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Mikael Tariverdiev

Mikael Leonovich Tariverdiev (Микаэл Леонович Таривердиев, Միքայել Թարիվերդիև; 15 August 1931 – 25 July 1996) was a prominent Soviet composer of Armenian descent. He headed the Composers' Guild of the Soviet Cinematographers' Union from its inception and is most famous for his movie scores, primarily the score to Seventeen Moments of Spring.

Biography
Mikael Tariverdiev was born in Tbilisi, Georgian SSR to Armenian parents, but lived and worked in Russia. His father, Levon Tariverdiev, was from Baku but a native of Nagorno-Karabakh. His mother, Satenik, was Georgian Armenian. He studied at the Komitas State Conservatory of Yerevan for two years and then graduated from the Moscow Gnessin Institute in the class of Aram Khachaturian in 1957.

Tariverdiev wrote over 100 romances and four operas, including the comic opera Count Cagliostro and the mono-opera "The Waiting". However, he is mostly known for his scores to many popular Soviet movies (more than 130 in total), including "Seventeen Moments of Spring" and "The Irony of Fate"—see List of film music by Mikael Tariverdiev.

He received many awards, including the USSR State Prize in 1977 and the Prize of the American Music Academy in 1975. In 1986 he was awarded the title of People's Artist of Russia. In 1990, he won three Nika Awards for Best Composer.

The Best Music prize at the largest Russian National Film Festival Kinotaur is named after Tariverdiev.

On 31 May 1990 Tariverdiev underwent cardiac surgery in the London Royal Hospital; his aortic valve was replaced with an artificial one. Upon his death in 1996, a group of admirers of his music founded the Mikael Tariverdiev Charity Fund and organized the Tariverdiev International Organ Competition.

In November 2015, the first major release of Tariverdiev's work in the West was published in London by Antique Beat and the UK label Earth Recordings, as a set of three albums titled 'Film Music'. The release was curated by Vera Tariverdieva, the composer's widow, and Stephen Coates of the UK band The Real Tuesday Weld, who had heard Tariverdiev's music in Moscow in 2011.

Discography
The following works of Tariverdiev have been recorded:
 * Night Pastimes (film music)
 * Quo vadis? (Organ Symphony Chernobyl, 1st Organ Concerto Cassandra, Two Chorale Preludes)
 * Moods (6 preludes from the cycle 10 chorale preludes imitating the old masters, 3rd Organ concerto, 10 preludes from the cycle Moods (organ transcription by Alexey Parchine))
 * Remembering Venice (film music)
 * Seventeen Moments of Spring (film music)
 * The Irony of Fate (film music)
 * I Am The Tree (monologues on Posenyan, Voznesensky, Svetlov, Ashkenazy poetry sung by author)
 * Instrumentalnye kinokhity (Film Music Hits)
 * Composer's interpretation of Jewish songs
 * Prescience of love (20th Century Madrigals)
 * Graf Cagliostro (opera comique)
 * Mikael Tariverdiev's Avant-Garde (vocal cycles on Japan medieval poetry, Bella Akhmadulina, Leonid Martynov, Semen Kirsanov, Mikhail Malishevsky)
 * Nostalgia - Japan duo Hide-Hide performing Mikael Tariverdiev's music on classical Japanese instruments—semisen and siakuhkati  with orchestra.
 * Vox Humana. Vocal cycles to verses by L. Martinov, B. Akhmadulina, Medieval Japanese poets “Watercolors”, E. Vinokurov, M. Tsvetaeva, “Waiting” to the poem by R. Rojdestvenskie. Performers: Zara Dolukhanova (soprano), Nina Lebedeva  (soprano), Maria Lemesheva (soprano), Nina Svetlanova (piano), Mikael Tariverdiev (piano), Orchestra of Boris Pokrovsky Chamber Music Theater  (conductor – Vladimir Agronsky).

List of compositions
Symphonic works The orchestra: 2,2,2,(B); 0; 2(C), 2(C),2,0; kettledrums, cymbals, triangle, side drum, tam-tam, tambourine, vibraphone, (xylophone), harpsichord, harp, violin-solo, strings The orchestra: 1,0,0,0; 0,0,0,0; kettledrums, vibraphone, (xylophone), harpsichord, violin-solo, strings. The works for organ Chamber-instrumental works Chamber-vocal works Shall I stare at the train? Music for theatre performance
 * 1956 Concerto for voice with orchestra
 * The orchestra: 3,2,3(B.I-bass-cl); 4,3,3,1; kettledrums, triangle, side drum, cymbals, bass drum, tam-tam, piano, harp, voice, strings.
 * 1982 Concerto No. 1 for violin with orchestra in three movements
 * The first version for full symphonic orchestra:
 * The second version - for chamber orchestra:
 * 1992 Concerto No. 2 for violin-solo with orchestra (in one part)
 * The orchestra: 1,1,1,0; triangle, strings (10-12; 8-10; 6–8; 4–6; 2).
 * 1993 Concerto in Romantic Style (Концерт в романтическом стиле) for viola and string orchestra (in one movement), Op. 102
 * The orchestra: viola-solo, strings: (8; 6; 6; 6; 2).
 * 1985 Concerto No. 1 for organ “Cassandra” in four parts
 * 1988 Symphony for reciter “Chernobyl” in two parts: 1. “Zone”, 2. “Quo vadis”
 * 1988 Concerto No. 2 for organ. Polyphonic notebook in four parts.
 * 1989 Concerto No. 3 for organ in four parts: 1.“Reflections”, 2.“Moving”, 3.”Choral”, 4.”Walking in C-Major”.
 * 1995 Ten chorales for organ (“Imitation of Old Masters”). Dedicated to the Spanish Infanta Helen
 * 1953 Nine little novels for piano
 * 1953 “Fleetingnesses” for piano
 * 1953 Sonata for French horn and piano
 * 1954 Trio No. 1 for piano, violin and cello
 * 1955 Trio No. 2 for piano, violin and cello
 * 1986 “Moods” – 24 pieces for piano
 * 1955 Three romances to the verses by A. Isaakjan
 * 1. "A Plucked Rose has no Way Home"
 * 2. "Grave"
 * 3. "I Always Remember..."
 * 1956 Three sonnets by Shakespeare
 * 1. "Mossy Marble of Stone Graves"
 * 2. "Oh, How Shall I Praise You"
 * 3. "Jaded by Toils"
 * 1956 Three songs to the verses by V. Orlov
 * 1. Familiar song
 * 2. Golden Twilight
 * 3. A song over the telephone
 * 1957 "Water-colours" – vocal cycle to the verses by medieval Japanese poets
 * 1. Struck the road
 * 2. The way to the capital
 * 3. Before the execution
 * 4. In the morning mist
 * 5. Dream
 * 1958 Vocal cycle to the verses by V. Mayakovsky
 * 1. Could you..?
 * 2. Something about Petersburg
 * 3. Tricks of cloud
 * 4. Listen!
 * 5. Instead of a letter
 * 1959 Three songs to the verses by S. Davydova
 * 1. A song about pigeons
 * 2. A road song
 * 3. A song about spring
 * 1960 "Garden Ring" to the verses by S. Grebennikov and H. Dobronravov
 * 1960 "Your Eyes Look Like New Car Headlights" to the verses by S. Kirsanov
 * 1960 Three romances to the verses by S. Kirsanov
 * 1. Your pictures
 * 2. Round a white clothed table
 * 3. Come!
 * 1961 It so happens to the verses by B. Gaikovich
 * 1962 Vocal cycle to the verses by L. Martynov
 * 1. Night was falling
 * 2. Water
 * 3. Leaves
 * 1963 Two songs to the verses by N. Dobronravov
 * 1. Don't be sad
 * 2. In the evenings
 * 1963 Vocal cycle to the verses by Bella Akhmadulina
 * 1. An old romance
 * 2. I thought you were a doctor for me
 * 3. Fifteen boys
 * 1964 Vocal cycle to the verses by Evgeny Vinokurov
 * 1. I was seizing sentiments
 * 2. Windows
 * 3. Your face is fading from my memory
 * 1964 "Skirls" – vocal cycle to the verses by M. Malishevsky
 * 1. Sparrow – experimenter
 * 2. Monkey and mirror
 * 3. Self-respect
 * 4. Critics and bubbles
 * 5. Conversation
 * 6. In a rook-like way
 * 7. Nightingale and art counsel
 * 1965 "Music" to the verses by V. Orlov
 * 1966 "You are going away like a train" to the verses by E. Evtushenko
 * 1967 Seven song-recitatives to the verses by G. Pozhenjan
 * 1. I am such a tree
 * 2. Dolphins
 * 3. It's birds' manner to fly away
 * 4. Pine-trees
 * 5. I would like ...
 * 6. I took a decision
 * 7. Soon you will be grown up
 * 1967 "Farewell to Arms" - vocal cycle to the verses by E. Hemingway
 * 1. Footfall
 * 2. Way?
 * 3. Along wet earth
 * 4. Killed
 * 5. Did it ever happen to you?
 * 6. How night differs from day?
 * 7. Praise to Christmas
 * 8. We are spending what is not destined for it
 * 9. Love and compassion
 * 10. I rushed to you
 * 11. We carry love within us
 * 12. Ever alive
 * 1968 "Little Prince" to the verses by N. Dobronravov
 * 1969 Six vocal novels to the verses by L. Ashkenazi
 * 1. Radio
 * 2. Women
 * 3. Cigarettes
 * 4. I told her exactly this
 * 5. Light steam
 * 6. A song about new generation
 * 1970 Songs to the verses by A. Voznesensky
 * 1. I want silence
 * 2. Grove
 * 3. Shall I stare at the train?
 * 4. Memory ("They Killed Poem")
 * 5. I am heading from the carriage platform
 * 1971 Two romances to the verses by M. Tsvetaeva
 * 1. My darling, what have I done to you?
 * 2. Attempt at jealousy
 * 1971 "I am Writing to You" to the verses by M. Lermontov
 * 1972 Two songs to the verses by R. Rozhdestvensky
 * 1. Instants
 * 2. A song about remote Motherland
 * 1974 Six songs to the verses by Soviet poets
 * 1. I like it (M. Tsvetaeva)
 * 2. No one will be at home (B. Posternak)
 * 3. At the mirror (M. Tsvetaeva)
 * 4. That's what happened to me (E. Evtushenko)
 * 5. I asked an ash-tree (V. Kirchov)
 * 6. Along my street (Bella Akhmadulina B. Akhmadulina)
 * 1974 Vocal cycle to the verses by L. Martynov
 * 1. Night was falling
 * 2. Water
 * 3. Leaves
 * 1974 Vocal cycle to the verses by A. Voznesensky
 * 1. I want silence
 * 2. Grove
 * 1974 Vocal cycle to the verses by M. Tsvetaeva
 * 1975 Memory to the verses by D. Samoilov
 * 1975 Don't disappear to the verses by A. Voznesensky
 * 1975 Vocal cycle to the verses by S. Kirsanov
 * 1. Your eyes
 * 2. Your pictures
 * 3. At the white clothed table
 * 4. Come
 * 1976 We are, comrade, with you – cycle of songs to the verses by M. Svetlov
 * 1. Red Guards from remote times
 * 2. Old Komsomol members song
 * 3. I was not a friend of hers
 * 4. Moscow Military district
 * 5. In the reconnaissance
 * 6. Infantry passing the bogs
 * 7. We are, comrade, with you
 * 8. Grenada
 * 1977 "Echo" ("Don't return to ex-beloved") to the verses by A. Voznesensky
 * 1977 A song about circus to the verses by B. Akhmadulina
 * 1977 Old Komsomol members' songs to the verses by M. Svetlov
 * 1. Red Guards from remote times
 * 2. Old Komsomol members' song
 * 3. I was not a friend of hers
 * 4. Moscow Military district
 * 5. In the reconnaissance
 * 6. Infantry passing the bogs
 * 7. We are, comrade, with you
 * 8. Grenada
 * 1979 "Remember this World". Vocal cycle to the verses by A. Voznesensky
 * 1. Twilights are frequent over the ploughed field
 * 2. Nostalgia for the present
 * 3. Thanks for not dying yesterday
 * 4. Remember this world
 * 1980 Eight sonnets by Shakespeare
 * 1. I love
 * 2. Sonnet about a hen
 * 3. I am guilty
 * 4. Alas! My verse is not sparkling new
 * 5. Sonnet about an apple
 * 6. Love is blind and blinds us too
 * 7. To prevent two hearts' union
 * 8. Ardent heard at the dawn ...
 * 1986 Five songs to the verses by M. Tsvetaeva
 * 1. Where has such tenderness come from?
 * 2. And again the window
 * 3. Island girl
 * 4. I don't need you anymore
 * 5. Should I forget it?
 * 1963 “Purpose” (Sovremennik)
 * 1966 “Farewell to Arms” (Lenin's Komsomol theatre)
 * 1966 “The Hero of our Time” (Theatre on the Taganka)
 * 1968 “Farewell” (Mossoviet theatre)
 * 1968 “Climbing the Fudzijama” (Sovremennik)

Filmography
Works for musical theatre The orchestra: piano 1, harpsichord (piano 2), ionika, elektroorga celesta, vibraphone, xylophone, elektro guitar 1, elektro guitar 2, batteria, double-basses. The orchestra: 1,1,1,1; 2,1,1,0, vibraphone, xylophone, side drum, bass drum, whip, triangle, cymbals, harp, harpsichord, strings. The orchestra: 1,1,1,1; 1,1,1,1; bells, xylophone, vibraphone, triangle, tambourine, tam-tam, bass drum, cymbals, harp, piano, strings. (There are two versions of the opera: for lyric soprano and for mezzo-soprano.) The orchestra: 1,1,0,1; 0,0,0,0; vibraphone, (xylophone), bells, triangle, tam-tam, kettle drums, harp, voice, strings. The orchestra: 2,2,2,2; 4(F), 3(B),3,1; kettle drums, chime-bells, xylophone, vibraphone, triangle, tambourine, side drum, castanets, cymbals, tam-tam, harp, piano, strings.
 * 1957 “Our Fathers' Youth"
 * 1958 “Save the Drowning Man”
 * 1959 “Ten Steps to the East”
 * 1961 “A Man Following the Sun”
 * 1961 “My Junior Brother”
 * 1962 “Goodbye! Boys”
 * 1962 “Welcome, or No Trespassing”
 * 1963 “The Big Ore”
 * 1964 "To love”
 * 1965 “Farewell
 * 1966 “Wake up Mukhin”
 * 1966 “The Last Swindler”
 * 1967 “Save the Drowning Man”
 * 1968 “King-deer”
 * 1968 “Passenger from the "Equator"”
 * 1970 “Fixed-post Spy's Fate”
 * 1972 “Seventeen Moments of Spring” (12 series)
 * 1974 “Star Minute”
 * 1974 “The Irony of Fate”
 * 1975 “Olga Sergeevna” (8 series)
 * 1976 “Disappeared Expedition” (2 series)
 * 1978 “Out-of-date Comedy”
 * 1980 “Adam Merries Eve” (2 series)
 * 1989 “Endhouse Mysteries”
 * 1990 “Monster”
 * 1990 “Homonovus”
 * 1991 “And the Wind Returns”
 * 1993 “Russian Ragtime”
 * 1995 “Summer People” (“Dachniki”)
 * 1945 “On the Beach” - ballet in one act. Libretto by Shengelaja.
 * 1945 “Interrogation” - ballet in one act. Libretto by G. Gelovani.
 * 1965 “Who are you?” (opera for young people). Libretto by M. Churova on the motives of V. Aksenov's novel “Mandarines from Morocco” to the verses by A. Voznesensky, E. Vinokurov, E. Evtushenko, G. Pozhenjan, R. Rozhdestvensky, S. Kirsanov, M. L'vovsky.
 * 1973 “Poem about happiness” – ballet in two acts. Libretto by V. Zakharov.
 * 1981 “Count Kaliostro” – opera-buff. Libretto by N. Kemarsky to the motives of the same name novel by A. Tolstoy to the verses by A. Kemarsky and R. Sef.
 * 1985 “Gernika” – ballet in two acts to the motives P. Picasso's picture.
 * 1986 “Waiting” – mono-opera.
 * 1986 “Girl and Death” – ballet in two acts to the motives of M. Gorky's tale.
 * 1992 “Figarienok's Marriage” – opera-grotesque to the motives of Bomarsher's work.

Books

 * «Я просто живу» (I Am Simply Living), autobiography, Moscow, Zebra, 2007

title: Mikael Tariverdiev


text: Category:PSA Group

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

title: Category:PSA Group


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User talk:Wikipedia Fan

Street Fighter articles
Hey mysterious account which is apparently only used for moving articles. Thanks for fixing my errors by my moving Street Fighter characters back from (Street Fighter character) to (video game character). I realized that it was a bad idea after I made it through all the the characters. When I started I wasn't aware that a lot of them weren't specific to Street Fighter. However, I have to disagree with your decision to restore Street Fighter (film) from Street Fighter (movie). As per Naming conventions (movies), movies should not carry the (film) suffix, rather (movie). If it's redirection that you're worried about I was and still am prepared to correct all referenced articles. --TheDotGamer Talk 00:56, Jun 9, 2005 (UTC)
 * On second thought, there's no problem with it having the (film) suffix. I wasn't aware how many movies there were with it. Thanks again for moving the articles. --TheDotGamer Talk 20:06, Jun 9, 2005 (UTC)

title: User talk:Wikipedia Fan


text:
User:Imaek/Links

 * Other Wikis
 * Simple English
 * Meta
 * Wikiquote
 * Wikinews
 * Pages
 * Home
 * Movies
 * Talk

title: User:Imaek/Links


text:
I Feel for You

"I Feel for You" is a song written by American musician Prince that originally appeared on his 1979 self-titled album. The most successful and best-known version was recorded by R&B singer Chaka Khan and appeared on her 1984 album of the same name. It became the recipient of two Grammy Awards for Best R&B Song (with Prince as its songwriter) and Best Female R&B Vocal Performance for Khan.

Background and other versions
Prince originally wrote "I Feel For You" and his hit single "I Wanna Be Your Lover" for musician Patrice Rushen, but she turned down both songs. Prince subsequently recorded them for his eponymous second album, which was released in October 1979. For the song, Prince uses a falsetto vocal with the melody range between C3 and D5.

The Pointer Sisters recorded the song in 1982 on their album So Excited!, and Rebbie Jackson recorded it for her 1984 debut album Centipede. In 1993, Britney Spears and Justin Timberlake sang this song on The Mickey Mouse Club.

In October 2019, in honor of the 40th anniversary of the album Prince, the Prince Estate and Warner Records released a previously unheard solo acoustic demo recording of the song, with Prince also performing acoustic guitar. The track became available on streaming services and as a limited-run 7” vinyl single which sold out.

Personnel
Information taken from Benoît Clerc and Guitarcloud.

 * Prince – lead and backing vocals, electric guitars, clavinet, Oberheim 4-Voice, bass guitar, drums, Pollard Syndrums, handclaps

Chaka Khan version
Chaka Khan's version of "I Feel for You" featured a supporting cast including rapping from Melle Mel (of Grandmaster Flash and the Furious Five); guitar, drum programming, bass guitar, keyboards and arrangement by Reggie Griffin; bass synthesizer and programming by The System's David Frank using an Oberheim DSX sequencer, which was connected to his Minimoog via CV and gate; and chromatic harmonica playing by Stevie Wonder. The song also uses vocal samples from Wonder's song "Fingertips" (1963). The repetition of Khan's name by Melle Mel at the beginning of the song was a mistake made by producer Arif Mardin, who then decided to keep it.

This version of the song sold more than one million copies in the US and UK, and it helped to relaunch Khan's career. The song hit No. 1 on the Cash Box singles chart and peaked at No. 3 on the Billboard Hot 100 chart from the weeks of November 24, 1984 to December 8, 1984, prevented by further chart movement by Prince's "Purple Rain" and Wham!'s massive hit "Wake Me Up Before You Go-Go". The song remained on the Billboard Hot 100 for 26 weeks and became one of Billboard's five biggest pop songs of the year for 1985. The single reached No. 1 on both the US dance and R&B charts in late 1984, remaining atop both for three weeks each. In addition, the song also reached No. 1 on the UK Singles Chart, remaining there for three weeks from November 4–25, 1984. While touring with Prince in 1998 in support of her collaborative album, Come 2 My House, Khan and Prince performed "I Feel for You" as a duet.

Khan's version of the song is written in the key of G♭ major with a tempo of 125 beats per minute in common time. Khan's vocals span from D♭4 to A♭5 in the song.

In 1985 at the 27th Annual Grammy Awards, the Chaka Khan version of "I Feel for You" won the Grammy for Best R&B Vocal Performance, Female.

Personnel

 * Chaka Khan – lead vocals, backing vocals
 * Steve Ferrone – drums
 * David Frank – keyboards, synthesizer, programming
 * Philippe Saisse – keyboards, synthesizer, programming
 * Robbie Buchanan – keyboards, synthesizer, programming
 * Reggie Griffin – guitar, bass, keyboards, synthesizer, drum machine, programming and arrangement
 * Stevie Wonder – chromatic harmonica
 * Grandmaster Melle Mel – vocals
 * Mark Williamson – vocals

Music video
The first version of the music video for Khan's song featured her working in a club with female dancers. As rap music and breakdancing were gaining popularity in mainstream pop culture at the time, the song was released and proved a success, so another version of the video, in an inner-city courtyard setting, was created.

Director Jane Simpson — who had graduated from UCLA's film school and worked in animation before moving to work on commercials — was brought in as the director for what would be her first music video. Simpson and the production company who produced Chaka Khan’s video for the track had already been working on a video combining some of the early 1980s day-glo fashions with breakdancing and rap. Simpson had already approached several designers who had rejected her concept before Norma Kamali agreed to let her clothing designs appear in the video, which was originally titled “Street Beat”, and shot in a studio mocked-up to look like the multi-racial hip hop club Radio-Tron in the MacArthur Park area in L.A. The choreographer was Joanne DiVito; break dancers appearing in the footage were Shabba Doo, Boogaloo Shrimp, Bruno "Pop N Taco" Falcon and Ana "Lollipop" Sánchez, all of whom also appeared in the movie Breakin'. To this pre-shot footage was added new footage of Chaka Khan and deejay Chris "The Glove" Taylor spinning a hot pink-colored 12-inch single with “Chaka” printed on the label, as well as Khan standing near a chain-link fence and other props, including graffiti-covered panels, on a studio soundstage.

A remixed version of the video was later created to match the 12" vinyl version of the single.

title: I Feel for You


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Talk:Deutsche Bank

Douche Bank
No Joke. Seriously, according to solid sources, Deutsche Bank is colloquially also called Douche Bank. Here are the sources:

Ceasar, E. (2016). Deutsche Bank's 10-Billion Scandal. The New Yorker. Paragraph 7, line 7. URL: https://www.newyorker.com/magazine/2016/08/29/deutsche-banks-10-billion-scandal

Zarroli, J. (2020). 'Dark Towers' Chases Scandal-Ridden Deutsche Bank's Mysterious Ties To Donald Trump. NPR - National Public Radio. Paragraph 7, line 3. URL: https://www.npr.org/2020/02/18/806984703/dark-towers-is-a-cautionary-tale-of-pursuing-profits-at-any-cost

Enrich, D. (2020). Dark Towers: Deutsche Bank, Donald Trump, and an Epic Trail of Destruction. Barnes & Nobles. Chapter 4, paragraph 1, line 3. URL: https://www.barnesandnoble.com/readouts/dark-towers-deutsche-bank-donald-trump-and-an-epic-trail-of-destruction/

Williams-Grut, O. (2016). Hedge Funds Are Dumping Deutsche Bank and Shares Are Tanking. Business Insider. Paragraph 1. URL: https://www.businessinsider.com/10-hedge-funds-pull-business-from-deustche-bank-shares-dive-september-30-2016-9?r=US&IR=T

Knowing the pecularities of Wikipedia, I know how this may have to potential to inflate and escalate. This is why I would like to open it up for discussion to decide after 2 weeks or so whether or not to add it to the article.--2A01:8B81:4805:B000:D520:E083:B91F:1659 (talk) 07:38, 19 June 2022 (UTC)

UK Bonds - DB admit anti-competitive behaviour 24 May 2023
Hello - I can't see any mention of this in the article, apologies if it's there somewhere. https://edition.cnn.com/2023/05/24/investing/deutsche-citi-antitrust-uk-bonds/index.html Worth adding I think. Thelisteninghand (talk) 19:49, 25 May 2023 (UTC)

title: Talk:Deutsche Bank


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Nothhelm

Nothhelm (sometimes Nothelm; died 739) was a medieval Anglo-Saxon Archbishop of Canterbury. A correspondent of both Bede and Boniface, it was Nothhelm who gathered materials from Canterbury for Bede's historical works. After his appointment to the archbishopric in 735, he attended to ecclesiastical matters, including holding church councils. Although later antiquaries felt that Nothhelm was the author of a number of works, later research has shown them to be authored by others. After his death he was considered a saint.

Early life
Nothhelm was a contemporary of Boniface and Bede, whom he supplied with correspondence from the papal library following a trip to Rome. He also researched the history of Kent and the surrounding area for Bede, supplying the information through the abbot of St Augustine's Abbey in Canterbury. Before his appointment to the archbishopric, he was the archpriest of the Saxon-built St Paul's Cathedral, London.

Archbishop
Named to the see of Canterbury in 735, Nothhelm was consecrated the same year. Pope Gregory III sent him a pallium in 736. He may have been appointed by Æthelbald, King of Mercia, whose councilor he was. Whether or not he owed his appointment to Æthelbald, Nothhelm was one of a number of Mercians who became Archbishop of Canterbury during the 730s and 740s, during a time of expanding Mercian influence. He held a synod in 736 or 737, which drew nine bishops; the meeting adjudicated a dispute over the ownership of a monastery located at Withington. A significant feature of this synod was that no king attended, but yet the synod still rendered judgement in the ownership even without secular oversight, which was more usual.

Nothhelm oversaw the reorganisation of the Mercian dioceses which took place in 737. The archbishop consecrated Witta as Bishop of Lichfield and Totta as Bishop of Leicester. The diocese of Leicester was firmly established by this action, although earlier attempts had been made to establish a bishopric there. In 738, Nothhelm was a witness on the charter of Eadberht I, the King of Kent.

Bede addressed his work In regum librum XXX quaestiones to Nothhelm, who had asked the thirty questions on the biblical book of Kings that Bede answered. Bede's work De VIII Quaestionibus may have been written for Nothhelm. While he was archbishop, Boniface wrote to him, requesting a copy of the Libellus responsionum of Pope Gregory I for use in Boniface's missionary efforts. Boniface also asked for information on when the Gregorian mission to England arrived in England. This text of the Libellus responsionum has been the subject of some controversy, with the historian Suso Brechter arguing that the text was a forgery created by Nothhelm and a Roman archdeacon. The historian Paul Meyvaert has refuted this view, and most historians incline towards the belief that the text is genuine, although it is not considered conclusively proven.

Death and legacy
Nothhelm died on 17 October 739 and was buried in Canterbury Cathedral. He is considered a saint, and his feast day is 17 October. The antiquaries and writers John Leland, John Bale, and Thomas Tanner all felt that Nothhelm was the author of various works, but later research has shown them to be authored by other writers. A verse eulogy for Nothhelm, of uncertain date, survives in a 16th-century manuscript now at the Lambeth Palace library.

title: Nothhelm


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Xavier Mertz

Xavier Guillaume Mertz (6 October 1882 – 8 January 1913) was a Swiss polar explorer, mountaineer, and skier who took part in the Far Eastern Party, a 1912–1913 component of the Australasian Antarctic Expedition, which claimed his life. Mertz Glacier on the George V Coast in East Antarctica is named after him.

While a student, Mertz became active as a skier, competing in national competitions, and as a mountaineer, climbing many of the highest peaks in the Alps. In early 1911, Mertz was hired by geologist and explorer Douglas Mawson for his Antarctic expedition. He was initially employed as a ski instructor, but in Antarctica, Mertz instead joined Belgrave Edward Ninnis in the care of the expedition's Greenland huskies.

In the summer of 1912–1913, Mertz and Ninnis were chosen by Mawson to accompany him on the Far Eastern Party, using the dogs to push rapidly from the expedition's base in Adélie Land towards Victoria Land. After Ninnis and a sledge carrying most of the food disappeared down a crevasse, 311 mi from the expedition's main hut, Mertz and Mawson headed back west, gradually using the dogs to supplement their remaining food stocks.

About 100 mi from safety, Mertz died, leaving Mawson to carry on alone. The cause of Mertz's death has never been firmly established; the commonly purported theory is hypervitaminosis A—an excessive intake of vitamin A—from consuming the livers of the Huskies. Other theories suggest he may have died from a combination of malnutrition, cold exposure, and psychological stresses.

Early life
Xavier Mertz was born in Basel, the son of Emile Mertz, who owned a large engineering firm in the city. With the aim of working in the family business, which manufactured textile machinery, Mertz attended the University of Bern, where he studied patent law.

While in Bern, he became active as a mountaineer and skier. Mertz competed in several national competitions; in 1906 he was third in the Swiss cross-country skiing championship, and second in the German championship. In 1908, he won the Swiss ski jumping championship, with a distance of 31 m. As a mountaineer, he was particularly prolific in the Alps; he climbed Mont Blanc—the highest peak in the range—and claimed several first ascents of other mountains.

After he attained his degree of Doctor of Laws from the University of Bern, Mertz studied science at the University of Lausanne; he specialised in glacier and mountain formations, for which he received his second doctorate.

Australasian Antarctic expedition
In early 1911, Mertz went to London to meet with the Australian geologist and explorer Douglas Mawson. Mawson, who had served as physicist during Ernest Shackleton's 1908–1909 Nimrod expedition, was planning his own Antarctic expedition.

In his application letter, Mertz wrote that he hoped Mawson would be using skis, as "they have proved so good for the purpose & knowing that I am as good as any one on skys." While Mawson was intending to recruit only British subjects (chiefly Australians and New Zealanders), Mertz's qualifications prompted him to make an exception, and hire the Swiss as a ski instructor. First, however, he was given responsibility for the expedition's 48 dogs, aboard the expedition ship SY Aurora, bound for Hobart.

On the Aurora, Mertz met Belgrave Edward Sutton Ninnis, a lieutenant in the Royal Fusiliers. Like Mertz, Ninnis was responsible for the expedition's dogs; Aurora's captain, John King Davis, regarded the pair as "idlers". "I wish we had some one on board who could look after [the dogs]," he wrote in his diary, "it is a great shame that they should suffer from neglect." On 2 December 1911, after final preparations and loading were completed in Hobart, the Aurora sailed south; she stopped briefly at Macquarie Island, where a wireless relay base was established, and reached the site of the expedition's main base at Cape Denison in Adélie Land, on the Antarctic continent, in early January.

Adélie Land
Over the following winter, preparations were made for the summer sledging. Because the conditions—constant, strong winds and an excessive slope by the hut—prevented Mertz from conducting skiing lessons as regularly as intended, he focussed instead on helping Ninnis to care for the dogs. On days when the weather was good they drove the dogs around outside the hut, teaching them to run in teams; when the winds returned the pair fitted and sewed harnesses for each dog, and prepared their sledging food. By this time Mertz and Ninnis developed a close friendship, as the expedition's taxidermist Charles Laseron later wrote:

"The two [Mertz and Ninnis] had joined the Expedition together in London, and had been associated longer and in a more intimate manner than any other members of the Expedition. During the winter months we had all been drawn together, but between Mertz and Ninnis there existed a very deep bond. Mertz, in his warm-hearted impulsive way, had practically adopted Ninnis, and his affection was almost maternal. Ninnis, less demonstrative, reciprocated this to the full, and indeed it was hard to dissociate them in our thoughts. It was always 'Mertz and Ninnis' or 'Ninnis and Mertz', a composite entity, each the complement of the other."

In August, the preparations extended to laying depots; an early party established a depot 5.5 mi to the south of the expedition's main hut—a grotto in the ice known as Aladdin's Cave—but returned without the dogs. Mertz and two others set off to rescue the dogs, but in heavy winds covered less than a mile in two hours, and returned to the hut. "If it depended only on me," Mertz wrote in his diary, after four days' more wind confined them to the hut, "we would be in our sleeping bags outside in the snow, and we would at least try to find the dogs. Mawson is definitely too cautious, and I wonder if he would show enough gumption during the sledging expedition." The following day Mertz was part of a party of three that made it to Aladdin's Cave to rescue the dogs; when strong winds confined them to the depot for three days they spent the time expanding the cave.

In September, Mertz, Ninnis, and Herbert Murphy formed a survey party, man-hauling to the south-east of Aladdin's cave. In strong winds, they travelled just 12.5 mi in three days, before the temperature dropped to -34 C and the wind speed increased to 90 mph, confining them to the tent. When a gap in the wind allowed, they hurried back to the hut.

Far Eastern Party
On 27 October 1912, Mawson outlined the summer sledging program. Mertz and Ninnis were assigned to Mawson's own party, which would use the dogs to push quickly to the east of the expedition's base in Commonwealth Bay, towards Victoria Land. The party departed Cape Denison on 10 November, heading first to Aladdin's Cave, and from there south-east towards a massive glacier encountered by Aurora on the outward journey. Mertz skied ahead, scouting and providing a lead for the dogs to chase; Mawson and Ninnis manoeuvred the two dog teams behind. They reached the glacier on 19 November; negotiating fields of crevasses, it was crossed in five days. The party made quick progress once on the plateau again, but they soon encountered another glacier, far larger than the first. Despite strong winds and poor light, Mertz, Mawson and Ninnis reached the far side on 30 November.

On 14 December, the party were more than 311 mi from the Cape Denison hut. As Mertz skied ahead, singing songs from his student days, Ninnis, the largest sledge and the strongest dog team were lost when they broke through the snow lid of a crevasse. Together with the death of their companion, Mawson and Mertz were now severely compromised; on the remaining sledge they had just ten days' worth of food, and no food for the dogs. They immediately turned back west, gradually using the six remaining dogs to supplement their food supply; they ate all parts of the animals, including their livers.

They initially made good progress, but as they cleared the largest glacier Mertz began to feel ill; he had lost his waterproof overpants on Ninnis' sledge, and in the cold his wet clothes were unable to dry. On 30 December, a day Mawson recorded that his companion was "off colour", Mertz wrote that he was "really tired [and] shall write no more." Mertz's condition deteriorated over the following days—Mawson recorded he was "generally in a very bad condition. Skin coming off legs, etc"—and his illness severely slowed their progress. On 8 January, with the pair about 100 mi from the hut, Mawson recorded:

"He [Mertz] is very weak, becomes more and more delirious, rarely being able to speak coherently. He will eat or drink nothing. At 8 pm he raves & breaks a tent pole. Continues to rave & call 'Oh Veh, Oh Veh' [O weh!, 'Oh dear!'] for hours. I hold him down, then he becomes more peaceful & I put him quietly in the bag. He dies peacefully at about 2 am on morning of 8th."

Mawson buried Mertz in his sleeping bag under rough-hewn blocks of snow, along with the remaining photographic plates and an explanatory note. Mawson staggered back into the Cape Denison hut a month later, missing the Aurora by a matter of hours; she had waited for Mertz, Mawson and Ninnis for three weeks until—concerned by the encroaching winter ice—Davis had sailed her out of Commonwealth Bay and back to Australia.

Legacy
In November 1913, a month before the Aurora returned for the final time, Mawson and the six men remaining at Cape Denison erected a memorial cross for Mertz and Ninnis on Azimuth Hill to the north-west of the main hut. The cross, constructed from pieces of a broken radio mast, was accompanied by a plaque cut from wood from Mertz's bunk. The cross still stands, although the crossbar has required reattaching several times, and the plaque was replaced with a replica in 1986.

The first glacier the Far Eastern Party crossed on the outward journey—previously unnamed—was named by Mawson after Mertz, becoming the Mertz Glacier. At a speaking engagement upon his return to Australia, Mawson praised his dead comrades: "The survivors might have an opportunity of doing something more, but these men had done their all." At another, Mawson said that "Dr. Mertz was a Swiss by birth, but he was a man every Englishman would have liked to have called an Englishman ... He was a man of great feelings, generous—one of Nature's gentlemen." A telegram was sent on behalf of the Australian people to Emile Mertz, condoling him on his "great loss, but congratulating you on your son's imperishable fame."

The cause of Mertz's death is not certain; at the time, it was believed Mertz may have died of colitis. A 1969 study by Sir John Cleland and Ronald Vernon Southcott, of the University of Adelaide, concluded that the symptoms Mawson described—hair, skin and weight loss, depression, dysentery, and persistent skin infections—indicated the men had suffered hypervitaminosis A, an excessive intake of vitamin A. Vitamin A is found in unusually high quantities in the livers of Greenland huskies, of which both Mertz and Mawson consumed large amounts; indeed, as Mertz's condition deteriorated, Mawson may have given him more of the liver to eat, believing it to be more easily digested.

This theory is the most widely accepted, but there have been other theories. Phillip Law, former director of Australian National Antarctic Research Expeditions, believed cold exposure could account for Mertz's symptoms. A 2005 article in The Medical Journal of Australia by Denise Carrington-Smith, noting certain sources indicating that Mertz was essentially a vegetarian, suggested that general malnutrition and the sudden change to a predominantly meat diet could have triggered Mertz's illness. Carrington-Smith adds a more hypothetical reason: "the psychological stresses related to the death of a close friend [Ninnis] and the deaths of the dogs he had cared for, as well as the need to kill and eat his remaining dogs".

title: Xavier Mertz


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Memorial Stadium (St. John's)

Memorial Stadium was a 4,190-seat multi-purpose arena, in St. John's, Newfoundland and Labrador, Canada. St. John's previous indoor arena, Prince's Rink, burned down in November 1941, but the demands of the Second World War prevented the city from replacing it until well after the war ended. In 1948, a Citizens' Committee was established to raise funds to build a new arena to be named in honour of Newfoundlanders who died in that war. Fundraising went slowly until in 1954, St. John's City Council floated a bond to finance the facility, which then became property of the city. It officially opened in 1955.

It is the former home of the St. John's Maple Leafs of the American Hockey League (1991–2001). The arena played host to many events, such as an exhibition game featuring the local senior hockey team, the St. John's Caps and the Soviet Red Army. It also played host to two NBA exhibition games and musical acts, as well as Pope John Paul II. Wooden bleachers were used throughout the building's earlier life, and plastic seats were installed later, towards the beginning of the arena’s AHL tenure. Memorial Stadium closed in 2001, replaced by Mary Brown’s Centre.

Dominion Memorial Market
The interior structure of the building was later torn down, and in July 2006, after much controversy, construction started on a new Dominion supermarket. Coincidentally, the parent company of Dominion in Newfoundland, Loblaw Companies, converted part of Maple Leaf Gardens in Toronto, the former stadium of the Maple Leafs' parent club, to a Loblaws supermarket; both projects were approved despite grassroots protests.

On September 21, 2007 Mayor Andy Wells cut the ribbon opening Dominion Memorial Market. The converted stadium features underground parking, escalators, and shopping cart conveyors. The store also retains the scoreboard from the stadium's days as a hockey arena.

title: Memorial Stadium (St. John's)


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1977 American League Championship Series

The 1977 American League Championship Series was a five-game series played between October 5 and 9, 1977, between the Eastern division champion New York Yankees and the Western division champion Kansas City Royals.

The games were played at Yankee Stadium (Games 1–2), and Royals Stadium (3–5). The Yankees took the series 3–2, and defeated the Los Angeles Dodgers in the 1977 World Series to take the title. Kansas City was given home-field advantage as it rotated back to the Western division; the Royals held a 102–60 record to the Yankees' 100–62 record.

History
This was the second straight year in which the Royals and the Yankees squared off in the ALCS. The year before in the 1976 ALCS, the Yankees took the series in five games on a Chris Chambliss home run in the ninth inning of Game 5.

This series, they would again win it in their last at bat.

Overview
Each game of the series was dominated by, mostly, hitting. However, the pitchers of each team held their own and it made for some exciting games.

The first game's matchup was Paul Splittorff (16–6) versus Don Gullett (14–4). Although the matchup seemed to not exactly be the classic Game 1 pitcher's duel, these two pitchers were the best of their profession for that season, although Gullett's was plagued with some shoulder injuries.

Game 1
The visiting Royals jumped on the sore-shouldered Don Gullett early and never looked back. Hal McRae hit a two-run home run in the first and Freddie Patek had a two-run double in the second. John Mayberry hit a two-run home run off of Dick Tidrow in the third. Thurman Munson provided the Yankee runs in the third with a two-run home run of his own, but that was the only blemish on a pitching gem by Paul Splittorff. Splittorff went eight strong innings and Doug Bird closed it in the ninth. Al Cowens added a home run for the Royals in the eighth off of Tidrow.

Game 2
The Royals had hopes of putting the Yankees down 2–0 going back to KC, and for a while that appeared possible. Beating new-found Yankees' ace Ron Guidry would be a tough task. The Royals scraped a run in the third when Freddie Patek drove in Darrell Porter with a sacrifice fly.

Royals' starter Andy Hassler had a shutout going for four innings, but Cliff Johnson broke the drought with a home run in the fifth. The Yankees took a 2–1 lead in the same inning when Willie Randolph singled, Hassler balked him to second, and Bucky Dent drove him home with a single.

Hard base-running helped the Royals tie it in the sixth inning. Patek led off with a double and Hal McRae walked. The next batter, George Brett, grounded to Graig Nettles, who threw to Randolph at second to force McRae. McRae, however, barreled into Randolph with a body-block, breaking up the double play attempt and enabling Patek to score the tying run.

McRae's aggressive ploy seemed to ignite the Yankees in their half of the sixth. Thurman Munson singled with one out off of Hassler, then Lou Piniella singled with two outs off of Mark Littell. Johnson doubled in a run and after an intentional walk, an error by Brett on a Randolph grounder allowed two more runs to score to make it 5–2. Randolph also had an RBI single in the eighth off of Little.

Meanwhile, Guidry stymied the Royals, pitching a complete game and allowing the Royals only three hits and the two runs.

Game 3
At Kauffman Stadium, Dennis Leonard pitched a four-hit complete game to give the Royals a 2–1 series lead. After a one-out walk and single, Freddie Patek's RBI single off of Mike Torrez in the second put the Royals up 1–0. Next inning, Al Cowens' groundout with runners on second and third and no outs made it 2–0 Royals. The Yankees got on the board in the fifth when Graig Nettles singled with two outs and scored on Lou Pinella's double, but the Royals got that run back in the bottom of the inning when Hal McRae hit a leadoff double, moved to third on a groundout, and scored on Cowens' groundout. Next inning, Torrez allowed a leadoff walk and single, then got two outs before being relieved by Sparky Lyle, who allowed a two-run double to Amos Otis. Next inning, George Brett hit a leadoff single and scored on John Mayberry's RBI double. The Yankees got a run in the ninth when Roy White doubled with one out and scored on first baseman Mayberry's error on Reggie Jackson's ground ball before Chris Chambliss grounded out to end the game.

Game 4
This game was a barn-burner early on, with the Yankees precariously clinging to the upper hand. New York jumped out to an early 4–0 lead after $2 1/2$ innings on RBIs by Thurman Munson, Bucky Dent, Mickey Rivers, and Lou Piniella. The Royals clawed back in the home half of the third when Freddie Patek, having a fine series for himself, tripled and scored on a short fly ball hit by Frank White, barely beating Reggie Jackson's throw to the plate. George Brett tripled in a run in the same inning.

After Graig Nettles singled in a run in the fourth to make it 5–2, the Royals got two more in their half. With two outs, Patek doubled in a run, chasing Yankee starter Ed Figueroa. White doubled in Patek and Hal McRae drew a walk off reliever Dick Tidrow. At this point, Yankee manager Billy Martin made a gutsy move, bringing in his ace closer and AL Cy Young Award winner, Sparky Lyle. Lyle was rarely used this early in a game, but Martin figured he was fresh, having only pitched one inning the whole series and, in Martin's own words, "I wanted my best pitcher out there."

But the move paid off as Lyle got George Brett to fly out to Lou Piniella in left to end the 4th inning, then shut the Royals down by allowing only two hits and no runners past second base over the last 5 innings. The Yankees added insurance in the ninth on a Munson sacrifice fly.

Game 5
In order for the Yankees to advance to their second straight World Series, they would have to win again at the Royals' home park. To do that, they would have to beat their Game 1 nemesis, Paul Splittorff. Given that, Yankee manager Billy Martin decided to sit out Reggie Jackson on the grounds that he was 1-for-15 so far in the series and, in his own words, "can't hit Splittorff." Paul Blair started in right field and batted eighth.

The Royals struck for a pair in the first when Hal McRae singled and George Brett tripled him in. Brett slid hard into Graig Nettles at third and Nettles responded by kicking Brett, which started a bench-clearing brawl. Yankees' starting pitcher Ron Guidry rushed in to defend Nettles. After order was restored, Al Cowens drove in Brett with a groundout.

The Yankees crept back in the third on a Thurman Munson RBI single, but the Royals matched that in the bottom half on a double by McRae and RBI single by Cowens with one out. Martin then pulled Guidry, who had gotten hurt in the first-inning brawl. Mike Torrez came in and pitched shutout ball over the next $5 1/3$ innings.

The Yankees began to claw back in the eighth. Right-hander Doug Bird relieved Splittorff after Willie Randolph led off the inning with a single. With one out, Piniella singled Randolph to third. With the "unhittable" Splittorff out of the game, Martin decided to send Jackson to the plate to hit for Cliff Johnson. Jackson put aside all frustrations over not starting the game and came through with a pinch-hit RBI single to cut the Royal lead to 3–2.

The Royals mounted a threat in their half of the eighth. Torrez walked both Amos Otis and Pete LaCock with two outs, but relief ace Sparky Lyle came in and struck out Cookie Rojas, the Royals' DH playing in what would be his last major-league game.

With apparently very little confidence in regular closer Mark Littell, who struggled in 1977, Royals manager Whitey Herzog sent Game 3 stopper Dennis Leonard out to preserve the lead in the ninth. Leonard, unaccustomed to short relief, yielded a bloop single to Paul Blair and walked Roy White (pinch hitting for Bucky Dent) with no outs. Herzog, going with percentages, replaced Leonard with another normal starter, left-hander Larry Gura. The strategy backfired as Gura gave up a game-tying RBI single to Mickey Rivers, with White reaching third. Herzog then brought in Littell, who retired Willie Randolph on a deep drive to center as White tagged and scored the go-ahead run. Munson was retired, but Piniella hit a grounder to third that Brett threw away at first, scoring Rivers with the final run.

Lyle then retired the Royals in the ninth, the final outs coming when Freddie Patek hit into a double play. As the Yankees celebrated, Patek sat in the dugout, dejected, for several minutes. (Coincidentally, it was Patek's 33rd birthday that day.) Tony Kubek, commentating for NBC, summed up: "The Yankees know how to win."

Composite box
1977 ALCS (3–2): New York Yankees over Kansas City Royals


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Talk:Nothhelm

Rewrite
See Nothelm/Temp. --Quuxplusone 00:58, 9 Jun 2005 (UTC)

title: Talk:Nothhelm


text: Portal talk:Poland/DYK

title: Portal talk:Poland/DYK


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Deon Grant

Deon D'Marquis Grant (born March 14, 1979) is an American former professional football player who was a safety for 12 seasons in the National Football League (NFL). He played college football for the Tennessee Volunteers football, was a member of Tennessee's national championship team and earned All-American honors. He was selected by the Carolina Panthers in the second round of the 2000 NFL Draft, and also played professionally for the Jacksonville Jaguars, Seattle Seahawks and New York Giants of the NFL. He won a Super Bowl ring with the Giants against the New England Patriots.

College career
Grant attended the University of Tennessee, and played for the Tennessee Volunteers football team from 1997 to 1999. He was selected as a consensus first-team All-American in 1999 after he tied for the NCAA lead with nine interceptions for 167 return yards. He finished the 1999 season with 69 tackles and eight pass breakups. He had two picks in three different games and earned SEC Defensive Player of the week after intercepting three passes versus Auburn. His leaping interception in UT's overtime win over Florida in 1998 was a crucial play in the Vols' march to the BCS National Championship. Grant left Tennessee and declared for the NFL Draft following his junior year.

Carolina Panthers
Grant was drafted in the second round of the 2000 NFL Draft with the 57th overall pick by the Carolina Panthers. A left hip fracture cost Grant the 2000 season. In the 2001 season, he had one sack, 71 total tackles, five interceptions, and 13 passes defended. He was named NFC Defensive Player of the Week for Week 3 of the 2002 season. In the game, he had three interceptions against the Minnesota Vikings.

Jacksonville Jaguars
After playing for four seasons with the Panthers, Grant was sent to the Jacksonville Jaguars, where he played for three seasons.

Seattle Seahawks
Grant was picked up in free agency by the Seattle Seahawks in 2007. He was cut March 15, 2010, mostly because of his large contract. He finished his tenure in Seattle with 224 tackles, eight interceptions, and one fumble recovery.

New York Giants
Grant signed with the New York Giants on April 1, 2010. After one season with the Giants, he became an unrestricted free agent, however he re-signed with the Giants on August 16, 2011, to a one-year, $4 million contract. He won a Super Bowl ring in Super Bowl XLVI. Following the season, he became an unrestricted free agent.

On August 7, 2013, Grant retired as a member of the New York Giants.

title: Deon Grant


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Wikipedia:Articles for deletion/Bum Rape Island

 This page is an archive of the discussion about the proposed deletion of the article below. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was delete. — Trilobite (Talk) 14:46, 15 Jun 2005 (UTC)

Bum Rape Island
This article is not quite encyclopedic, not notable, unneccesarily vulgar, there are no links to it, etc... Should be Deleted -- Rmrfstar 01:00, 9 Jun 2005 (UTC) DELETE just dumb
 * Delete. Google says 9 results for "Bum Rape Island". Too low for a comic book (or parody thereof) to claim notability. -- BD2412 talk 01:52, 2005 Jun 9 (UTC)
 * Delete Low Google score, No Alexa rank at all. Andrew Lenahan - St ar bli nd 01:53, Jun 9, 2005 (UTC)
 * Delete: Wikipedia is not a web guide, and we are not here to help spread jokes. Geogre 02:09, 9 Jun 2005 (UTC)
 * Delete: I agree with Geogre -- Mysidia 07:18, 9 Jun 2005 (UTC)
 * Delete non notable. JamesBurns 08:01, 9 Jun 2005 (UTC)
 * Delete It has no importance to anything, and is not noticable. Schrodingers catsup 08:57, 9 Jun 2005 (UTC)
 * Some really surreal bits. "Bob swung his fist and connected just as the sentry started to turn into a penis." Good stub, describes the website adequately.  Needs categorization. Keep. --Tony Sidaway|Talk 11:50, 9 Jun 2005 (UTC)
 * Wikipedia is not a list of websites or website synopses. In addition, the user that posted this has done many other vandalism edits that have been reverted, including posting links to "bumrapeisland"'s website in various entries. Strong Delete. jglc | t | c 17:34, 9 Jun 2005 (UTC)
 * Comment. I've no doubt it was posted for the purpose of vandalism.  However this is quite an innovative website and I can't think of a good reason to delete it.  "Wikipedia isn't a list of..." arguments always seem to me to miss the point. Wikipedia is an encyclopedia and so it should document interesting websites.  What is interesting and what is not interesting, of course, is a matter on which we can differ.  I happen to find that kind of weirdness interesting. --Tony Sidaway|Talk 17:47, 9 Jun 2005 (UTC)
 * Comment. It seems that a lot of people find it uninteresting, though. This site is one step below an internet meme, and that's about the cutoff for internet notoriety, IMHO. jglc | t | c 18:43, 9 Jun 2005 (UTC)
 * Absolutely. I don't expect many people to find it interesting. I like it though.  --Tony Sidaway|Talk 19:06, 9 Jun 2005 (UTC)
 * comment. Sorry if I came off too harsh. You're a reasonable man. jglc | t | c 19:58, 9 Jun 2005 (UTC)
 * Comment. In response to Tony, who I think makes some good points, I would have to say that the notability is more important than interest. Wikipedia does not cover every thing that is interesting to someone, rather only notable, important, influential ones and this page is none of those. The site is literally a joke. Geogre and jglc make good points. The article says nothing about the website that is significant, it just mentions its existence. Every single website on the internet does not deserve its own Wikipedia article because it is interesting to a few people, unless the site actually has a significant impact on something. -- Rmrfstar 05:05, 10 Jun 2005 (UTC)
 * Comment. I find myself in full agreement with all the arguments in favor of deletion, except the particular one that this article is deletable. This is in my opinion a truly remarkable site, a boys' illustrated war story transformed into a grotesquely absurd and comic sadomasochistic fantasy.  While I understand that there are many samizdat works similar to this in Japanese manga and anime, I believe that this work may well be sui generis in European folk art.  It has much of the exuberance and energy of obscene toilet graffiti.  So I just cannot bring myself to vote for deletion.  This is quite simply the most remarkable website I have ever encountered. --Tony Sidaway|Talk 12:41, 10 Jun 2005 (UTC)
 * Delete per Rmrfstar's argument. carmeld1 06:27, 10 Jun 2005 (UTC)
 * Keep It is an 'interesting' site, Wikipedia loses interest if it becomes an 'academic only' encyclopedia instead of a encyclopedia that is broad as can be in scope. --ShaunMacPherson 12:32, 10 Jun 2005 (UTC)
 * Comment. The argument is not whether or not the site is academic or interesting; it is whether it is notable enough in its interest to be retained. jglc | t | c 13:23, 10 Jun 2005 (UTC)
 * Comment. Not necessarily.  There is no consensus for website notability, and I'm sure we have many non-notable websites that have been kept.  There is room in Wikipedia policy for the exercise of discretion.  This website is indisputably non-notable but this doesn't mean it should necessarily be deleted. If it's deleted I'll probably include it in an article about the use of graffiti in art and the artistic role of vandalism.  From toilet walls to Orton and Halliwell's defaced library books, it's a very interesting subject. --Tony Sidaway|Talk 13:40, 10 Jun 2005 (UTC)
 * Comment. I like that idea, actually. Why not add a subsection (essentially a merge) to an artistic vandalism article (is there one? If not, it sounds like a wonderful idea) and redirect from the current article. I don't feel as though it deserves a standalone entry, but it would be a great case study. jglc | t | c 15:36, 10 Jun 2005 (UTC)
 * comment That is true, but why not set the notibility bar very low, just above vanity pages? There seems to be enough room to accomodate interesting yet esoteric pages.  In fact I'd allow vanity pages as long as they were verifiable as notibility it seems is a POV concept that is apt to be abused esp. when censoring controversial ideas. Best we stay way from 'notibility' in my mind. --ShaunMacPherson 13:42, 10 Jun 2005 (UTC)
 * keep please agree with sidway Yuckfoo 20:25, 10 Jun 2005 (UTC)
 * Delete Keeping an open encyclopedia is like keeping an open mind - it should not be so open that one's brains fall out. Denni ☯ 03:18, 2005 Jun 11 (UTC)
 * Delete. Boring, badly done. And even if it wasn't, it still wouldn't be encyclopedic. -- Silversmith  Hewwo 12:47, 11 Jun 2005 (UTC)
 * Delete too few google hits for a site.  Grue  17:44, 11 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.


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Up Close & Personal (film)

Up Close & Personal is a 1996 American romantic drama film directed by Jon Avnet from a screenplay written by Joan Didion and John Gregory Dunne. It stars Robert Redford as a news director and Michelle Pfeiffer as his protégée, with Stockard Channing, Joe Mantegna, and Kate Nelligan in supporting roles.

The screenplay began as an adaptation of Golden Girl: The Story of Jessica Savitch, a 1988 book by Alanna Nash that recounted the troubled life of American news anchor Jessica Savitch. The finished picture, however, was greatly altered by commercial decisions on the part of the producers, and bore little resemblance to Savitch's biography. Dunne, having spent eight years working on the script with his wife Didion, later wrote a book describing his difficult experience, titled Monster: Living Off the Big Screen.

"Because You Loved Me", the film's theme song written by Diane Warren and performed by Celine Dion, was nominated for Best Original Song at the 69th Academy Awards.

Plot
Aspiring news anchor Tally Atwater makes a demo tape of a fake story and is hired by Miami station manager Warren Justice. Though she lacks polish and experience, Warren sees promise in Tally and decides to give her a chance, giving her tough love assignments to foster her talent. After a well-done news story about two immigrants who drowned off the shores of Miami Beach, Tally and Warren form an even closer mentor/mentee friendship built upon mutual respect and simmering attraction. On New Year’s Eve, Tally covers the first locally-born baby of the year, a child by convicted felon Fernando Buttanda. A heated exchange occurs on air between Tally and the lead male anchor. She confronts the station's perception that she is merely in her position because she is Warren’s “protégée” and threatens to quit.

Tally tracks down and meets with talent agent Bucky Terranova, who takes her on as a client and lands her a position as a reporter in Philadelphia, a much larger market. Due to her impending departure, Tally decides to confront her feelings for Warren. The two end up physically consummating their emotional relationship, including a getaway to the Florida Keys before Tally’s move to Philadelphia.

Tally struggles at her new post - largely due to hostile veteran reporter Marcia McGrath, who jealously protects her position as top reporter - and starts to lose some of the charisma that initially captured Bucky’s attention. At Bucky's request, and out of affection for Tally, Warren visits her in Philadelphia and talks her through missteps she has taken by trying to emulate Marcia instead of being herself. Encouraged by Warren, Tally begins to perform to her previous standards, leading Marcia to accept an offer from a station in Cincinnati, thus handing the position to Tally. Tally asks Warren to marry her and relocate to Philadelphia so that they can be together. On their honeymoon they come up with a story idea that looks at a “day in the life” of Fernando, who has been relocated to a Philadelphia prison. During this time, Warren’s backstory is revealed as he attempts to find a job in order to remain close to Tally.

While filming the segment at the prison, a prison riot occurs wherein Tally and her cameraman Ned Jackson are taken hostage. Tally covers the volatile and groundbreaking story from within the prison walls as Warren looks on from outside, guiding her through her first national broadcast. As the story uncovers, she fulfills the potential that Warren initially saw in her. Her poise and bravery leads to an evening anchor position with the nationally-broadcast IBS News. While relaying the job offer to Warren, she discovers that he senses a developing story in Panama that he intends to cover. Warren tells Tally that she inspired him to want more, including possibly returning to journalism. Sadly, during Tally’s going away party at the Philadelphia station, it is reported that Warren and his crew were fired upon after wrapping up their story, resulting in Warren's death.

The movie ends with Tally discussing the purpose of journalism. In a touching tribute, she notes that Warren had a hunch, followed it, and ultimately got the story.

Adaptation
In the spring of 1988, John Gregory Dunne and Joan Didion began writing the script for a film entitled Golden Girl, based on Alanna Nash's biography of the late NBC News anchor and reporter Jessica Savitch and financed by The Walt Disney Company. When the film was finally released in 1996, eight years later, it was known as Up Close & Personal and none of the more controversial details of Savitch's life remained, including her alleged drug abuse problems that may have caused her to deliver an incoherent live news update on national television in early October 1983. Other details omitted from the film included the suicide of Savitch's second husband a few months after their wedding, and her alleged bisexuality, suicide attempts and physical abuse by her longtime partner Ron Kershaw, a well-known news director who was the original model for the character of Warren Justice. Savitch's death at age 36 in an automobile accident (unrelated to drugs or alcohol) was also left out of the screenplay.

According to Dunne, who chronicled his experiences dealing with studio executives in his book Monster: Living Off the Big Screen, the majority of these changes were made in order to appeal to a broader mainstream market. Producer Scott Rudin was reported to have said, when asked by a weary Dunne what the film was supposed to be, "it's about two movie stars."

Reception
On Rotten Tomatoes the film holds an approval rating of 32% based on 37 reviews, with an average rating of 5.2/10. The site's consensus states: "Up Close & Personal wastes its superstar leads and compelling fact-inspired story on a treacly romance bereft of onscreen chemistry." Audiences surveyed by CinemaScore gave the film a grade "A−" on scale of A to F.

Critics largely ridiculed the screenplay for bearing little resemblance to the biography of Jessica Savitch, which was supposed to have inspired it. Roger Ebert in the Chicago Sun-Times wrote: "Up Close and Personal is so different from the facts of Savitch's life that if Didion and Dunne still have their first draft, they probably could sell it as a completely different movie." Anita Gates in the New York Times wrote that "it all ends up more A Star Is Born than Network." Leonard Klady in Variety described it as "A Star Is Born meets The Way We Were, and while discerning audiences will turn their noses up, the hoi polloi are apt to embrace this unabashedly sentimental affair and send it soaring into the box office stratosphere."

Desson Howe in The Washington Post was extremely negative about the film: "Up Close and Personal, which was "suggested" by the Jessica Savitch biography, Golden Girl: The Story of Jessica Savitch, starts out with relative promise... but then, the loooove comes through like a bad-news feed, and our marquee lovers undergo one of those unbearable montages. While an insipid, rock ballad covers the proceedings with auditory treacle, Cushion Lips (Michelle Pfeiffer) and Armchair Man (Robert Redford) walk together, laugh together, frolic in the waves with their clothes on – that sort of thing.... In this movie, network executives – who depend entirely on focus groups, marketing and advertisers to inform their decisions – are painted as the moral bad guys, while Redford and the emerging Pfeiffer are the embodiment of integrity... And the fact that this is a Touchstone Pictures production – part of the marketing-obsessed, truth-sweetening Disney empire which just purchased ABC – is far too hilarious an irony to ignore." Time Out called it a "soppy May–December romance masquerading as a deadly earnest issues movie... Blow-dried, bleached blonde-on-bland entertainment."

However, certain critics argued that the film had its merits. Mick LaSalle in the San Francisco Chronicle wrote: "Taken on its own terms, Up Close and Personal is a fine movie. Two star images meet and enhance each other. Redford, as usual, plays a rugged, outdoorsy, uncompromising man of unshakable integrity who just happens to be news director at a Miami station. Pfeiffer, as usual, is gorgeous, pretty, gawky and a lot tougher and smarter than she looks." Roger Ebert gave the film three out of four stars, arguing that the "temptations are great to mock the clichés and melodrama in Up Close and Personal, but the movie undeniably works as what it really is - a love story." Variety praised the "chemistry" of Michelle Pfeiffer and Robert Redford, and the "delicious and brief star turns" of Stockard Channing, Kate Nelligan and Noble Willingham, concluding that the film wasn't "as accomplished as its inspiration but, regrettably, it's the best Hollywood has to offer in the heartstring-pulling genre."

Accolades
The film is recognized by American Film Institute in these lists:
 * 2004: AFI's 100 Years...100 Songs:
 * "Because You Loved Me" – Nominated

title: Up Close & Personal (film)


text:
Talk:She's All That

Section "Cast"
I think this section should be changed. I appreciate the way it mirrors the movie by repeating all the bad clichés, but this is really not the place for satire. --91.10.28.217 (talk) 20:10, 19 June 2012 (UTC)

"mixed" Reviews
If you think a 25%/75% split is "mixed", you would probably also agree that a 1%/99% split is mixed. It is completely counter to common perception however. Worse, there are some quotes from the positive reviews from RT: So I guess you could say that the positive reviews are "mixed". --91.10.28.217 (talk) 20:34, 19 June 2012 (UTC)
 * "it's often impossible to distinguish what's meant to be cartoonish from what's meant to be dramatic"
 * "She's All That is not likely to make a mark or be remembered by anyone for very long"
 * "hardly an Oscar contender"
 * "In the parlance of American Bandstand it's got a good beat and you can dance to it, but that hardly separates it from the rest of the pack."

 * Some editors would present just the scores and avoid making any interpretation, leaving up to the reader to decide what they think 38% means. I'd say 38% is on the low end of mixed, but still mixed. I see that at that time Rotten Tomatoes gave the film 38%, and Rotten Tomatoes Top Critics gave 25%, so I can see why someone might have disagreed with summarizing the reviews as mixed then but with hindsight in think it is much clearer now that the reviews were mixed. WP:MOSFILM has since changed and say not to include the Top Critics score anymore.
 * Metacritic was not included in the article at the time but it is included now, and it is difficult to ignore the fact that Metacritic describes the reviews as "mixed". The way Rotten Tomatoes does their scores is to sort all reviews into either positive or negative which is very reductive. At the time of writing the RT score is 40%:60 reviews, MC 51%:32 reviews, and breaking down the reviews further RT 24/36 positive/negative, MC 11/16/5 positive/mixed/negative which makes it easier to see that a lot of reviews were in the middle and leaning slightly more negative than positive.
 * I think "mixed" is and was a fair interpretation. -- 109.76.219.40 (talk) 20:36, 29 October 2019 (UTC)

Reasons for Criticism
Some quotes form the reviews:

 * "lack of originality"
 * "its characters never begin to rise above the level of cartoons and stereotypes"
 * "a rote set of tiresome events"
 * "it runs out of plot, with 45 minutes to go. "
 * "essentially a formulaic comedy"
 * "a competent regurgitation of a familiar plot"
 * "Those who expect a little more substance will be frustrated."
 * "Unfortunately, the constraints of the script force Zack and Laney into such rigid molds that there's no room for genuine character development or interaction."

Dancing scene my shiny behind. --91.10.28.217 (talk) —Preceding undated comment added 20:57, 19 June 2012 (UTC)

 * Way way back, the article included a bizarre claim that the slightly incongruous and unexpected dance sequence, was a source of criticism. It wasn't, as the anonymous editor has shown above, this claim isn't supported by the reviews, and the summary was changed to something more accurate. I was just checking to make sure the article wasn't repeating any mistakes from the older versions, and since I'd gone to the effort to check I thought I may as well include the links here too. -- 109.76.134.237 (talk) 04:22, 1 August 2020 (UTC)

Sleeper Hit?
Joining the ranks of "cult classic" on Wikipedia is now the term "sleeper hit." The article reads as follows:

" the film was a sleeper hit and reached No. 1 at the box office in the first week of its release in theaters,"

...Which is pretty much contrary to what a sleeper hit is. A sleeper hit is something that doesn't start out popular and later gains popularity later via word of mouth, atypical exposure, or whatever else. How the hell is a film that hits number 1 in its first week at the box office a sleeper hit??? Patrick of J (talk) 16:42, 17 May 2015 (UTC)

Revisiting "sleeper hit"

 * I agree. Don't know what this wasn't removed from the article sooner (so I've removed it) but as with "cult classic" any claims of this being a sleeper hit should be based on reliable sources saying it, not some Wikipedia editors opinion. -- 109.76.219.40 (talk) 20:12, 29 October 2019 (UTC)
 * FTR, there are reliable sources describing this film as a "sleeper hit" – e.g. and . Other sources also call it a "cult classic" – e.g.  and  – though I'd agree that label is less justified.
 * Also sleeper hit defines it as: "Sleeper hit is a term used in the entertainment industry for a film that plays successfully for a long period and becomes a big success, despite having relatively little promotion or lacking a successful opening." (emphasis mine) So, "A sleeper hit is something that doesn't start out popular and later gains popularity later via word of mouth..." is only one of the definitions. It is easy to argue that this film follows the first definition – a film that "becomes a big success, despite having relatively little promotion". IOW, a film that is not expected to be #1 at the box office, and yet opens at #1 (like She's All That did), does in fact qualify as a "sleeper hit". --IJBall (contribs • talk) 23:32, 1 February 2020 (UTC)
 * The film was promoted with $18 million in television advertising. It opened at number 1. It does not fit either definition of sleeper hit. As for cult film, even if clickbait nostalgia articles say something is a cult film that doesn't mean it is necessary or good or appropriate for what is supposed to be an encyclopedia article.
 * Contemporary sources would be more convincing, than sources from almost twenty years later. Sources from the around the 15th anniversary  did also use the term sleeper hit. This article claimed for so long that it was a sleeper hit that may have been a case of citogenesis. Variety  and the LATimes  comment on it as part of a trend of low budget teen films, targeted at female audiences. (I did try looking at NYTimes, THR, and others too.) Nothing to suggest it was considered a hit, sleeper or otherwise, just that it was another profitable teen film (and THR goes so far as to claim it helped inspired Not Another Teen Movie). -- 109.76.154.143 (talk) 21:27, 2 February 2020 (UTC)

I eventually tracked down the edit where the claim sleeper hit was added to this article in 2012, by an anonymous IP. The same editor made various edits to the article for Rachael Leigh Cook including adding the sleeper hit claim there too. -- 109.76.154.143 (talk) 21:56, 2 February 2020 (UTC)
 * Having found the anon edit that added sleeper hit to both articles I now have no doubts whatsoever that it was incorrect (and I already thought it was irrelevant) and resulted in the Circular reporting when the 15th anniversary of the film came around. If you still think it appropriate or even think it should be restored to the article then we will need to go to WP:3RD and request other opinions. -- 109.76.133.62 (talk) 17:44, 4 February 2020 (UTC)

 * Perhaps the original person who added that confused "sleeper hit" with "unexpected hit"? -- unsigned comment by Special:Contributions/68.194.44.253
 * Possibly. The original mistake was understandable enough, anon editors add unsourced claims like "sleeper hit" and "cult classic" all the time. What doesn't make sense is that despite all logic a Wikipedia editor insisted it was necessary to keep the sleeper hit claim in the Rachael Leigh Cook article. At least he didn't try to force that claim back into this article. This was classic case of circular referencing.
 * Also please sign your comments using ~ -- 109.76.203.249 (talk) 16:54, 16 May 2021 (UTC)

External links modified
Hello fellow Wikipedians,

I have just added archive links to 1 one external link on She's All That. 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 https://web.archive.org/20140729164927/https://twitter.com/QualityShorts/status/344558387813556224 to https://twitter.com/QualityShorts/status/344558387813556224

When you have finished reviewing my changes, please set the checked parameter below to true to let others know.

Cheers.—cyberbot II  Talk to my owner :Online 04:04, 9 January 2016 (UTC)

Budget
Prinze Jr. said the budget was $6 million in 2014 but in 2019 he said it cost $7 million. He further clarified the budget started at $6 million but was increased by $900k.

I leave this note here in case anyone else encounters the $6 million figure and wonders why it isn't included in the article. Also if there was local consensus we could probably omit the higher less reliable $10 million figure, but since Template:Infobox film warns not to "cherry pick" figures I've left the higher figure for now. -- 109.79.168.251 (talk) 11:12, 31 October 2019 (UTC)

Retrospective reviews
2018 review from Buzzfeed, film still holds up. (I agree obviously.) Not adding it in isolation, but if there were more retrospective reviews (at least two or three) it might be interesting to add them. -- 109.76.196.65 (talk) 21:12, 13 January 2020 (UTC)

2019 review, from Refinery29 is critical of some aspects of the film but says the film redeems itself "by showing us that the person who really needs to change isn't Laney". -- 109.76.196.65 (talk) 21:37, 13 January 2020 (UTC)

2020 review from Fanside "stands the test of time better than most" -- 109.79.93.233 (talk) 00:23, 1 February 2020 (UTC)

Unrelated but here's a short article about the costumes from the film, in case I come back to further expand the production section. -- 109.76.196.65 (talk) 22:48, 13 January 2020 (UTC)

Cast list in Infobox
An editor is insisting on adding excessive cast to the Infobox. Adding Kieran Culkin and Elden Henson to the Infobox is not an improvement.

Although the documentation of Template:Infobox film advises editors to use the billing block, there is no need to put undue weight on minor roles and the WP:INFOBOXPURPOSE is to summarize key information, a long list of cast, making the list even longer does not achieve that.

For the longest time* (even before the Template:Infobox film documentation tried to set a limit on long cast lists) this article listed the cast list in the Infobox was the 2 leads and the 7 other names that appear in clear large type on the poster. 9 cast members in the Infobox is plenty. Frankly listing only the two cast top billed (above the title) would better WP:INFOBOXPURPOSE summarize the key information. -- 109.79.160.188 (talk) 19:24, 11 March 2024 (UTC)
 * * this was stable for about a decade or more. -- 109.79.160.188 (talk) 19:26, 11 March 2024 (UTC)

Uncredited writer in infobox
The template documentation does say that it's typically for credited writers. According to the article, In a 2002 interview, M. Night Shyamalan stated that he polished the screenplay while adapting Stuart Little and writing a spec script for The Sixth Sense. After looking at that, I now think that you are right in removing Shyamalan from the infobox. However, if he did significant edits to the screenplay, it might actually be worth adding him to the infobox.  Rela  tivity ⚡ 00:14, 20 April 2024 (UTC)

For the record: Template:Infobox film writer This field is primarily used for films where the writer(s) are credited under "Written by" or "Screen Story and Screenplay by".

Please also note that I was reverting recent changes and restoring the WP:STATUSQUO rather than removing.

The Production section does explain that Shyamalan polished the existing script. (Many films have other writers do uncredited writers and Carrie Fisher often did punch-ups of dialog. Joss Whedon has been an uncredited script doctor on many films.). The mere fact WP:V that he did a rewrite does not mean he should be highlighted in the Infobox, the previously mentioned template documentation documentation discourages adding uncredited writers. See also WP:INFOBOXPURPOSE the purpose of an infobox: to summarize (and not supplant) key facts that appear in the article. Less is more. The infobox is supposed to be the key facts, extra supplemental details are not supposed to be in the Infobox and only mentioning them in article body is entirely appropriate. The writers guild has strict rules about who gets credited. Shyamalan's rewrite was polish and was not significant enough to be given any official script credit. The only officially credited writer is R. Lee Fleming Jr. Adding Shyamalan to the Infobox is WP:UNDUE. -- 109.76.192.85 (talk) 00:47, 20 April 2024 (UTC)

title: Talk:She's All That


text: User talk:69.212.159.7

title: User talk:69.212.159.7


text:
Dominique You

Dominique You or Youx (born Frederic You or Youx, c. 1775 – November 15, 1830) was a French privateer, soldier, and politician.

Biography
According to information he provided to his masonic lodge in New Orleans, he was born in Cette (now spelled Sète) in Languedoc, France. (Contrary to the spurious Journal of Jean Laffite, he was not the older brother of Pierre and Jean Laffite.) He served as an artilleryman in the French Revolutionary Army. In 1802 he accompanied General Charles Leclerc's expedition to quell Toussaint Louverture's Haitian Revolution.

Following the failure of this expedition, Dominique You managed to reach Louisiana, where it is sometimes alleged thousands of pirates were based at that time. He appears to have joined Jean Lafitte and Pierre Lafitte. He became the captain of the pirate ship Le Pandoure. He was nicknamed "Captain Dominique" by the French and "Johnness" by the Americans. He acquired a reputation for being very bold and daring. During the next few years he and the Lafitte brothers became successful smugglers in the Louisiana bayous. As pirates, they preyed on Spanish ships in the Gulf of Mexico, doing extensive damage to Spanish commerce. On one occasion, a hurricane in the Gulf of Mexico caused severe damage to Le Pandoure and almost killed Captain You.

From 1804, the governor of newly American Louisiana (or "the Territory of Orleans"), William C. C. Claiborne, was making efforts to suppress piracy. In July 1814, Dominique You was publicly identified as a pirate. In September 1814, he was in charge of the privateer settlement at Barataria Bay when it was captured by American forces; he was taken prisoner along with other Baratarian pirates and imprisoned in the Cabildo in New Orleans.

Soon, however, in the context of the ongoing War of 1812, Jean Lafitte had the opportunity to offer to help General Andrew Jackson defend New Orleans against the impending British invasion, in exchange for a pardon for him and his pirate crews. Jackson accepted this offer, and You was appointed commander of a company of artillery which was composed of the Baratarians' best gunners. Compared to the official American forces, the pirates fought particularly well in the Battle of New Orleans on January 8, 1815, and were mentioned in Major General Andrew Jackson's general order of January 21 for having shown uncommon gallantry and skill in the field. As a result of this success, the charges against the Baratarians and Dominique You were dropped. After the battle, You settled in New Orleans where he became involved in politics as a partisan of Andrew Jackson. You died in New Orleans in 1830, receiving a military funeral at public expense. His grave bears a Freemasonic symbol.

title: Dominique You


text:
Palais des Sports Léopold-Drolet

The Palais des Sports Léopold-Drolet is a 3,646-seat multi-purpose arena in Sherbrooke, Quebec, Canada. It was built in 1965. Starting in 2012, this arena was renovated and is now home to the Sherbrooke Phoenix of the QMJHL.

For the 1976 Summer Olympics in neighbouring Montreal, it hosted four women and five men's team handball matches.

It was home to the Sherbrooke Castors ice hockey team, before their move to Lewiston, Maine as the Lewiston Maineiacs in 2003. It was also home to two AHL hockey teams, the Sherbrooke Jets, and the Sherbrooke Canadiens who became the Fredericton Canadiens in 1990. With the recent folding of the Lewiston Maineiacs, Sherbrooke will be getting an expansion QMJHL team (Sherbrooke Phoenix) for the 2012–13 and the team will play at the renovated Palais De Sports. The team will be owned by a group led by former NHL goaltender Jocelyn Thibault.

It held the 2015 QMJHL Draft on June 7, 2015.

title: Palais des Sports Léopold-Drolet


text:
Talk:1981 in film

Untitled
I just corrected the spelling for the movie Excalibur. Earlier I wrote a mini page for its link. I just noticed an entry for "Excalibur (the movie)" existed already. I suggest you erase my written one and replace it with the better written "Excalibur (the movie)" one.

error?

 * Big Brother (film) (Abang), (Le Grand Frère...(1982))

this looks strange in a 1981 list. Any takers? Murgh 23:23, 23 November 2006 (UTC)
 * It did. Thanks for removing it. If anyone still thinks it's notable, it can be placed in the correct year at least. Hoverfish 09:15, 24 November 2006 (UTC)

Academy Awards
Without researching I can assume that this has been debated before, but with the news events listed for significant film-related goings-on that occured that year it might logically follow that the Oscars listed would be those awarded that year (ie, in '81 the Awards are actually for films released in '80).

Perhaps a note should be added to all "(year) in film" articles that the Academy Awards listed are for that year's films, but were awarded on BLANK and fill in the date. RoyBatty42 19:20, 17 May 2007 (UTC)

References for the films?
I have noticed that the films in the gross rank table have references to Box Office Mojo, is this really needed as under the table it says that the gross information is courtesy of Box Office Mojo. Also, some references lead to the Box Office Mojo information to Superman II. I also don't know what my user name is so I don't think I should put that after this message. — Preceding unsigned comment added by 50.102.157.194 (talk) 02:47, 11 March 2013 (UTC)
 * It's not helped by Box Office Mojo (& WP) using lifetime grosses on the year pages, as if the films earned their lifetime gross that year, which is very misleading...  TREKphiler   any time you're ready, Uhura  21:27, 26 May 2017 (UTC)

Picky, picky
The page lists Demi Moore's debut as "Choices", but the link goes to a 1986 TVM, which is clearly wrong...& contradicted by what's on her page.... TREKphiler  any time you're ready, Uhura  21:27, 26 May 2017 (UTC)

Chariots of Fire
Where is Chariots of Fire in wide-release movies? It did premiere in North America in 1981, right? - Cineplex - 10:44PM - April 7, 2019

title: Talk:1981 in film


text:
Ali Baba's Tahini

Ali Baba's Tahini is a South Bend, Indiana quintet that incorporates everything from jazz and fusion to rock and avant garde. The band, which formed in 1997, made a name for themselves on the Midwest club circuit and began sharing gigs with an up-and-coming Umphrey's McGee.

The original group featured bassist/vocalist Karl Engelmann, guitarist/vocalist Jake Cinninger, and drummer Steve Krojniewski. They released their debut album Hopi Champa in 1999. The album has become a sought-after collectors item since going out of print in 2002.

Engelmann left the band in 1999 and was replaced by Kahlil Smylie for the album Limbo Boots. The departure of Engelmann, one of the band's main songwriters and singers, was a drastic change for the band. A few months later, Cinninger disbanded Ali Baba's Tahini to join Umphrey's McGee, where he remains to this day.

Three years later in 2003, a four-man Ali Baba's Tahini (with Smylie on bass and Engelmann on guitar) reunited for a one-off performance in Niles, Michigan.

The following year, the original lineup of the band (Engelmann/Cinninger/Krojniewski) reunited in the North Carolina mountains to record the album Rockstars and Lawnmowers.

Engelmann fronted Asheville-based rock band Mother Vinegar from 2004 to 2007, who, along with Umphrey's McGee, performed a number of Ali Baba's Tahini songs in concert.

The band recorded Rockstars and Lawnmowers with former Mother Vinegar bassist Jeff Hinkle. Ali Baba's Tahini added a new member and songwriter, Justin W. Powell (The Mantras) on keyboards, for their Bottom Feeders release in 2020.

A mini-tour through the midwest followed shortly after the release of Living Room. ABT also did a one-off appearance at Summercamp Music Festival to a crowd of over 4000 in 2011.

Ali Baba's Tahini performed a benefit show for Michael Welter at Vegetable Buddies in South Bend, Indiana on Sept 30, 2017.

Discography

 * Hopi Champa (1999) (Engelmann/Cinninger/Krojniewski)
 * Limbo Boots (2000) (Smylie/Cinninger/Krojniewski)
 * Rockstars and Lawnmowers (2005) (Engelmann/Cinninger/Krojniewski)
 * Living Room (2010)
 * Bottom Feeders (2019)

Current members
Karl Engelmann: guitar, vocals, bass

Jake Cinninger: guitar, vocals

Steve Krojniewski: drums

Justin W. Powell - Keys, vocals

Jeff Hinkle - Bass

title: Ali Baba's Tahini


text:
Beautiful Soul (Jesse McCartney album)

Beautiful Soul is the debut studio album by American singer/songwriter Jesse McCartney. It was released on September 28, 2004, through Hollywood Records. The album was a success in the United States and Australia, going platinum in both countries, and in Canada, where it was certified gold. It spawned McCartney's first top-20 single, "Beautiful Soul".

Singles

 * 1) "Beautiful Soul" was released on August 12, 2004. Radio Disney aired it earlier before the single was officially released. It peaked at number 16 on the Billboard Hot 100 chart.  It was later certified gold by in the United States and platinum in Australia.
 * 2) "She's No You" was released on April 5, 2005. It was not as successful as "Beautiful Soul" peaking at number 91 on the Billboard Hot 100 chart, but it did better at the Pop 100 chart peaking at number 41.
 * 3) "Get Your Shine On" was released on September 5, 2005. It was released as the third single of the album in Australia and New Zealand. It was released as a Radio Disney single in early 2005 and is featured in Kim Possible: So The Drama. The song "Why Don't You Kiss Her" is also featured in the film.
 * 4) "Because You Live" was released in September 2005. It was released as the third single of the album in North America and Europe. It was released also as a Radio Disney single, and is featured on the Radio Disney Jams, Vol. 7 CD. It was also featured in the end credits of The Princess Diaries 2: Royal Engagement.

Disney Artist Karaoke Series
Artist Karaoke Series: Jesse McCartney is a karaoke album of songs by Jesse himself, released on September 27, 2005 through Buena Vista. The album features karaoke versions of six tracks from the Beautiful Soul album, as well as two non-album tracks called "Good Life" and "Best Day of My Life".

title: Beautiful Soul (Jesse McCartney album)


text:
V Deep

V Deep is the Boomtown Rats's fifth album, and the first to be released as a five-piece band, following the departure of guitarist Gerry Cott. It includes the minor hit single "House on Fire".

Name
The name of the album is pronounced "five deep", not "vee deep" referring to the roman numeral 5. It refers to the fact that it is the band's fifth album and also that they became a five-piece following the departure of Gerry Cott.

UK release
All songs were written by Bob Geldof, except where noted.
 * 1) "Never in a Million Years"
 * 2) "The Bitter End"
 * 3) "Talking in Code"
 * 4) "He Watches It All"
 * 5) "A Storm Breaks"
 * 6) "Charmed Lives"
 * 7) "House on Fire"
 * 8) "Up All Night"
 * 9) "Skin on Skin"
 * 10) "The Little Death/... House Burned Down" (Geldof, Pete Briquette)

US release
All songs were written by Bob Geldof, except where noted.
 * 1) "Never in a Million Years"
 * 2) "The Bitter End"
 * 3) "Talking in Code"
 * 4) "He Watches It All"
 * 5) "A Storm Breaks"
 * 6) "Charmed Lives"
 * 7) "House on Fire"
 * 8) "Whitehall 1212" (from the UK Mondo Bongo)
 * 9) "Skin on Skin"
 * 10) "The Little Death/... House Burned Down" (Geldof, Pete Briquette)

2005 reissue
All songs were written by Bob Geldof, except where noted.
 * 1) "He Watches It All"
 * 2) "Never in a Million Years"
 * 3) "Talking in Code"
 * 4) "The Bitter End"
 * 5) "The Little Death" (Geldof, Pete Briquette)
 * 6) "A Storm Breaks"
 * 7) "Up All Night"
 * 8) "House on Fire"
 * 9) "Charmed Lives"
 * 10) "Skin on Skin"
 * 11) "Say Hi to Mick"
 * 12) "No Hiding Place" (B-side)
 * 13) "House on Fire" (12" Dub Version)
 * 14) "Up All Night" (Long Version)

Personnel
with:
 * The Boomtown Rats
 * Bob Geldof – vocals, saxophone
 * Pete Briquette – bass, vocals
 * Johnnie Fingers – keyboards, vocals
 * Simon Crowe – drums, vocals
 * Garry Roberts – guitar, vocals
 * Andy Duncan - percussion
 * Andy Hamilton, Dave McHale - saxophone
 * Guy Barker - trumpet
 * Spike Edney - trombone
 * Technical
 * Andy Le Vien, Corinne Simcock - engineer
 * Gordon Fordyce - remixing
 * Ben Kelly - cover, design
 * Jon Prew - photography

title: V Deep


text:
Chaim Grade

Chaim Grade (חיים גראַדע) (April 4, 1910 – June 26, 1982) was one of the leading Yiddish writers of the twentieth century.

Grade was born in Vilnius, Russian Empire and died in The Bronx, New York. He is buried in Riverside Cemetery, Saddle Brook, New Jersey.

Grade was raised Orthodox-leaning, and he studied in yeshiva as a teenager, but ended up with a secular outlook, in part due to his poetic ambitions. Losing his family in the Holocaust, he resettled in New York, and increasingly took to fiction, writing in Yiddish. Initially he was reluctant to have his work translated.

He was praised by Elie Wiesel as "one of the great—if not the greatest—of living Yiddish novelists." In 1970 he won the Itzik Manger Prize for contributions to Yiddish letters.

Life
Chaim Grade, the son of Shlomo Mordecai Grade, a Hebrew teacher and maskil (advocate of the Haskalah, the European Jewish Enlightenment), received a secular as well as Jewish religious education. He studied for several years with Reb Avrohom Yeshaya Karelitz, the Chazon Ish (1878–1953), one of observant Judaism's great Torah scholars. In 1932, Grade began publishing stories and poems in Yiddish, and in the early 1930s was among the founding members of the "Young Vilna" experimental group of artists and writers. He developed a reputation as one of the city's most articulate literary interpreters.

He fled the German invasion of Vilnius in World War II and sought refuge in the Soviet Union. In the Holocaust he lost his wife Frumme-Liebe (daughter of the Rabbi of Glebokie) and his mother Vella Grade Rosenthal (daughter of Rabbi Rafael Blumenthal). When the war ended, he lived briefly in Poland and France before relocating to the United States in 1948.

Grade's second wife, Inna (née Hecker), translated a number of his books into English; she died in New York City on May 2, 2010.

Several books were also translated to Hebrew and published in Israel.

Works
Grade's postwar poetry is primarily concerned with Jewish survival in the wake of the Holocaust.

Grade's most highly acclaimed novels, The Agunah (1961, tr. 1974) and The Yeshiva (2 vol., 1967–68, tr. 1976–7), deal with the philosophical and ethical dilemmas of Jewish life in prewar Lithuania, particularly dwelling on the Novardok Mussar movement. These two works were translated from the original Yiddish into English by Curt Leviant.

Grade's short story, "My Quarrel with Hersh Rasseyner," describes the chance meeting of a Holocaust survivor with an old friend from the mussar Yeshiva. The narrator has lost his faith, while the friend has continued to lead a pious and devoted religious life. The former friends debate the place of religion in the postmodern world. The character Hersh Rasseyner is based on Gershon Liebman, a friend of Grade's from yeshiva who built Navardok yeshivas all over France. Grade recounted that he had a short conversation with Liebman, and created this story on what he imagined Liebman would say to him if he had the words. The story has been made into a film, The Quarrel, and a play.

While less famous than Isaac Bashevis Singer or Sholem Aleichem, Chaim Grade is considered among the foremost stylists in Yiddish. His work is now hard to find in English.

Literary estate
His papers were very numerous and consumed much space of the apartment he shared with his wife Inna in the Amalgamated Housing Cooperative in the Northwest Bronx. The public administrator of his papers, Bonnie Gould, made requests to several institutions, including Harvard University and the YIVO Institute for Jewish Research to assist in cataloging Grade's papers. By the end of August 2010, the papers had been transferred to YIVO's offices, for sorting.

In 2013 the Public Administrator of Bronx County awarded the YIVO Institute and the National Library of Israel rights to the estate. In accordance with the terms of the agreement, the assets of the estate will be permanently housed at YIVO in New York City. Materials will be shared and made available to the National Library of Israel once its new building opens in Jerusalem in 2020. YIVO and the National Library of Israel have digitized the entire archive and made it accessible online.

Awards

 * 1967: National Jewish Book Award for The Well
 * 1978: National Jewish Book Award for The Yeshiva

title: Chaim Grade