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Matthew 4:3

Matthew 4:3 is the third verse of the fourth chapter of the Gospel of Matthew in the New Testament. This verse opens the section in Matthew dealing with the temptation of Christ by Satan. Jesus has been fasting for forty days and forty nights, and in this verse the devil gives Christ his first temptation by encouraging him to use his powers to get food.

Content
In the King James Version of the Bible the text reads:
 * And when the tempter came to him,
 * he said, If thou be the Son of God,
 * command that these stones be made bread.

The World English Bible translates the passage as:
 * The tempter came and said to him,
 * "If you are the Son of God, command
 * that these stones become bread."

The 1881 Westcott-Hort Greek text is:
 * και προσελθων ο πειραζων ειπεν αυτω
 * ει υιος ει του θεου
 * ειπον ινα οι λιθοι ουτοι αρτοι γενωνται

For a collection of other versions see BibleHub Matthew 4:3.

Analysis
This verse is very similar to, but it is not found in Mark. Mark mentions that Jesus was "put to the test" but goes into no details about what those tests were. It is thus generally believed to have come from the Q document. One change is that Luke has "this stone" while Matthew has stones. Albright and Mann ascribe this to the writing style of the author of Matthew, noting that this gospel has a tendency to pluralize words that are singular in the other synoptics. Gundry notes that Jesus, as one person, would not need multiple loaves. He argues the pluralization is to link the verse to Matthew 3:9 in an attempt to link Satan to the Pharisees and Sadducees. Another difference is that Matthew calls Satan "the tempter" while Luke more directly refers to him as "the devil." Gundry feels this is for the same purpose as in Matthew 16:1, 19:3, and 22:18 the Pharisees and Sadducees are similarly presented as tempters.

Most scholars agree that the word if does not mean that Satan is doubting Jesus' status and the line should be read as "since you are the Son of God" not as "if you are really the Son of God." Gundry states that the devil has no interest in making Jesus doubt his sonship, and rather tries to use the exalted position to undermine him. This line is a direct reference to Matthew 3:17 and it is clear that Matthew is implying that Satan heard the announcement made after Jesus' baptism.

The wording is unclear on whether Satan is asking Jesus to miraculously transform the stones himself, or if he is asking Jesus to command God to do so.

The standard loaf of bread in this period was a round, flat loaf, and it seems likely that the stones being referred to in this verse are of a similar size and shape.

This is the second mention in Matthew of stones being transformed, with stones to people being threatened in Matthew 3:9. Nolland believes that this earlier reminder of God's power served to make this verse more plausible.

Textual witnesses
Some early manuscripts containing the text of this verse are:
 * Papyrus 101 (~ 250)
 * Codex Vaticanus (325-350)
 * Codex Sinaiticus (330-360)
 * Codex Bezae (~400)
 * Codex Washingtonianus (~400)
 * Codex Ephraemi Rescriptus (~450)

Commentary from the Church Fathers
Pseudo-Chrysostom: "The Devil who had begun to despair when he saw that Christ fasted forty days, now again began to hope when he saw that he was an hungred; and then the tempter came to him. If then you shall have fasted and after being tempted, say not, I have lost the fruit of my fast; for though it have not availed to hinder temptation, it will avail to hinder you from being overcome by temptation."

Gregory the Great: "If we observe the successive steps of the temptation, we shall be able to estimate by how much we are freed from temptation. The old enemy tempted the first man through his belly, when he persuaded him to eat of the forbidden fruit; through ambition when he said, Ye shall be as gods; through covetousness when he said, Knowing good and evil; for there is a covetousness not only of money, but of greatness, when a high estate above our measure is sought. By the same method in which he had overcome the first Adam, in that same was he overcome when he tempted the second Adam. He tempted through the belly when he said, Command that these stones become loaves; through ambition when he said, If thou be the Son of God, cast thyself down from hence; through covetousness of lofty condition in the words, All these things will I give thee."

Ambrose: "He begins with that which had once been the means of his victory, the palate; If thou be the Son of God, command that these stones become loaves. What means such a beginning as this, but that he knew that the Son of God was to come, yet believed not that He was come on account of His fleshly infirmity. His speech is in part that of an enquirer, in part that of a tempter; he professes to believe Him God, he strives to deceive Him as man."

Hilary of Poitiers: "And therefore in the temptation he makes a proposal of such a double kind by which His divinity would be made known by the miracle of the transformation, the weakness of the man deceived by the delight of food."

Jerome: "But thou art caught, O Enemy, in a dilemma. If these stones can be made bread at His word, your temptation is vain against one so mighty. If He cannot make them bread, your suspicions that this is the Son of God must be vain."

Pseudo-Chrysostom: "But as the Devil blinds all men, so is he now invisibly made blind by Christ. He found Him an hungred at the end of forty days, and knew not that He had continued through those forty without being hungry. When he suspected Him not to be the Son of God, he considered not that the mighty Champion can descend to things that be weak, but the weak cannot ascend to things that are high. We may more readily infer from His not being an hungred for so many days that He is God, than from His being an hungred after that time that He is man. But it may be said, Moses and Elias fasted forty days, and were men. But they hungred and endured, He for the space of forty days hungred not, but afterwards. To be hungry and yet refuse food is within the endurance of man; not be hungry belongs to the Divine nature only."

title: Matthew 4:3


text:
Angela Kincaid

Angela Kincaid, formerly known by her married name of Angela Mills, is a children's book illustrator best known for The Butterfly Children series of picture books. In 1983, with her then husband, Pat Mills, she created the Celtic comics character Sláine for 2000 AD.

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

title: Angela Kincaid


text:
Talk:Final Cut Studio

Expand
Hello. I first started this article since no other article existed. Please expand. —The preceding unsigned comment was added by 66.82.9.84 (talk • contribs) 15:00, 2005 June 3.

Alternative Release History
--Baryonic Being 22:11, 15 February 2006 (UTC)

Alternative Release History?
This is one of the main reasons people make fun of Wikipedia, and discount it. FINALCUT PRO WAS NOT STARTED AS FINAL CUT PRO! Apple bought a video editing program/company, reworked the programming for the software (as usual) and released FinalCut as part of it's programs aresanal. A couple of years later it realesed the FinalCut Pro version to compete against Avid, where it's programmers stole a lot of it's ideas. Everyone followed releasing a Pro version of their software, even Avid, rereleasing Avid Xpress as Avid Xpress Pro —Preceding unsigned comment added by 206.248.134.183 (talk) 19:01, 11 August 2008 (UTC)

quicktime pro?
can someone confirm that quicktime pro is included with final cut studio? i know the MPEG-2 playback component is, but i'm not so sure about quicktime pro. i have final cut studio, i'm waiting for it to come back since i ordered the crossgrade to the universal binary version for my macbook, but i don't think it's included. if it is, let me know where! —Preceding unsigned comment added by User: (talk • contribs)
 * Yes - ours did anyway. Stephen B Streater 14:06, 12 June 2006 (UTC)
 * It definitely does. It's on the main FCS disc. It gets installed automatically. You don't need to enter a key or anything. --Baryonic Being 18:53, 12 June 2006 (UTC)

I wouldnt run it on a macbook ( i dont even know if the drive is large enough to hold it)! 71.225.248.188 00:52, 14 November 2006 (UTC)

aww!
This was my first article! It bring a tear to my eye how much I sucked back then. -- Chris chat edits essays  14:43, 15 October 2006 (UTC)

Fair use rationale for Image:Fcstudio2 box.png
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Production Suite Merge...
With the other article (of the previous version of this software) being so short in length, I believe that it should simply be merged with this article, and the information there be added to the History section here... - Adolphus79 (talk) 15:40, 29 October 2009 (UTC)

I even managed to confuse myself. Certainly the Final Cut Studio article covers the Production Suite package. They should be merged to avoid that kind of confusion.Trackinfo (talk) 21:04, 23 December 2009 (UTC) Yeah, it probably would be better. mcornelius (talk) 04:34, 11 January 2010 (UTC)
 * yes, agree to Merge —Preceding unsigned comment added by 122.161.215.231 (talk) 03:51, 12 February 2010 (UTC)

Does this product still exist?
The link to the product page redirects to Final Cut Pro available for purchase in the App Store. This article may be out of date. Inimino (talk) 03:54, 22 March 2012 (UTC)

Purchasing only through telephone number?
It says this in the intro but it looks like it's available on Apple's website. Is this information out of date? — Preceding unsigned comment added by 140.247.0.102 (talk) 08:08, 13 November 2013 (UTC)

 * I don't know whether Final Cut Studio (3) can still be purchased via that 1-800 number. After release of Final Cut Pro X in July of 2011, and many complaints of former users, Apple decided to keep selling Final Cut Studio for a few month. I think the transitional phase might be over. On apple.com you can buy Final Cut Pro X, Motion 5, and Compressor 4, but will likely be redirected to the Mac App Store. I just separated the one (dead end) link of the three new Final Cut applications to their respective articles. (See here: https://en.wikipedia.org/w/index.php?title=Final_Cut_Studio&diff=591923579&oldid=584626556) Which raised the question, whether Final Cut Pro X should be removed from this article, since it's not a studio version anymore. It's not bundled with Motion and Compressor, but all these applications are sold separately. Therefore this article should be about a bundle of former applications, with the hint that a revamp (or however you want to call it) of all three, is sold separatley via the Mac App Store. Rieby (talk) 21:00, 22 January 2014 (UTC)

External links modified
Hello fellow Wikipedians,

I have just modified 15 external links on Final Cut Studio. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
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title: Talk:Final Cut Studio


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Johanne Deschamps

Johanne Deschamps (born April 2, 1959 in Saint-Jovite, Quebec) is a Canadian politician.

She is a former administrative assistant and political attaché. She served as a councillor in Val-Barrette, Quebec from 1994 to 2004 and was Commissioner of the Pierre-Neveu School Board in Mont-Laurier, Quebec from 1998 to 2004. After that, she was elected as a Bloc Québécois member of the House of Commons of Canada in the 2004 Canadian federal election. She represents the riding of Laurentides—Labelle. She had also run in the 2000 Canadian federal election for the Bloc in the riding of Pontiac—Gatineau—Labelle but lost. She was re-elected in 2006 and 2008, but lost to NDP candidate Marc-André Morin in the 2011 election.

title: Johanne Deschamps


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Grunion

Grunion are two fish species of the genus Leuresthes: the California grunion, L. tenuis, and the Gulf grunion, L. sardinas. They are sardine-sized teleost fishes of the New World silverside family Atherinopsidae, found only off the coast of California, USA, and Baja California, Mexico, where the species are found on both the Pacific Ocean and Gulf of California coasts. Many people enjoy catching grunion at events called "grunion runs."

Grunion are known for their unusual mating ritual wherein at very high tides, the females come up on to sandy beaches where they dig their tails into the sand to lay their eggs. The male then wraps himself around the female to deposit his sperm, and for the next 10 days the grunion eggs remain hidden in the sand. At the next set of high tides, the eggs hatch and the young grunion are washed out to sea.

A related species, the false grunion (Colpichthys regis) lives in the Gulf of California. Although the fish looks and acts similarly, it does not have the same breeding method.

Species
The currently recognized species in this genus are:
 * Leuresthes sardina (O. P. Jenkins & Evermann, 1889) (Gulf grunion)
 * Leuresthes tenuis (Ayres, 1860) (California grunion)

Taxonomy
Grunion were originally classified as part of the Old World silverside family, Atherinidae, but are now classified in the family Atherinopsidae along with other New World silversides including the jacksmelt and topsmelt.

Distribution
The California grunion, L. tenuis, is found along the Pacific Coast from Point Conception, California, to Punta Abreojos, Baja California Sur. They are rarely found between San Francisco in the north and San Juanico Bay, Baja California Sur, in the south. The Gulf grunion, L. sardina, is found along the coast of Baja California in the Gulf of California. Inhabiting the nearshore waters from the surf to a depth of 60 ft, marking experiments indicate they are not migratory.

Appearance and growth
They are small, slender fish with bluish-green backs and silvery sides and bellies. Their snouts are bluntly rounded and slippery. Silversides differ from true smelts of the family Osmeridae in that they lack the trout-like adipose fin.

Young grunion grow rapidly and are about five inches long by the time they reach one year old and are ready to spawn. Adult fish normally range in size from 6 to 7 in with a maximum recorded size of 8.5 in (San Diego, CA., 05-11-05).

Average body lengths for males and females are 4.5 and 5 in, respectively, at the end of one year; 5.5 and 5.8 in at the end of two years; and 5.9 and 6.3 in at the end of three years.

The normal lifespan of the grunion is three to four years, although individuals up to five years old have been found. Their growth rate slows after the first spawning and stops completely during the spawning season. Consequently, adult fish grow only during the fall and winter. This growth rate variation causes annuli to form on the scales, which have been used for determining ages.

Breeding
California grunion spawn on beaches from two to six nights after the full and new moon beginning soon after high tide and continuing for several hours. As a wave breaks on the beach, the grunion swim as far up the slope as possible. The female arches her body while keeping her head up and excavates the semifluid sand with her tail. As her tail sinks, the female twists her body and digs tail first until she is buried up to her pectoral fins. After the female is in the nest, up to eight males attempt to mate with her by curving around the female and releasing their milt as she deposits her eggs about four inches (10 cm) below the surface. After spawning, the males immediately retreat toward the ocean. The milt flows down the female’s body until it reaches the eggs and fertilizes them. The female twists free and returns to the sea with the next wave. The whole event can happen in 30 seconds, but some fish remain on the beach for several minutes. Spawning may continue from March through August, with occasional extensions into February and September. However, peak spawning is from late March through early June. Once mature, an individual may spawn during successive spawning periods at about 15-day intervals. Most females spawn about six times during the season. Counts of maturing ova to be laid at one spawning ranged from about 1,600 to about 3,600, with the larger females producing more eggs. A female might lay as many as 18,000 eggs over an entire season. The milt from the male might contain as many as one million sperm. Males may participate in several spawnings per run.

The eggs incubate a few inches deep in the sand above the level of subsequent waves. They are not immersed in seawater, but are kept moist by the residual water in the sand. While incubating, they are subject to predation by shore birds and sand-dwelling invertebrates. Under normal conditions, they do not have an opportunity to hatch until the next tide series high enough reaches them 10 or more days later. Grunion eggs can extend incubation and delay hatching if tides do not reach them for an additional four weeks after this initial hatching time. Most of the eggs will hatch in 10 days if provided with seawater and the agitation of the rising surf. The mechanical action of the waves is the environmental trigger for hatching. The rapidity of hatching, which occurs in less than one minute, indicates it is probably not an enzymatic function of a softening of the chorion as in some other fishes.

The Gulf grunion, with its smaller eggs, is unique in that it spawns during both night and daytime.

Although some other fish species leave their eggs in locations that dry out (a few, such as plainfin midshipman, may even remain on land with the eggs during low tide) or on plants above the water (splash tetras), jumping onto land en masse to spawn is unique to the grunion, capelin and grass puffer.

Feeding
Grunion feeding habits are not well known. They have no teeth and feed on very small organisms such as plankton. In a laboratory setting, grunion eat live brine shrimp.

Threats
The reduction of spawning habitat due to beach erosion, harbor construction, and pollution is believed to be the most critical problem facing the grunion species. An isopod, two species of flies, sandworms, and a beetle have been found preying on the eggs. Some shorebirds such as egrets and herons prey on grunion when the fish are on shore during spawning. Seagulls, sea lions, and larger fish such as sand sharks have also been observed feeding on grunion during a grunion run.

Status of population
Despite local concentrations, the grunion is not an abundant species. While the population size is not known, all research points to a restricted resource that is adequately maintained at current harvest rates under existing regulations.

Fishing
In the 1920s, recreational fishing of grunion caused definite signs of depletion resulting in a regulation passed in 1927 that established a closed season of three months from April until June. Grunion stocks improved and in 1947 the closed season was shortened to the months of April and May. This closure is still in effect to protect grunion during their peak spawning period.

The periodic appearance of the grunion on Southern California beaches, and the act of catching them, is locally known as a "grunion run". A fishing license is required for persons 16 years and older to catch grunion, and they may be taken by sport fishermen using their hands only. No appliances of any kind may be used to catch grunion, and no holes may be dug in the beach to entrap them. Grunion may be taken on specified dates between March and the end of August, but not during the months of April and May. There is no limit, but fishermen may take only what they can use, as under Californian law it is unlawful to waste fish. With these regulations, the resource seems to be maintaining itself at a fairly constant level.

History
The coastal Native Americans in California harvested grunion during spawning runs. Archeologists have found fossil grunion otoliths (tiny, bonelike particles or stony platelike structures in the internal ear of lower vertebrates) at various Native American campsites.

Grunion were mentioned by Spanish explorer Juan Rodríguez Cabrillo in his ship's log dated around 1542.

Scientists first identified grunion in San Francisco Bay in 1860.

title: Grunion


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Tango & Cash

Tango & Cash is a 1989 American buddy cop action comedy film starring Sylvester Stallone, Kurt Russell, Jack Palance, and Teri Hatcher. The film follows the titular pair of rival police detectives who are forced to work together after a criminal mastermind frames them for murder.

The film was chiefly directed by Andrei Konchalovsky, with Albert Magnoli and Peter MacDonald taking over in the later stages of filming, with Stuart Baird overseeing post-production. The multiple directors were due to a long and troubled production process, that included numerous script rewrites and clashes between Konchalovsky and producer Jon Peters over creative differences.

Tango & Cash was released by Warner Bros. in the United States on December 22, 1989, the same day as Always, making it one of the last American films of the 1980s. The film received mixed reviews from critics but was a box office success, earning over $120 million on a $54 million budget.

Plot
In Los Angeles, Lieutenants Raymond Tango of the Westside and Gabriel Cash of the Eastside are considered the best detectives in the Los Angeles Police Department, where they are both assigned to the Narcotics Division and lauded for numerous successful and daring drug busts across Greater Los Angeles. However, they are opposites in almost every way and are intense rivals, each considering himself to be better, despite having never met. Unbeknownst to them however, their intercepted drug shipments belong to a criminal organization headed by Yves Perret. Frustrated, Perret and his associates plan their revenge against the detectives, but refrain from killing them as to not turn them into martyrs. Instead, Perret devises an elaborate scheme to ruin their lives: frame them for murder.

Tango and Cash are separately informed of a drug deal, where they meet each other for the first time. The pair discover the wiretapped corpse of an undercover FBI agent; suddenly, additional FBI agents led by Agent Wyler arrive to arrest them for murder. Wyler finds Cash's backup pistol near the body, and at trial, an audio tape ostensibly recording the pair shooting the agent after discussing a drug purchase is used against them, verified by audio expert Skinner. With the evidence stacked against them, Tango and Cash plead no contest to a lesser charge in exchange for reduced sentences in a minimum-security prison; however, they are held in a maximum-security prison alongside several criminals they had arrested previously.

Once in prison, Tango and Cash are roused from their beds and tortured by Perret's henchman Requin and a gang of inmates, until Matt Sokowski, the assistant warden and Cash's former commanding officer, rescues them. Sokowski recommends they escape and provides them with a plan, but Tango opts out. When Cash tries to escape, he finds Sokowski murdered and is pursued by the guards before being rescued by Tango. Reaching the roof, Cash ziplines outside the prison walls, but Tango is attacked by an inmate before he can follow, and defeats him by knocking him into a transformer. To clear their names, they separate; Tango tells Cash that if he needs to contact him, he can go to the Cleopatra Club and ask for "Katherine".

The detectives visit the witnesses who framed them in court: Tango intercepts Wyler, who admits that Requin was in charge of the setup, and is killed shortly after by a car bomb; Cash discovers that Skinner made the incriminating tape himself. At the Cleopatra Club, Cash finds Katherine—Tango's sister who goes by the name of Kiki—and when police arrive at the club, she helps Cash escape by dressing him as a woman. Later that night, Tango reunites with Cash and the duo are met at Kiki's house by Tango's commanding officer. He gives them Requin's address and tells them they have 24 hours to find out who he works for; Tango and Cash apprehend Requin and interrogate him, and trick him into giving up Perret's name.

Cash's friend, weapons expert Owen, lends the pair an armed RV which they use to storm Perret's hideout and defeat his pursuing guards. However, Perret has Kiki kidnapped and starts a timer to trigger his hideout's self-destruct. He appears in a hall of mirrors holding Kiki at gunpoint; both detectives pick out the correct Perret and shoot him in the head. They rescue Kiki and barely escape as the hideout explodes. Now able to get along, Tango and Cash joke half-seriously about Cash's desire to date Kiki as a newspaper headline announces they have been cleared of all charges and returned to LAPD duty as heroes.

Cast

 * Sylvester Stallone as Lieutenant Raymond "Ray" Tango, the best cop in West Los Angeles. A slick, refined detective who trades stocks on the side, Tango wears three-piece Armani suits, drives a Cadillac Allanté, carries a Smith & Wesson Model 36 as his sidearm, and lives in a middle-class house with his sister.
 * Kurt Russell as Lieutenant Gabriel "Gabe" Cash, the best cop in East Los Angeles. A stereotypical "cowboy cop" with an interest in weaponry, Cash wears tattered clothes and cowboy boots with built-in shotguns, drives a Chevrolet Corvette, carries a Ruger GP100 with an experimental laser sight as his sidearm, and lives in a bachelor pad apartment in a run-down neighborhood.
 * Jack Palance as Yves Perret, crime lord of Southern California who arranges for Tango and Cash to be framed for murder.
 * Teri Hatcher as Katherine "Kiki" Tango, a club dancer and Tango's younger sister, who rents a room in his house.
 * Michael J. Pollard as Owen, Cash's weapon engineer friend who provides him with his firearms, shotgun boots, and later the armored RV.
 * Brion James as Requin, Perret's ponytailed cockney henchman and courier.
 * James Hong as Quan, the Los Angeles Triad leader and associate of Perret's.
 * Robert Z'Dar as "Face", a psychotic convict who has a particular grudge against Tango for breaking "his ribs, his leg, and his jaw".
 * Marc Alaimo as Lopez, a Mexican cartel boss and associate of Perret's.
 * Roy Brocksmith as FBI Agent Davis
 * Phil Rubenstein as Matt Sokowski, the assistant warden when Tango and Cash are in prison.
 * Lewis Arquette as FBI Agent Wyler
 * Clint Howard as "Slinky", Tango's mental patient cellmate in prison.
 * Michael Jeter as Skinner, a sound engineer paid to implicate Tango and Cash.
 * Geoffrey Lewis as Captain Schroeder, Tango's commanding officer.
 * Edward Bunker as Captain Holmes, Cash's commanding officer.

Development and writing
The film was known as The Set Up and was based on a script by Randy Feldman which was based on an idea by Jon Peters and Peter Guber. Sylvester Stallone and Patrick Swayze were signed to star. In March 1989 Andrei Konchalovsky signed to direct. After Swayze dropped out and went on to star in Road House, he was replaced by Kurt Russell.

Sylvester Stallone had the original director of photography, Barry Sonnenfeld, fired. Donald E. Thorin, who had shot Stallone's movie Lock Up earlier that year, was Sonnenfeld's replacement.

Pre-production
After nearly three months of filming, director Andrei Konchalovsky was fired by producer Jon Peters in a dispute over the movie's ending. In his 1999 book of memoirs, Elevating Deception, Konchalovsky said that the reason he was fired was because he and Stallone wanted to give the film a more serious tone and make it more realistic than the producers wanted, especially Jon Peters, who kept pushing for the film to be goofier and campier, and as such, his relationship with Peters became untenable.

Another reason why Konchalovsky was fired was his refusal to agree to what he referred to as the "increasingly insane" demands that Peters had. Konchalovsky said that he was initially hired to make a buddy cop movie with plenty of humor, but Peters basically wanted to turn it into a spoof, without any semblance of seriousness, and Konchalovsky refused. Essentially, Konchalovsky argued that they were simply trying to make two different movies, and when Peters realized his inability to bend Konchalovsky to his will, he fired him. According to supporting actor Brion James (in a 1999 interview with Louis Paul), the film was in disarray from the very beginning and by the half-way point of the shoot, when the film was several months behind schedule, Peters and Konchalovsky were no longer speaking.

James agreed that the official reason Konchalovsky was fired was because of the budget, but he also said that going over budget was not Konchalovsky's fault, and that Konchalovsky did not deserve to be fired. Konchalovsky, however, had nothing but praise for Sylvester Stallone, and both he and James said that despite Stallone's ego and decision to fire the original cinematographer, and the fact that he had a hand in Konchalovsky's firing, Stallone was the one person who held the project together, and that he was a constant voice of reason on an increasingly chaotic set. According to Konchalovsky, by the end of principal photography, Stallone was unofficially working as producer, director and writer, as well as star, and Konchalovsky believes that had it not been for Stallone, Peters would have fired him much sooner than he did. Production sources said that Konchalovsky had been given impossible scheduling demands, and was then made the scapegoat when he fell behind.

The director was replaced with Albert Magnoli, who filmed all the chase and fight scenes in the ending.

Reportedly, executive producer Peter MacDonald, who was also one of the film's second unit directors, took over directing the movie before Magnoli was brought in. (A year earlier, MacDonald had to step in as director on Stallone's previous movie, Rambo III, after the original director was fired by Stallone.)

There was also a legal battle between producers Peter Guber and Jon Peters and Warner Bros. studio. Guber and Peters complained in Los Angeles Superior Court that Warner had replaced them on the project and, over Peters' objections, "advanced the release date of the film by many months".

The film went into production on June 12, 1989, and was originally scheduled to wrap by August 25, 1989. Filming concluded on October 20, 1989.

Post-production
In late August, the directors were switched and after principal photography was finished in September, replacement director Magnoli called everyone back to the set for two more weeks of additional re-shoots, which included filming a completely new opening sequence. Filming was finally finished on October 20, 1989, eight weeks before its original scheduled theatrical opening in 1600 theatres across the United States.

The movie was racing to make its December 15 release, but due to the Warner Bros. studio's complaints on every different cut that was edited before they approved the final (theatrical) version, it barely made the deadline and ended up being shipped to theaters in "wet prints" – an industry term meaning that it was just barely completed before its release date.

Because Warner Bros. wanted no risk of the same problems with the MPAA as it had had with Cobra, its previous Stallone movie, it ordered the editors to cut some death scenes in the last part of the movie while it was being re-edited, which explain the usage of "jump cuts" every time someone is shot in the movie.

One of the writers who worked on the constantly changing script for the film was Jeffrey Boam, who also worked on the scripts for the Lethal Weapon films. He did a re-write of the script, which he described as being long, incredible and awful, that didn't change anything conceptually. Even though he completed many re-writes, he hated both the script and the film and did not want to be credited for his work.

Behind-the-scenes problems (including filming, script changes, and later constant cuts and re-editing of the movie) were so big and so bad that one of the more experienced crew members said in an interview: "This was the worst-organized, most poorly prepared film I've ever been on in my life. From the first day we started, no one knew what the hell anyone was doing." This same crew member also mentioned some reasons why director Konchalovsky was fired; "He found himself in over his head. There were scenes scheduled for three days that were so complicated they should have been scheduled for six or seven days. They were trying to do a 22-week movie in 11 weeks."

The film ultimately missed its budget by over $20 million, and had to be completely re-edited by editor Stuart Baird prior to its theatrical release. Tango & Cash was one of many films to be turned over to Baird, who came onto projects as an editing "doctor" when studios such as Warner Bros. were displeased with the first cut (in this case, second, third, ...) turned in by the filmmakers. Baird was also called in by Warner Bros to re-edit another Stallone action movie, Demolition Man (1993), for the same reasons.

After Baird was brought in by Warner Brothers to save the movie in the editing room, it was he who hired Hubert de La Bouillerie to edit the film and Harold Faltermeyer and Gary Chang to compose the music. Chang provided additional music near the end of the movie, because Faltermeyer could not return to re-score the final reel of the film, as it was constantly being edited because of constant complaints from Warner Bros. Because of the massive re-editing, some plot points and even some action scenes were deleted.

The theatrical trailer was made using the footage from one of the earlier cuts of the movie. This is why it shows some deleted and alternate scenes, which were changed or cut from the movie during the re-editing, which include: an alternate cut of the scene where Tango and Cash first meet in the warehouse; an alternate cut of the shower scene between Tango and Cash; a deleted or alternate fight scene between Cash and a Chinese assassin, during which Cash says "I hate you karate guys"; and a deleted scene in which Tango is reading the newspaper and then pulls out a shotgun and shoots at a car. The trailer also shows extra shots from other scenes.

In a 1999 interview with Louis Paul at the Chiller Theatre Convention, actor Brion James elaborated on his experiences working on Tango & Cash and the film’s production problems:

BJ: TANGO AND CASH, I had two scenes when I started the film. Konchalovsky wanted to work with me for years, he worked for Cannon, they couldn't pay me, so I couldn't work for them. He wanted me to work with him on RUNAWAY TRAIN. Finally, I get to work with him and he calls me in and I meet Stallone and Russell and they say 'Yeah, he's great.' I just had two scenes with these guys, they chase me around, and I get beat up and that's it. So, I get there and I'm acting with Stallone and made my character have a cockney accent just to add something. I said I'm in a movie with all of these guys, how am I going to chew the scenery with all of these fuckers? So, I created the cockney, I'm not just another hit man from Cleveland. They loved it. They played off of it, they got into it. So Stallone started re-writing the script, the script wasn't really ready, but they were there to go, so when you got to go, you go. The script was ready, and when it was not, he would fix it. The film was twenty million dollars over budget and I wound up being on the film for fourteen weeks. My part went from a few days, to much bigger. So, I became the main bad guy, and not Jack Palance.

LP: Konchalovsky lost that picture, didn't he?

BJ: He did a great job, but Sly got him fired. Sly is very protective about his films. He got his own DP in, and the film went twenty million dollars over budget. So the studio had to justify it, and fired him, saying it was the director's fault. It wasn't his fault. They didn't have a script. I was even re-writing at the end of the day, over and over. They only had three weeks left and they brought in Albert Magnoli. He did rock videos and a Prince movie (PURPLE RAIN). They gave this guy three quarters of a million dollars to do three weeks. By the time he got there, I was like don't talk to me, stay back. I knew this character for weeks, I know what I'm doing. It wound up being a great film, that eventually made a lot of money. It's one of the biggest pirated videos in the history of Russia. There were 80,000 pirated copies. Warner Bros. was crazy not to market it properly, but that film was huge. I went to the Ukraine when I was shooting another film, and I was mobbed. I was in the Black Sea and I had no idea that people even knew who I was.

Stallone later said "I had a lot of great times on that film. Kurt nailed some of those scenes, like the pro he is."

Speaking on both Konchalovsky and Magnoli, Stallone also said:

"Andrei was a real gentleman and I thought his take on 'Tango and Cash' was very good and would've been infinitely more realistic had he been allowed to continue. His replacement was more attuned to comic pop culture so the film had a dramatic shift into a more light hearted direction."

Music
A soundtrack was never released, as the songs were already released on the artists' albums. The film score, which was composed by Harold Faltermeyer, was released for the first time on January 30, 2007 by La-La Land Records (LLLCD 1052) in 3000 Limited Sets.

Songs

 * "Best of What I Got" – Bad English
 * "Let the Day Begin" – The Call
 * "Don't Go" – Yazoo
 * "Poison" – Alice Cooper
 * "It's No Crime" – Kenneth "Babyface" Edmonds
 * "Harlem Nocturne" – Darktown Strutters

Box office
The film opened on December 22, 1989, and during its opening weekend, the movie grossed $6.6 million from 1,409 theaters, averaging $4,704 per theater, and ranking #2 at the box office. The film saw its $54 million production budget return box office receipts of $120.4 million. The film also sold well on VHS. On the website The Dissolve, the film was reviewed by Nathan Rabin for his "Forgotbusters" column, which consists of Rabin analyzing how films that were among the top 25 grossing titles of a given year have not had lasting cultural influence. Rabin said that there was more affection and attention to Tango & Cash than he had expected, based on feedback from people who had seen the film since 1990.

Critical response
The film has a score of 31% on Rotten Tomatoes based on 48 reviews, and an average rating of 4.4 out of 10. The critical consensus states: "Brutally violent and punishingly dull, this cookie-cutter buddy cop thriller isn't even fun enough to reach 'so bad it's good' status". On Metacritic, the film has a weighted average score of 41 out of 100, based on 15 critics, indicating "mixed or average reviews". The New York Times criticized the plot, the screenplay, and the acting. Michael Wilmington of the Los Angeles Times called it "a waste of talent and energy on all levels", criticizing the film as both illogical and predictable. Dave Kehr of the Chicago Tribune wrote that one interpretation of the film is "a crafty foreigner's sly parody of the current state of American culture".

Audiences polled by CinemaScore gave the film an average grade of "B+" on an A+ to F scale.

Accolades
Tango & Cash was nominated for three Golden Raspberry Awards for Worst Actor (Sylvester Stallone), Worst Supporting Actress (Kurt Russell in drag) and Worst Screenplay.

In 2012, The Flop House podcast dedicated their 100th episode to Tango & Cash. They praised it as an enjoyably bad movie and the "last film before irony was created". Slate later listed the episode as one of "The 25 Best Podcast Episodes Ever".

Potential sequel
In September 2019, Stallone revealed that he had a story prepared for a potential sequel and was trying to convince Kurt Russell to sign onto the project. However, while Stallone was excited to film a sequel, Russell was unsure if he wanted to, saying that by then they were in their "unprime". As of 2023, no further news has materialized on the sequel.

title: Tango & Cash


text:
Corno (river)

The Corno is a small river of the northern Lazio and eastern Umbria in Italy. Its source is on the upper slopes of Mount Corno, at an approximate altitude of 1700 m (5575 ft), and it flows for about 60 km, almost always due north, past the towns of Leonessa, Ocre, Ruscio, Monteleone di Spoleto, Roccaporena, Cascia to Serravalle where it receives the waters of the Sordo; from there the last 11 km in a northwesterly direction to Triponzo, where it flows into the Nera at 420 m (1378 ft) altitude. Of the towns mentioned, only Serravalle and Triponzo are actually on the river, since in its upper course the Corno's torrential nature is not such as to make it safe for the siting of towns.

title: Corno (river)


text:
Cambria Somerset Authority

The Cambria Somerset Authority (CSA) was formed in 1999, in anticipation of acquiring water interests and related land properties of Manufacturers Water Company, a subsidiary of Bethlehem Steel Corporation. Transfer of ownership occurred in August, 2000. The CSA now owns and manages 5,200 acres (21 km2) in Cambria County and Somerset County Pennsylvania, including managing recreation, conservation, open space and water supply uses of the lands and water encompassing the Wilmore Dam and Reservoir, Hinckston Run Dam and Reservoir, and South Fork Dam and impoundment, all in Cambria County; and Border Dam and impoundment, and Quemahoning Reservoir and Dam, both in Somerset County.

Financing
The Authority has been operating at a loss, with subsidies from Cambria County and Somerset County. Each county contributed $60,000 in 2006, and $75,000 each in 2005.

Recreational activities
Recreational activities include boating, fishing, hiking, hunting, camping, whitewater rafting and nature watching. Conservation of the water and lands includes protection of riparian buffers; water quality improvements to local waterways; sustainable forest management practices; and protection of aquatic species.

title: Cambria Somerset Authority


text:
Template:Ship-stub

Articles marked with this stub will be added to Category:Individual ship or boat stubs. Please use one of these other stubs when appropriate:
 * water-transport-stub for general nautical stubs, not related to a specific ship or ship type
 * ship-type-stub for stubs related to ship types or classes
 * ferry-stub for ferries
 * mil-ship-stub and its subtypes for military (Naval) ships

title: Template:Ship-stub


text:
Mons Hadley Delta

Mons Hadley Delta (δ) is a massif in the northern portion of the Montes Apenninus, a range in the northern hemisphere of the Moon adjacent to Mare Imbrium. It has a height of 3.6 km above the plains to the north and west. To the north of this mountain is a valley that served as the landing site for the Apollo 15 expedition. To the northeast of this same valley is the slightly larger Mons Hadley peak with a height of about 4.6 km. To the west of these peaks is the sinuous Rima Hadley rille.

These features were named after the English mathematician and inventor of the octant John Hadley.

On the Apollo 15 mission in 1971, the astronauts David Scott and James Irwin explored the lower reaches of the north slope of Mons Hadley Delta, and collected many samples which were returned to earth. Station 2 was near St. George crater, and Stations 6, 6A, and 7 were at or near Spur crater. They found the famous "Genesis Rock", sample 15415, at Spur. A clast of anorthosite within this rock is likely to be a piece of the primordial lunar crust.

title: Mons Hadley Delta


text: Category:Ports and harbours of Australia


text:
Courthouse and Jail Rocks

Courthouse and Jail Rocks are two rock formations located near Bridgeport in the Nebraska Panhandle.

The Oregon-California Trail, the Mormon Trail, the Pony Express Trail and the Sidney-Deadwood Trail all ran near the rocks. The pair of rock formations served as a landmark along the trails for many pioneers traveling west in the 19th century. Many travelers would stray as much as 5 mi from the Oregon Trail just to get a glimpse of the rocks.

Hundreds of westward-bound emigrants mentioned Courthouse Rock (originally also McFarlan's Castle) in their travel logs and journals. The name "Courthouse" was first used in 1837. In 1845, one traveler described the rock as "resembling the ruins of an old castle [which] rises abruptly from the plain....It is difficult to look upon it and not believe that art had something to do with its construction. The voyagers have called it the Courthouse; but it looks infinitely more like the Capitol."

Courthouse and Jail Rocks, which rise 400 ft above the North Platte Valley, are composed of Brule clay, Gering sandstone and volcanic ash. The rock formations are listed in the National Register of Historic Places and in the Nebraska Natural Areas Register.

History
Robert Stuart (explorer) first recorded Court House and Jail House Rock in 1812. By 1849 and the California Gold Rush, the promontories had been described as Castles, a Church, and Coffins. The name Court House and Jail House became the most common. Pumpkin Creek forms an oxbow near the buttes where a meadow with trees make a suitable campsite. There is evidence that fur trappers, Native Americans, gold seekers on their way to California and the Black Hills, and the military once camped in this bend. Further to the southeast on Pumpkin Creek, is the site of a Pony Express Station. The Pony Express and the military used a shorter route on the west side as did the Sidney-Black Hills Trail. The buttes are the first promontories along the trail coming from the east. Even for those emigrants who used the Julesburg, Colorado crossing of the South Platte River, the buttes are mentioned in their diaries.

Geology
Court House and Jail House Rocks are remnants of an ancient plateau, that was split by the North Platte River. They are remnants of the nearby hills that have become separated over time. At an elevation of 4050 ft above sea level they rise 240 ft above Pumpkin Creek. Courthouse and Jail Rocks, which rise 400 ft above the North Platte Valley, are composed of Brule clay, Gering sandstone and volcanic ash. The rock formations are listed in the National Register of Historic Places and in the Nebraska Natural Areas Register.

title: Courthouse and Jail Rocks


text:
Sean Nelson

Sean Nelson (born June 12, 1973) is an American musician and journalist. He was the lead singer of the alternative rock group Harvey Danger.

Music career

Nelson is a graduate of Episcopal High School in Alexandria, Virginia and was a classmate of Paul DePodesta and Courtenay Bram Anderson.

Nelson joined Harvey Danger in 1993 and played with the band through to its farewell show in 2009. In addition to being the band's lead singer, he was also its songwriter and keyboardist. The band's debut album Where Have All the Merrymakers Gone? was released in 1997 and was certified Gold by the RIAA for sales of 500,000 copies. The album contained the hit single "Flagpole Sitta", which was featured in the 1999 film American Pie and was later used as the theme song for the British sitcom Peep Show.

In 2001, Nelson formed a second band, The Long Winters, with John Roderick. He left the band in 2004, and Roderick has continued the group as a largely solo effort.

Nelson has also recorded and performed with Death Cab for Cutie, The Decemberists, Robyn Hitchcock, Nada Surf, The Minus 5, and others. In 2006, he recorded Nelson Sings Nilsson, an album of songs by the late American composer Harry Nilsson, accompanied by a 25-piece-orchestra. Nelson was also a member of the short-lived side project The Vernacular, along with Chris Walla and Nathan Good of Death Cab For Cutie.

On June 4, 2013, Nelson released his first official batch of recordings to bear his name, Make Good Choices, which includes contributions from Chris Walla (Death Cab for Cutie), Peter Buck (R.E.M./Minus 5), Matt Pence & Scott Danbom (Centro-Matic), Howard Draper (Shearwater), Dave Depper (Loch Lomond, Fruit Bats), Rachel Blumberg (The Decemberists/M. Ward), Adam Selzer (Norfolk & Western), Steve Fisk (player: Pell Mell, Pigeonhed; producer: Nirvana, Beat Happening, Unwound), and others. Sessions arose over the course of several years between Nelson and his collaborators' other projects.

In June 2019, Nelson released the decades-in-the-making album of Harry Nilsson covers, titled "Nelson Sings Nilsson," a play on Nilsson's classic album of Randy Newman covers, Nilsson Sings Newman.

In December 2019, Sean released the "Viral Love" 7" which contained the first song released from a new full-length album he made with producer Shane Tutmarc. The b-side contained an alternate version of Harvey Danger's "Carlotta Valdez" entitled "Carlotta Valdes [sic] (Texas Version)".

Writing career
Nelson joined the staff of the Seattle alternative weekly newspaper The Stranger in 1996 while still a member of Harvey Danger. He held several positions at the publication, including web editor, film editor, copy editor, associate editor, and arts editor. He left The Stranger in 2018, moving to Nashville, TN to take another job.

In 2006, Nelson published his first book, an entry in the 33⅓ series on Joni Mitchell's Court and Spark. His essay "Dead Man Talking" was published in the Da Capo anthology Best Music Writing 2008.

In addition to his writing work, Nelson taught a songwriting class at the University of Washington Extension and co-hosted Audioasis on KEXP-FM for five years.

Film career
In 2008, Nelson co-wrote and played a supporting role in Humpday director Lynn Shelton's third feature film My Effortless Brilliance, which enjoyed a successful run on the film festival circuit and was released on DVD by IFC Films in November 2009. He has also acted in David Russo's cult film festival hit The Immaculate Conception of Little Dizzle and alongside Dax Shepard in Katie Aselton's The Freebie, which was released in September 2010.

Selected discography
(as harmony vocalist, except where noted)

Sean Nelson
(lead singer, songwriter*)
 * Make Good Choices (Really Records, 2013)
 * Nelson Sings Nilsson (2019) *Album of Harry Nilsson covers
 * Viral Love b/w Carlotta Valdez Goes to Texas 7" (2019)

Harvey Danger
(lead singer, keyboards, songwriter)

 * Where Have All the Merrymakers Gone? (Universal, 1998)
 * King James Version (Warner, 2000)
 * Sometimes You Have To Work on Christmas (Sometimes) EP (Phonographic Records, 2004)
 * Little By Little… (Kill Rock Stars, 2006)
 * Cream and Bastards Rise EP (Kill Rock Stars, 2006)
 * Little Round Mirrors EP (Barsuk, 2007)
 * Burn to Shine (V/A Trixie DVD, 2008)
 * Dead Sea Scrolls (Phonographic Records, 2009)

The Long Winters

 * The Worst You Can Do is Harm (Barsuk, 2001)
 * When I Pretend to Fall (Barsuk, 2003)
 * Putting the Days to Bed (Barsuk, 2005)

Nada Surf

 * The Weight is a Gift (Barsuk, 2006)
 * Lucky (Barsuk, 2008)

title: Sean Nelson


text:
Talk:Installation art

Cleanup
While this article has become quite in-depth I feel it does not really conform to the Wikipedia standards policy. I am considering placing a notice to this affect on the page. Please leave any comments on the state of the article so I can gage other Wikipedian's feelings before I do this. --Maria N 23:04, 3 Jun 2005 (UTC)

 * A large part of it is from http://home.iprimus.com.au/painless/space/bonita.html, I'm removing that as a copyright violation, since it's verbatim from that website. Relevant material can be extracted from that website. --sparkit (talk) 04:57, Jun 25, 2005 (UTC)

Merging Installation Art with Street Installations
While it's is a form of installation art, I see this as a subcategory within the Graf/Street art realm similar to stencil graffiti, or sticker art and think it should be a stand alone topic. Candice34 15:12, 20 October 2006 (UTC)

 * What would you think about a merger of Street installations with Street art instead of with Installation art? Pan Dan 16:15, 20 October 2006 (UTC)

It could be merged except that then too you'd really need to merge sticker art, wheatpasting/street poster art, stencil graffiti into it. Instead I just included the right sidebar for the wikigraffiti project. Street installations should be added to this sidebar as a format type (in the first link block) but I dont see a way to do it. Are you involved with this project? Candice34 17:23, 20 October 2006 (UTC)

 * I'm not. To add things to the sidebar, I imagine you'd want to edit Template:Street Art.  Pan Dan 01:18, 21 October 2006 (UTC)

I think this is best as a stand-alone article, as it can then be linked to easily from other articles it has connections with such as Installation art and Street art with a summary and the "main article" template. Tyrenius 12:15, 21 January 2007 (UTC)

Recent edits
Please do not delete long passages from the article and replace it with unvarified opinions. Freshacconci 15:37, 21 November 2006 (UTC)
 * Edits need to be verified with reliable sources, then footnotes used. Tyrenius 12:15, 21 January 2007 (UTC)

Merger proposed (Interactive installations)
The result was to merge Interactive installations into Installation art, except for the final paragraph. --B. Wolterding 07:54, 18 June 2007 (UTC)

I propose to merge the content of Interactive installations into here, since the notability of that article has been questioned. Since the topics seem to be directly related, it might be best to merge "Interactive installations" into here, if it is relevant. (Unfortunately that article is currently unsourced.) Please add your comments below.

Proposed as part of the Notability wikiproject. --B. Wolterding 09:09, 13 June 2007 (UTC)

 * Merging would probably be a good idea. However, this would need a complete rewrite: it's terribly written (the final paragraph in particular). Freshacconci 09:50, 13 June 2007 (UTC)
 * Merge. The issue of artistic interactivity in general is already addressed at both interactivity and new media art. No need for a third separate page. -- Futurano 09:58, 17 June 2007 (UTC)

I would like to submit as an External Link a primer on installation art. Here's the link: http://www.artsandopinion.com/2004_v3_n3/lewis-9.htm Thanking you for the consideration, Artsandopinion (talk) 17:18, 14 January 2008 (UTC)Robert Lewis

Site-specific?
I noticed that the first sentence defines installation art as being "site-specific", though this is not necessarily the case. Though minor in importance to the general validity of the article, I think this is misleading. Perhaps "usually site-specific" would be better. Sorry if this does not conform to "Discussion" standards, this is my first post.

66.169.255.62 (talk) 20:13, 6 June 2011 (UTC)
 * No, your comment is completely up to standard and you are quite correct. Although installations can be site-specific this is not always the case. I'll see if I can reword it.  freshacconci  talk talk  20:37, 6 June 2011 (UTC)

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title: Talk:Installation art


text:
Template talk:Brazil-stub

Blank Template?
This stub template seems to be blank. I'm assuming that the page I used it on is still being added to the appropriate category, but it would be useful to have something visible on the page. I'll drop a note over at WikiProject Stub sorting as well. SeventyThree 23:06, 3 Jun 2005 (UTC)

title: Template talk:Brazil-stub


text:
Category:Burmese martial arts

Burmese martial arts, collectively called Thaing, have a long history, which includes regional influences.

title: Category:Burmese martial arts


text:
User talk:Maria N

Hello and welcome to Wikipedia! Hope you like it here, and stick around.

Here are some tips to help you get started:

 * To sign your posts (on talk pages, for example) use the '~' symbol. To insert just your name, type ~~~ (3 tildes), or, to insert your name and timestamp, use ~~~~ (4 tildes).
 * Try the Tutorial, and feel free to experiment in the test area.
 * If you need help, post a question at the Help Desk
 * Follow the Simplified Ruleset
 * Eventually, you might want to read the Manual of Style and Policies and Guidelines.
 * Remember Neutral point of view
 * Explore, be bold in editing pages, and, most importantly, have fun!

Good luck!

Meelar (talk) 23:06, Jun 3, 2005 (UTC)

Art Wikiportal
Maria, feel free to add The Gates and Anish Kapoor either as featured articles or pictures any time! – Ham 09:25, 19 Jun 2005 (UTC)
 * Thanks Ham, I've been a bit busy I will add some stuff to the portal very soon, best wishes -Maria N 19:10, 20 Jun 2005 (UTC)

I am sending this out to wikiart folks everywhere,
so please don't feel picked on. Here's my thing. I've been watching list of sculptors recently and have been weeding out the entries in red on the theory that this is an index of sculptors in wikipedia. However i have been reluctant to remove artists that I know or discover to be real, wikipedia worthy people, so am trying to decide if i should just do a stub - maybe a lot of stubs - of these folks or leave them on the list [I HATE lists with too much red - check out the List of Frank Lloyd Wright works for example.

For example, i checked out one, François-Joseph Duret (1804 - 1865) and discovered that there are at least two sculptors with that name, (1732 - 1816) and (1804 - 1865)- this one is the son -  and both probably could comfortably be in wikipedia. I did have a rather bad moment recently when someone DELETED my article on Connor Barrett about an hour [maybe less] after I first posted it, on the theory that he was not wikiworthy [or something] and a lot of these fairly remote (in time and place from me) artists are a lot more obscure than Barrett. So, i would like to know that i have the support of the wikipedia art history community before doing this. Drop me a line, if you wish to sit down and be counted. Life is good, Carptrash 05:00, 4 November 2006 (UTC)  P.S. although i do mostly American art i have contributed to lots on non-American articles including Aleijadinho, Ásmundur Sveinsson, Einar Jonsson, Gunnfrídur Jónsdóttir, Henry Moore,  Ivan Meštrović, Ørnulf Bast, Rayner Hoff, and probably some others. I say this because most of the stubs I'm proposing would be Europeans.

Unreferenced BLPs
Hello Maria N! Thank you for your contributions. I am a bot notifying you on behalf of the the unreferenced biographies team that 1 of the articles that you created  is currently tagged as an Unreferenced Biography of a Living Person. The biographies of living persons policy requires that all personal or potentially controversial information be sourced. In addition, to ensure verifiability, all biographies should be based on reliable sources. If you were to bring this article up to standards, it would greatly help us with the current Category:All_unreferenced_BLPs article backlog. Once the article is adequately referenced, please remove the unreferencedBLP tag. Here is the article:

Thanks!--DASHBot (talk) 08:54, 19 August 2010 (UTC)
 * 1) Jon Thompson -

Nomination of Graham Nicholls for deletion
A discussion is taking place as to whether the article Graham Nicholls is suitable for inclusion in Wikipedia according to Wikipedia's policies and guidelines or whether it should be deleted.

The article will be discussed at Articles for deletion/Graham Nicholls until a consensus is reached, and anyone is welcome to contribute to the discussion. The nomination will explain the policies and guidelines which are of concern. The discussion focuses on good quality evidence, and our policies and guidelines.

Users may edit the article during the discussion, including to improve the article to address concerns raised in the discussion. However, do not remove the article-for-deletion template from the top of the article. Yworo (talk) 14:58, 28 December 2011 (UTC)

Possibly unfree File:Grahamnicholls.jpg
A file that you uploaded or altered, File:Grahamnicholls.jpg, has been listed at Possibly unfree files because its copyright status is unclear or disputed. If the file's copyright status cannot be verified, it may be deleted. You may find more information on the file description page. You are welcome to add comments to its entry at if you object to the listing for any reason. Thank you. Redsky89 (talk) 14:21, 25 September 2013 (UTC)

File permission problem with File:Grahamnicholls.jpg
Thanks for uploading File:Grahamnicholls.jpg. I noticed that while you provided a valid copyright licensing tag, there is no proof that the creator of the file has agreed to release it under the given license.

If you are the copyright holder for this media entirely yourself but have previously published it elsewhere (especially online), please either
 * make a note permitting reuse under the CC-BY-SA or another acceptable free license (see this list) at the site of the original publication; or
 * Send an email from an address associated with the original publication to permissions-en@wikimedia.org, stating your ownership of the material and your intention to publish it under a free license. You can find a sample permission letter here. If you take this step, add OTRS pending to the file description page to prevent premature deletion.

If you did not create it entirely yourself, please ask the person who created the file to take one of the two steps listed above, or if the owner of the file has already given their permission to you via email, please forward that email to permissions-en@wikimedia.org.

If you believe the media meets the criteria at Non-free content, use a tag such as non-free fair use or one of the other tags listed at File copyright tags, and add a rationale justifying the file's use on the article or articles where it is included. See File copyright tags for the full list of copyright tags that you can use.

If you have uploaded other files, consider checking that you have provided evidence that their copyright owners have agreed to license their works under the tags you supplied, too. You can find a list of files you have created in [ your upload log]. Files lacking evidence of permission may be deleted one week after they have been tagged, as described on criteria for speedy deletion. You may wish to read the Wikipedia's image use policy. If you have any questions please ask them at the Media copyright questions page. Thank you. January ( talk ) 18:17, 28 September 2013 (UTC)

You're invited to join WikiProject Women artists!
SarahStierch (talk) 10:09, 21 December 2013 (UTC)

title: User talk:Maria N


text:
Invasion U.S.A.

Invasion U.S.A. may refer to:
 * Invasion, U.S.A. (1952 film), starring Dan O'Herlihy
 * Invasion U.S.A. (1985 film), starring Chuck Norris
 * Invasion U.S.A. (album), by the Riverdales

title: Invasion U.S.A.


text:
Category:Individual ship or boat stubs

Please use one of these other stubs when appropriate:
 * water-transport-stub for general nautical stubs, not related to a specific ship or ship type
 * ship-type-stub for stubs related to ship types or classes
 * ferry-stub for ferries
 * mil-ship-stub and its subtypes for military (Naval) ships

title: Category:Individual ship or boat stubs


text: Wikipedia:Articles for deletion/Log/2005 June 4


text:
Wikipedia:Categories for deletion/Log/2005 June 4

Category:Image help

 * The following discussion is an archived debate of the proposed deletion of the category above. Please do not modify it. Subsequent comments should be made on the category's talk page (if any).  No further edits should be made to this page.

The result of the debate was keep --Kbdank71 16:12, 11 Jun 2005 (UTC)

All the articles here are in the Wikipedia namespace. This should be merged with the existing Category:Wikipedia image help. -- Beland 23:56, 4 Jun 2005 (UTC)
 * Keep. Category:Image help contains help articles about creating images in general while Category:Wikipedia image help specifically lists help articles about finding, uploading and posting images on Wikipedia. Zzyzx11 (Talk) 00:20, 5 Jun 2005 (UTC)
 * Keep. Because I trust Zzyzx11. Sebastian (talk) 07:40, 2005 Jun 10 (UTC)

 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the category's talk page (if any). No further edits should be made to this page.

Category:Fictional military insignia

 * The following discussion is an archived debate of the proposed deletion of the category above. Please do not modify it. Subsequent comments should be made on the category's talk page (if any).  No further edits should be made to this page.

The result of the debate was merge --Kbdank71 16:21, 11 Jun 2005 (UTC)

This category was previously marked as    which is why I moved it here to CFD. Currently, it seems that all of the articles in the former category are also in the latter. I abstain. Zzyzx11 (Talk) 21:13, 4 Jun 2005 (UTC)
 * Merge as marked. --Kbdank71 15:21, 10 Jun 2005 (UTC)

 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the category's talk page (if any). No further edits should be made to this page.

Category:Democrats

 * The following discussion is an archived debate of the proposed deletion of the category above. Please do not modify it. Subsequent comments should be made on the category's talk page (if any).  No further edits should be made to this page.

The result of the debate was delete --Kbdank71 16:24, 11 Jun 2005 (UTC)

Done before, and only by putting every Democrat supporter in the Wikipedia in here will it be sufficient. This is a foolish task, and is being used by User:OldRight / User:Old_Right in an attempt to polarize biographies of U.S. citizens in this encyclopedia for his own means. 24.76.141.128 02:34, 4 Jun 2005 (UTC)

 * Keep the category. There are already categories for communists, socialists, and libertarians. Besides, I don't think anonymous guests are even allowed to nominate categories or articles for deletion. In which case this category should be removed from the Categories for Deletion page. -- OldRight 06:15, 4 Jun 2005 (UTC)
 * COMMENT I've bever seen that rule about anons not being allowed to nominate on CfD. I've only seen that tradition (not rule) on VfD. 67.68.220.52 07:33, 4 Jun 2005 (UTC)
 * COMMENT Anons are permitted to submit VfDs, and there is nothing to say they cannot submit CfDs. This anon also has various contributions. -- Consumed Crustacean | Talk | 20:50, Jun 4, 2005 (UTC)
 * DELETE Democrats is a stupid name for a category that only contains bios of US citizens. Are there not democrats in other parts of the world? 67.68.220.52 07:33, 4 Jun 2005 (UTC)
 * Delete. Are these people notable because they are Democrats or because of some other reason?  We don't need it.  And if that's true about anons not being able to nominate categories, then I'll nominate it, so we might as well leave it.  --Kbdank71 15:27, 4 Jun 2005 (UTC)
 * Delete. There should be a category for U.S Democrat politicians. Other likeminded people are too vaguely related to be in "Democrat" category. But the name Democrats is bad, because it invites adding other likeminded people there, and from many countries. See also Category talk:Democrats. -Hapsiainen 15:37, Jun 4, 2005 (UTC)
 * Delete. If anything, change to Category:Supporters of the United States Democratic Party, but I doubt even that is useful. -- grm_wnr Esc  18:11, 4 Jun 2005 (UTC)
 * Delete. In most parts of the world, the term "democrat" means "someone who supports democracy". Given that the current US administration's policies on Iraq are aimed, in their view, at improving that country's chances of forming a democratic government, it is clear that the Bush administration view themselves as democrats. I shall be only too happy to add them to the category if it is kept. Grutness...  wha?  01:46, 5 Jun 2005 (UTC)
 * Delete. Leaving aside the obvious naming issue, about 1/3 of U.S. citizens are members of the Democratic Party (with about 1/3 Republicans and about 1/3 independants). With 36 articles, most of which belong on List of celebrities with links to the U.S. Democratic Party, this category is pretty useless.  In an ideal world, we would have categories like Category:Democratic Party politicians from California etc., but unless there are volunteers lining up for this huge task, I don't think we've reached that point yet.  At a minimum, though, there should be a Category:U.S. Democratic Party officials for party functionaries.--Pharos 00:20, 6 Jun 2005 (UTC)
 * Delete. The category is asinine and is clearly being used by User:OldRight to advance a heavily POV agenda. There are plenty of places on the internet for people like this to play their silly games. Let's remain vigilant keeping as much of this bs out of the Wikipedia as is possible.  --AStanhope 01:41, 7 Jun 2005 (UTC)
 * Rename to either one of the above suggested, or Category:U.S. Democratic Party Members. As the affiliation of political party and the political party itself are both very notable, check any other encyclopedia. We already denote in the bio's of the people, which party they support, by categorizing the large number of them, it would facilitate (sp) research by party membership. The main purpose of categorizing to begin with.  <> Who ? ¿ ?  05:03, 7 Jun 2005 (UTC)
 * Delete this, but I wouldn't oppose a category on Democrat party officials, for people who really put time into politics. Simply cat'ing the political preference for famous people even if they do little but cast a vote every couple of years is as pointless as cat'ing them by hair color. Radiant_* 07:13, Jun 7, 2005 (UTC)
 * Delete Not really applicable to people not directly involved in politics and unnecessary given List of celebrities with links to the U.S. Democratic Party. zen master   T  21:24, 7 Jun 2005 (UTC)
 * Comment, Oh, actually I was really only talking about cat'ing politicians, not really notable or important to cat celebs and randoms.  <> Who ? ¿ ?  00:05, 8 Jun 2005 (UTC)

 * (Slightly) rename and clarify. Rename to Category:Democrats (US party) or something that clarifies that it refers to the Democratic Party of the U.S. Clarify that it only should contain people who stand out as Democrats, not just voters. (I assume "voters" is what Pharos meant in his 1/3 statetement above.) Also, regardless of OldRight's real or alleged agenda, his argument that there are already similar categories is good. These categories have relevant subcategories, and it is likely that this will happen with this one as well. Sebastian (talk) 07:15, 2005 Jun 10 (UTC)

 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the category's talk page (if any). No further edits should be made to this page.


title: File:Warioware1box.jpg


text:
Wikipedia:Articles for deletion/Eugene Fama Jr.

 This page is an archive of the discussion about the proposed deletion of the article below. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was delete. — Xezbeth 19:49, Jun 16, 2005 (UTC)

Eugene Fama Jr.
Seems to be a run-of-the-mill financial guy who likes to draw. Presumed vanity. Fawcett5 23:12, 3 Jun 2005 (UTC)
 * Delete nn vanity. --Etacar11 23:56, 3 Jun 2005 (UTC)
 * Delete vanity, has his own website to promote his work, non-encyclopedic at this point. Who ? ¿ ? 00:12, 4 Jun 2005 (UTC)
 * Delete. NeoJustin 01:56, Jun 4, 2005 (UTC)
 * Delete vanity. JamesBurns 05:24, 4 Jun 2005 (UTC)
 * Delete. I've merged into Eugene Fama the information that his son works for his investment advisory company.  I would add in that article that his son is also a comics artist, but it's not clear to me from his website whether he's published all this work (i.e., been accepted in the professional community) or just does it for his own satisfaction.  He might be notable but it's not established. JamesMLane 08:51, 4 Jun 2005 (UTC)

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


text:
Elizabeth Fama

Elizabeth Fama is a young adult author, best known for her book Monstrous Beauty (Farrar, Straus and Giroux Books for Young Readers, 2012), a fantasy novel for teens. Her fifth publication was Plus One, which published in April 2014.

Background
Elizabeth attended University of Chicago Laboratory Schools. She has a BA (1985) in biology with honors from the University of Chicago, and an MBA (1991) and PhD (1996) in economics and finance from the University of Chicago Graduate School of Business.

Elizabeth is the daughter of Eugene Fama. She is married to John H. Cochrane and, together, they have four children.

Works

 * Overboard, Cricket Books, Chicago (2002) ISBN 9780812626520
 * Men Who Wish To Drown (e-book), Tor Books, a Tor.Com original, New York (2012) ISBN 9781466827158
 * Monstrous Beauty, Farrar Straus Giroux, New York (2012) ISBN 9780374373665
 * Noma Girl (e-book), Tor Books, a Tor.Com original, New York (2014) ISBN 9781466866706
 * Plus One, Farrar Straus Giroux, New York (2014) ISBN 9780374360078

Reception
Fama's works have generally been well received. Kirkus Reviews wrote about Overboard, "Although some scenes seem implausible, particularly Emily’s ability to carry on complete conversations and sing in her weakened state, first-time author Fama skillfully conveys the impact of survival in human nature" and "Inspired by an actual ferry accident caused by lax safety standards, this is a powerful exploration on the will to live", while Publishers Weekly asserted "Such muddled, cumbersome prose weighs down the chronicle of Emily's nightlong struggle to survive in the sea, heavily reliant upon coincidences."

Kirkus was also positive about Monstrous Beauty writing "Not so much romance as suspense, this stylish fantasy mesmerizes", and while Publishers Weekly called it "a chilling and original story", they also found "The alternating narrative device can make for stutters in the momentum, and there are stretches (notably when genealogy is rehearsed) where the plot trudges." but "The horror and humanity are adroitly handled, however, and Fama never lapses into cliché."

For Plus One, Publishers Weekly noted "Fama smoothly unspools the details of her alternate Earth’s history in conversational flashbacks that never impede the brisk pacing, yet enhance the sense of connection with her very human characters."

Awards
The American Library Association included Monstrous Beauty on its 2013 list of Best Fiction for Young Adults, and it won a silver Odyssey Award for best audiobook produced for children and/or young adults. It was also a 2012 Nerdies Book Award nominee. Fama's first novel, Overboard (Cricket Books, 2002), was for ages 11 and up, and set in Indonesia. It was named a 2003 Best Book for Young Adults by the American Library Association (one of only eleven books selected unanimously by the committee that year), it received the 2002–2003 honor award for children's fiction from the Society of Midland Authors, and it was nominated for five state readers' choice awards (New Hampshire, Texas, Illinois, Utah, and Florida).

title: Elizabeth Fama


text: Template:STP-districts

title: Template:STP-districts


text:
Category talk:Bioinformatics

Untitled
We should add/link Category:Phylogenetics to this page what do you guys thing about this idea?
 * done Courtland 12:11, 26 September 2005 (UTC)

We should add a link to computational neuroscience too!
 * done Courtland 12:11, 26 September 2005 (UTC)

review if possible
hi plz can u review my article

https://en.wikipedia.org/wiki/User:Demi_lion/sandbox

any suggestion is welcome

Demi lion (talk) 21:09, 27 February 2014 (UTC)

title: Category talk:Bioinformatics


text:
Massimo Belardinelli

Massimo Belardinelli (5 June 1938 – 31 March 2007) was an Italian comic artist best known for his work in the British science fiction comic 2000 AD.

Early work
Belardinelli was born in Rome. His father was an amateur oil painter. Inspired by the Disney film Fantasia, Belardinelli went into animation in the 1960s, painting backgrounds for films produced by the Sergio Rosi studio. He then moved into comics, again through the Rosi studio, drawing backgrounds for "The Steel Claw" in the British weekly Valiant in a team which also included Giorgio Cambiotti on pencils and Sergio Rosi himself on inks. In 1969 he moved to the Giolitti Studio, which got him work in Italy, Germany, the UK and the USA. He collaborated with Alberto Giolitti on Gold Key Comics' Star Trek series in the US, with Giolitti drawing the characters and Belardinelli the spaceships. In the UK in the mid-1970s he drew "Rat Pack" for Battle Picture Weekly and "Death Game 1999" and "Green's Grudge War" for Action.

2000 AD
When 2000 AD was in preparation in 1977, an artist was needed for the revamped "Dan Dare", and Belardinelli tried out for no pay and got the job, and the rare honour of a byline, despite editor Pat Mills' reservations: although he excelled at visualising aliens, alien technology and alien landscapes, Mills thought "the hero looked awful". Belardinelli's work on the strip was not popular, and after a year he was switched to future sports series "Inferno", the sequel to the popular "Harlem Heroes", while former "Harlem Heroes" artist Dave Gibbons took over "Dan Dare".

Belardinelli then drew the second series of "Flesh", in which the time-travelling meat-farmers moved into the prehistoric oceans, in 1978–79. He also drew "The Angry Planet", a sci-fi serial set on colonised Mars, written by Alan Hebden, for Tornado in 1979, and then took over "Blackhawk", Gerry Finley-Day's strip about a Nubian slave who became a Roman centurion, when Tornado merged into 2000 AD later in the year. The strip was given a sci-fi twist by new writers Alan Grant and Kelvin Gosnell, with the hero being abducted by aliens and forced to fight in a galactic arena. Grant believes the strip's popularity was down to Belardinelli's art.

"Meltdown Man", a year-long cliffhanger serial written by Alen Hebden, followed in 1980–81, in which an SAS officer was caught in a nuclear explosion and blasted into a future where humans have enslaved genetically-engineered humanoid animals, and leads the fight for their liberation. In 1981 writers John Wagner and Alan Grant created a new series for him, space haulage comedy "Ace Trucking Co.". Grant says they wanted to exploit Belardinelli's "fevered imagination" and wrote a series which featured "as few actual human beings as possible" - almost all the characters were aliens.

Belardinelli also drew several storylines of the Celtic barbarian strip "Sláine" in 1983–84, whose writer, Pat Mills, selected him to visualise the hero's body-distorting "warp spasm". Although his strips were popular with the general readership, the fan audience never really took to him, and his "Sláine" stories were not collected by Titan Books.

Later work
His last major 2000 AD strips were "The Dead", written by Peter Milligan (1987) - a philosophical yet psychedelic series set in a future where an evolved human race thinks it has conquered death, until demons start erupting from their bodies, and the hero, Fludd, has to travel to the land of the dead to save mankind - violent future sport series "Mean Team" (1985, 1987) and space opera "Moonrunners" (1988–89). He also drew "Joe Alien" for short-lived younger-readers sci-fi comic Wildcat, in 1988. Among his last comic work in the UK was for Fleetway's Teenage Mutant Hero Turtles comic in the early 1990s.

He stopped working in British comics in 1993 when his agent, Alberto Giolitti, died. Having suffered from heart problems, Belardinelli died on 31 March 2007.

title: Massimo Belardinelli