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Talk:Corner case

Edge case and boundary case
Surely an edge case is n-1 parameters at a limit, a couner case all n, and a face case n-2. Rich Farmbrough 22:26, 16 July 2005 (UTC)

 * That depends on how you define "face", "edge", and "corner" on, say, an 87 dimensional hypercube. A face would most likely be any axis maxed out (since that would result in a point on the hypersurface), and all axes maxed out is definately a corner, but edges in hyperspace are hard to define.  I'd probably go with everything from [2..n-1] axes maxed out as an edge--some are just "edgier" than others...  scot 21:23, 29 July 2005 (UTC)

Regarding the question of whether to merge with Boundary_case, I note that page self-identifies as being specific to software engineering, whereas "corner case" and "edge case" are broadly applicable to other engineering disciplines. --Sukoshisumo (talk) 14:56, 25 March 2008 (UTC)

 * Regarding the merge suggestion, while I think that these terms can be used in similar manners in certain instances but they are not synonymous. The current handling is more preferable to me (presented as standard related pages). -- Gerk —Preceding unsigned comment added by 99.232.165.241 (talk • contribs) 19:56, 30 April 2008

 * Ditto on the not-merge, they are related but separate concepts. Good use of see-also and cross-mentions are wise.  Regarding the etymology, it seems plainly obvious that a corner is where multiple edges converge, in any set of dimensions n>1.   75.69.95.182 (talk) 18:14, 11 October 2009 (UTC)

 * Merging with boundary case was proposed on 2007-05-12 and rejected on 2008-06-10. Merging with edge case was proposed on 2008-07-30. Since did not offer a rationale for the proposal and there seems to be no consensus in favour of it, I'm cleaning up the tags for this proposal as well. —LX (talk, contribs) 21:45, 16 December 2009 (UTC)

Relevant for this discussdion: http://programmers.stackexchange.com/questions/125587/what-are-the-difference-between-an-edge-case-a-corner-case-a-base-case-and-a-b Kjetil B Halvorsen 09:56, 15 August 2014 (UTC) — Preceding unsigned comment added by Kjetil1001 (talk • contribs)

Tails case
Has anyone ever heard the term "tails case"? I've heard it used and thought it meant this, but I googled it just now and it does not appear to be widely in use. 13.8.137.11 (talk) 17:35, 4 November 2009 (UTC)

Circular Reference
The Stack Exchange reference listed for this article references this article. That seems like it should be a no no. Ender8282 (talk) 18:13, 10 January 2019 (UTC)
 * Agreed. I've tagged it. Do you have any sources? I'm sure that Kaner has some. Walter Görlitz (talk) 18:56, 10 January 2019 (UTC)

title: Talk:Corner case


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Cinnamomum tamala

Cinnamomum tamala, Indian bay leaf, also known as tejpat, tejapatta, Malabar leaf, Indian bark, Indian cassia, or malabathrum, is a tree in the family Lauraceae that is native to India, Bangladesh, Nepal, Bhutan, and China. It can grow up to 20 m tall. Its leaves have a clove-like aroma with a hint of peppery taste; they are used for culinary and medicinal purposes. It is thought to have been one of the major sources of the medicinal plant leaves known in classic and medieval times as malabathrum (or malobathrum).

Characteristics
The leaves, known as tējapattā or tejpatta (तेजपत्ता) in Hindi, tejpat (तेजपात/তেজপাত) in Nepali, Maithili and Assamese, tejpata (তেজপাতা) in Bengali, vazhanayila/edanayila (വഴനയില/എടനഇല) in Malayalam, kadu dhalchini (kn:ಕಾಡು ದಾಲ್ಚಿನ್ನಿ) in Kannada, and tamalpatra (તમલપત્ર) in Gujarati, or तमालपत्र in Marathi and in original Sanskrit, are used extensively in the cuisines of India, Nepal, and Bhutan, particularly in the Mughlai cuisine of North India and Nepal and in tsheringma herbal tea in Bhutan. They are called biryani aaku or bagharakku in Telugu.

The Lepcha of Sikkim call them naap saor koong. They are often used in kumbilappam or chakka-ada (ചക്ക അട), an authentic sweet from Kerala, infusing their characteristic flavor to the dumplings. They are often labeled as "Indian bay leaves," or just "bay leaf", causing confusion with the leaf from the bay laurel, a tree of Mediterranean origin in a different genus; the appearance and aroma of the two are quite different. Bay laurel leaves are shorter and light- to medium-green in color, with one large vein down the length of the leaf, while tejpat leaves are about twice as long and wider, usually olive green in color, with three veins down the length of the leaf. There are five types of tejpat leaves and they impart a strong cassia- or cinnamon-like aroma to dishes, while the bay laurel leaf's aroma is more reminiscent of pine and lemon.

Aroma attributes

 * Beta-caryophyllene
 * Linalool
 * Caryophyllene oxide
 * Eugenol

Uses
The bark is sometimes used for cooking, although it is regarded as inferior to true cinnamon or cassia.

Etymology
Malabar had been traditionally used to denote the west coast of Southern India that forms the present-day state of Kerala and adjoining areas. The word mala or malaya means "mountain" in the Tamil and Malayalam languages, as also in Sanskrit. The word "malabathrum" is thought to have been derived from the Sanskrit tamālapattram (तमालपत्त्रम्), literally meaning "dark-tree leaves".

Related species

 * Cassia
 * Cinnamon
 * Saigon cinnamon

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

title: Cinnamomum tamala


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File:Velvet Donkey.jpg

Summary
Cover art for Velvet Donkey by Ivor Cutler

Fair use rationale for Velvet Donkey
This image of a record cover is being linked here; though it is subject to copyright, I believe it meets with Wikipedia's fair use image policy for use in this article because:
 * 1) it is a low-resolution reproduction;
 * 2) it does not limit the copyright owner's rights to sell the album in any way;
 * 3) it does not interfere with the copyright owner's ability to promote the album in any way;
 * 4) it is being used only for informational purposes; and
 * 5) its inclusion adds significantly to the article because it illustrates the article's primary subject matter.--John 20:40, 24 October 2007 (UTC)

title: File:Velvet Donkey.jpg


text:
I Want to Tell You

"I Want to Tell You" is a song by the English rock band the Beatles from their 1966 album Revolver. It was written and sung by George Harrison, the band's lead guitarist. After "Taxman" and "Love You To", it was the third Harrison composition recorded for Revolver. Its inclusion on the LP marked the first time that he was allocated more than two songs on a Beatles album, a reflection of his continued growth as a songwriter beside John Lennon and Paul McCartney.

When writing "I Want to Tell You", Harrison drew inspiration from his experimentation with the hallucinogenic drug LSD. The lyrics address what he later termed "the avalanche of thoughts that are so hard to write down or say or transmit". In combination with the song's philosophical message, Harrison's stuttering guitar riff and the dissonance he employs in the melody reflect the difficulties of achieving meaningful communication. The recording marked the first time that McCartney played his bass guitar part after the band had completed the rhythm track for a song, a technique that became commonplace on the Beatles' subsequent recordings.

Among music critics and Beatles biographers, many writers have admired the group's performance on the track, particularly McCartney's use of Indian-style vocal melisma. Harrison performed "I Want to Tell You" as the opening song throughout his 1991 Japanese tour with Eric Clapton. A version recorded during that tour appears on his Live in Japan album. At the Concert for George tribute in November 2002, a year after Harrison's death, the song was used to open the Western portion of the event, when it was performed by Jeff Lynne. Ted Nugent, the Smithereens, Thea Gilmore and the Melvins are among the other artists who have covered the track.

Background and inspiration
George Harrison wrote "I Want to Tell You" in the early part of 1966, the year in which his songwriting matured in terms of subject matter and productivity. As a secondary composer to John Lennon and Paul McCartney in the Beatles, Harrison began to establish his own musical identity through his absorption in Indian culture, as well as the perspective he gained through his experiences with the hallucinogenic drug LSD. According to author Gary Tillery, the song resulted from a "creative surge" that Harrison experienced at the start of 1966. During the same period, the Beatles had been afforded an unusually long time free of professional commitments due to their decision to turn down A Talent for Loving as their third film for United Artists. Harrison used this time to study the Indian sitar and, like Lennon, to explore philosophical issues in his songwriting while preparing to record the band's next album, Revolver.

In his autobiography, I, Me, Mine, Harrison says that "I Want to Tell You" addresses "the avalanche of thoughts that are so hard to write down or say or transmit". Authors Russell Reising and Jim LeBlanc cite the song, along with "Rain" and "Within You Without You", as an early example of the Beatles abandoning "coy" statements in their lyrics and instead "adopt[ing] an urgent tone, intent on channeling some essential knowledge, the psychological and/or philosophical epiphanies of LSD experience" to their listeners. Writing in The Beatles Anthology, Harrison likened the outlook inspired by his taking the drug to that of "an astronaut on the moon, or in his spaceship, looking back at the Earth. I was looking back to the Earth from my awareness."

Author Robert Rodriguez views the song as reflecting the effects of Harrison's search for increased awareness, in that "the faster and more wide-reaching his thoughts came, the greater the struggle to find the words to express them". As reproduced in I, Me, Mine, Harrison's original lyrics were more direct and personal, compared with the philosophical focus of the completed song. The latter has nevertheless invited interpretation as a standard love song, in which the singer is cautiously entering into a romance. Another interpretation is that the theme of miscommunication was a statement on the Beatles' divergence from their audience, during a time when the group had tired of performing concerts before screaming fans.

Music

"I Want to Tell You" is in the key of A major and in a standard time signature of 4/4. It contains a low-register, descending guitar riff that music journalist Richie Unterberger describes as "circular, full" and "typical of 1966 British mod rock". The riff opens and closes the song and recurs between the verses. Particularly over the introduction, the rests between the riff's syncopated notes create a stammering effect. The metric anomalies suggested by this effect are borne out further in the uneven, eleven-bar length of the verse. The main portion of the song consists of two verses, a bridge (or middle eight), followed by a verse, a second bridge and the final verse.

According to Rodriguez, "I Want to Tell You" is an early example of Harrison "matching the music to the message", as aspects of the song's rhythm, harmony and structure combine to convey the difficulties in achieving meaningful communication. As in his 1965 composition "Think for Yourself", Harrison's choice of chords reflects his interest in harmonic expressivity. The verse opens with a harmonious E-A-B-C#-E melody-note progression over an A major chord, after which the melody begins a harsh ascent with a move to the II7 (B7) chord. Further to the off-kilter quality of the opening riff, musicologist Alan Pollack identifies this chord change as part of the disorientating characteristics of the verses, due to the change occurring midway through the fourth bar, rather than at the start of the measure. The musical and emotional dissonance is then heightened by the use of E7♭9, a chord that Harrison said he happened upon while striving for a sound that adequately conveyed a sense of frustration. With the return to the I chord for the guitar riff, the harmonic progression through the verse suggests what author Ian MacDonald terms "an Oriental variant of the A major scale" that is "more Arabic than Indian".

The middle eight sections present a softer harmonic content relative to the strident progression over the verses. The melody encompasses B minor, diminished and major 7 chords, together with A major. The inner voicings within this chord pattern produce a chromatic descent of notes through each semitone from F♯ to C♯. Musicologist Walter Everett comments on the aptness of the conciliatory lyric "Maybe you'd understand", which closes the second of these sections, as the melody concludes on a perfect authentic cadence, representing in musical terms "a natural emblem for any coming together".

Pollack views the song's outro as partly a reprise of the introduction and partly a departure in the form of "a one-two-three-go! style of fade-out ending". On the Beatles' recording, the group vocals over this section include Indian-style gamaks (performed by McCartney) on the word "time", creating a melisma effect that is also present on Harrison's Revolver track "Love You To" and on Lennon's "Rain". Further to Harrison's drawn-out phrasing over the first line of the verses, this detail demonstrates the composition's subtle Indian influence.

Lyrics
The lyrics to "I Want to Tell You" address problems in communication and the inadequacy of words in conveying genuine emotion. Writing in 1969, author Dave Laing identified "serene desperation" in the song's "attempt at real total contact in any interpersonal context". Author Ian Inglis notes that lines such as "My head is filled with things to say" and "The games begin to drag me down" present in modern-day terms the same concepts regarding interpersonal barriers with which philosophers have struggled since the pre-Socratic period.

MacDonald cites the lyrics to the first bridge – "But if I seem to act unkind / It's only me, it's not my mind / That is confusing things" – as an example of Harrison applying an Eastern philosophical approach to difficulties in communication, by presenting them as "contradictions between different levels of being". In Laing's interpretation, the entities "me" and "my mind" represent, respectively, "individualistic, selfish ego" and "the Buddhist not-self, freed from the anxieties of historical Time". In I, Me, Mine, however, Harrison states that, with hindsight, the order of "me" and "my mind" should be reversed, since: "The mind is the thing that hops about telling us to do this and do that – when what we need is to lose (forget) the mind."

Further to Laing's reading of the song's message, author and critic Tim Riley deems the barriers in communication to be the boundaries imposed by the anxious, Western concept of time, as Harrison instead "seeks healthy exchange and the enlightened possibilities" offered outside such limitations. According to Riley, "the transcendental key" is therefore the song's concluding lines – "I don't mind / I could wait forever, I've got time" – signifying the singer's release from vexation and temporal restrictions.

Recording
Untitled at the time, "I Want to Tell You" was the third Harrison composition that the Beatles recorded for Revolver, although his initial submission for a third contribution was "Isn't It a Pity". It was the first time he had been permitted more than two songs on one of the group's albums. The opportunity came about due to Lennon's inability to write any new material over the previous weeks. Exasperated by Harrison's habit of not titling his compositions, Lennon jokingly named it "Granny Smith Part Friggin' Two" – referring to the working title, derived from the Granny Smith apple, for "Love You To". Following Lennon's remark, Geoff Emerick, the Beatles' recording engineer, named the new song "Laxton's Superb" after another variety of apple.

The Beatles taped the main track, consisting of guitars, piano and drums, at EMI Studios (now Abbey Road Studios) in London. The session took place on 2 June 1966, the day after Harrison met Indian classical musician Ravi Shankar for the first time and secured Shankar's agreement to help him master the sitar. The band recorded five takes of the song before Harrison selected the third of these for further work. After reduction to a single track on the four-track master tape, their performance consisted of Harrison on lead guitar, treated with a Leslie effect, McCartney on piano and Ringo Starr on drums, with Lennon adding tambourine. The group then overdubbed vocals, with McCartney and Lennon singing parallel harmony parts beside Harrison's lead vocal. Further overdubs included maracas, the sound of which Pollack likens to a rattlesnake; additional piano, at the end of the bridge sections and over the E7♭9 chord in the verses; and handclaps.

Created during a period when the Beatles had fully embraced the recording studio as a means of artistic expression, the recording added further to the message behind the song. Like "Eight Days a Week", the completed track begins with a fade-in, a device that in combination with the fadeout, according to Rodriguez, "provided a circular effect, perfectly matching the song's lack of resolution". Everett similarly recognises McCartney's "clumsy finger-tapping impatience" on the piano over the E7♭9 chord as an apt expression of the struggle to articulate.

The final overdub was McCartney's bass guitar part, which he added on 3 June. The process of recording the bass separately from a rhythm track provided greater flexibility when mixing a song, and allowed McCartney to control the harmonic structure of the music by defining chords. As confirmed by the band's recording historian, Mark Lewisohn, "I Want to Tell You" was the first Beatles song to have the bass superimposed onto a dedicated track on the recording. This technique became commonplace in the Beatles' subsequent work. During the 3 June session, the song was temporarily renamed "I Don't Know", which had been Harrison's reply to a question from producer George Martin as to what he wanted to call the track. The eventual title was decided on by 6 June, during a remixing and tape-copying session for the album.

Release and reception
EMI's Parlophone label released Revolver on 5 August 1966, one week before the Beatles began their final North American tour. "I Want to Tell You" was sequenced on side two of the LP between Lennon's song about a New York doctor who administered amphetamine doses to his wealthy patients, "Doctor Robert", and "Got to Get You into My Life", which McCartney said he wrote as "an ode to pot". For the North American version of Revolver, however, Capitol Records omitted "Doctor Robert", together with two other Lennon-written tracks; as a result, the eleven-song US release reinforced the level of contribution from McCartney and from Harrison.

According to Beatles biographer Nicholas Schaffner, Harrison's Revolver compositions – "Taxman", which opened the album, the Indian music-styled "Love You To", and "I Want to Tell You" – established him as a songwriter within the band. Recalling the release in the 2004 edition of The Rolling Stone Album Guide, Rob Sheffield said that Revolver displayed a diversity of emotions and styles ranging from the Beatles' "prettiest music" to "their scariest", among which "I Want to Tell You" represented the band at "their friendliest". Commenting on the unprecedented inclusion of three of his songs on a Beatles album, Harrison told Melody Maker in 1966 that he felt disadvantaged in not having a collaborator, as Lennon and McCartney were to one another. He added: "when you're competing against John and Paul, you have to be very good to even get in the same league."

Melody Maker's album reviewer wrote that "The Beatles' individual personalities are now showing through loud and clear" and he admired the song's combination of guitar and piano motifs and vocal harmonies. In their joint review in Record Mirror, Richard Green found the track "Well-written, produced and sung" and praised the harmony singing, while Peter Jones commented on the effectiveness of the introduction and concluded: "The deliberately off-key sounds in the backing are again very distinctive. Adds something to a toughly romantic number." Maureen Cleave of The Evening Standard expressed surprise that Harrison had written two of the album's best tracks, in "Taxman" and "I Want to Tell You", and described the latter as a "fine love song".

In America, due to the controversy there surrounding Lennon's remark that the Beatles had become more popular than Christianity, the initial reviews of Revolver were relatively lukewarm. While commenting on this phenomenon in September 1966, KRLA Beat's reviewer described "I Want to Tell You" as "unusual, newly-melodic, and interesting" and lamented that, as with songs such as "She Said She Said" and "Yellow Submarine", it was being denied the recognition it deserved.

Retrospective assessment and legacy
Writing in Rolling Stone's Harrison commemorative issue, in January 2002, Mikal Gilmore recognised his incorporation of dissonance on "I Want to Tell You" as having been "revolutionary in popular music" in 1966. Gilmore considered this innovation to be "perhaps more originally creative" than the avant-garde styling that Lennon and McCartney took from Karlheinz Stockhausen, Luciano Berio, Edgar Varese and Igor Stravinsky and incorporated into the Beatles' work over the same period. According to musicologist Dominic Pedler, the E7♭9 chord that Harrison introduced in the song became "one of the most legendary in the entire Beatles catalogue". Speaking in 2001, Harrison said: "I'm really proud of that as I literally invented that chord … John later borrowed it on I Want You (She's So Heavy): [over the line] 'It's driving me mad.'"

In his overview of "I Want to Tell You", Alan Pollack highlights Harrison's descending guitar riff as "one of those all-time great ostinato patterns that sets the tone of the whole song right from the start". Producer and musician Chip Douglas has stated that he based the guitar riff for the Monkees' 1967 hit "Pleasant Valley Sunday" on that of the Beatles' song. Neil Innes of the Bonzo Dog Doo-Dah Band (and later the Rutles) recalls being at Abbey Road Studios while the Beatles were recording "I Want to Tell You" and his band were working on a 1920s vaudeville song titled "My Brother Makes the Noises for the Talkies". Innes said he heard the Beatles playing back "I Want to Tell You" at full volume and appreciated then, in the words of music journalist Robert Fontenot, "just how far out of their league he was, creatively". Innes has since included his recollection of this episode in his stage show.

Among Beatles biographers, Ian MacDonald cites the song as an example of Harrison's standing as "[if] not the most talented then certainly the most thoughtful of the songwriting Beatles". He comments that, in keeping with the lyrics' subtle Hindu-aligned perspective, Harrison's embrace of Indian philosophy "was dominating the social life of the group" a year after its release. Jonathan Gould considers that the track would have been a highlight of any Beatles album before Revolver but, such was the standard of songwriting on their 1966 album, it "gets lost in the shuffle of Lennon and McCartney tunes on side two". Simon Leng writes that, aided by the "fertile harmonic imagination" evident in "I Want to Tell You", Revolver "changed George Harrison's musical identity for good", presenting him in a multitude of roles: "a guitarist, a singer, a world music innovator … [and] a songwriter".

In his review of the song for AllMusic, Richie Unterberger admires its "interesting, idiosyncratic qualities" and the group vocals on the recording, adding that McCartney's singing merits him recognition as "one of the great upper-register male harmony singers in rock". Similarly impressed with McCartney's contribution, Joe Bosso of MusicRadar describes the incorporation of vocal melisma as "an affectionate nod to Harrison's Indian influences" and includes the track among his choice of Harrison's ten best songs from the Beatles era. In a 2009 review of Revolver, Chris Coplan of Consequence of Sound said that Harrison's presence as a third vocalist "fits perfectly in contrast with some of the bigger aspects of the [album's] psychedelic sounds", and added: "In a song like 'I Want To Tell You', the sinister piano and the steady, near-tribal drum line combine effortlessly with his voice to make for a song that is as beautiful as it is emotionally impacting and disturbing."

Other versions
Ted Nugent covered "I Want to Tell You" on his 1979 album State of Shock, a version that Billboard's reviewer said was "probably enough to sell the album". Nugent's recording was also released as a single that year, and later appeared on his 1998 compilation Super Hits. The Lambrettas and Mike Melvoin are among the other artists who have recorded the song. The Grateful Dead included "I Want to Tell You" in their live performances in 1994, before which Jerry Garcia had occasionally performed it live with his long-running solo project, the Jerry Garcia Band.

Although "I Want to Tell You" had been the least well-known of Harrison's three tracks on Revolver, it gained greater renown after he began performing it live in the early 1990s. A live version from his 1991 Japanese tour with Eric Clapton opens Harrison's Live in Japan album, released in 1992. Harrison said that, even before rehearsals, he had chosen "I Want to Tell You" as the opening song for the tour, which marked his first series of concerts since 1974, and his first visit to Japan since the Beatles had played there during their 1966 world tour. On this live version, he and Clapton extend the song by each playing a guitar solo. "I Want to Tell You" was also Harrison's opener at the Natural Law Party Concert, held at London's Royal Albert Hall in April 1992, which was his only full-length concert as a solo artist in Britain. In November 2002, a year after Harrison's death, Jeff Lynne performed "I Want to Tell You" at the Concert for George tribute, where it served as the first song of the main, Western-music portion of the event. Lynne was backed by a large band, including Clapton and other musicians who had supported Harrison on the 1991 tour and at the Natural Law Party Concert.

Blue Cartoon covered the song in the power pop style for the Harrison tribute album He Was Fab, released in 2002. The following year, the Smithereens contributed a recording to another Harrison tribute album, Songs from the Material World. The band also included the track on the 2005 deluxe edition of God Save the Smithereens. Thea Gilmore recorded the song during the sessions for her 2006 album Harpo's Ghost, a version that appeared on Mojo magazine's Revolver Reloaded CD celebrating the fortieth anniversary of the Beatles' album. The Melvins covered "I Want to Tell You" on their 2016 album Basses Loaded. While Pitchfork Media's reviewer dismisses the Melvins' performance as a throwaway version of a "Beatles classic", Jared Skinner of PopMatters describes it as "solid proof of their ability to make loud, gleeful rock 'n' roll".

Personnel
According to Ian MacDonald:

 * George Harrison – double-tracked vocal, lead guitar, handclaps
 * John Lennon – harmony vocal, tambourine, handclaps
 * Paul McCartney – harmony vocal, piano, bass, handclaps
 * Ringo Starr – drums, maracas, handclaps

title: I Want to Tell You


text:
Wikipedia:Articles for deletion/Jamal Lost

 This page is an archive of the proposed deletion of the article below. Further comments should be made on the appropriate discussion page (such as the article's talk page or on a Votes for Undeletion nomination). No further edits should be made to this page.

The result of the debate was delete. Sjakkalle (Check!)  14:24, 25 July 2005 (UTC)

Jamal Lost
A popular phrase on a non-notable forum? Totally unencyclopediatic. Delete. A Link to the Past 22:29, July 16, 2005 (UTC)
 * Delete, but only if the importance is not clarified or explained. --Blu Aardvark | (talk) 22:30, 16 July 2005 (UTC)
 * Delete, in all probability a non-notable in-joke regardless of the notability of the forum. Dcarrano 02:00, July 17, 2005 (UTC)
 * Delete non notable phrase. JamesBurns 03:27, 18 July 2005 (UTC)
 * Delete. Forum cruft. jni 14:10, 19 July 2005 (UTC)
 * Delete - stupid in-joke. -- Cyrius|✎ 02:54, 23 July 2005 (UTC)
 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in an undeletion request). No further edits should be made to this page.


text:
PopMart Tour

The PopMart Tour was a worldwide concert tour by rock band U2. Staged in support of the group's 1997 album Pop, the tour's concerts were performed in stadiums and parks in 1997 and 1998. Much like the band's previous Zoo TV Tour, PopMart was an elaborate production. Its lavish stage design had a 165 ft LED screen, a 100 ft golden arch, and a large mirror-ball lemon. As with the Zoo TV Tour, the band delivered an image and performance that were ironic and self-mocking on PopMart, deviating from their earnest performances of the 1980s; the band performed in costumes that, along with the stage design, poked fun at the themes of consumerism and pop culture.

The PopMart Tour spanned five legs and 93 shows, and took U2 to South America, South Africa and Israel for the first time. The tour was booked while the band were still completing Pop, which was planned to be released during the 1996 holiday season. However, the recording sessions went long, delaying the release until March 1997 and cutting into rehearsal time for the tour. Although it was the second-highest-grossing tour of 1997, PopMart was marred by technical difficulties and mixed reviews from critics and fans, particularly in the United States. PopMart grossed US$173.6 million from 3.98 million tickets sold. The tour was depicted on the concert film PopMart: Live from Mexico City.

Conception and planning
U2 stage designer Willie Williams and stage architect Mark Fisher began developing the PopMart Tour in late 1995. U2 re-entered their Dublin recording studio in October 1995, shortly before releasing an experimental/ambient album with Brian Eno, entitled Original Soundtracks 1, under the pseudonym "Passengers". The band started to work on their ninth studio album, which was set to be finished by mid-1996 and released later that year prior to the Christmas and holiday season. Around the same time, in late 1995, Williams began developing concepts for the band's next tour. Among the proposed themes for the tour was a concept based on the end of the millennium titled "U2000", and a discothèque concept involving a large mobile disco. Lead vocalist Bono became interested in one of Williams' designs that resembled a supermarket, which was inspired by facades of American post-war suburban outlet stores. Bono who believed that the symbol of a supermarket, with its large number of choices and temptations, could be used as a metaphor for U2's songs, which often deal with the struggle between desire and faith. With the help of Fisher, Williams designed a fantasy "entertainment outlet", and decided to create a tour with a consumerism theme.

While still in the recording studio, U2 began scheduling tour dates in early 1996, along with band manager Paul McGuinness. U2's stadium performances from the Zoo TV Tour received much positive reception, therefore McGuinness decided that the entire tour should take place in large stadiums, as opposed to beginning the tour in smaller arenas, despite the fact that the band did not feel another stadium tour was necessary. After risking bankruptcy by self-financing the Zoo TV Tour, U2 decided to seek outside sources to finance the cost of taking the PopMart Tour around the world. Initially, the band announced they were looking for sponsors to support the tour, but they later decided to instead use a single promoter for financial assistance. Bids were made with five separate parties, and eventually a deal was made with Toronto-based concert promoter Michael Cohl for $100 million. Cohl expected a total five to six million attendees at over 100 concerts, beginning in April 1997. He also expected the tour to gross $260 million, almost $20 million more than the Rolling Stones' Voodoo Lounge Tour, which was the highest-grossing tour in history at the time, and also organized by Cohl.

As the recording sessions on the new album progressed, U2 decided they would not be ready to finish their album for the mid-year production deadline, and pushed back the release date by several months. To get the album ready for its March 1997 release, the album's recording sessions had to be finished by the end of December. Within one month of the production deadline, the album was still untitled and had much work left before it could be completed. Because the dates for the tour had already been booked, the album's release could not be delayed any further. Eventually, the album was titled Pop, and Williams dubbed the title "PopMart" for the tour. The album's recording sessions were finished in time for the March 1997 release date, but the band felt they still needed another month to fully complete the album. Bono later stated that letting McGuinness book the tour before the album was finished was the worst decision that U2 ever made because it forced them to finish up the album sooner than they had wanted.

Set design
After producing the band's previous tour, Zoo TV, which featured a complex setup involving 36 different video screens, Williams did not want to produce another video-based show unless it was going to be completely different from its predecessor. His initial proposals to U2 featured physical designs, including a center stage surrounded by a racetrack with circling trucks and motorbikes. Fisher researched one of the first LED screens to be imported into the United States. (It was built for the State Fair of Texas in 1995). Fisher proposed to make a much larger LED screen by spacing the pixels further apart, thus creating a lower resolution image. A prototype was built with LED pixels placed 75 mm (3 in) apart on a cargo net. It worked successfully and served as a basis for the proposal of the design. The idea for producing another video-based tour gained much interest when Fisher and Williams were determined to create the largest video screen in existence at that time. When the idea for the screen was proposed to U2, they decided to take the risk of creating a show based on an undeveloped technological experiment, and invested US$7 million to develop the screen.

Fisher proposed the idea of creating an LED screen on a flexible fabric sheet that could be draped over the stadium seats behind the stage. It was later decided that it would be easier to build the screen if it was hung in its own frame, so a sloped frame was added to the screen. Several months were spent experimenting with and demonstrating the capabilities of LED video. The screen designed for the show was ten times larger than all 36 Zoo TV screens put together, with a total size that ranged between 150 and 170 feet (46–52 metres) wide and 50–56 feet (15–17 metres) tall, approximately the same size as the backdrop used during the band's Lovetown Tour in 1989. The screen was created with the help of three separate companies, each of whom manufactured different components. The screen contained 150,000 pixels, each of which contained eight separate LEDs of various colors. The pixels were manufactured by SACO Technologies, a Montreal-based company, which specialized in manufacturing control systems and panels for nuclear and hydrogen power stations. U2 were SACO's first client, and prior to the PopMart Tour, the company had no experience with video technology. Each of the pixels were mounted onto 4,500 separate aluminium tubes, which were then broken down into 187 foldable panels, spread across 22 columns, which would easily fit into two trucks.

The set's public address (PA) system was initially designed by Fisher who proposed a monophonic system with speakers mounted on top of two large antler-like structures in front of the video screen. While discussing the structure to support the centralized PA system, Williams recalled a statement Bono made on the Zoo TV Tour about having a "secret fantasy to play a show underneath a set of gigantic golden arches". So the design was changed to feature a 100-foot (30-m) parabolic arch supporting the PA in the center of the stage. To further develop the concept, Fisher drew a version of the concert stage transformed into a supermarket, which later appeared in the Pop album artwork.

While the set's overall design consisted of simply an arch in front of a sloped video screen, Williams wanted to incorporate a mirrorball into the set, which had previously been featured on both The Joshua Tree and Zoo TV Tours. Bono proposed that the mirrorball should be used as a vehicle in which the band would travel over the audience and onto the B-stage during the show, while making reference to the Parliament-Funkadelic spaceship. Williams took Bono's idea seriously, and suggested that the mirrorball should be lemon-shaped, a reference to U2's song "Lemon" from their album Zooropa. Fisher designed a 40-foot (12 m) motorized lemon mirrorball, which was placed on the right side of the stage. The final additions to the set included a 12-foot-wide (3.8-m) olive mounted onto a 100-foot (30-m) cocktail stick.

Promotion
Going along with the tour's satirical theme of consumerism, U2 announced their tour on 12 February 1997 by holding a news conference at a Kmart discount store at Astor Place, Manhattan, New York City. Hundreds of reporters from record companies, radio stations, television networks, newspapers, and magazines were in attendance at the conference, whose location was not revealed until the night before. Upon their arrival at the store, U2 got up on the stage assembled in the store's lingerie department and performed "Holy Joe," a B-side from the "Discothèque" single, which had been released nine days prior. The entire event was broadcast live through various sources on television, radio, and the Internet. Following the performance, the band answered questions for a half-hour. On why retail was the primary theme of the tour, Bono said, "I can’t quite recall how it got to the idea of taking a supermarket on the road...I remember it making a lot of sense at the time. As I’m sitting here, I’m trying to think what that [reason] is." It was announced that the beginning of the PopMart Tour was to feature stadium shows in 66 cities throughout North America and Europe, beginning in Whitney, Nevada, on 25 April, and ending in Seattle, Washington, on 12 December. They would tour an additional 12 cities in 1998 throughout Africa, Asia, Australia, and South America. Tickets went on sale for the announced dates several days after the tour's announcement, and were priced at an average of $50 worldwide. Due to the lack of sponsors for the tour, ticket prices were almost 50% higher for this tour than Zoo TV. In markets where the average income was low, tickets were sold for a lower price, which was enough for the band to break even and not lose any money in the process.

Before the tour, various markets distributed singles to promote ticket sales. A double 12-inch single of U2 remixes was distributed in Canada, and a CD single of various songs taken from U2's studio albums was released by a radio station in Mexico. In Europe, U2's remix of "Pop Muzik" used to open the PopMart shows, was released as a single on both 12-inch and CD formats. While the first single from Pop, "Discothèque", was released in January 1997, "Staring at the Sun" became the second single from the album, and was released in April 1997 to coincide with the beginning of the tour.

On 26 April 1997, American television network ABC aired a one-hour prime time special about Pop and the PopMart Tour, titled U2: A Year in Pop. Narrated by actor Dennis Hopper, the documentary featured footage from the Pop recording sessions, as well as live footage from the opening PopMart show in Whitney, which took place the night before. The program received poor reception, ranking at 101 out of 107 programs aired that week, according to Nielsen ratings, and became the lowest rated non-political documentary in the history of the ABC network. Despite the low ratings, McGuinness appreciated the opportunity for the band to appear on network television in the first place, stating that the small audience for the television special was still a large audience for the band, as it was much larger than any audience that could be obtained by MTV.

During the middle of the tour's first leg, MSN launched U2's first official website, U2popmart.MSN.com. The website was updated constantly throughout the tour, featuring images and audio clips from various concerts, as well as live webcasts during select performances.

Concert overview
Out of the 93 concerts performed during the PopMart Tour, each show had a similar setlist, with 21–24 songs performed by the band at each show. The concerts began with U2's remix of M's "Pop Muzik" played through the PA system. During the song, the band members would walk through the crowd with bodyguards, similar to the beginning of a boxing match. The band would then walk onto the end of the B-stage, heading towards the main stage, where they would begin the show.

Main set
Each concert opened with a performance of "Mofo." Following "Mofo" at every show, the band performed "I Will Follow", "Even Better Than the Real Thing", "Gone", "Last Night on Earth", and "Until the End of the World". As the group performed, the audience was bombarded with images and colors, all designed towards the show's ironic embrace of tackiness and pop-ular culture.

Each show featured "Staring at the Sun" during the middle of the set, and many shows featured "New Year's Day" and "All I Want Is You". "I Still Haven't Found What I'm Looking For", "Pride (In the Name of Love)", and "Bullet the Blue Sky" (often preceded by "Miami") were also played at every show. Those songs were often followed by an "Edge Karaoke" slot, in which the Edge would sing the Monkees' "Daydream Believer" or a similar song against a cheap karaoke CD, complete with lyrics shown on the giant screen. The end of each main set featured "Please", which segued into "Where the Streets Have No Name".

Encores
At the end of the main set, before the first encore, the giant lemon moved to the middle of the stage. There a sheet fell off exposing a huge disco ball that lit up the stadium in spinning lights while the Perfecto Mix of "Lemon" played over the PA. The band then would walk out of the giant lemon onto the B stage to perform "Discothèque".

The rest of the first encore typically consisted of "If You Wear That Velvet Dress" and "With or Without You". After another brief break, the band would return to perform "Hold Me, Thrill Me, Kiss Me, Kill Me", their single from 1995 for the Batman Forever soundtrack, followed by "Mysterious Ways". "One" always followed, ending a handful of shows, but otherwise it was followed by one more song. "Unchained Melody", "Wake Up Dead Man", and "MLK" were variously performed to close the show. On a handful of occasions, the show ended with another song, such as "Rain", "Hallelujah", "Mothers of the Disappeared" (during which the Mothers of the Plaza de Mayo were brought on stage in Buenos Aires), "40", or "Can't Help Falling in Love". "She's a Mystery to Me" and "Staring at the Sun" each ended a single show, as well.

Additional songs
A total of 55 different songs were played throughout the tour and 17 of the 55 songs were played at all PopMart shows. Out of the 12 songs on Pop, each song was played in full at least once, with the exception of "The Playboy Mansion", which was only featured as a snippet several times at the end of "Where the Streets Have No Name". "Do You Feel Loved" was only performed during the first six shows, and "If God Will Send His Angels" was performed once by the full band, plus about 20 other times solely by Bono and the Edge. "Bad" and "Desire" were also played at a handful of shows.

Average setlist
This set list is representative of the tour's average setlist as conducted by Setlist.fm, which represents all concerts for the duration of the tour.

 * 1) "Mofo"
 * 2) "I Will Follow"
 * 3) "Gone"
 * 4) "Even Better Than the Real Thing"
 * 5) "Last Night on Earth"'
 * 6) "Until the End of the World"
 * 7) "New Year's Day"
 * 8) "Pride (In the Name of Love)"
 * 9) "I Still Haven't Found What I'm Looking For"
 * 10) "All I Want Is You"
 * 11) "Staring at the Sun"
 * 12) "Sunday Bloody Sunday"
 * 13) "Miami"
 * 14) "Bullet the Blue Sky"
 * 15) "Please"
 * 16) "Where the Streets Have No Name"

Encore
 * 1) "Lemon (Perfecto Mix)" (played over PA)
 * 2) "Discotheque"
 * 3) "If You Wear That Velvet Dress"
 * 4) "With or Without You"

2nd Encore
 * 1) "Hold Me, Thrill Me, Kiss Me, Kill Me"
 * 2) "Mysterious Ways"
 * 3) "One"

Sarajevo concert
During the Zoo TV Tour, U2 aired controversial satellite link-ups to Sarajevo. The link-ups were arranged by aid worker Bill Carter, who interviewed ordinary people about their experiences of the ongoing War in Bosnia and Herzegovina. As a result of the satellite broadcasts, U2 promised to play in Sarajevo. The Sarajevo show had to wait until the PopMart Tour, when U2 became the first major band to perform in the city after the war had ended. The highly emotional concert was among the highlights of the PopMart Tour. 45,000 people attended and effort was made to make sure all the ethnic groups were present. Also in attendance were several hundred members of the international "Stabilisation Force" (SFOR) who were tasked at that time with upholding the Dayton Agreement. During the encore, Brian Eno got on stage for the band's first ever live performance of "Miss Sarajevo." Luciano Pavarotti, who was guest vocalist on the original recording was not in Sarajevo. However, his vocal was retained. An old style phonograph, complete with amplifying horn, was brought on stage for the song and its stylus was moved into position by Brian Eno to coincide with the tenor's vocal contribution. Unfortunately, the performance of this song did not go as well as planned as the band's timing was off and Bono was having difficulty with his voice. It was in this context that Bono chose to apologize to the audience for the band not being able to "fucking play it." After the Sarajevo show in 1997, "Miss Sarajevo" was not played again until the second leg of the Vertigo Tour in 2005.

This concert was also the first time the band had performed "Sunday Bloody Sunday" in more than four years. It was performed solo by the Edge who frequently introduced the song during the final legs of the tour by stating that the band had "rediscovered" it in Sarajevo. Larry Mullen Jr. also played the leading drumbeat from the song as part of the second half of "Please".

Despite the subpar performance, a news story said, "For two magical hours, the rock band U2 achieved what warriors, politicians and diplomats could not: They united Bosnia." Trains ran for the first time since the war to enable people to see the concert, though they were stopped again afterward. Bono later called the Sarajevo show "one of the toughest and one of the sweetest nights of my life." Mullen called it "an experience I will never forget for the rest of my life, and if I had to spend 20 years in the band just to play that show, and have done that, I think it would have been worthwhile."

Reception
Although the extravagance of the tour was visually and technically impressive, the early dates of PopMart were, on occasion, marred by subpar performances. The band had booked the tour before the album was finished, and with the planned November 1996 release pushed back until March 1997 to finish the album, valuable tour rehearsal time was lost. This lack of preparation manifested itself in the shows, particularly during the poorly received opening night in Las Vegas. There was intense pressure for the band, especially with several journalists and celebrities in attendance. The band lost their timing on the song "Staring at the Sun", stopped playing partway through, and then started over. During "Discotheque", the crew filled the stage with too much dry-ice; the Edge could not see his guitar pedal in the midst of the smoke and had to kneel down to find it by touch.

Nonetheless, the quality of the performances improved greatly as certain new songs were dropped or reworked, old crowd favourites re-introduced and the setlist evolved into a more coherent order during the first two months. At the Giants Stadium dates, "Staring at the Sun" was performed acoustically by Bono and the Edge. Becoming one of the show's highlights, it would be performed this way for the rest of the tour.

By the second leg in Europe, the performances had vastly improved as evidenced by the Popheart EP that featured three songs from the first European show in Rotterdam.

The band had some difficulty filling stadiums in the southern and Midwestern US, yet there were multiple night sellouts in Chicago, New York and Boston. It was however better received by Europeans and in particular, South American audiences. It was the first time U2 had toured South America and Bono remarked that the rapturous fan response they received there helped U2 regain their confidence and appreciation for playing together.

Despite its cleverness and positive critical response, many fans felt alienated by the shows; certain material from the Pop album did not go down as well as U2 might have hoped and many people did not seem to have understood its satirical nature. U2 had dressed as the Village People in the "Discothèque" video, and this willingness to mock their serious image continued during PopMart. (At the Los Angeles Coliseum show on 21 June, tribute was paid to the original "Prefab Four" with a guest appearance by Davy Jones of The Monkees to perform his signature song, "Daydream Believer".) But U2's irony-drenched "big shtick" failed to satisfy many critics and fans seemingly confused by the band's new image and elaborate sets. One NME critic later recalled a "ludicrous hullabaloo" that was a departure from "Planet Reality."

Disrupting a few shows, technical problems also arose throughout the tour. As the band were about to walk out of the giant mechanical lemon for the encore of a show in Oslo, the lemon malfunctioned, trapping the band inside and forcing them to escape through a small hatch at the back. This incident was later listed as one of "Rock 'n' Roll's 15 Most Embarrassing Stage Antics" by AOL's Spinner.com. The lemon malfunctioned again at a show in Sydney, and was not used at all, and also malfunctioned in Osaka, Japan, where the band were again trapped inside but unable to escape through the back. In addition to the issues with the mechanical lemon, the large LED video screen became damaged in Washington, D.C. by a rain storm during a concert. The video screen required time for repairs which ended up causing an entire concert in Raleigh, North Carolina to be cancelled.

Like the band's previous Zoo TV Tour, PopMart was another huge success in terms of revenue, grossing US$173,610,864 from 3,982,657 tickets sold. On 20 September 1997, the band performed in front of over 150,000 people in Reggio Emilia, Italy, and set a new world record for having the most attendees at a concert for a single performer.

More than a decade after PopMart, despite the criticism and mishaps, Bono said that he considered the tour to be their best. "Pop(Mart) is our finest hour. It's better than Zoo TV aesthetically, and as an art project it is a clearer thought." He later added "When that show worked, it was mindblowing." The Edge said that he was "very proud of [Pop] by the end of the tour. We finally figured it out by the time we made the DVD. It was an amazing show that I'm really proud of."

Appearance on The Simpsons

In April 1998, one month after the PopMart Tour had ended, U2 appeared as guest stars on the 200th episode of The Simpsons, "Trash of the Titans." The episode featured U2 performing a PopMart concert in Springfield Stadium where Homer Simpson disrupted the show during a performance of "Pride (In the Name of Love)." The four members of the band and entire PopMart stage were shown in animated form. Bono, the Edge, and Adam Clayton had voice appearances in the episodes, as well as the band's manager, Paul McGuinness, and McGuinness' assistant, Susie Smith. Mullen was not present for the studio recordings and therefore appeared in a non-speaking role. The band even had a small part in a musical number. U2's guest appearance was later featured on The Phoenix's list of "The Simpsons 20 Best Guest Voices of All Time."

Live releases
In December 1997, the two PopMart Tour concerts in Mexico City were filmed for various future video and audio releases. In November 1998, PolyGram and Island Records released the video PopMart: Live from Mexico City on VHS and Video CD. The video combined footage from the two concerts, and featured all 25 songs performed at both shows. The VHS and Video CD releases have since been out of print; however, a DVD version was released for the first time in September 2007. In 2000, the album Hasta la Vista Baby! was released exclusively to members of U2's fan club, which featured 14 of the 25 songs from Mexico City on one CD. Released around the same time were the various "Beautiful Day" singles, which featured the live versions of "Discothèque", "If You Wear That Velvet Dress", and "Last Night on Earth," the latter of which was also featured on the "Elevation" single. The live video of "Last Night on Earth" appeared on the Australian "Beautiful Day" single, and the live video of "Gone" appeared on The Best of 1990–2000 video releases.

In addition to the recordings from Mexico City, live versions of "Please", "Where the Streets Have No Name", and "Staring at the Sun" from Rotterdam, as well as "With or Without You" from Edmonton, were released internationally on the Please: PopHeart Live EP, and later on the "Please" single in the United States. A live video of "Please" filmed in Helsinki, known as the "Live Mural Cut", was featured on the bonus DVD of the special edition release of the album, The Best of 1990–2000.

title: PopMart Tour


text:
Velvet Donkey

Velvet Donkey is an album by Ivor Cutler, originally released in 1975 on Virgin Records. Cutler is joined on the record by Fred Frith who plays viola on several tracks, and by Phyllis King who reads six of her own poems and short stories and is also credited with designing the album cover.

Track listing
All tracks written by Ivor Cutler except where noted
 * Side one
 * 1) "If Your Breasts" – 0:09
 * 2) "I Got No Common Sense" – 0:34
 * 3) "Useful Cat" – 0:27 (King)
 * 4) "Oho My Eyes" – 1:30
 * 5) "The Dirty Dinner" – 3:34
 * 6) "Yellow Fly" – 1:37
 * 7) "Mother's Love" – 0:25 (King)
 * 8) "The Meadows Go" – 1:11
 * 9) "Phonic Poem" – 0:47
 * 10) "Life in a Scotch Sitting Room Vol. 2, Ep. 2" – 3:40
 * 11) "Birdswing" – 0:49
 * 12) "Nobody Knows" – 1:54
 * 13) "Uneventful Day" – 0:31 (King)
 * 14) "Little Black Buzzer" – 1:53
 * 15) "Bread and Butter" – 0:42

 * Side two
 * 1) "A Nuance" – 0:35
 * 2) "Go and Sit upon the Grass" – 2:09
 * 3) "The Even Keel" – 0:37
 * 4) "Pearly Gleam" – 1:54
 * 5) "The Best Thing" – 0:22 (King)
 * 6) "Life in a Scotch Sitting Room Vol. 2, Ep. 7" – 3:34
 * 7) "Once upon a Time" – 0:49
 * 8) "There's Got to Be Something" – 2:01
 * 9) "The Purposeful Culinary Implements" – 1:10
 * 10) "Gee, Amn't I Lucky" – 1:34
 * 11) "The Curse" – 2:07
 * 12) "I Think Very Deeply" – 0:54
 * "I, Slowly" – 0:23 (King)
 * 1) "Sleepy Old Snake" – 2:33
 * 2) "Titchy Digits" – 0:32
 * 3) "The Stranger" – 6:00 (King)

title: Velvet Donkey


text: User talk:86.129.212.252

title: User talk:86.129.212.252


text: User talk:68.188.77.61

title: User talk:68.188.77.61


text: Template:Stanislaus County, California

title: Template:Stanislaus County, California


text:
Yellow-winged darter

The yellow-winged darter (Sympetrum flaveolum) is a dragonfly found in Europe and mid and northern China. Breeding is confined to stagnant water, usually in peat bogs. Although not resident in the United Kingdom it occasionally migrates there in some numbers. Such 'Invasion Years' occurred in 1906, 1926, 1945, 1953, and 1995. On each occasion a small breeding colony appeared, but they have invariably died out after a few years.

An almost unmistakable darter, red-bodied in the male, with both sexes having large amounts of saffron-yellow colouration to the basal area of each wing, which is particularly noticeable on the hind-wings. Other Sympetrum species may have limited yellow-orange colouration near the extreme wing-bases, especially in females, but never so extensively as in this species.

Sites which are likely to attract this species have thick rushy margins. The yellow-winged darter tends to make quite short flights when settled at a site, and frequently perches quite low down on vegetation.

The yellow-winged darter has bred but is not established in the UK. It has occurred in Cumbria as single individuals on very few occasions. The most recent record was at Killington Reservoir in August 1995.

In Southern Europe, the nymphs of this dragonfly live in oligotrophic lakes with submerged vegetation, at high altitudes. Temperature and vegetation of these habitats are likely to be altered by Climate Change. As an abundant predator the species has an important role in food webs of high altitude lakes. Its disappearance will lead to changes in food webs.

title: Yellow-winged darter


text:
User talk:Dlyons493

Previous discussions

 * User talk:Dlyons493/Archive01 July to 1st of December 2005:
 * User talk:Dlyons493/Archive02 1st of December 2005 to 30th March 2006:
 * User talk:Dlyons493/Archive03 1st of April 2006 to 31st of May 2006:
 * User talk:Dlyons493/Archive04 1st of June 2006 to 31st of July 2006:
 * User talk:Dlyons493/TestArchive:

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WikiProject French communes
I would like to welcome you back to the project. With some help from User:AlbertHerring, User:Blofeld of SPECTRE, and User:Jj137, I have successfully revived the project. Welcome back, we hope to see you there, Basketball 110   what famous people say  ♣ 17:05, 2 March 2008 (UTC)

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Unreferenced BLPs
Hello Dlyons493! Thank you for your contributions. I am a bot alerting you that 2 of the articles that you created  are tagged as Unreferenced Biographies of Living Persons. The biographies of living persons policy requires that all personal or potentially controversial information be sourced. In addition, to ensure verifiability, all biographies should be based on reliable sources. If you were to bring these articles up to standards, it would greatly help us with the current Category:All_unreferenced_BLPs article backlog. Once the articles are adequately referenced, please remove the unreferencedBLP tag. Here is the list:

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Speedy deletion nomination of Wikipedia:Articles for deletion/K

Thank you for experimenting with Wikipedia. Your test worked, and the page that you created has been or soon will be deleted. Please use the sandbox for any other tests you want to do. Take a look at the welcome page if you would like to learn more about contributing to our encyclopedia.

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Proposed deletion of Jo Vargas

The article Jo Vargas has been proposed for deletion  because of the following concern:
 * Notability, I believe the artist exists, there's a passing mention of her in an article on Fred, but I was unable to find reliable, secondary sources other than this passing mention, and thus nothing that provides any sort of substantial coverage as required by the GNG or WP:ARTIST.

While all contributions to Wikipedia are appreciated, content or articles may be deleted for any of several reasons.

You may prevent the proposed deletion by removing the notice, but please explain why in your edit summary or on the article's talk page.

Please consider improving the article to address the issues raised. Removing will stop the proposed deletion process, but other deletion processes exist. The speedy deletion process can result in deletion without discussion, and articles for deletion allows discussion to reach consensus for deletion. j ⚛ e deckertalk 18:43, 21 January 2011 (UTC)

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

ArbCom elections are now open!
MediaWiki message delivery (talk) 13:32, 23 November 2015 (UTC)

File:Armes sundgau.png listed for discussion
A file that you uploaded or altered, File:Armes sundgau.png, has been listed at Files for discussion. Please see the to see why it has been listed (you may have to search for the title of the image to find its entry). Feel free to add your opinion on the matter below the nomination. Thank you. Magog the Ogre (t • c) 23:13, 11 December 2016 (UTC)

title: User talk:Dlyons493


text: User talk:81.191.129.153

title: User talk:81.191.129.153


text:
User:EnzoSangiorgio

Thanks for experimenting with Wikipedia. Your test worked, and has been reverted or removed. Please use the sandbox for any other tests you want to do. Take a look at the welcome page if you would like to learn more about contributing to our encyclopedia. Thanks.

Please do not create nonsensical articles on Wikipedia. Pavel Vozenilek 22:35, 16 July 2005 (UTC)

title: User:EnzoSangiorgio


text:
User talk:Cloudier

Welcome!
Hello, Cloudier, and welcome to Wikipedia! Thanks for your contributions; I hope you like it here and decide to stay. We're glad to have you in our community! Here are a few good links for newcomers:

 * If you haven't already, drop by the new user log and tell others a bit about yourself.
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I hope you enjoy editing and being a Wikipedian. Although we all make mistakes, please keep in mind what Wikipedia is not. If you have any questions or concerns, don't hesitate to see the help pages or add a question to the village pump. The Community Portal can also be very useful.

Happy editing!

-- Sango  123  22:35, July 16, 2005 (UTC)

P.S. Feel free to leave a message on my talk page if you need help with anything or simply wish to say hello. :)

title: User talk:Cloudier


text:
User:Gresham

Thanks for experimenting with Wikipedia. Your test worked, and has been reverted or removed. Please use the sandbox for any other tests you want to do. Take a look at the welcome page if you would like to learn more about contributing to our encyclopedia. Thanks.

Please do not create nonsensical aticles on Wikipedia. Pavel Vozenilek 22:35, 16 July 2005 (UTC)

title: User:Gresham


text:
Canvas X

Canvas X is a drawing, imaging, and publishing computer program from Canvas GFX for personal computers.

Development
Canvas GFX's origins date back to 1986. The original idea for Canvas came from Jorge Miranda, Manuel Menendez, and Joaquin DeSoto, the founders of Deneba Systems Inc. of Miami Florida, for Apple's Macintosh computers—part of the wave of programs that made the desktop publishing revolution.

The first version was unique in many ways; not least because it was released as both an application and a desk accessory. In the latter form, it could be used while another program, e.g. PageMaker, was running simultaneously; very handy in that time of single-program operation.

Canvas provides tools for creating and editing vector and raster graphics. It is used for illustration, page layout, animation, presentations, and publications in printed and World Wide Web formats.

From its inception, Canvas differed from other graphics applications because it combined tools and file formats for both vector graphics (line art) and raster images (photographic and other pixel-based), adding word-processing and page-layout features such as multiple-page documents and master pages in subsequent releases. The user works in a window, which is the familiar "page on a pasteboard" analog used by many DTP and vector graphics programs, but in that window, which might be a single illustration page or one page of a multi-page magazine, book, web site, animation or presentation, the user can create or edit and layout text, vector graphics and raster images. Canvas also emphasized technical drawing in addition to artistic illustration features.

With Version 3.5, Deneba went cross-platform, releasing a version with file-format compatibility for Macintosh and Windows computers. At Version 5, Canvas was completely rewritten for both platforms and included a QuickDraw 3D-based palette for creating 3D primitives and renderings. Version 7 of the software saw an internal extrusion engine being used instead of QuickDraw 3D.

At version 8, it was the first of the complex graphics programs to be "Carbonized" to run on both Classic and Mac OS X.

In April 2003, Deneba Systems was acquired by ACD Systems of Victoria, BC, Canada, the developers of Windows image editing and handling software such as ACDSee, before the release of version 9. Canvas development continued in Miami, under the aegis of ACD Systems of America. Later, in 2017, it was spun out as Canvas GFX.

With the introduction of Canvas 11, support for the Macintosh platform was dropped, making the application Windows-only.

Canvas is available in a standard and extended version. The once-optional Scientific Imaging module is now integrated into Canvas and provides enhanced input-output filters for file formats commonly used in science and engineering visualization. The geographic information system (GIS) module provides tools for use in mapping and GIS-based data analysis.

Following the release of the Windows-only Canvas X 16, Canvas Draw for Mac was released, reviving Macintosh support (though on a separate roadmap from the Windows version) after a decade-long hiatus.

While Canvas started out as a prosumer program in the general graphics/DTP market and continues to be the first (even only) tool of many professionals in such fields as graphics design, advertising, marketing, and DTP, it is less known in the consumer/prosumer market today than programs marketed by larger companies, such as Adobe Illustrator, Photoshop, and CorelDRAW. It has been better known in academic and commercial enterprises.

Version history
Versions of Canvas public releases:

 * Canvas 1.0 (Macintosh) – 1987
 * Canvas 2.0 (Macintosh) – 1989
 * Canvas 3.0 (Macintosh) – 1991
 * Canvas 3.5 (Macintosh and Windows) – 1992
 * Canvas 5 (Macintosh and Windows) – 1996
 * Canvas 6 (Macintosh and Windows) – 1998
 * Canvas 7 (Macintosh and Windows) – 1999
 * Canvas 8 (Mac OS 9, Mac OS X, and Windows) – 2001
 * Canvas 9 (Mac OS X and Windows) – 2003
 * Canvas X (Mac OS X and Windows) – 2005
 * Canvas 11 (Windows Vista) – 2007
 * Canvas 12 (Windows XP, Vista, 7) – 2010
 * Canvas 14 (Windows XP, Vista, 7, 8)
 * Canvas 15 (Windows XP, Vista, 7, 8) – 20 November 2013
 * Canvas X 16 (Windows 7, 8, 10) – November 2014
 * Canvas Draw 1.0 (OS X 10.9, 10.10) – August 2015
 * Canvas Draw 2.0 (OS X 10.9, 10.10, 10.11) – November 2015
 * Canvas Draw 3.0 (OS X 10.10, 10.11, macOS 10.12) – June 2016
 * Canvas X 2017 17.0 (Windows 7, 8, 10) – October 2016
 * Canvas Draw 4.0 (OS X 10.11, macOS 10.12, 10.13) – June 2017
 * Canvas X 2018 18.0 (Windows 7, 8, 10) – December 2017
 * Canvas Draw 5.0 (macOS 10.12, 10.13, 10.14) – July 2018
 * Canvas X 2019 19.0 (Windows 7, 8, 10) – November 2018
 * Canvas Draw 6.0 (macOS 10.13, 10.14) – June 2019
 * Canvas X 2020 20.0 (Windows 7, 8, 10) – October 2019

title: Canvas X


text:
User talk:Ssudo2002~enwiki

Welcome!
Hello, Ssudo2002, and welcome to Wikipedia! Thanks for your contributions; I hope you like it here and decide to stay. We're glad to have you in our community! Here are a few good links for newcomers:

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I hope you enjoy editing and being a Wikipedian. Although we all make mistakes, please keep in mind what Wikipedia is not. If you have any questions or concerns, don't hesitate to see the help pages or add a question to the village pump. The Community Portal can also be very useful.

Happy editing!

-- Sango  123  22:36, July 16, 2005 (UTC)

P.S. Feel free to leave a message on my talk page if you need help with anything or simply wish to say hello. :)

License tagging for Image:Shisyo-kounosu.gif
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Boston, Lincolnshire
I would be interested to know your justification for changing Boston's Japanese twin. My understanding is that it is Mikawa as previously listed, and as described in 1 - you changed it to Hakusan, Ishikawa. I haven't reverted, because I didn't know whether there was something going on here that I didn't understand; I would appreciate an explanation - unfortunately your edit summary didn't explain. SMeeds 21:10, 15 March 2007 (UTC)

Mikawa Province
SMeeds, Mikawa Province is not town name but old prefecture name.And till Jan. 2005,Mikawa town exsited in Ishikwa Pref.,but some cities and towns,like Matsuto,merged and New city Hakusan was born at Jan.2005. And They continued the relationship between Boston and Hakusan. Ssudo2002

I thought it might have been something like that. Thank you for the explanation. It might have been useful to put something to put something to that effect in the edit summary or on the Talk:Boston, Lincolnshire page. SMeeds 23:49, 15 March 2007 (UTC)

Your account will be renamed
Hello,

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

Unfortunately, your account clashes with another account also called Ssudo2002. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Ssudo2002~enwiki that only you will have. If you like it, you don't have to do anything. If you do not like it, you can pick out a different name. If you think you might own all of the accounts with this name and this message is in error, please visit Special:MergeAccount to check and attach all of your accounts to prevent them from being renamed.

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

Sorry for the inconvenience.

Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 02:51, 20 March 2015 (UTC)

Renamed
 This account has been renamed as part of single-user login finalisation. If you own this account you can |log in using your previous username and password for more information. If you do not like this account's new name, you can choose your own using this form after logging in: . -- Keegan (WMF) (talk) 19:11, 22 April 2015 (UTC)

title: User talk:Ssudo2002~enwiki


text:
Monterey Jack (disambiguation)

Monterey Jack is a type of cheese.

Monterey Jack may also refer to:

 * Monterey Jack, a character from Chip 'n Dale Rescue Rangers
 * Jack in the Box (restaurant), known as "Monterey Jack's" between 1985 and 1986

title: Monterey Jack (disambiguation)


text: Template:Orlando Magic roster

title: Template:Orlando Magic roster


text:
User talk:Archangel3583

Welcome!
Hello, Archangel3583, and welcome to Wikipedia! Thanks for your contributions; I hope you like it here and decide to stay. We're glad to have you in our community! Here are a few good links for newcomers:

 * If you haven't already, drop by the new user log and tell others a bit about yourself.
 * Always sign your posts on talk pages with  so others will know who left which comments.
 * The Five Pillars of Wikipedia
 * Our policies, guidelines, and simplified ruleset
 * How to edit a page and write a great article
 * The Wikipedia tutorial and picture tutorial
 * The handy Manual of Style
 * And finally, remember to be bold in updating pages!

I hope you enjoy editing and being a Wikipedian. Although we all make mistakes, please keep in mind what Wikipedia is not. If you have any questions or concerns, don't hesitate to see the help pages or add a question to the village pump. The Community Portal can also be very useful.

Happy editing!

-- Sango  123  22:36, July 16, 2005 (UTC)

P.S. Feel free to leave a message on my talk page if you need help with anything or simply wish to say hello. :)

title: User talk:Archangel3583


text:
Sheona White

Sheona Wade is the current Solo Horn of Brighouse and Rastrick Band, was the solo tenor horn player of the YBS and Black Dyke Band and Foden's Richardson bands, as well as horn tutor at the University of Salford, where she also gained her BA Hons degree, with Distinction in Performance.

White's previous achievements include playing Principal Horn of the National Youth Brass Band of Scotland, winning the BBC Radio 2 Young Musician of the Year in 1996, and reaching the final of the 1998 Cosmopolitan Magazine Women of Achievement Awards.

Outside the band world, White is most well known for her contribution to the BBC's 1997 charity single, "Perfect Day". White has recorded an album of solos for her chosen instrument, titled The Voice of The Tenor Horn. She previously worked as a music teacher at Lowton High School. She now works at Bolton School Girls Division as a music teacher.

title: Sheona White


text:
User talk:Orbhead

Welcome!
Hello, Orbhead, and welcome to Wikipedia! Thanks for your contributions; I hope you like it here and decide to stay. We're glad to have you in our community! Here are a few good links for newcomers:

 * If you haven't already, drop by the new user log and tell others a bit about yourself.
 * Always sign your posts on talk pages with  so others will know who left which comments.
 * The Five Pillars of Wikipedia
 * Our policies, guidelines, and simplified ruleset
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 * The Wikipedia tutorial and picture tutorial
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 * And finally, remember to be bold in updating pages!

I hope you enjoy editing and being a Wikipedian. Although we all make mistakes, please keep in mind what Wikipedia is not. If you have any questions or concerns, don't hesitate to see the help pages or add a question to the village pump. The Community Portal can also be very useful.

Happy editing!

-- Sango  123  22:37, July 16, 2005 (UTC)

P.S. Feel free to leave a message on my talk page if you need help with anything or simply wish to say hello. :)

Possibly unfree File:EnteringSouthgate.jpg
A file that you uploaded or altered, File:EnteringSouthgate.jpg, has been listed at Possibly unfree files because its copyright status is unclear or disputed. If the file's copyright status cannot be verified, it may be deleted. You may find more information on the file description page. You are welcome to add comments to its entry at if you are interested in it not being deleted. Thank you. -- Kelly hi! 21:14, 20 January 2011 (UTC)

title: User talk:Orbhead


text:
User talk:Jgatkuoth

Welcome!
Hello, Jgatkuoth, and welcome to Wikipedia! Thanks for your contributions; I hope you like it here and decide to stay. We're glad to have you in our community! Here are a few good links for newcomers:

 * If you haven't already, drop by the new user log and tell others a bit about yourself.
 * Always sign your posts on talk pages with  so others will know who left which comments.
 * The Five Pillars of Wikipedia
 * Our policies, guidelines, and simplified ruleset
 * How to edit a page and write a great article
 * The Wikipedia tutorial and picture tutorial
 * The handy Manual of Style
 * And finally, remember to be bold in updating pages!

I hope you enjoy editing and being a Wikipedian. Although we all make mistakes, please keep in mind what Wikipedia is not. If you have any questions or concerns, don't hesitate to see the help pages or add a question to the village pump. The Community Portal can also be very useful.

Happy editing!

-- Sango  123  22:37, July 16, 2005 (UTC)

P.S. Feel free to leave a message on my talk page if you need help with anything or simply wish to say hello. :)

Image Tagging Image:John garang.jpeg
Thanks for uploading Image:John garang.jpeg. I notice it currently doesn't have an image copyright tag, so its copyright status is therefore unclear. Could you add a tag to let us know its copyright status? (If you created/took the picture then you can use to release it under the GFDL. If you can claim fair use use  .)  If you don't know what any of this means, just let me know on the image description page where you got the images and I'll tag them for you. Otherwise, see Image copyright tags for the full list of copyright tags that you can use. Thanks so much. --Laura Scudder | Talk 06:30, 6 August 2005 (UTC)

Image Tagging Image:Nuer1.jpg
Thanks for uploading Image:Nuer1.jpg. I notice the image page currently doesn't specify who created the image, so the copyright status is therefore unclear. If you have not created the image yourself then you need to argue that we have the right to use the image on Wikipedia (see copyright tagging below). If you have not created the image yourself then you should also specify where you found it, ie in most cases link to the website where you got it, and the terms of use for content from that page.

If the image also doesn't have a copyright tag then you must also add one. If you created/took the picture then you can use to release it under the GFDL. If you can claim fair use use .)  See Image copyright tags for the full list of copyright tags that you can use.

If you have uploaded other images, please check that you have specified their source and copyright tagged them, too. You can find a list of image pages you have edited by going to "Your contributions" from your user page and then selecting "Image" from the dropdown box. Note that any unsourced and untagged images will be deleted one week after they have been uploaded, as described on criteria for speedy deletion. Thanks so much. -- Gyrofrog (talk) 06:57, 31 October 2005 (UTC)

title: User talk:Jgatkuoth


text:
Creeslough

Creeslough (, locally ; An Craoslach ) is a village in County Donegal, Ireland, 12 km south of Dunfanaghy on the N56 road. The small village overlooks an arm of Sheephaven Bay, with the population of the surrounding area engaged mainly in agriculture, mostly livestock rearing.

Name
The English name 'Creeslough' (occasionally 'Cresslough') is an anglicised respelling of an Irish name, the modern official spelling of which is An Craoslach (including the definite article An). According to the Placenames Database of Ireland, this means "the gorge". Under the Official Languages Act 2003, only the Irish name of Creeslough electoral division has official status, because part of it is in the Gaeltacht, whereas Creeslough village is outside the Gaeltacht and its English name has equal status. Craoslach is usually interpreted as craos+loch;  where loch means "lake", while craos literally means "gullet, throat" and metaphorically can mean either a gap or gluttony. In the 1830s, John O'Donovan glossed the name as "Craoslaoch [sic] swallowing lake; throat lake", and Patrick Weston Joyce glossed it in 1875 as "Craos-loch — a lake that swallows up everything". In 2000, Lawrence Donegan wrote:
 * Craos Loch in Irish, meaning Throat Lake or Gullet Lake. Why? Because there was a tiny lake at the top of the village that gathered a lot of rainwater from the surrounding hills and leaked only a little away through a tiny stream. Where did all the water go? It had been swallowed by the hungry lake, obviously. Why not call the village Hungry Lake? It wasn't poetic enough.

Suggested alternative derivations are craos+lacha[n] "duck[s] throat", or crioslach (or variant críoslach) "limit, border". Niall Ó Dónaill advised the Placenames Branch in 1962 that, although there was evidence that Crioslach was the older Irish form, it had long been changed to An Craoslach.

History
Evidence of ancient settlement in the area includes a number of ringfort, holy well, enclosure and burial sites in the townlands of Creeslough, Killoughcarran and Masiness. Nearby Doe Castle, a tower house with a surrounding bawn, dates from the 1420s.

On 7 October 2022, an explosion at Creeslough destroyed a shop and Applegreen petrol station, as well as the adjoining apartment block, resulting in ten deaths and multiple injuries.

Places of interest

Nearby places of interest include:
 * Doe Castle, a 15th-century castle of the MacSuibhne clan, restored between 2002 and 2005. It is perhaps best known as the place to which Owen Roe O'Neill returned to command the Irish Confederate's Ulster army in 1642 during the Irish Confederate Wars.
 * Ards Forest Park, which contains some megalithic tombs, ringforts and a Mass rock. The forest park encompasses a variety of habitats, including sand dunes, tidal salt marsh as well as several small lakes, two of which are vegetation-filled and in the process of becoming bogs.
 * Owencarrow Viaduct, the scene of a 1925 rail disaster.
 * Glenveagh National Park, created in 1981 from lands granted by Henry P. McIlhenny, of Philadelphia.
 * Muckish, a mountain with a distinctive outline and a number of routes to the summit, a common hiking destination. The surrounding mountainous areas are also suitable for hiking. The annual Glover Highlander walk goes from Muckish to Errigal. There are also several marked trails in Glenveagh National Park.
 * Doe Chapel (1784–1971); the remains of its outer walls are situated within the current graveyard at Doe (in Cashelmore, 3 km north of Creeslough). The bell tower stands intact.
 * St. Michael's Catholic Church, known locally as 'the Chapel', designed by Derry architect Liam McCormick in 1971. Notable for its unique design, which mimics the shape of the nearby table mountain of Muckish. McCormick was also responsible for the design of the RIAI Triennial Gold Medal-winning St Aengus' Church in Burt, County Donegal. The chapel bell was moved from the bell tower at Doe Chapel.

Transport
Creeslough railway station opened on 9 March 1903, closed for passenger traffic on 3 June 1940, and finally closed altogether on 6 January 1947.

Education
The area around Creeslough is served by three primary schools:
 * Scoil Mhuire – Roman Catholic, 142 pupils (2011 figures)
 * Creeslough National School – Church of Ireland, 20 pupils (2011 figures)
 * Glassan National School – Roman Catholic, 29 pupils (2011 figures), located 5 km to the west of Creeslough village

People

 * Kathleen Antonelli, programmer of ENIAC, the first ever computer
 * Thomas Bartholomew Curran, barrister and Anti-Parnellite
 * Lawrence Donegan, Scottish journalist and musician, author of No News at Throat Lake (2000). Donegan lived in Creeslough for a short time.
 * Bridie Gallagher, singer described as "Ireland's first truly international pop star"
 * Bernard Lafferty, butler and heir to Doris Duke
 * Neil McBride (Niall Mac Gioll Bhridé), poet, author, and lyricist
 * Martin McElhinney, Gaelic footballer
 * Colm McFadden, Gaelic footballer
 * James McNulty, activist for Irish Independence and father of Kathleen Antonelli
 * Christy Toye, Gaelic footballer

In popular culture

 * No News at Throat Lake is a memoir by Lawrence Donegan about his year living in Creeslough as a reporter for the bi-weekly newspaper, Tirconaill Tribune.
 * The area has featured in a number of Irish folk songs, including "Cutting the Corn in Creeslough" which has been covered by Daniel O'Donnell and Creeslough native Bridie Gallagher.

title: Creeslough