uplifting and incredibly fun to listen to". AllMusic reviewer Johnny Loftus drew a comparison between the band's earlier release The Make Yourself at Home EP (2003) and Based on a True Story. He said the album incorporated acoustic instrumentation, placing focus on Vasoli's "edge-of-tears" vocals, as well as "favoring busy breaks that distract from actual rocking". With this album, Loftus noted that the band "matured into a more grandiose version" of New Found Glory.

Kaj Roth of Melodic magazine mentioned how the group mixed emo and pop punk on Based on a True Story, comparing it to "having Armor For Sleep and Autopilot Off making a record together". Roth thought the album contained "some truly great stuff, a few ok songs and unfortunately 2-3 fillers," suggesting the band should have made an EP instead of an album. Punknews.org reviewer Meg Reinecker noted how the group had used the preceding three years to mature "both vocally and instrumentally". David Wild of Rolling Stone wrote that the band "made their sad songs much less cheesy" on the album. He said the "fresh-faced punk ballads" were "way more palatable" compared to "most emo bloodletting, but it's still too depressive and not as songful as it ought to be". Wild concluded by noting the band knows "how to make sweetly wordy pop out of over-the-top romantic naivete".

Track listing
All songs written by the Starting Line.

Personnel
Personnel per booklet.

The Starting Line
 * Kenny Vasoli – vocals, bass, guitar, Wurlitzer, piano, glockenspiel, bongos, synths, harpsichord
 * Matt Watts – guitar
 * Tom Gryskiewicz – drums, percussion
 * Mike Golla – guitar, percussion, celeste

Additional musicians
 * David "Garo" Yellin – string arranger and cello on "Photography"
 * David Gold – violin on "Photography"
 * Amy Kimbal – violin on "Photography"
 * Taguchi Hiroka – violin on "Photography"
 * Benjy King – Hammond B3 on "Photography" and "Cut! Print It"
 * Max Bemis – background vocals on "Ready"
 * Howard Benson – keyboards, programming

Production
 * Tim O'Heir – producer, engineer (tracks 3, 5–10, 12 and 13)
 * Oliver Strauss – additional engineer
 * Howard Benson – producer (tracks 4 and 11)
 * Mike Plotnikoff – recording
 * Eric Miller – additional engineer
 * Paul DeCarli – Pro-Tools editing
 * Jon Nicholson – drum tech
 * Keith Nelson – guitar tech
 * Eric Rachel – producer, engineer (track 2)
 * Shawn Corrigan – production assistant
 * Kenny Vasoli – additional production
 * Chris Lord-Alge – mixing
 * Dimtar Krnjaic – assistant engineer
 * Greg Calbi – mastering
 * Morning Breath Inc. – art direction, design
 * Josh Rothstein – photography


text:
Talk:The Adventures of Fartman

Not only hasn't it gone into pre-production, but I don't believe there's any reason to think it will. Does this really deserve its own page? Maybe redirect it to the Howard Stern article? --Mister Tattle 07:09, 8 Jun 2005 (UTC)

title: Talk:The Adventures of Fartman


text:
The Public Burning

The Public Burning, Robert Coover's third novel, was published in 1977. It is an account of the events leading to the execution of Julius and Ethel Rosenberg. An uncharacteristically human caricature of Richard Nixon serves as protagonist and narrator for the primary continuity.

The novel satirizes the Cold War politics of Joseph McCarthy by portraying "The Phantom" as the embodiment of global Communism and everything that threatens the American way of life—a vague, terrifying, and omnipresent enemy. The ugly side of the American psyche this draws out is characterized by an incarnation of Uncle Sam who unleashes a torrent of interminable verbosity in a folksy, foul-mouthed style whenever he appears. The New York Times and Time Magazine figure centrally as symbols of institutional failure not only to question whether the truth was a victim in this hyperpoliticized trial but also whether the official narrative was in fact a bunch of political lies.

Coover first experienced difficulty finding a publisher, and then when he found a publisher, getting it to actually publish the novel, due to legal concerns over the unflattering depiction of Richard Nixon, Pat Nixon, Roy Cohn, and others. Then having published the novel, once it became a bestseller, Viking immediately abandoned all support, and withdrew copies without explanation. Coover's editor, Richard Seaver, speculated to Coover that Viking management believed success would attract lawsuits.

Despite these difficulties, this novel has received a large amount of critical attention. It has been called "perhaps the most complete replenishment of the language since Whitman and (in a different way) Mark Twain ... no writer since Melville has dived so deeply and fearlessly into this collective American dream as Coover has in this novel".

Editions

 * ISBN 0-670-58200-X (hardcover, 1977)
 * ISBN 0-8021-3527-7 (paperback, 1998)

title: The Public Burning


text:
List of Home Movies episodes

This is a list of episodes for the American animated television series Home Movies. The series began with "Get Away From My Mom", which was broadcast on April 26, 1999, by UPN, which showed the first five episodes premiered before it was cancelled. The series was revived by Adult Swim, which showed the remaining episodes from season one, and ordered three additional seasons. The series officially ended with "Focus Grill" on April 4, 2004, with a total of 52 episodes over the course of four seasons. The entire series is available on DVD.

title: List of Home Movies episodes


text:
Talk:Karameh

Copyvio
This is now a copyvio from. Can it be both on WP:VFD and WP:CP? Rasmus (talk) 07:13, 8 Jun 2005 (UTC)
 * This has now been fixed by User:BD2412. (talk) 14:06, 8 Jun 2005 (UTC)

maverick 11:14, 9 February 2006 (UTC)

VFD debate
This article has been kept following this VFD debate. Sjakkalle (Check!)  10:38, 19 Jun 2005 (UTC)

Copyvio material removed
I have removed a sizable chunk of material that was copied directly from this source, without attribution or indication of permission. bd2412 T 05:44, 26 December 2005 (UTC)

I have just removed the same addition of the same copyvio material - which, I might add, is written in a rather unencyclopedic and perhaps POV tone. Improvements are appreciated, but please make your additions in your own words. bd2412 T 21:15, 25 January 2006 (UTC)

More copyvio material
Removed copyvio material from this website posted to this talk page without attribution or indication of permission. I shall explain - The law of the U.S. (and most countries) gives an author ownership of his work. Wikipedia users can not post such an author's work anywhere - not in an article, nor in a talk page - without permission (unless it is just a small snippet, like a quote, which would be a "fair use"). If we were to do so, the author would have the right to sue the person who violated his copyright by posting the material, and in the U.S. could seek statutory damages of up to $150,000, so obviously it is very important to us to keep our users from holding themselves out to be sued, and to keep Wikipedia from getting drawn into such litigation. You are welcome to summarize the work of another author in your own words, and to quote sentences from another author, so long as you indicate that it is a quote and identify the source. bd2412 T 14:33, 9 February 2006 (UTC)

I have again removed copyvio material, this time from this cite, and restored the above comments that were deleted by 201.6.93.73. Continued additions of copyvio material and removal of notices with respect to the same will be treated as vandalism. bd2412 T 02:51, 15 February 2006 (UTC)

TRY USING SOURCES
ENOUGH SAID...2 WEBSITES DOES NOT A SOURCE MAKERabrams20 22:19, 24 July 2007 (UTC)

Text deletion
There has been a lot of text deleted since I last edited this article in the summer, but I can't find any reasons for this deletion here or in the edit history. Anyone able to explain?

Lapsed Pacifist (talk) 04:33, 3 January 2009 (UTC)
 * Material relating to the Battle of Karameh was moved to that article, as explained in an edit summary. -- Nudve (talk) 07:03, 3 January 2009 (UTC)

 * Missed that, sorry. Lapsed Pacifist (talk) 23:23, 6 January 2009 (UTC)

title: Talk:Karameh


text:
Talk:Suzanne La Follette

Untitled
Does anyone want to clean this up? I'll do it if I have time, but I know nothing about it. It sounds kind of interesting and important, otherwise I would suggest that it was simply deleted. --Apyule 07:21, 8 Jun 2005 (UTC)
 * O.K. I cleaned it up and converted it into a stub with a usefull link. Now it would be great if it was expanded into an article. --Apyule 07:40, 8 Jun 2005 (UTC)
 * Thank you. - Nat Krause 09:44, 8 Jun 2005 (UTC)
 * Glad i didn't see it before! [smile] More in progress.
 * --Jerzy·t 16:51, 8 Jun 2005 (UTC)

If La Follette family gets created, someone should activate the commented lk i left. --Jerzy·t 16:51, 8 Jun 2005 (UTC)

Conservative of Libertarian?
I see this says she was a conservative journalist, although according to this site, she was a libertarian feminist. Which was it?

Allixpeeke

La Follette was never a conservative, always a libertarian. See Presley article at http://alf.org/papers/LaFollette.shtml

The appropriate citations have been added to article.

Emmaspooner (talk) 02:27, 9 November 2009 (UTC)

External links modified
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title: Talk:Suzanne La Follette


text:
File:Human Language Families Map (Wikipedia Colors .PNG

Human language families

info
Industrius's Image:Human_Language_Families_Map.PNG, using colors from WikiProject_Languages

de:Bild:Sprachfamilien der Welt (Wikipedia Farben).png


text:
Talk:Caspar Wistar (physician)

Comment
This makes absolutely no sense - the article says he was born in 1761 but his parents in 1764 and 1765? - Quirk 07:22, 8 Jun 2005 (UTC)

I've been looking for what the real birthdates were and I haven't been able to find anything about his parents. His own birthdate seems to be correct, though.--Maskedpantsman 16:55, 8 Jun 2005 (UTC) he was a gay man with 3 boyfriends —Preceding unsigned comment added by 74.3.24.50 (talk) 19:48, 9 September 2009 (UTC)

The birthdates are right; the parents are wrong. Thomas Wistar (1764-1851) is this Caspar's brother, not his father. But Caspar's brother Thomas has a son who was also a prominent doctor named Caspar Wistar (1801-1867), which is probably the source of the confusion. I will fix the entry. — Preceding unsigned comment added by 72.94.83.200 (talk) 15:19, 13 April 2013 (UTC)

Which abolitionist society?
The article states that Wistar served as a chairman for "the Society for the Abolition of Slavery". I don't find this organisation in the wp. However, I do find "the Pennsylvania Society for the Abolition of Slavery", alias the Pennsylvania Abolition Society. Is this what the article should refer to? JoergenB (talk) 20:49, 15 March 2011 (UTC)
 * Yes, link now corrected. --DThomsen8 (talk) 01:05, 29 August 2011 (UTC)

External links modified
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title: Talk:Caspar Wistar (physician)


text:
Hugh Welch Diamond

Hugh Welch Diamond (1809 – 21 June 1886) was an early British psychiatrist and photographer who made a major contribution to the craft of psychiatric photography.

Early life
Diamond was educated at Norwich School and later studied medicine at the Royal College of Surgeons in 1824. He set up in private medical practice in Soho, London, and then decided to specialise in psychiatry, being appointed to Springfield asylum, the first Surrey County Asylum. Diamond later moved to Brookwood Hospital, also in Surrey. Diamond was one of the founders of the Photographic Society, was later its Secretary and also became the editor of the Photographic Journal. He was also a founder member of the Royal Aeronautical Society.

Work
Diamond was fascinated by the possible use of photography in the treatment of mental disorders; some of his many calotypes depicting the expressions of people suffering from mental disorders are particularly moving. These were used not only for record purposes, but also, he claimed in the treatment of patients - although there was little evidence of success.

Perhaps it is for his attempts to popularize photography and to lessen its mystique that Diamond is best remembered. He wrote many articles and was a popular lecturer, and he also sought to encourage younger photographers. Among the latter was Henry Peach Robinson, who was later to refer to Diamond as a "father figure" of photography.

Recognition for his encouragement and for his willingness to share his knowledge came in 1855, in the form of a testimonial amounting to £300 for services to photography; among those who subscribed were such people as Delamotte, Fenton and George Shadbolt. In 1867, the Photographic Society awarded its Medal in recognition of "his long and successful labours as one of the principal pioneers of the photographic art and of his continuing endeavours for its advancement." The following year, at his own initiative, he relinquished any further salary as Secretary of the Society, and became its Hon. Secretary.

title: Hugh Welch Diamond


text:
User talk:JoeSmith1492

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