text:
User:Nanouk

This is the page where I collect links and other relevant items for my Wikipedia-activities.

Please post messages on my Talk page.

=Link repository=
 * Interlanguage links
 * WikiProject Football
 * Portal:Association football
 * WikiProject Vienna
 * WikiProject Geographical coordinates
 * Template:Football kit/pattern list
 * Tools/Navigation popups
 * Village pump
 * Template substitution
 * Templates: Transclusion costs and benefits, Avoid using meta-templates, High-risk templates
 * Conditionals: Qif conditionals, HiddenStructure, Don't use hiddenStructure
 * Categories, lists, and series boxes, Lists
 * How to archive a talk page
 * Special:Cite
 * Article validation, Articles for creation, Wikipediology/library/essays/Redwolf24-2
 * Administrators' noticeboard
 * Goings-on

=Article list=

=Notes=
 * Template messages
 * Sandbox
 * Criteria for speedy deletion
 * Requested moves
 * 1998 FIFA World Cup
 * 1998 FIFA World Cup

de:Benutzer:Nanouk es:Usuario:Nanouk fr:Utilisateur:Nanouk it:Utente:Nanouk nl:Gebruiker:Nanouk no:Bruker:Nanouk pl:Wikipedysta:Nanouk pt:Usuário:Nanouk sv:Användare:Nanouk

title: User:Nanouk


text:
Lin Li (gymnast)

Lin Li (born 28 January 1986 in Guizhou, China) is a Chinese gymnast who specializes on the uneven bars. Lin Li started gymnastics when she entered elementary school in 1993. By 2002, Lin Li was selected for the National Team. Since joining the national team, Lin has competed at many prestigious championships such as the 2003 World Artistic Gymnastics Championships, 2004 Olympics and 2004 World Cup Final.

Lin Li is the 2003 National Champion on the uneven bars as well as a two-time national bronze medalist on floor exercise.

Life after and during the Olympics
Lin Li was chosen for the 2004 Olympics because the coaches felt certain that Lin could bring home an individual medal on the uneven bars. After the preliminary rounds Lin was second on the uneven bars. She outscored both Li Ya and Fan Ye by earning a 9.7.

Lin also earned the highest score on the uneven bars during the Team Finals. However, Lin felt a lot of pressure in medaling on the uneven bars after the Chinese WAG and MAG teams failed to medal during the team competition. With the added pressure on top of the usual nerves, Lin watered down her routine and failed to medal during the uneven bars final.

After the Olympics, Lin was not chosen for any Grand Prix events, but competed at the 2004 World Cup Final on the uneven bars and finished 6th.

After a disappointing year in 2004, Lin also failed to win any medals at the 2005 Chinese National Championships. Many critics felt that Lin Li's career was over. Some even went as far as saying she would never compete internationally again. Lin Li proved her critics wrong and was last seen competing at the 2005 Australia VS China Dual Meet. She finished 5th in the all around and 1st on the uneven bars.

Lin Li fractured her hand during warm-ups on the uneven bars at the dual meet. She continued to train on the other three events. In October, she helped the Guizhou provincial team to a sixth-place finish at the Tenth National Games, competing watered-down routines on the vault, uneven bars, and balance beam. Shortly after the Games, she returned to her home province and retired. In the fall of 2006, she entered the Beijing University of Physical Education.

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

title: Lin Li (gymnast)


text: User talk:198.7.243.101

title: User talk:198.7.243.101


text:
Talk:Gilbert Deya

Untitled
It was pointed out to me by someone who does not edit that this article is not neutral and misrepresents facts. Editing by someone who knows more about this subject would be appreciated. Mindspillage (spill yours?) 14:22, 14 July 2005 (UTC)
 * I think I've made this more accurate, and less POV. However, I'm a bit biased against this guy, so I don't feel comfortable removing the POV tag without outside opinions. Dancarney 14:43, 16 March 2006 (UTC)

 * Totally unbiased, go ahead and remove Judgesurreal777 04:10, 17 March 2006 (UTC)

Move
I'm going to move this to Gilbert Deya, as it's mainly about him. Objections? pablo hablo. 19:18, 9 April 2010 (UTC)
 * I support the move. Julius Sahara (talk) 15:15, 10 April 2010 (UTC)

Dispatches
He was featured in Channel 4 Dispatches, "Britian's Wich children" broadcast 26-7-2010. Is this worth a mention ? TheLogster (talk) 20:59, 26 July 2010 (UTC)

title: Talk:Gilbert Deya


text:
User:W. Wolf

14.07.05 My pseudo name is Walter Wolf. I regulary visit Wikipedia on a regular basis; so I decided to create my account to take track of my activities. I still have a lot to read and learn.

title: User:W. Wolf


text:
Detachable thumb

The detachable thumb (unknown originator) is a close-up illusion.

Effect
The performer appears to remove the end of his own thumb; moving it back and forth along his hand or lifting it up.

Method
There is no particular secret to this illusion: the performer simply holds out one hand sideways with the palm out and the tip of the thumb folded down behind the hand. Then, they place their other thumb bent so that the tip appears to be connected to the folded-down thumb with the forefinger bent to cover the joint.

title: Detachable thumb


text: Category:Anton Maiden albums

title: Category:Anton Maiden albums


text:
Talk:List of oil refineries

Kosovo
Removed the new entry, "Kulla Exim refinery", and the new Kosovo section that appeared late on Oct. 17, 2013 (yesterday). Entry appears vandalism or part of a scam: Found no evidence on the Web of a functioning refinery. Only website for the "company" was www.kulla-exim.com, but it prevented entry into its "refinery" web page. There were relatively few other search results, most of which seemed to be just sites that rebroadcast information from Wikipedia. ~ Desertroadbob (talk) 10:01, 18 October 2013 (UTC)

 * Kulla Exim is still working and has a valid website, kulla-exim.com, also you can check it on the link of Agency for Busines Registration of Kosovo https://arbk.rks-gov.net/page.aspx?id=1,38,3695, there is no scam or whatso ever, Kosovo is small country and hence small market also companies that operate there are on small scale within European Continents but in big scale within Kosovo or Balkans. Kuqiburim (talk) 20:01, 17 February 2023 (UTC)

The Kosovo entry had been replaced by KullaExim, this time without a link or reference. Once again removed the Kosovo entry, because there is no evidence on the Internet of an operating refinery--and no explanation was placed on the talk page.~ 00:41, 25 October 2013 (UTC) — Preceding unsigned comment added by Desertroadbob (talk • contribs)

Kulla Exim Refinery in Kosovo began construction in 2006. Following references in Albanian language: Seanshepherd (talk) 11:26, 5 May 2014 (UTC)
 * Kosovo Chamber of Commerce article. See page 12. []
 * News article mentioning construction of the refinery []
 * See News 2013 report of South East Europe's largest companies: Article showing Kulla Exim to be the 10th largest employer in Kosovo.See page 104. []
 * Kosovo Ministry of Trade and Finance business registry website showing Kulla Exim to be registered as a manufacturer of petroleum products and to have a paid up social capital of 249 million Euros []

Asia - Bangladesh
I was wondering about the 0,900 bbl/d ? I mean I know that there are refineries with 2,500bbl or maybe even 1,500. But I can't remember one with less than 1000... I think the lose is too high at such small refineries... and than with an article? (Most refineries are without), the article is interesting and it seems to be a large refinery (since it is the only one in a country of ~163.6 million, strong increasing, I know the per capita consumption in Bangladesh is one of the lowest in the world but 900bbl makes no sense still it is a market that will see very strong growth soon or later (like in India or China), so 900bbl for over 163 million people? If I would plan to build a refinery there than at least with 75% of the current country consumption. With an Growth of around 2.5 million people a year and increasing mobility in Asia the consumption would be higher anyway until the refinery is ready...

The Article doesnt only say that there were 3 Processing units when built and 4 others were addded in the 80's and the last in 2007. Capacity for the "Crude Distillation Unit" (1. Unit) is 1.5 Million Tons/Year and 70,000 tons a year each for the Catalytic Reforming Unit and the Asphaltic Bitumen Plant. 1 ton is around 7.3 bbl. So 1.5 Million would be 10.95 million barrel/year or exactly 30.000 barrel a day. The last unit and its number is strange and I can't understand it:

Long Residue Visbreaker Unit 5,22,000

I think 522,000 tons a year.

Maybe someone can correct it? Greetings Kilon22 (talk) 22:32, 30 December 2013 (UTC)

capacity of Corinth refinery
It is 110000 bpd and not 380000 bpd as shown in the table. — Preceding unsigned comment added by Gegio1960 (talk • contribs) 10:15, 8 September 2015 (UTC)

It is 185000 with the newest units. Updated. — Preceding unsigned comment added by 128.193.8.40 (talk) 01:50, 18 December 2018 (UTC)

Hong Kong
There is ABSOLUTELY NO oil refinery in Hong Kong. "Hop Hing Oil" is a producer of cooking oil !!! Not petroleum ! Please do NOT mix up.

http://www.hophing-oil.com/php/about/about.php

— Preceding unsigned comment added by Buhin (talk • contribs) 21:27, 9 April 2016 (UTC)

What is the NIODC?
Is this a new name for the National Iranian Oil Company? My Gussie (talk) 06:55, 10 December 2016 (UTC)

List like this for hydraulic fracturing (fracking) operations?
Can we get a list like this for hydraulic fracturing? I would help write it. I'm not sure if this is the proper way to request something like this. Oneultralamewhiteboy (talk) 23:28, 25 December 2016 (UTC)

External links modified
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 * Added archive https://web.archive.org/web/20130227220332/http://www.huntrefining.com/RefiningOps.aspx to http://www.huntrefining.com/RefiningOps.aspx
 * Added archive https://web.archive.org/web/20130227220332/http://www.huntrefining.com/RefiningOps.aspx to http://www.huntrefining.com/RefiningOps.aspx

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External links modified (January 2018)
Hello fellow Wikipedians,

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 * Added archive https://web.archive.org/web/20121102082729/http://www.phillips66.com/EN/about/our-businesses/refining-marketing/refining/Pages/index.aspx to http://www.phillips66.com/EN/about/our-businesses/refining-marketing/refining/Pages/index.aspx
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no refineries in....... ?
are there no refineries in Arizona? what other places have we missed? For that matter what operations must be conducted at a facility for it to be considered a refinery?

https://www.google.com/search?client=firefox-b-1-ab&ei=RMGiXN2ALqzE0PEPgsOVqA0&q=refinery+in+arizona&oq=refinery+in+arizona&gs_l=psy-ab.3..0j0i22i30l5.900491.907306..907934...0.0..0.272.1496.10j1j2......0....1..gws-wiz.......0i71j0i67.6v5HuNXwrXA — Preceding unsigned comment added by 47.137.93.39 (talk) 02:13, 2 April 2019 (UTC)

US/Georgia - Savannah
Hello.

I moved this text from the main page to here in case anyone is looking for it. It looked like an editor's notes. This relates to the Savannah refinery.

"My records say this facility was shutdown in 12/2014. My records could be wrong.

I believe this was last called Axeon Specialty Products LLC This was reportedly an aphalt refinery."

Thanks Lbbzman (talk) 15:58, 28 July 2020 (UTC)

Closed refineries
Should refineries that are closed and have permanently ceased operations be removed from the list? Thanks. PhillyHarold (talk) 07:11, 23 June 2022 (UTC)

Port Arthur, Texas refinery ownership
The Port Arthur, Texas refinery is listed as owned by Aramco under the list of "largest oil refineries", but listed as owned by Motiva in the list of Texas refineries below. 2604:2D80:9110:1C00:F1CF:B685:DF4F:9DC0 (talk) 00:35, 5 October 2022 (UTC)

Products
I need prices and procedures moneyjockey.beltran@gmail.com send me information I need different products 2600:6C50:737F:BE33:B83B:3A43:3813:8A07 (talk) 03:50, 17 March 2023 (UTC)

title: Talk:List of oil refineries


text:
User:UsagiM/contributions

Fact : at this very moment, on the English Wikipedia, there are a total of  articles.

I am familiar with Wikipedia for a while now, but I have not been contributing to it for a long time yet. I am learning new things every time I am working here. My contributions are growing slowly, but are not numerous, especially not compared to some other Wikipedians! But hey, every little bit helps, doesn´t it?

I will make a logical list of my contributions here. I count in the contributions I might when I still didn´t have a user name, but worked 'anonymously' under the IP address 82.92.14.180.

I am also active on the Dutch Wikipedia. There I am using the same name Mario Roering and I also sign with Mario R.

My contributions
I am familiar with Wikipedia for quite a while now (I think since October 2004, give or take a month), but my very first contribution on the English Wikipedia was a minor edit to Hentai on 22 December 2004 (01:39). Then I didn´t do anything for a while (except reading articles) and on 31 March 2005 (16:50) I created my first new article Genseiryu. In both cases I didn´t have a user name, but used my IP address 82.92.14.180). Genseiryu is the karate style that I train at the KLM Karate Club. (I started with Shotokan and Wadoryu in 1987). Unfortunately this article became a few months later suddenly the victom of an edit war, because there is another organization that also claims to be doing Genseiryu (but are in FACT doing Genseiryu-Butokukai, which is not only historically a fact, but is also decided by a court of law!!). They still see a lot of facts differently. Although I tried my utmost to come to an understanding and to create an neutral (NPOV) article, this annoying edit war keeps coming back, simply because of one man who does not want anybody else to talk about the subject of Genseiryu besides himself. This whole situation has gone too far already and it bothers not only some administrators, but also myself... O, by the way: my current user name, Mario Roering, I used for the first time on the 1st of April 2005 (02:02).

Apart from my knowledge about Genseiryu Karate, aviation (as a being an airline pilot myself) and physics (graduated in Industrial Engineering, main subject photonics), I have a lot of general knowledge. I am of the kind that likes to talk about almost anything. I also like to listen (and read) and I am always open for discussion. That way I always learn new things and contributing to Wikipedia is not only very useful, but also an educative activity. And in case I don´t know anything about a subject, I can still try to contribute by correcting writing errors in the text. I have worked as an editor for a periodical during my student time... Okay, it was in Dutch, but my English is not so bad, is it? Anyway, when in doubt, I always try to find out what´s right, so I can also improve my English by doing so!

For a good logical overview I will put My Contributions in different categories. Underneath the header I will put the title of the articles to which I contributed, chronologically, last one at the end of the list.

New articles (titles) that I started myself, not being a stub
Redirects are not mentioned!
 * Genseiryu: About the karate style Genseiryu.
 * The old (original, i.e. of 5 June 2005, 00:04) article 'Genseiryu': the article as it was before the whole edit war started with this somebody who is only out to destroy our organization.
 * The NEW (NPOV) version of 'Genseiryu', date 14 July 2005, 01:19: saved, because the article keeps being changed so that the person mentioned above, guilty of the sneaky vandalism, has less reason to attack the article. Unfortunately valuable information in the article is lost by that, but kept here on my user page!
 * World Genseiryu Karatedo Federation (WGKF): about the federation of which our club is also a member and our teacher (sensei Konno) is the Director-General. The article also shows their view of the history of Genseiryu (although being attacked over and over again by people with a different view)
 * Saved version of 'WGKF' of 26 July 2005, 16:28: saved, because this article is also being attacked over and over again by that same person mentioned above. He does not understand that the article is telling the view of WGKF and is not supposed to contain HIS view...
 * Genseiryu Karate-do International Federation: the 'other' federation, the one training Genseiryu-Butokukai, although some of them claim to be doing Genseiryu. Anyway, this article was merely a start for 'them' (or HIM) to write their (his) view of Genseiryu, according GKIF...
 * Wado (disambiguation page)
 * Wadōkai
 * Albert Plesman
 * Edward Warner Award

New stubs

 * Shindo Yoshin Ryu

New words in the Wiktionary
No contributions yet

Uploaded images
No contributions yet

Articles to which I have done a 'reasonable' contribution
"Reasonable contribution": at least one paragraph or a relatively large amount of corrections or additionals.
 * Randori
 * Wadō-ryū
 * Headquarters

Articles to which I have done a 'minor' contribution
"Minor contribution": adding just a few sentence, or an image or only made a few (minor) corrections to the contents. (of course I am not gonna mention every single article that I "touched". For that you can go to my contributions page)
 * Hentai: my first contribution (22 Dec 2004, from ip 82.92.14.180), but very small (only removed brackets around some Japanese Kanji)
 * Karate
 * Taidō
 * Japanese era name: Explained conversion of Japanese year to a Western year
 * Alison Hargreaves
 * Kanji
 * Kai
 * Aviator
 * Genwakai
 * Radical (Chinese character)
 * McDojo
 * Industrial engineering
 * Hironori Ōtsuka
 * Ankō Itosu
 * Edward Warner
 * R-14 Chusovaya
 * George Henry Andrews
 * Shūkōkai
 * Miki
 * Shimeji
 * Ito
 * Ficus racemosa

To do list

 * Hong Kong -> (check: Meest voorkomende schrijfwijze (en de juiste) is Hong Kong, niet Hongkong...)
 * Wado Kokusai (see Wado)
 * Ito<-->Itō

 * Learn more about Wiktionary!

Check again later

 * Talk:Aikikai_Hombu_Dojo

Links where you can find more to do!

 * Wikiquette alerts!
 * Category:Stubs (all stubs alphabetically)
 * Template:Stub
 * Wikipedia backlog
 * Active Wiki Fixup Projects
 * More tasks...

nl:gebruiker:Mario Roering/bijdragen

title: User:UsagiM/contributions


text:
Shout Out Louds

Shout Out Louds is a Swedish indie pop band from Stockholm.

History
Formed in Stockholm by childhood friends Adam Olenius (vocals), Ted Malmros (bass), and Carl von Arbin (guitars), Shout Out Louds found an international audience during the early 2000s with their peppy Swedish pop. The lineup began taking shape in 2001, with drummer Eric Edman and keyboardist Bebban Stenborg climbing aboard shortly thereafter. Shout Out Louds wasted little time writing songs, the first three of which formed the basis of their first demo tape. The music caught the ear of Filip Wilén, owner of Sweden's Bud Fox Recordings, and he quickly signed the group to his label. Shout Out Louds then spent the majority of 2002 writing more songs, and December found them recording their debut EP, 100°, which was released in 2003. The group's high-energy, ultra-melodic sound was in place from the very beginning.

The band toured Sweden and Scandinavia in support of 100°, whose release was followed by two singles, "Hurry Up Let's Go" and "Shut Your Eyes." In October 2003, the group released its first album, Howl Howl Gaff Gaff, to great acclaim in Sweden. The band spent the following year touring, releasing additional material ("Please Please Please," "Very Loud/Wish I Was Dead," and the Oh, Sweetheart EP), and inking an American deal with Capitol Records. The U.S. version of Howl Howl Gaff Gaff was released in May 2005, featuring songs from the Swedish release plus some early singles and EP tracks. A tour of the U.S. with indie darlings the Dears helped boost the band's profile, as did airplay on The O.C. Despite such growing success, the band's 2007 album "Our Ill Wills" produced by Björn Yttling was a somber, melancholy affair, replete with icy synths and Cure-inspired vocals. Another round of tour dates kept the bandmates busy until mid-2008, at which point they decided to take a half-year hiatus. March 2009 found the musicians reconvening in Stockholm to write new material, and by August the band had decamped to Seattle to begin recording with producer Phil Ek. Their third album, Work, arrived in early 2010. After coming home from a tour to support the album, the band members felt that a change in the way they worked was in order. Hoping to recapture the more relaxed spirit of earlier recordings, they spent time outside the studio composing the songs, with each band member responsible for coming up with their own parts. When they came back together, the band produced their next record themselves (with help from Johannes Berglund) in a small Stockholm studio. Optica was released by Merge in early 2013. The next few years saw a handful of solo releases from both Olenius and from Stenborg's Astropol project. Regrouping in Stockholm, the Shout Out Louds returned with 2017's more guitar-oriented Ease My Mind.

Band members

 * Adam Olenius – vocals, guitar
 * Ted Malmros – bass, percussion, backing vocals
 * Carl von Arbin – guitar, backing vocals
 * Eric Edman – drums
 * Bebban Stenborg – occasional lead vocals, keyboards, accordion, glockenspiel, moog, backing vocals

EPs

 * 100° EP (2003)
 * Oh, Sweetheart EP (2004)
 * Very Loud EP (2004)
 * Combines EP (Remixes) (2006)

Compilations

 * SXSW: The Best of the West EP (15 March 2005) – "Never Ever"
 * DRIVE XV: A Tribute to Automatic for the People (2 October 2008) – "Man on the Moon"

title: Shout Out Louds


text:
Jazz Jackrabbit (1994 video game)

Jazz Jackrabbit is a 1994 platform game developed and published by Epic MegaGames. It was released for MS-DOS-based computers. The game was re-released on GOG.com along with Jazz Jackrabbit 2 on November 30, 2017, with support for Windows, macOS, and Linux.

Gameplay

Jazz Jackrabbit is a 2D platform game. The game was originally divided into six episodes. Each episode has three planets, with every planet itself consisting of two levels. Each episode has an additional secret level (in the first the players control bird Hip Hop and in later regular Jazz). The final level of every episode features a boss that the player must deal with in order to complete the level. Episodes are tied by a single storyline usually progressing after each episode is finished.

Gameplay mechanics in Jazz are very similar to Zool's, with the exception of not being able to destroy the enemies by simply jumping at them (which was not added until the second game). Jazz will run faster and jump higher the longer he runs, avoiding chasms that might lead to harmful objects. Unlike other platform games, however, there are no abysses and every level bifurcates into subsections that might lead to valuable items (such as weapon pick-ups, score items, etc.) while the direction of general progression is hinted at with occasional arrows. Jazz has a life bar that changes in colour based on how much health Jazz has remaining. Jazz can withstand a limited number of hits (5 on Easy mode, 4 on Medium mode, 3 on Hard or Turbo mode) from harmful objects before losing a life; one hit's worth of health can be restored by picking up a carrot. Lives can also be accumulated to the maximum number of ten. When killed, Jazz starts from the level beginning or at any checkpoint sign that had been reached and shot before.

Items that the player can pick up usually resemble food, computer hardware components or other familiar shapes, and give 100 score points each. There are also several beneficial pick-ups in the game: a "force shield" that protects Jazz from one or four hits, a Hip Hop that shoots enemies, a hoverboard that allows flight, rapid fire/super jump bonuses, a temporary "speed-up" and invincibility, as well as extra lives. Weapons also vary in numbers and consistency and include (besides the Blaster) Bouncer, Toaster, RF Missile, and TNT sets. Large sets of ammunition can only be collected by being shot from their enclosure.

The first game has a timer that starts a number of minutes at the beginning of each level (9 minutes and 59 seconds on Easy mode, 8 minutes on Medium, 6 minutes on Hard, and 4 minutes on Turbo) and counts down to zero; on Hard and Turbo, another countdown appears at the top of the screen when there is less than a minute left, and if time expires, Jazz loses a life. If Jazz reaches and shoots the finish sign before time runs out, the player is then provided with additional score points awarded for the remaining time and a perfect score if he picks up all items and/or deals with all enemies. If Jazz finishes the area with a big red diamond, he gets to enter the bonus stage. In these stages, animation switches to a pseudo-3D (third-person shooter) of Jazz as he runs on a speedway with the purpose of gathering as many blue diamonds as requested before time runs out, while obstacles try to stop him or slow him down. If the task is accomplished successfully, the player is provided with an extra life. Aside from bonuses, Jazz also features secret levels that can be accessed in specific areas of other levels once in every episode. Secret level signs feature the question mark instead of Devan's head portrait that must be shot. The current level is then considered completed and the secret level embarks. Levels themselves consist of an enormous "grant" area with numerous weapons and items to pick up. One level, however, features a mini-boss, while the player assumes control of Jazz in his sidekick bird form. Secret levels also feature a count-up upon completion that provides the player with extra score points.

Plot
The game is set in a fantasy world based on Aesop's "The Tortoise and the Hare", in which the enmity between tortoises and hares continues even after three thousand years. An evil mastermind tortoise named Devan Shell begins conquering planets, suppressing any native confrontation. One of such planets, Carrotus, is home to a peaceful hare kingdom that, once confronted by Shell, is able to provide enough resistance to fend him off. Enraged by his loss, Devan decides to kidnap Carrotus princess Eva Earlong and hide her on a distant airbase of unknown location to use as ransom. In response, the king chooses to send Carrotus' hero Jazz Jackrabbit, a green hare with a blue LFG-2000 gun, to various planets conquered by Devan that might contain clues to the location of Eva's imprisonment. As Jazz travels through different worlds, he gains new weapons and meets new enemies in his pursuit to rescue the princess and save Carrotus from Devan Shell and his army of Turtle Terrorists.

Jazz manages to find the secret airbase but Devan escapes with Eva. Jazz later finds Devan's cloning machine. In the end Jazz stops two battleships sent by Devan to attack Carrotus and finds the location of the princess, but Devan escapes.

Development
Jazz Jackrabbit was coded by Arjan Brussee and designed by Cliff Bleszinski for Epic MegaGames. It was greatly inspired by the Amiga game Zool and the ongoing success of video game classics (such as Sonic the Hedgehog and Mega Man) defining the platform game genre in the 1990s market, and was initially considered to be a pastiche of Sega's Sonic the Hedgehog in the computer world. The game did not manage to reach the popularity of Sonic, but did acquire a sizable audience due to its fast-paced gameplay and advanced graphics. The game's audio was implemented using an interactive music system called "Cybersound Music System".

A CD-ROM version titled "Jazz Jackrabbit CD" was released on November 28, 1994, containing all six original episodes, as well as 3 additional ones known as "The Lost Episodes" listed as episodes A, B, and C. In episode C, there is a secret level with Jazz in the form of a lizard.

A shareware Christmas edition titled Jazz Jackrabbit: Holiday Hare 1994 was released on December 15, 1994, with a special 3-level holiday-themed episode. Subsequent pressings of the CD-ROM edition added "Holiday Hare" as episode X, bringing the total episode count to 10.

Another shareware Christmas edition titled Jazz Jackrabbit: Holiday Hare 1995 was released on November 17, 1995, with a different holiday episode with 2 new holiday-themed worlds.

Legacy
A sequel named Jazz Jackrabbit 2 was released in 1998, as well as a reboot on Game Boy Advance in 2002. The commercial success of the game kickstarted the career of its co-creator, Cliff Bleszinski, who would later be a key force behind Epic Games' Unreal and Gears of War.

title: Jazz Jackrabbit (1994 video game)


text:
Elizabeth Billington

Elizabeth Billington (27 December 1765 – 25 August 1818) was a British opera singer.

Life
She was born on 27 December 1765 in Litchfield Street, Soho, London, the daughter of Carl Weichsel, a native of Freiberg, in Saxony, who was principal oboist at the King's Theatre. Her mother, Frederika, née Weirman, an English vocalist of some distinction, was a pupil of Johann Christian Bach, and sang at Vauxhall with success between 1765 and 1775.

Elizabeth Weichsel received her earliest musical instruction, in company with her brother Charles (who afterwards was known as a violinist) from her father, under whom she studied the pianoforte with such assiduity that on 10 March 1774 she played at a concert at the Haymarket for her mother's benefit. In addition to her father's instruction she studied under Johann Samuel Schroeter, and before she was twelve years old published two sets of pianoforte sonatas. She now began to turn her attention to the cultivation of her voice, and at the early age of fourteen appeared at a public concert in Oxford.

On 13 October 1783 she was married under her mother's maiden name, Wierman, at Lambeth Church to James Billington, a double-bass player in the Drury Lane orchestra, from whom she had had lessons in singing. Immediately after their marriage the Billingtons went to Dublin, where she made her first appearance on the stage in the part of Eurydice. After singing at Waterford and other towns in Ireland she returned to London in 1786, and was offered an engagement at Covent Garden for three nights only, but she insisted on being engaged for twelve nights, at a salary of £12 a week. On these terms she was announced to appear on 14 Feb. 1786, but the renown she had already won in Dublin had preceded her, and 'by command of their majesties' she appeared on the 13th as Rosetta in Thomas Arne's Love in a Village. At the end of the twelve nights she was engaged for the rest of the season at a salary of £1,000.

A contemporary account of her at this period says that her voice was of great sweetness, compass, and power, and that she possessed 'a great deal of genuine beauty and very unaffected and charming manners;' but the secret of her great success was the unremitting zeal with which she studied her art. Her brother-in-law, Thomas Billington, says that she had originally 'a very indifferent voice and manner,' which she completely changed by the industry with which, throughout her public career, she pursued her studies. At the end of her first season she went to Paris, and had lessons from the Antonio Sacchini, whose last pupil she was, and at different periods of her career she also studied with Morelli, Ferdinando Paer, and Friedrich Heinrich Himmel. She returned to London for the season of 1786–7, and continued to sing there, at Covent Garden, the Concerts of Ancient Music, the so-called Oratorios, and the Handel Commemorations, until the end of 1793. William Shield wrote his operas of 'Marian' and 'The Prophet' for her, and in 1789 she appeared as Yarico in Dr. Arnold's long-popular compilation, 'Inkle and Yarico.' Others of her favourite parts were Mandane (in 'Artaxerxes'), and the heroines in 'Polly,' the 'Duenna,' the 'Castle of Andalusia,' 'Corali,' 'Clara,' the 'Flitch of Bacon'.

In 1791 she was kind enough to take in Elizabeth Clendining who she had met in Dublin. Clendinning had a short singing career before she retired to have a family, but her husband was in Dublin debtors' prison and she came to England to find work and she found work initially in Bath. Mrs. Billington was not happy in her marriage, and even before she had appeared on the London stage rumour had been busy with her fair fame. In 1792 there appeared an anonymous publication, which professed to contain her private correspondence with her mother. This work was of so disgraceful and scurrilous a description that Mrs. Billington was forced to take legal proceedings against the publishers. An answer to the 'Memoirs' appeared in due course ; but it seems probable that the scandal induced Mrs. Billington to abandon her profession and retire to the Continent. Accompanied by her brother and her husband, she left England early in 1794, and travelled by way of Germany to Italy. At Naples she was induced by Sir William Hamilton, the English ambassador, to sing in private before the royal family. This led to her singing at the San Carlo, where she appeared in a new opera, 'Inez di Castro,' written expressly for her by Francesco Bianchi, on 30 May 1794. Her singing created an extraordinary impression, but her triumph was cut short by the sudden death of her husband, which took place the day after her first appearance, as he was preparing to accompany his wife to the theatre, after dining with the Bishop of Winchester. She stayed at Naples sixteen months, and then sang at Florence, Leghorn, Milan, Venice, and Trieste. In 1797, when singing at Venice, she was prostrated with a severe illness for six weeks. On her recovery the opera house was illuminated for three nights. At Milan she was received with much favour by the Joséphine de Beauharnais, and here she met a young Frenchman, M. Felissent, to whom she was married in 1799. After her second marriage she went to live at St. Artien, an estate she had bought between Venice and Treviso; but her life was rendered so insupportable by the ill-treatment she received from her husband that in 1801 she left him and returned to England. Felissent, who, it was said, had been publicly flogged as an impostor at Milan, followed her to London, but he was arrested and expelled the country as an alien.

Mrs. Billington's return to London caused a great stir in the musical world, and the managers both of Covent Garden (Harris) and Drury Lane (Richard Brinsley Sheridan) were eager to secure her services. After some negotiation it was arranged that she should appear alternately at both houses, the terms she was to receive being 3,000 guineas for the season, together with a benefit guaranteed to amount to £500, and £500 to her brother for leading the orchestra on the nights she appeared. Her reappearance took place at Covent Garden on 3 Oct. 1801, in Thomas Arne's Artaxerxes, in which she sang the part of Mandane, Incledon singing that of Arbaces. During 1801 she made from £10,000 to £15,000, and at one time her fortune is said to have amounted to £65,000. In 1802 Mrs. Billington appeared in Italian opera at the King's Theatre, on the occasion of the farewell of Banti, when both these great artists sang in Sebastiano Nasolini's 'Merope.' A similar performance took place on 3 June of the same year, when she was induced to sing a duet with Mara, at the farewell concert of her great rival. From this time until her retirement in 1811 she continued to sing in Italian opera. Winter wrote his 'Calypso' (1803) expressly for her, and in 1806 she distinguished herself by producing, for her benefit, La Clemenza di Tito, the first opera by Wolfgang Amadeus Mozart performed in this country. During 1809-10 she suffered much from ill-health, and at length she retired from the profession, her last appearance being announced at her brother's benefit concert on 3 May 1811. She appeared, however, once more at Whitehall Chapel in 1814, at a concert in aid of the sufferers by the German war. After her retirement she lived in princely style at a villa at Fulham. In 1817 she was reconciled to her husband, and went with him to live near Venice, where she died on 25 August 1818.

Her child by her first husband had died in infancy ; but it was believed that an adopted child, whom she had placed in a convent at Brussels, was her own daughter.

Critical reception
Contemporary opinions as to the merits of Mrs. Billington as a singer differ to a singular degree. It was always her misfortune to be forced into a position of rivalry with some other great artist, and thus partisanship often guided the judgments of her critics. As to the perfect finish of her singing all are agreed. The Earl of Mount Edgcombe says that her voice was sweet and flexible, her execution neat and precise, her embellishments in good taste and judicious, but that she lacked feeling, and was no actress. Miss Seward writes of her : 'She has too much sense to gambol like Mara in the sacred songs;' but George III, who was no mean judge—by suggesting in a written memorandum, that Lord Carmarthen 'if he can get her to sing pathetick songs, and not to over-grace them, will be doing an essential service to the court'—seems to imply that she had the great fault of the singers of that day, viz. the excessive and indiscriminate use of vocal embellishments. She was all through her life a finished pianist. Salomon used to say that 'she sang with her fingers,' and quite late in life she played a duet in public with J. B. Cramer.

In person Mrs. Billington was very handsome, though inclined to stoutness. Her portrait was painted by Sir Joshua Reynolds as Saint Cecilia, and has been engraved by James Ward, Pastorini, and Cardon. The exhibition of old masters at Burlington House in 1885 contained a small portrait by Reynolds, said to be of Mrs. Billington in her youth, a statement which is probably inaccurate. Two miniatures of her were painted, one by Daniel, and there are engravings of her by T. Burke after De Koster, as Mandane by Heath after Stothard, by Bartolozzi after Cosway, by Dunkarton after Downman, and by Assen. A portrait of Clara in the 'Duenna,' painted and engraved by J. R. Smith in 1797, probably represents Mrs. Billington. Haydn said of her, that Sir Joshua Reynolds should rather have painted the angels listening to Mrs Billington singing, than have depicted, as he did, Mrs Billington listening to the angels.

title: Elizabeth Billington


text:
File:COTN album cover 1985.jpg

Fair use rationale for Creatures of the Night
Though this image is subject to copyright, its use is covered by the U.S. fair use laws because: Strangerer (Talk) 09:25, 6 June 2007 (UTC)
 * 1) It is a low resolution copy of a CD album cover.
 * 2) The image is only a small portion of the commercial product.
 * 3) The use of the cover will not affect the value of the original work or limit the copyright holder's rights or ability to distribute the original CD album.
 * 4) It illustrates educational articles about the album from which the cover illustration was taken.
 * 5) The image is used as the primary means of visual identification of topics in the article
 * 6) It is not replaceable with an uncopyrighted or freely copyrighted image of comparable educational value.

title: File:COTN album cover 1985.jpg


text:
Talk:Protecting group

Wiki Education Foundation-supported course assignment
This article is or was the subject of a Wiki Education Foundation-supported course assignment. Further details are available on the course page. Student editor(s): Mpodunavac, Jlchen15.

Above undated message substituted from Template:Dashboard.wikiedu.org assignment by PrimeBOT (talk) 07:20, 17 January 2022 (UTC)

Fmoc and Boc
What about Fmoc and Boc protecting groups? There are a few very common protecting groups missing
 * So add them. That's how Wikipedia works:) DMacks 06:02, 8 February 2006 (UTC)
 * Okay, someone did... DMacks 06:03, 8 February 2006 (UTC), talking to himself mainly

Acetal vs Ketal
Although originally and technically, a "ketal" was derived from a ketone and an "acetal" was derived from an aldehyde, it appears that modern usage is "acetal" as a general term for both. IUPAC's 1993 nomenclature rules agree (p102). The case at ia articles. Wikipedia is a platform for amateurs as well and Wikipedia's disclaimers can be found at the bottom of each page hand could still correctly be termed a "ketal" but we're not trying to distinguish ketal vs acetal moieties here. DMacks 05:07, 26 April 2006 (UTC)

list of protecting groups
I have started writing for my own personal use a list of common groups. It lists the group(s) being protected, the protecting group, common abbreviation, group formed, introduction reagents, removal reagents, and starting material. Obviously, this isn't exhaustive, for example, there are a million ways to remove a TMS group from an alcohol, but I have just listed F-.

Would such a list be helpful here? What would be the best way of formatting it for Wikipedia? I am wary of lists on Wikipedia pages, because they tend to get bogged with each editor's personal preferences, and errors become harder to detect. Also, I have taken the info from many textbooks and manuals, and am not sure how to source the whole thing, or where I even got it all.

Any other comments would be appreciated. 208.4.152.131 22:07, 22 January 2007 (UTC)

retro vs forward synthesis
Also I just noticed that in the reduction reaction shown. The product is shown in the beginning with a retrosynthetic arrow, and at the end of the reaction sequence. This seems to me to be not only non-standard, but confusing. Should the retrosynthetic arrow be removed? 208.4.152.131 22:07, 22 January 2007 (UTC)

 * Concurred. Plus the fact that there was a synthetic mistake in the image! I just replaced it by one that actually illustrates the use and value of the acetal. DMacks 22:33, 22 January 2007 (UTC)

Criticism section
Is that undeniably pointless 40-step reaction schematic a necessary component in an article which should simply state the common protecting groups and their use in synthesis?

Surely the reference itself would serve as enough without wasting needless space. One could find 500 of such reactions in any respected organic chemistry journal.

http://www.organic-chemistry.org/protectivegroups/ provides a suitable list of protecting groups, and some synthetic strategies used to employ them in synthesis. A better option would be to link a review article from acc.chem.res or another suitably respected journal on the subject.

I have removed the offending images and edited the text for clarity.

—Preceding unsigned comment added by 82.39.95.250 (talk) 21:50, 9 April 2008 (UTC)

 * While a full discourse about the evils of protecting groups is not needed, there is certainly something to be said on the topic. Their use is certainly considered a crutch by some chemists, and at a minimum usually represents wasted atoms ("poor atom economy"), additional synthetic steps, and/or reduced yield. An example is certainly useful in my opinion. OTOH, a full synthetic scheme is over-kill. Why not keep the textual content, since it does provide a quite striking example, is on-topic, and is cited, but not the images, which are large and only of limited use/understanding to lay readers? If someone really wants the full schemes and details, the cite is there. DMacks (talk) 23:08, 28 April 2008 (UTC)

Thanks for your kind intervention Dmacks but I disagree
 * the addition is valid and notable, the Baran work gets a mention in the C&EN 2007 highlights (Chemical & Engineering News, 85(52), December 24, 2007)
 * Wikipedia articles are not fan pages, you will have to deal with criticism when it is there.
 * Wikipedia does not have article size restrictions.
 * why is the addition pointless, offending and inappropriate according to the anonymous user
 * the average reader does not have access to chemical journals, the whole point of wikipedia is to provide access to knowledge without any restrictions
 * The anonymous user is happy with such publications as acc.chem.res or www.organic-chemistry.org. I agree both publications are much better than anything wikipedia has to offer but that is no reason to scrap wikiped
 * is this general opposition to reaction schemes? I have contributed hundreds of them, what is their current status?
 * if the images are considered too large a simple solution would be presenting them as a thumbnail, those readers interested in the full image simply expand it. Note that I have already adjusted the layout in one of my previous edits. Deletion is not an option.

Thanks V8rik (talk) 16:29, 29 April 2008 (UTC)

 * If this particular work is itself notable (highlighted in secondary/tertiary sources like C&EN) especially as an outstanding example of what it's being used to explain (rather than just an editor-selected example), then I would support its inclusion on those merits alone. The layout does need some help (it's almost 50% wider than my laptop screen. Also, a bit more explanation about how this is a whole reworking to avoid a problematic area (cf. just changing conditions to avoid having N react) would be good. At least for the first tosyl use, to casual inspection, the PG-free route uses more steps to get from start to comparable intermediate. Could "Protecting-group-free chemistry" stand as its own article? There certainly must be some review articles (maybe getting towards biomimetic synthesis...our biomimetic article is silent on chemistry applications). DMacks (talk) 16:46, 29 April 2008 (UTC)
 * To clarify, I do support inclusion of the diagrams (just not this size side-by-side layout) and explanation of what they illustrate, given that the specific thing being illustrated is the notable example. DMacks (talk) 18:13, 29 April 2008 (UTC)

 * Thanks for your input and you are making fair points but the pressing matter is the action of the anonymous user. Do you feel that this user made a valid edit (deleting the content) based on the arguments provided (assuming we are dealing with one and the same user) Thanks. V8rik (talk) 21:31, 30 April 2008 (UTC)
 * I do not agree with any of anon's stated reasons for removal. The basis of his removal is that it is an "undeniably pointless 40-step reaction schematic". I disagree--the scheme illustrates an important issue relating to the topic of the page. Anon states that this page is "an article which should simply state the common protecting groups and their use in synthesis" but again, I disagree. That topic is "Protecting group"(s), not just certain aspects of them. Even if it were for some reason limited to that scope, however, a discussion of avoiding their use is still part of "their use in synthesis". DMacks (talk) 21:57, 30 April 2008 (UTC)

Response
(From the anonymous user who has an account now!) Mattybhoy 69 (talk) 12:18, 15 May 2008 (UTC) I still dispute the necessity of that reaction schematic - There are a huge number of authors in the chemical literature studying the applications of protecting groups in synthesis, many of whom would love to be able to bypass protecting groups. This Baran fellow is not the only one. I completely agree with the need for the text explaining alternatives for protecting group strategies, because it is important and topical. Hence, the Baran paper is a suitable cite. However, 'it gets a mention in C&E news' is, in my opinion not sufficient to make it stand out as a synthetic strategy in its own right. For that particular molecule, yes, it works, but what about the application of this synthesis in more general chemistry? can any of you stand up and say with that reaction scheme you could go into a lab and use the principles (not that specific reaction) to synthesise other useful molecules? I suspect not. However, despite my edit, someone has since restored the original badly worded and gramatically incorrect text, and furthermore, the author of the diagram has failed to identify the SiMe3 protecting group in step 1 and the acetyl protecting group in step 9 used to generate the cyanide.

Please do not go over the top and state that my removal of that synthesis is some kind of rebuttal of the addition of all reaction schemcatics - that is clearly not the case. Take for example the page about the Suzuki-Miyaura reaction - there is a relevant catalyic pathway, some reagents commonly employed and some reaction conditions. One does not NEED a 20 step synthesis of some random natural product just to illustate how the reactions work.

The people reading this articles will be mostly chemists - they will want clarity. This can be summarised as: What functionality does my protecting group protect? How do I put on a protecting group? How to take off a protecting group? How stable is my protecting group with respect to my reaction conditions?

surely that is all that is required is it not?

Additionally, I find it thoroughly amusing that V8rik you says that 'deletion is not an option' - If I were to post up schematics of 10 well-publicized examples of protecting groups used in organic synthesis (which I could do in ChemDraw in about 10 minutes) they would be deleted like a shot. The irony.

comment

 * If I had the chance to to a synthesis without expensive and step adding protection I always tried this first, because its cheaper and with every 99% yield protection group addition and abstraction you loos substance. So the criticism points out that chemists would use pointless protection groups because they are fun, although there are alternatives possible? Protection groups add steps and kill yield this is why you use them if no alternative is given. This is the same thing like the click chemistry, if there is a 100% yield reaction without producing waste, every chemist would use it.--Stone (talk) 09:05, 13 May 2008 (UTC)

Why protecting alcohols?
We should state to every group why a chemist wants it protected.

Alcohol ...... --Stone (talk) 09:05, 13 May 2008 (UTC)
 * acidic H from the OH interferes with hydride donors for example Lithium aluminium hydride
 * OH forms strong hydrogen bonds and makes the substances hydrophil, this makes it difficult for seperation of the substance from water and for purification with certain chromatographic methods
 * This would be an interesting extension of the page, although there would be a lot of material if one wanted to be thorough.ChemistHans (talk)

Orthogonal protection
I find this section misleading, the example given is a highly specialized (although interesting) case and is not even orthogonal in nature, which I believe requires that either protecting group for a pair of identical functions be removable without affecting the other, which is not possible here. This needs a proper summary of the concept and some real examples. ChemistHans (talk) 16:53, 15 May 2008 (UTC)

 * I find much of the content in this section to be confusing. Perhaps I don’t know all the details necessary to understand the concepts, but then again, I shouldn’t have to. My main point is that the article talks about an example of orthogonal protection & continues in the next paragraph to describe both the same technique & a new 1. I had to reread the paragraphs a number of times just to understand the way the ideas flow. Again, this may just be my perspective & no one else’s, but I believe some paragraph restructuring, rewording, & maybe some more information would be greatly appreciated by myself & those who don’t already know much about chemistry. Dfcorrea00 (talk) 22:29, 25 September 2017 (UTC)

suggest page be pulled for major revision
With due respect to current contributor(s), I would suggest this page is not ready for viewing.

The entry lacks the uniform quality of coverage otherwise readily available for this subject, and so demanded here; present quality is such that in it cannot be taken seriously by students in the field with more than a basic background, and is seriously misleading for those of just basic training. (The Oxford and Cambridge primers' opening chapters do the subject far greater justice.)

The earlier discussion entry about missing groups and concepts, and about the shortcoming of description and example for orthogonal protection is only the beginning. As well, the relative overstatement of Phil Baran's recent contributions (as much as I admire them) -- consider their percent of the total of this entry -- unnecessarily overshadows decades of significant and high-impact accomplishment made through application of protecting groups. This includes, off top of my head, all of modern biological polymer synthesis (DNA, peptides, etc), as well as modern industrial drug manufacturing, and most modern methodology and natural product synthesis research (including some of Baran's own work). Certainly, there will be better ways to do things down the road, but that does not deny the status quo and important history of the concept and practice.

Hence, on the whole, the scope and perspective are so far lacking that the present article does more harm than good. I would therefore recommend the current contributors give it a hard weekend of work, or pull it. An interim one paragraph citing Green and Wuts and Kocienski would due until a proper treatment can be prepared.

Apologies at the directness of this statement, but others of adequate training have either not read it, or not cared enough to comment. M-ED (Prof) —Preceding unsigned comment added by Meduban (talk • contribs) 04:56, 23 May 2008 (UTC)

 * Even taken to an extreme of "It's horribly written, mis-emphasizes minor points, omits major ideas, doesn't cite lead works", that's not a valid reason to delete it until there is something better to replace it. If there's a minor addition that would be a big help, thanks for making them! If the page would be better rewritten from scratch, that can be done and then the existing page replaced when the new one is ready. If there are specific paragraphs that need overhaul, let's work them out. But I strongly disagree with "no information is better than poorly written mis-focused information that doesn't do justice to subject and isn't well-targetted to the audience." DMacks (talk) 05:30, 3 June 2008 (UTC)

Tosyl
I thought that Tosyl is a protecting group for alcohols, not amines. The page for the chemical itself seems to agree. Tomásdearg92 (talk) 22:21, 16 April 2013 (UTC)
 * N–Ts is a standard one. I added a comment with ref to the tosyl article. DMacks (talk) 01:37, 17 April 2013 (UTC)
 * Ah, thank you. You learn something new every day! Tomásdearg92 (talk) 02:35, 17 April 2013 (UTC)

title: Talk:Protecting group


text: Category:Nihilism Records albums

title: Category:Nihilism Records albums


text:
Talk:Anton Gustafsson tolkar Iron Maiden

Cover image
The orangeish cover image currently used in article is probably cover image of the Lunacy Records version. The Nihilism Records cover image can be found at http://www.coolbeans.com/catalog/images/anton.jpg --Easyas12c 20:27, 19 August 2005 (UTC)


text:
Dustin Brooks

Dustin Brooks is a character of two TV series:

 * Dustin Brooks (Power Rangers Ninja Storm) from Power Rangers Ninja Storm.
 * Dustin Brooks (Zoey 101) from Zoey 101.

title: Dustin Brooks


text:
Talk:Sânnicolau Mare

See some page history at Sânicolau Mare

From historical perspective it would be inaccurate to refer to Nagy Szent Miklos (also Nagyszentmiklós) and treasure, as linked to Sânnicolau Mare (its contemporary counterpart in Romania).

The name Nagy Szent Miklos is Hungarian, and given much earlier (see dates in the article) and as such linked unequivocally by archeologists to the find.

A demographic description of Sânnicolau Mare might be needed, however, one needs to remain truthful to history as recorded. I looked at the 'Wikipedia:Merging and moving page' - it is true there is little oerlap, however there are differences. Perhaps, I should rename it to: Treasure of Nagy Szent Miklos (I already made the redirect)?!?!

The 'Historical Background' as presented in 'Nagy Szent Miklos' is perhaps too long, and could be abridged (a matter of further editing).

Let me know what is your responsibility and primary duties, and how they relate to 'merger of pages' strategy? If you are primary responsible for 'mergers' - you can do it. I still prefer to preserve the connection to the archeological find (treasure) as well its original name as primary in this case.

Thank you for your suggestion! Let me know what do you think?

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title: Talk:Sânnicolau Mare


text:
Talk:Owen Tudor

Name
There is no such thing as "Owen Tudor"! His name was Owen ap Tudor, ie Owen son of Tudor. The Wealsh didn't adopt last names until Henry VIII forced them to. DelftUser 14:29, 2005 July 14 (UTC)
 * Maybe we should change it then? Do you have a citation, I wouldn't want to change it if it was wrong, though I do agree with you. Souldn't it be Owain ap Tudor.

I did look into it further and found that he was known as Owen Tudor from 1500 onward, thus I think it should stay with a paragraph explaining that this name is historical and not actual. --DelftUser 14:17, 22 September 2005 (UTC)

So a little checking and we are both wrong!!! According to my copy of Owain Glyn Dŵr & the War of Independence in the Welsh Borders (Geoffery Hodges, Logaston Press 1995: ISBN 1873827245), Owen was the son of Maredudd ap Tudur of Anglesey. His mother is given as either the sister or cousin of Elen, Owain Glyn Dŵr's mother; I don't know how his mother's ancestry here squares with the book. It seems to me to be unlikely that the sister of Owain Glyn Dŵr's mother could have been of child bearing age in 1400, Owain Glyn Dŵr was born between 1356 and 1359. It may be that the author of the book is wrong because Owen's father, Maredudd, is also given as Owain Glyn Dŵr's maternal cousin. Be that as it may, Owen's father seems to be Maredudd. So he would be Owen ap Maredudd, not Owen ap Tudur. At best he would be Owen ap Maredudd ap Tudur (google gives quite a few hits for him using this name). It also says in the book that it was Owen who changed the spelling to Tudor from Tudur. So maybe he took his grandfather’s given name as a family name? Did you find out what he is called before 1500? He was probably Owain ap Meredudd ap Tudur in Wales. The question really is did he take it as a surname when he changed Tudur to Tudor? I can't find any information about the name Owen Tudor only being used after 1500, do you remember your source? Wikipedia policy is sketchy on this sort of point. Probably it would be best to use the name for which he is best know, and mention his Welsh name in the article. My guess is that it was Owen who started to use Tudor as a family name rather than a given name, maybe he anglicised Owain to Owen at the same time?Alun 16:59, 22 September 2005 (UTC)

 * The book: The Wars of the Roses: And the Lives of Five Men and Women in the Fifteenth Century by Desmond Seward lists him, in the family trees, as: Owen ap Maredudd ap Tudur (Owen Tudor). I now that the Welsh had to use family names in the reign of Henry VIII (they were forced!), maybe from that time he became known as Owen Tudor, but I don't really know. You seem to know much more than me on this subject, but my opinion is to keep the page name as it is. --DelftUser 20:20, 22 September 2005 (UTC)
 * I think understand what you are saying, but I am wondering if a Welsh nobleman who was married to/living with the Dowager Queen, and who had dynastic aspirations in the English court, might have found it to his advantage to anglicise his name by both changing the spelling (and probably pronunciation) and giving himself an English style surname. No coersion would be necessary for someone in Owain/Owen's position. The different names for him in your source might just be due to the differences between Welsh and English sources. I have no evidence for this, but it could explain why he might have been happy to change his name.Alun 08:06, 24 September 2005 (UTC)
 * I don't know how reliable this source is, but at least it's a citation!!

One more thing; our Owain ap Maredudd ap Tudur decided to adopt an English style surname. The obvious choice would have been for him to have anglicised his patronymic and become 'Owain Maredudd' or 'Meredith', as indeed did many subsequent 'ap Maredudds'. But for reasons only known to himself, Owain rejected this option and selected his grandfather's name 'Tudur' and therefore became 'Owen Tudor'.

Alun 09:56, 24 September 2005 (UTC)

 * The convention for names is here Naming conventions. It sais this: Convention: Use the most common name of a person or thing that does not conflict with the names of other people or things. So Owen Tudor is correct for the title.Alun 15:45, 24 September 2005 (UTC)

Etymology
The structure of the names at the time was 'given-name' son of 'father's name'. The given name was given with a purpose, it wasn't just a bunch of sounds. In other words, it had a meaning. Does any Welsh speaking person know what Tudur means? — Preceding unsigned comment added by 192.102.250.181 (talk) 03:04, 30 August 2011 (UTC)

No citations or Bibliography
This article has no citations or bibliography. Can we have some please?Alun 15:45, 24 September 2005 (UTC)

Standard Welsh spelling please
Another thing, what's with the verch stuff? My Welsh may be rusty as it's 20 years since I left school (Ysgol Gyfun Llanhari, Morgannwg Ganol), but it is surely ferch. Actually merch mutated to ferch. If you are going to start using non-standard Welsh spellings then surely Ednyfed Fychan should become Ednyved Vychan, which just looks silly (as does verch to a Welsh speaker).Alun 06:00, 22 September 2005 (UTC)

I think it was standard at the time maybe? 128.232.244.209 (talk) 11:15, 12 December 2008 (UTC)

Yes verch often written as vz would have been the contemporary spelling

Marriage
While no documentation of Owen and Catherine's marriage survives, nobody at the time, even people hostile to them, disputed that they were married. Surely we can thus take it as read that they were? Jess Cully 14:47, 15 July 2007 (UTC)

I must respectfully disagree. At least one historian, Thomas B. Costain in his work The Last Plantagenets notes that our view of this period is shaped heavily by Tudor era historians bent on legitimizing the Tudor dynasty, and that the marriage of Owen and Catherine is a crucial link in the argument for legitimization. Costain suggests that the two simply "lived in sin," and as the relationship kept Catherine out of the spotlight, the powers that be turned a blind eye. Further, Costain argues the Act of 1427 regararding the remarriage of dowager queens was enacted specifically to prevent Catherine from marrying Owen. Therefore, while I do not argue that Owen and Catherine were definitely not married, I believe the question is an open one, absent contemporary evidence otherwise. (Remember, too, that advocates of the "not married" position have the difficult task of attempting to prove a negative.) Jim Simmons (talk) 14:56, 15 December 2008 (UTC)

Actually,the 1427 act prohibits anyone from marrying the Dowager Queen without the express permission of the regents. There is a subtle difference there. Could either King, Parliament, the King in Parliament, the Regents or any other temporal power in 1427 prohibit a priest from officiating at a sacrament when otherwise valid under Canon Law? Perhaps a better way to phrase the question would be, "Could any temporal authority in England in 1427 invalidate a sacrament properly performed by a duly ordained priest?" I think the answer is that while King or Parliament could make the act, or participation in the act, illegal, they couldn't invalidate the rite itself. Well, upon Catherine's death, Tudor was, through the regent Humphrey of Glouchester, summoned to appear before Henry VI for "laying with the late Queen Dowager." Tudor, accompanied by his chaplain, took refuge in Westminster Abbey until certain guarantees could be given him. I very much doubt that he would have been so received if he hadn't been a communicant. That, I think, is prima facie evidence that the couple underwent some form of Roman rite. Still, there is no record of it. Given that such a marriage was prohibited by Act of Parliament, recording it might be regarded as misprison of treason. Now, whether the marriage was valid under English law, given the Act of Parliament, is entirely another matter. Still, was it voidable or nulio ab initio? Of course, the marriage itself might have been adjudicated vailid while Owen Tudor was a felon for having entered into it. Then, in due course, Henry VI went on record stating that there was no reason to legitimize his Tudor half-siblings. This would seem to estop any future claim that they weren't legitimate.If the King can legitimize, as Richard II did the Beauforts (Henry VII's maternal family), then would not a proclamation by the King that no legitimization is necessary de facto remove all question? (i.e., " I would, but for the fact that they are legitimate, legitimize them."). Then, since Edmund and Jasper, upon their creation as earls, ranked above Marquesses and below non-royal dukes they appear to have been an odd class of quasi-royal earls.Then, when Henry VI married Edmund to his kinswoman from a legitimized line of Lancasterian Plantagenets, he appears to have underlined his legitimacy. —Preceding unsigned comment added by 74.173.26.64 (talk) 18:11, 26 March 2010 (UTC)

Year of birth
The article states he was born around 1385, yet he is in the 1400 births category. Does anyone know his actual year of birth?
 * The above is undated. As of 1/19/19, the first line of the article states 1400 and the infobox says 1392. Let's at least get consistency WITHIN the article.Toyokuni3 (talk) 21:34, 19 January 2019 (UTC)
 * , thanks for bringing this up. Not having time for real research, I did some poking around Google Scholar and Books and came up with nothing other than circa 1400 for his birth, so I nixed the unreferenced 1392 for now. Eric talk 03:21, 20 January 2019 (UTC)
 * I am certainly no medievalist, and couldn't in all honesty tell you what brought me to this page. It just bothers me to see things like this that give ammunition to Wikipedia's critics.

I do, however, have one book on my shelf on British history, Norman Davies' (good Welsh name, that) 1999 work, 'The Isles'. It also gives only ca. 1400.Toyokuni3 (talk) 19:15, 20 January 2019 (UTC)

Offspring
According to "The Tudors: History of a Dynasty" by David Loades, Edmund was Owain's eldest son followed by Jasper and a third son, David who became a monk. This disputes the number stated in this articles. I tried to look up the source for this information but could not access it. I presume that a respected author such as David Loades, a renowned specialist on the Tudors would be a more reliable source on this subject.

Descendants
It is mentioned that Queen Elizabeth II is a descendant of Owen Tudor. I thought the house of Tudor ended with Queen Elizabeth I? And the current Queen is of the House of Windsor, previously the house of Saxe-Coburg and Gotha - a German house. Can anyone enlighten me on this issue?218.103.142.53 (talk) 20:47, 7 November 2009 (UTC)

My only authority is Churchill, "History of the English Speaking People, V. II," who states that both Owen and Catherine de Valois were born in 1400. —Preceding unsigned comment added by 74.173.26.64 (talk) 02:17, 6 March 2010 (UTC)

Yes. Margaret Tudor, a daughter of Henry VII, and thus a great-granddaughter of Owen Tudor and Margaret de Valois, married King James V of Scotland. Their only issue was Mary Queen of Scots. When the Tudor line became extinct on Elizabeth's death, Mary's son, King James VI of Scotland, became King James I of England.The Stuarts became extinct with Queen Anne. George I, previously Duke of Hanover, Anne's second cousin once removed and a great-great-grandson of James I, succeeded her. The last monarch of the Hanover line was Victoria. She married Albert of Saxe-Coburg-Gotha. During WWI, George V, for political reasons, changed his name to "Windsor." (Another "German gentleman," his first cousin, the First Sea Lord, Prince Louis of Battenburg, changed his name to Louis Mountbatten, Marquess of Milford Haven).

Those given to sarcasm, and playing devil's advocate, might claim three lines of borderline legitimacy for Elizabeth II: Tudor; Beaufort; and Woodville. Certainly, there are more since William I (the Conqueror) was unquestionably not legitimate.

On the Owen Tudor page it mentions John Beaufort as the man Catherine was planning to marry:

"Queen Catherine, upon being denied permission by her son's regents to wed John Beaufort, Duke of Somerset, allegedly said upon leaving court, "I shall marry a man so basely, yet gently born, that my lord regents may not object.""

On the Catherine of Valois page it says it was Edmund Beaufort:

"Catherine was still young and might wish to remarry which concerned the Protector, the king's uncle, Humphrey, Duke of Gloucester. Rumours abounded that Catherine planned to marry Edmund Beaufort, Count of Mortain, her late husband's cousin."

Did she intend to marry both of them? —Preceding unsigned comment added by 78.149.105.23 (talk) 21:39, 15 February 2011 (UTC)

Inconsistent with the Catherine of Valois page
On the Owen Tudor page it mentions John Beaufort as the man Catherine was planning to marry:

"Queen Catherine, upon being denied permission by her son's regents to wed John Beaufort, Duke of Somerset, allegedly said upon leaving court, "I shall marry a man so basely, yet gently born, that my lord regents may not object.""

On the Catherine of Valois page it says it was Edmund Beaufort:

"Catherine was still young and might wish to remarry which concerned the Protector, the king's uncle, Humphrey, Duke of Gloucester. Rumours abounded that Catherine planned to marry Edmund Beaufort, Count of Mortain, her late husband's cousin."

Did she intend to marry both of them? That seems unlikely. —Preceding unsigned comment added by 78.149.105.23 (talk) 21:41, 15 February 2011 (UTC)

The reference to John Beaufort should be changed: it was Edmund Beaufort that Catherine allegedly wished to marry (and sources should be provided for this and all the other information in this article). John Beaufort was a prisoner in France between 1421 and 1438 so it is very unlikely that Catherine would have had any prospect of marrying him.

Also what is the source for Owen Tudor being a page at Henry IV's court? This is not a suggestion I have seen before and really needs to be backed up by reference to a reliable source. — Preceding unsigned comment added by Welys (talk • contribs) 13:24, 22 March 2011 (UTC)

Why jailed?
'Within six months of Queen Catherine's death in January 1437, Owen Tudor was imprisoned at Newgate Prison, but he managed to escape.'
 * Doesn't say anything about reasons for imprisonment. Valetude (talk) 16:20, 23 May 2014 (UTC)

Explanation of Tewdwr / Tudur
I think, the meaning of Welsh "Tewdwr / Tudur" should be explained in this article. It should also be explained why the spelling in Welsh changes between "Tewdwr" and "Tudur", given the two variants are pronounced quite differently.

Wiktionary (Tudor) explains the name as a Welsh form of the given name "Theodore", whereas the article Tudor dynasty states that "Tewdur or Tudor is derived from the words tud "territory" and rhi "king".

Which explanation is the correct one?

I personally favour the explanation provided by Wiktionary, since the patronymic name "ap Tudur" i.e. "son of Theodore" implies that Tudur is a given name.--Td222 (talk) 19:57, 17 October 2014 (UTC)

Improvements
I have done some updating to address the lack of citations - will refer to Biography project for reevaluation. Norfolkbigfish (talk) 14:20, 26 May 2015 (UTC)

Could the quotations in the death section be either paraphrased or repeated in standard English? Some dyslexic or non-native readers might find the early modern(?) English difficult to understand. Dangerscott (talk) 18:03, 25 September 2022 (UTC)

title: Talk:Owen Tudor


text:
It's Almost Tomorrow

"It's Almost Tomorrow" is a 1955 popular song with music by Gene Adkinson and lyrics by Wade Buff. The song was actually written in 1953, when Adkinson and Buff were in high school. Hit versions were released in 1955 by The Dream Weavers, Jo Stafford, David Carroll, and Snooky Lanson.

The song reached No. 6 on the Cash Box Top 50, in a tandem ranking of The Dream Weavers, Jo Stafford, David Carroll, Snooky Lanson, and Lawrence Welk's versions, with The Dream Weavers and Jo Stafford's versions marked as bestsellers, while reaching No. 4 on Cash Box's chart of "The Nation's Top Ten Juke Box Tunes", in the same tandem ranking. The song also reached No. 4 on Billboard's Honor Roll of Hits, with The Dream Weavers and Jo Stafford's versions listed as best sellers.

The song was ranked No. 36 on Billboard's ranking of "1956's Top Tunes", based on the Honor Roll of Hits.

The Dream Weavers version
The Dream Weavers, a singing group including writers Adkinson and Buff, recorded the most successful version of the song for Decca Records (catalog number 29683). Their version first charted in Billboard on November 12, 1955, and reached No. 7 on Billboards chart of Most Played in Juke Boxes, No. 8 on Billboards Top 100, No. 8 on Billboards chart of Best Sellers in Stores, No. 10 on Billboards chart of Most Played by Jockeys, and No. 9 on Cash Box's chart of "The Ten Records Disk Jockeys Played Most This Week". The Dream Weavers' version also reached No. 1 on the UK's New Musical Express chart.

Jo Stafford version
Jo Stafford also released a hit version of the song in 1955 (Columbia Records catalog number 40595). Stafford's version reached No. 14 on Billboards chart of Most Played in Juke Boxes, No. 19 on Billboards Top 100, No. 25 on Billboards chart of Best Sellers in Stores, and No. 20 on Billboards chart of Most Played by Jockeys.

Other versions
Snooky Lanson released a version of the song in 1955, which reached No. 20 on Billboards Top 100, No. 20 on Billboards chart of Most Played in Juke Boxes, and No. 20 on Billboard's chart of Most Played by Jockeys.

David Carroll released a version of the song in 1955, with vocals by the Jack Halloran Singers. Carroll's version reached No. 20 on Billboards chart of Most Played by Jockeys, and No. 34 on Billboards Top 100.

In the UK, the song was covered by Eve Boswell in March 1956 on Parlophone	MSP 6220 and later, Mark Wynter in November 1963. That was released by Pye Records as catalogue number 7N15577. His cover version peaked at No. 12 on the UK's Record Retailer chart.

Ronnie Dove recorded the song for his One Kiss for Old Times' Sake album for Diamond Records in 1965.

Jimmy Velvet released a version in 1965, which reached No. 93 on the Billboard Hot 100 chart and No. 29 on Billboard's Easy Listening chart.

title: It's Almost Tomorrow


text:
LeVeque Tower

The LeVeque Tower is a 47-story skyscraper in Downtown Columbus, Ohio. At 555 ft it was the tallest building in the city from its completion in 1927 to 1974, and remains the second-tallest today.

Designed by C. Howard Crane, the 353,768 sqft Art Deco skyscraper was opened as the American Insurance Union Citadel in 1927 and at the time was the fifth tallest building in the world. Built at a cost of $8.7 million, the tower's design incorporates ornate ornamentation and a terracotta facade, and it was designed with 600 hotel rooms in two wings as well as an attached performance venue, the Palace Theatre. After the American Insurance Union went bankrupt in the Great Depression, the tower was renamed the Lincoln-LeVeque Tower in 1946, and later the LeVeque Tower in 1977.

The tower's office space saw mixed success in attracting tenants during its early history, but it became home to a number of state agencies and law firms. As development of Downtown Columbus peaked beginning in the 1960s and several other high rise buildings were constructed, the tower faced increasing competition from other major office buildings and its vacancy rates rose. Over the course of its history, the tower changed hands several times before being sold to a group of real estate investors in 2011. The current owners subsequently converted it into a mixed-use development, including a hotel, apartments, condominiums, offices and a restaurant, which opened in 2017.

Design and construction
What would become the LeVeque Tower was commissioned by the American Insurance Union, a group formed in 1894 as a "fraternal insurance company, secret society and social club" by John J. Lentz, who would later become a U.S. Representative, and who served as president of the organization. Originally named the American Insurance Union Citadel, the tower was to be the headquarters for the organization and would replace a smaller building it owned on the corner of Broad Street and Front Street in Downtown Columbus, a short distance from the Scioto River. The tower was designed by Detroit, Michigan-based architect C. Howard Crane, known for grandiose designs. Its construction took place during the first wave of modern skyscraper development in the United States.

The original plan for the tower was to have three principal components: a 47-story tower flanked by a pair of 18-story wings, with a total rentable area of 353,768 sqft; the 2,827-seat Keith-Albee Theater (later renamed the Palace Theatre); and the 600-room Deshler-Wallick Hotel. It was to measure 188 ft along both Broad and Front streets, with 44 floors of occupied space, and three additional floors helping it reach 555 ft in height. This intentionally set the building 5 in taller than the Washington Monument.

Designed in the Art Deco or Art Moderne style, the building took inspiration from Byzantine architecture, particularly religious buildings constructed in the 4th through 13th centuries. Initially, Crane considered stone for the building's exterior but later decided on cream-colored terracotta despite concerns its blocks would be small and prone to warping. The design featured a large number of figures situated 495 ft and higher along the building's façade and around its pinnacle, including eagles with wingspans up to 22 ft and giants and angels up to 26 ft tall. Some of these were later removed after concerns about falling materials and to obtain unobstructed penthouse views. An octagonal bartizan was designed at the top of the building with long, narrow loop windows, and it was topped by a dome with heraldic imagery. Inside, the building contained marble imported from Italy and Belgium, and public spaces were decorated with bronze and mosaics. The building lobby was designed with a marble floor with a bronze plaque containing the building's horoscope and which shows the positions of the planets at the time that the building's cornerstone was laid. Following completion, the building was lit at night to accentuate its architectural features, and its four turrets were also lit with floodlights to make a landmark for aviators, which at times made it visible for up to 20 mi as a navigational aide. The top of the tower was also designed to accommodate mooring for zeppelins. Later, it housed radio antennae.

Elevators serving the building were a "micro self-leveling type," automatically controlled by push buttons and which could travel at 900 ft per minute, which rose to the 41st floor. A shuttle elevator ran from there to the observation deck. Water tanks for fire protection and plumbing were placed on the 23rd and 43rd floors, and the building was also designed with duplicate mechanical systems for redundancy. An executive dining room, termed the Mid-Air Club, was built on the 43rd floor, sponsored by local businessmen and aviation enthusiasts. The 44th floor served as an observation deck that would be open to the public for 25 cents. The floor featured 24 floor-to-ceiling windows as well as an observation balcony on the 46th floor, which would be reachable only by ladder. In all, 60 construction contractor companies were named to build the structure, which cost a total of $7.8 million. Northwestern Terra Cotta Co. of Chicago supplied the materials wrapping the building. The American Insurance Union had a five-story auditorium building at 50 W. Broad St. which was torn down in preparation for the new tower. Colonial Theatre, opened at 1909 at 40 W. Broad St., was also closed and demolished in 1924 to make way for the tower.

At the height of construction, about 650 men would work on the structure at a time. Groundbreaking for the tower took place on September 23, 1924. Excavation commenced after that, with 44 caissons sunk 114 ft into the bedrock for a foundation, through 80 ft of water using air pressure. These tunnels were so deep that specialized crews of "sandhogs", who had gained experience building the Holland Tunnel in New York City, were brought in and the construction site had an on-site hospital and decompression chamber for men suffering from decompression sickness. On January 26, 1925, an accident occurred underground that killed four workers when a toxic gas was accidentally released during the setting of the caissons, overwhelming them and causing them to fall into the foundation. A fifth construction worker was killed later in the building's construction after falling from its steel framing. On February 13, 1926, the AIU Citadel's cornerstone was laid. The building's frame would consist of 10,000 t of steel, and would be wired with 100 mi of electrical wire, 137,000 ft of heating pipe for thousands of radiators, 67 electrical motors, 14,000 electrical outlets, and 1,756 windows. Construction of the building took 19 months. It was dedicated on September 21, 1927. When complete, it was the tallest building in Columbus and the fifth tallest building in the world, including being the tallest building between New York City and Chicago. Albert Bushnell Hart, who spoke at the building's dedication, likened the building to the French fortified city Carcassonne.

Art and architecture critics spoke positively about the tower's design. Dudley Crafts Watson, director of Chicago Art Institute, highlighted it as one of five great examples of artistic achievement to come out of Columbus in the 1920s, calling it "the most original and American of skyscrapers" and "just an honest piece of magnificent construction." Writing in 1932 in the book Ohio Art and Artists, Edna Clarke called the building "a milestone in the growth of the city ... it signalizes the transformation from a large overgrown country town into a city. It stands out against the skyline so sharply it can't be ignored." Architectural Forum called it "splendid" and "impressive." The tower quickly became a symbol synonymous with Columbus and one of the city's most well-recognized landmarks. It was the first landmark that was easily visible from around the city.

The building's construction coincided with a rebuilding of the Columbus riverfront and creation of the Columbus Civic Center along the Scioto River following the Great Flood of 1913. In the 1920s and 1930s, the city saw a new Columbus City Hall built across the street, along with a new headquarters for the Columbus Police Department, a federal building and courthouse, and a state office building.

Lighting
Floodlights were first installed on the LeVeque Tower in 1989, illuminating its top floors with white light from evening into the night. Later, the owners had theatrical gels installed to add colored lights as an option. During the building's 2012-17 restoration, the floodlights were replaced with computer-controlled LED lights to save on energy usage and allow for a wider array of color options. The new lights, ranging from 6-inch lights to 3-square-foot arrays, allow for 256 million color combinations. The building is now lit for events about six to eight times per year, including pink for the Susan G. Komen for the Cure breast cancer organization in April and May; rainbow colors during the Columbus Pride weekend in June; red, white, and blue for the Fourth of July; purple for Purple Heart recognition in August; teal for ovarian cancer awareness in September; and red and green during the Christmas and holiday season.

Changing function and ownership
After the tower's completion, the American Insurance Union occupied floors 19 and 20, with the remainder of the space available for rent to other office users. The construction of the building saw several significant cost overruns, prompting the American Insurance Union to dip into its monetary reserves to pay for the tower. Financial problems soon arose for the company, as the tower cost $800,000 more than its budget allowed for, and not all of the office space in the building filled up quickly.

The tower immediately became important to radio broadcasting in the city, which was increasing in prominence in the late 1920s. The building was an ideal height for broadcasting and there were no mountains or other intervening structures around Central Ohio to disrupt radio signals broadcast from antennae at the tower's apex. The tower thus became home to a number of radio stations, including WAIU. Lentz had purchased WAIU in 1925 to serve as a platform for his progressive views. Moving into the tower allowed WAIU to increase its broadcasting power to 5,000 watts. By the 1980's, WCOL had a broadcast room atop the tower.

The American Insurance Union failed during the Great Depression, and it was reorganized as the American Insurance Union Inc. in 1931. The entity survived until 1934 when it went into receivership, and then ceased to exist. During this time, the tower was known pejoratively as the "IOU Tower" given the financial difficulties of its owner. After the company went bankrupt, the group marketed the building in order to pay off unpaid policies. It ultimately sold to Leslie LeVeque and John Lincoln in 1945 and was renamed the LeVeque-Lincoln Tower. LeVeque was a local real estate investor, and after his death, his son Fred LeVeque and his wife, Katherine LeVeque, became prominent figures in the Columbus community.

Competition
The tower dominated the Columbus skyline, which did not see significant high-rise construction until the 1960s, though there was at least one major attempt to build another high-rise in the city in 1953. The Lincoln-LeVeque Tower was the only building in Columbus taller than 300 ft until 1962. As a number of other major commercial ventures like the Huntington National Bank and American Electric Power flourished in the city, its urban core saw construction of new high-rises to suit them. The building remained the tallest structure in Columbus until the Rhodes State Office Tower was completed in 1974. The Lincoln-LeVeque Tower was added to the National Register of Historic Places in 1975. Around 1975, Fred LeVeque bought the Palace Theatre and was killed in an airplane crash in January of that year, leaving Katherine LeVeque president of the company's prominent Columbus real estate group, LeVeque Enterprises. Columbus' downtown office market saw some issues with high vacancy rates, but the tower itself retained higher-than-average occupancy rates.

Katherine LeVeque took complete control of the building through a trust in 1977. That year, the name was officially changed to the LeVeque Tower. It faced increasing competition from other office buildings being constructed in Downtown Columbus in the 1980s, and LeVeque put $18 million into renovations to keep the historic tower competitive with newer and more modern office space, including an entirely new HVAC system, energy efficiency upgrades, and updates to the bathrooms and public areas of the building. In 1984, the opening of Huntington Center, Capitol Square and One Columbus Center put 2,000,000 sqft of new office space on the market in Downtown Columbus.

The State of Ohio was a major tenant in the building for a significant part of its history. The Ohio Department of Job and Family Services leased nearly 20 percent of the building until it moved in 2003, and the Ohio Department of Aging was a major tenant as well. Additionally, a number of law firms and private financial services entities leased space in the building. The loss of the major state organizations in the tower significantly hurt the building's ability to pay for its mortgage, and in 2004, an affiliate of Miami-based LNR Property Corp. took control of the tower, which was then valued at $22 million. LeVeque turned the building over to the new ownership group in lieu of a foreclosure on a $16.2 million mortgage on the building, and at this point it was about a third empty. She had previously engaged an architect on a proposal to convert part of the building to residential use, but it was deemed not financially feasible at the time.

In 2005, the building was sold again to Finsilver/Friedman Management Corp. for $8.5 million. At the time of the sale, the building remained about a third empty. The new building owner committed to substantial upgrades to the tower to keep it competitive. The renovations helped it land some smaller tenants in the office space. Leasing there, though, remained poor and by 2009 its office space was still about a third empty, in spite of the change of leasing teams several times.

2012 renovation
In 2011, the tower was purchased by Tower 10 LLC, a joint venture of Columbus real estate investors including Bob Meyers, Don Casto and Michael Schiff, for $4 million. By that point, the office building's vacancy rate had risen to 43 percent. The partners planned a $22 million project to fix cracked terracotta on the tower and convert it from an office building to a hotel and residential structure. In 2012, the owners announced the renovation would cost $26.7 million, including $5 million in tax credits from the State of Ohio for the renovation.

The renovation project, completed in 2017, saw extensive work to repair the building's terracotta facade and modernize its interior. LeVeque Tower was redesigned as a mixed use development, with floors 5 to 10 of the building converted into a 150-room boutique hotel, the Hotel LeVeque under Marriott International's Autograph Collection brand, and with some event space. Floors 3, 4, and 11-18 were renovated as 160,000 square feet of office space, while the remaining 19 floors were converted into upscale residential units, a mix of 68 apartments and 12 condominiums, with two penthouse units on the top floors. A restaurant, The Keep, was opened by Illinois-based First Hospitality Group Inc. on the second floor.

In recent years, the building's third floor has held a U.S. Immigration and Customs Enforcement (ICE) office and detention center. The center has been the subject of numerous protests against unfair treatment of undocumented immigrants.

Deshler Hotel

The building's two wings were used as an extra 600 rooms for the Deshler Hotel, which had been built at the northwest corner of Broad and High streets. Announced in 1912 and opened in 1916, the hotel already had 400 rooms, intended to rival the other luxury hotels of the world. The hotel was later leased by Lew and Adrian Wallick, hoteliers from Ohio and New York. Called the Deshler-Wallick Hotel by the time the LeVeque tower opened, the 600 rooms were accessible by a "venetian bridge" linking the two buildings on the second floor. New York Mayor Jimmy Walker, who attended the opening, tried and nearly succeeded in having a ceremonial sip of wine in each of the 600 hotel rooms. The hotel would later host President Harry S. Truman in 1946 during a meeting of the Federal Council of Churches of Christ. He and Bess Truman would later stay at the hotel again in 1953. In 1947 the hotel sold to Julius Epstein of Chicago, apparently for $2 million, who again sold it five years later to the Hilton Hotels chain, which renamed the hotel the Deshler-Hilton. In 1964 it was sold to a company owned by Charles Cole who renamed it the Deshler-Cole. Cole eliminated the 600 rooms located inside LeVeque Tower and invested $2 million to remodel the hotel. The hotel rooms in the building's wings having been eliminated, the "venetian bridge" was demolished. The building was sold a final time to Fred Beasley in 1966 and renamed the Deshler-Beasley before being closed in 1968 and demolished in 1969. Today the site is the home of the One Columbus Center, a tower developed in part by LeVeque Enterprises.

Palace Theatre
Palace Theatre, at 34 W. Broad St., opened November 8, 1926 as a vaudeville house under the Keith-Albee name. A number of famous performers would appear there, some before their careers took off. Among them were Bing Crosby, George Burns, Gracie Allen, Gypsy Rose Lee, Jack Benny, Tom Mix, Jackie Gleason, The Three Stooges, Eddie Cantor and Mae West, who performed in March 1938 and broke all its previous attendance records. It hosted a number of bands in the 1940s, including Duke Ellington, Tommy Dorsey, Glenn Miller, Louis Armstrong, Count Basie, Guy Lombardo, Benny Goodman and Lionel Hampton. The theatre hosted the world premiere of The Male Animal on March 12, 1942, which was attended by Henry Fonda, Olivia de Havilland, James Thurber and Joan Leslie.

Closing in 1975, the property fell vacant and was proposed for demolition in order for a parking lot to be constructed. In 1980, the theatre was renovated and restored by Katherine LeVeque using her personal funds, and began hosting a new set of acts. Among these, it brought in Red Skelton, Sammy Davis, Jr., Mickey Rooney, Tom Jones, Natalie Cole, Judy Collins and Tony Bennett. The venue has come to host Broadway theatre acts. Palace Theatre remains in operation with a main 2,827-seat auditorium, designed as a vaudeville house and movie theater. It was acquired by the Columbus Association for the Performing Arts in 1989.

While the LeVeque Tower was designed by Detroit architect C. Howard Crane, who was noted for designing over 250 theatres across North America, the Palace Theatre within the LeVeque Tower was designed by another leading theatre architect, Thomas W. Lamb. Lamb was the preferred architect of the Keith Albee theatre chain.

title: LeVeque Tower