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Talk:Vladimir (city)

Foundation date
The area occupied by the city of Vladimir has been inhabited by humans (at least intermittently) for approximately 25,000 years. Traditionally, the founding date of Vladimir has been acknowledged as 1108, which is the date of the first mention of Vladimir in the Primary Chronicles. This view attributes the founding of the city, and its name, to Vladimir Monomakh (Monomachus), who inherited the region as part of the Rostov-Suzdal principality in the eleventh century. More recently, there has evolved a new opinion that the city is older than this. The claim is that a certain Father Georgy possesses chronicle material that mentions the city in 990, associating it with Vladimir the Great/Vladimir the Fair Sun (later St. Vladimir) the "father" of Russian Orthodoxy. In the early 1990's those who support the new date maintained that the traditionally recognized founding date was more acceptable to the former Communist regime, as affiliation with Russian Orthodoxy would conflict with the doctrine of state atheism. This new theory has caused a great deal of controversy, particularly with students and instructors specializing in the history of Vladimir. The defenders of the previously uncontested founding year of 1108 dispute the claims of those who support the new date, arguing that the new theory was fabricated in order to provide a reason to have a celebration in 1995. Some specialists in the history of Vladimir argue there is no archaeological or chronicle information which supports the claim that the city was founded in 990, while others feel there is sufficient evidence to support the new date. Regardless of which founding date is most accurate, the city's most historically significant events occurred after the turn of the twelfth century.

 * I believe that we should not make the foundation date controversy, quite trivial in itself, cover almost as much as space as the rest of the article. The towns of Rostov and Suzdal always treated Vladimir with great arrogance, as a town they considered to be junior. This led to several wars. And Suzdal, as you know, was first documented in 1024. So stating that Vladimir dates back to 990 is plain laughable.

 * In post-Soviet Russia, several towns have changed their foudnation date. Usually, this is a result of political complications. For example, Mintimer Shaeymiev decided that it is he and not some future President of Tatarstan who should organize the Millenium of Kazan. Although we don't have sources mentioning Kazan prior to the 13th century, he fixed the new foundation date at 1005. He cited archeological findings that discovered several 11th-century coins at the site of Old Kazan, many miles from the present-day city. And 1005 was chosen expressly to make Kazan the oldest existing town on the Volga, beating Yaroslavl's claim. Yaroslavl's foundation date has been traditionally fixed to 1010 but, following Shaymiev's logic, they should move the date to the 8th century, as there was the largest Varangian settlement in the region within the bounds of modern Yaroslavl at that time. You see how complicated it is. --Ghirlandajo 14:44, 27 July 2005 (UTC)

CoA
I added a CoA to the article recently and found it removed. What was wrong with it? Is the CoA irrelevant to the city article? Was it a wrong CoA, wrong place (then why totally removed rather then moved?), removed by accident? --Irpen 06:39, July 28, 2005 (UTC)

Article's name
Please read a discussion at Talk:Vladimir. --Irpen 04:05, August 10, 2005 (UTC)

title: Talk:Vladimir (city)


text:
Manly Junior

The Manly Junior is a junior racing dinghy class popular in Sydney Australia. It was designed in 1959 for younger sailors and the length (2.6 m) was originally designed so that the boat could be stored vertically downstairs inside Manly Yacht Club (the founding club). To provide as much performance as possible in a short length, the designer, Ralph Tobias used a "snub" bow.

Typically the helmsman is aged 10~14 and the crew 7~11 years old. It is amongst the smallest of classes with a "full rig": mainsail, jib and spinnaker. The class has a strict set of rules on sail size, shape and hull construction. Some variation is allowed in the details of how the boat is rigged (position of fittings etc.).

The class has made some significant changes since inception, in 1967 the buoyancy tanks were redesigned to allow the boat to come up after a capsize with little water on board. In the 1980s the class underwent a transition from plywood to fibreglass hulls. In 2000 false floors were added allowing the boat to completely drain of water after a capsize or swamping.

Racing is competitive with many previous sailors going on to become world or Olympic Games champions in other classes. The skill level shown at a State or National event is high with racing being completed in up to 30 kn of wind.

Many children however join in for the social side. Sometimes you will get two 11-year-old friends match up to have fun while learning. Other times the younger children look up to the older children as "heroes". Club racing is often like a friendly "family" where the focus is on learning. Even at major events "Novice" (learning) fleets allow the less experienced to compete and enjoy the fun.

As the sailors grow they often move onto Flying Eleven (dinghy) and or Cherub(dinghy)

A quick count would suggest over 30,000 children have been introduced to sailing via the Manly Junior fleet.

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

title: Manly Junior


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Stanisława Przybyszewska

Stanisława Przybyszewska (1 October 1901 – 15 August 1935) was a Polish dramatist who is mostly known for her plays about the French Revolution. Her 1929 play The Danton Case, which examines the conflict between Maximilien Robespierre and Georges Danton, is considered to be one of the most exemplary works about the Revolution, and was adapted (albeit with significant ideological edits) by Polish filmmaker Andrzej Wajda for his 1983 film Danton.

Biography
Przybyszewska was born Stanisława Pająkówna on 1 October 1901, in Kraków. She was the illegitimate child of the Polish impressionist painter Aniela Pająkówna and the writer Stanisław Przybyszewski, the latter a famous and notoriously dissolute modernist who was one of the founding members of the Young Poland movement.

From 1902 to 1906 she lived with her mother in Lwów (now Lviv, Ukraine); from 1907 to 1916, in Western Europe. As a child she traveled with her mother across Europe (Vienna, Munich, Gries near Bolzano, and Paris).

Having in 1912 lost her mother (who died in Paris of pneumonia), she changed cities, following her guardians. Initially her parents' friends Wacław and Zofia Moraczewski paid for her education, but from 1914 it was her aunt (her mother's sister) Helena Barlińska who took care of the girl.

Between ages ten and fifteen Przybyszewska attended four different schools in three countries: France (Paris), Switzerland (Zürich, 1912-1914), and Austria (Vienna and Oberhollabrunn). In Austria she took violin lessons and began writing poetry and stories which she destroyed, dissatisfied with her own accomplishments.

From 1916 to 1919 she attended the Teachers Institute for Women in Kraków. Kosicka and Gerould wrote, "... she enrolled in the Teachers Institute, a highly regarded training school, which her mother before her had attended. Although she was an outstanding student, Stanisława was sharply critical of both how and what she was taught, and she considered herself essentially self-educated, since her own special interests led her to the exact sciences, above all mathematics and astronomy." As a part of her studies she spent the required year of teaching practice at the elementary school in Nowy Sącz. She passed her Gymnasium examinations cum laude in 1920. In August 1919 she met her father for the first time as an adult. The period of initial fascination with his ideas did not last long, and later in life Przybyszewska was very critical about her father's works.

In 1920, not without Przybyszewski’s involvement, Stanisława moved to Poznań where she established connections with the expressionistic circle of the journal, The Source, and studied music at the conservatory. She also enrolled into a philology course at the Poznań University and for one term followed a diverse curriculum it proposed: the courses of French and English literature (of the nineteenth and the eighteenth centuries respectively), medieval literature, history of philosophy, Spanish, Latin and Greek languages.

In 1922 she moved to Warsaw and found a job as a salesgirl in a Communist bookstore; this employment, in the recent aftermath of the Polish-Soviet War, led to her being arrested for a week in Poznań (her official place of residence) before being released for lack of evidence. Kosicka and Gerould noted that "she took only a theoretical interest in Marxism and remained incapable of becoming directly involved in politics. Stanisława made not a single lasting friendship during her year in Warsaw, but as a result of her incarceration she grew obsessed with the victims of unjust imprisonment and judicial oppression, starting with Robespierre and going up to Sacco and Vanzetti in her own time."

Following her marriage to an artist Jan Panieński (from Poznań circle) Stanisława moved to Gdańsk where Panieński got a job as an art teacher in the Polish Gymnasium (her father had been instrumental in the creation of the school). The couple participated in the activities of a local group Friends of Science and Art. Though not motivated by love, the marriage proved to be a happy one, as they grew attached to each other. It was not, however, very long: in November 1925, while on an art scholarship in Paris, Panieński died from cardiac arrest.

The next ten years of Przybyszewska's life were marked by growing isolation and dedication to her work. She only left Gdańsk on a few occasions, one of them being her father's funeral in 1927. There she met her half-sister Iwi Bennet (Dagny Juel's daughter from Przybyszewski), who became, along with her aunt, one of her closest friends and correspondents. Between March 1928 and 9 March 1929 she wrote The Danton Case and, as Kosicka and Gerould noted, "began to dream of a European career, 'like Conrad', as a way of overcoming her isolation and alienation." She devoted much time to the study of contemporary German literature. From Polish writers she valued Joseph Conrad and Juliusz Kaden-Bandrowski, and considered Stefan Żeromski as having huge talent which didn't develop.

She did not have any stable financial income: the state scholarship that she received in unequal amounts from 1929 to 1933 was not enough to survive, so Przybyszewska depended heavily on the support from Barlińska and Bennet. She lived in poor conditions in the wooden barracks belonging to the Polish Gymnasium. Suffering from poverty and numerous illnesses, she was prescribed increased dosages of morphine by her German doctor Paul Ehmke. Kosicka and Gerould wrote, "During the last eight months of Stanisława's life, nothing was heard from her; all letters, sent and unsent, stopped. She had grown so weak from gradual emaciation that she could no longer type or hold a pen. Her money gone, even the morphine that had sustained her for so long ran out. On 14 August 1935 in her room am Weissen Turm 1, Baracke Nr. 12, Stanisława Przybyszewska died alone, the official cause of death tuberculosis."

Works and themes
Przybyszewska was fixated upon Maximilien Robespierre, and attributed to him, in her writing, extraordinary brilliance and powers of foresight. "I have the calm certainty," she wrote to a friend, "that I understand Robespierre better than anyone whose works are known to me." Przybyszewska depicted Robespierre as having predicted the disastrous rise of capitalism. Robespierre was the central figure in both of her surviving plays, The Danton Case (Sprawa Dantona, 1929), and an earlier unfinished play, Thermidor (1925).

Reception and legacy
British author Hilary Mantel remarks of her that she was "the woman who died of Robespierre." One of Mantel's 2017 Reith Lectures on BBC Radio Four, Silence Grips the Town, delivered in Antwerp, was dedicated to Przybyszewska.

Przybyszewska left a collection of letters written from 1913 to 1934 in several languages to publishers, her friends, and famous European writers like Georges Bernanos, Jean Cocteau, and Thomas Mann, which were published in Gdańsk in the original languages and in Polish in three volumes as Listy (Letters: volume 1, 1978; volume 2, 1983; volume 3, 1985).

The production of The Danton Case by the Royal Shakespeare Company in 1986 was a realization of the playwright's dream that one day she would be performed in London. This first English-language staging was directed by Ron Daniels and adapted by Pam Gems as The Danton Affair.

Jolanta Kajzer has discovered haiku poetry in Przybyszewska's writings.

Published works

 * Ostatnie noce ventôse’a (The Last Nights of Ventôse). Kraków: Wydawnictwo Literackie, 1958.
 * Dramaty. Edited by Roman Taborski. Gdańsk: Wydawnictwo Morskie, 1975. English translation of The Danton Case and Thermidor was published in 1989 by Northwestern University Press as The Danton Case and Thermidor. Two Plays.
 * Listy, vol. 1: Grudzień 1913 – wrzesień 1929. Edited by Tomasz Lewandowski. Gdańsk: Wydawnictwo Morskie, 1978.
 * Listy, vol. 2: Październik 1929 – listopad 1934. Edited by Tomasz Lewandowski. Gdańsk: Wydawnictwo Morskie, 1983.
 * Listy, vol. 3: Grudzień 1927 – październik 1933. Edited by Tomasz Lewandowski. Gdańsk: Wydawnictwo Morskie, 1985.
 * “Kobieca twierdza na lodzie,” in Panek, Sylvia, ed., „Jazgot niewieści” i „męskie kasztele”. Z dziejów sporu o literaturę kobiecą w dwudziestoleciu międzywojennym. Poznań: Wydawnictwo Poznańskiego Towarzystwa Przyjaciół Nauk, 2010, 111-21.
 * Cyrograf na własnej skórze i inne opowiadania. Gdańsk: Wydawnictwo słowo/obraz terytoria, 2015.
 * Asymptoty. Gdańsk: Wydawnictwo słowo/obraz terytoria, 2018.
 * Twórczość Gerarda Gasztowta. Gdańsk: Wydawnictwo słowo/obraz terytoria, 2019.

Books about Stanisława Przybyszewska

 * Lewandowski, Tomasz. Dramat Intelektu: Biografia literacka Stanisławy Przybyszewskiej. Gdańsk: Wydawnictwo Morskie, 1982.
 * Janion, Maria and Stanisław Rosiek, eds. Transgresje, vol. 3: Osoby. Gdańsk: Wydawnictwo Morskie, 1984.
 * Kosicka, Jadwiga and Daniel Gerould. A Life of Solitude: Stanisława Przybyszewska, a Biographical Study with Selected Letters. London: Quartet Books, 1986; Evanston: Northwestern University Press, 1989.
 * Graczyk, Ewa. Ćma. O Stanisławie Przybyszewskiej. Warszawa: Wydawnictwo Open, 1994.
 * Ingdahl, Kazimiera. A Gnostic Tragedy: A Study in Stanislawa Przybyszewska's Aesthetics and Works. Stockholm: Almqvist & Wiksell International, 1997.

title: Stanisława Przybyszewska


text: Category:Herbie (franchise)

title: Category:Herbie (franchise)


text:
User talk:Cave troll

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. Lucky 6.9 03:24, 25 July 2005 (UTC)

Boga
I have answered your question at General complaints. Bovlb 07:05:31, 2005-09-10 (UTC)

A tag has been placed on Ankle Slicer, requesting that it be speedily deleted from Wikipedia. This has been done because the article appears to be about a person, group of people, band, club, company, or web content, but it does not indicate how or why the subject is notable: that is, why an article about that subject should be included in an encyclopedia. Under the criteria for speedy deletion, articles that do not assert the subject's importance or significance may be deleted at any time. Please see the guidelines for what is generally accepted as notable.

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title: User talk:Cave troll


text: Portal:Aviation/Anniversaries/January

title: Portal:Aviation/Anniversaries/January


text:
Earl Bakken

Earl Elmer Bakken  (January 10, 1924 – October 21, 2018) was an American engineer, businessman and philanthropist of Dutch and Norwegian American ancestry. He founded Medtronic, where he developed the first external, battery-operated, transistorized, wearable artificial pacemaker in 1957.

Early life and education
Bakken was born on January 10, 1924, in Columbia Heights, Minnesota and was of Norwegian ancestry. Bakken had a long-held fascination with electricity and electronics. A self-described "nerd", Bakken designed a rudimentary electroshock weapon in school to fend off bullies. He earned a Bachelor of Science degree in electrical engineering in 1948 from the University of Minnesota. His electrical engineering education continued, and he obtained a Master's degree with a minor in mathematics, also from the University of Minnesota.

As a boy, Bakken was inspired by the combination of electricity with medicine in Mary Shelley's novel Frankenstein, and the subsequent 1931 film version starring Boris Karloff was a direct inspiration for his future work, including his improvements to the pacemaker (the first to be battery-powered and wearable) and founding Medtronic. Bakken later founded a museum about medical science and electricity in Minneapolis, The Bakken, which features an extensive Frankenstein display.

Career
Post-World War II hospitals were just starting to employ electronic equipment, but did not have staff to maintain and repair them. Sensing an opportunity, with his brother-in-law, Palmer Hermundslie, he formed Medtronic (a portmanteau of "medical" and "electronic") in a small garage, primarily working with the University of Minnesota hospital.

In the 1950s, Dr. C. Walton Lillehei was performing life-saving surgery on children with blue baby syndrome. That surgery often left the children needing to be temporarily attached to a pacemaker. The pacemakers at the time were large devices that required their own carts and relied on wall current for power. As a result of a power blackout on October 31, 1957, one of Dr. Lillehei's young patients died. Dr. Lillehei, who had worked with Bakken before, asked him the next day if he could solve the problem. Four weeks after finding a circuit diagram for a metronome in Popular Electronics, Bakken delivered a battery-powered transistorized pacemaker about the size of a few decks of cards to Dr. Lillehei. After successfully testing the hand-made device in the laboratory, Bakken returned to create a refined model for patients. However, much to his astonishment, when he came in the next day, he found the pacemaker already in use on a patient. (The Food and Drug Administration did not start regulating medical devices until 1976.)

Over the next several years, Bakken and Medtronic worked with other doctors to develop fully implantable pacemakers, but they also veered toward bankruptcy. He borrowed money that kept Medtronic going, but the bankruptcy near-miss drove Bakken to develop the Medtronic Mission, which still guides the company. The mission helped the young company to stay focused on areas where it could truly help patients.

Bakken retired from Medtronic in 1989 and moved to a 9-acre estate in the Kona District of Hawaii he called Bakken Hale, but still returned to the company several times a year to meet new employees and explain the Medtronic Mission to them in person.

In 1996 he helped to dedicate the North Hawaii Community Hospital and was active there for some time afterward, working to combine Eastern and Western approaches to medicine to develop a more holistic approach to health care.

In 2001, Medtronic started the construction of its new European distribution center in Heerlen, The Netherlands. The street on which the facility was built is named after Bakken.

Bakken died at his Hawaii home on October 21, 2018, at the age of 94.

title: Earl Bakken


text:
Axel Enström (industrialist)

Axel Gustaf Torbjörn Enström (October 25, 1893 - March 9, 1977) was the head of Svenska Cellulosa Aktiebolaget in Sundsvall. He was managing director from 1950 to 1960 and chairman of the board from 1960 to 1965.

Biography
He was born on October 25, 1893, in Sweden.

He married Margit Lisa Magdalena Wahlberg (1900-1984) in Ytterlännäs, Västernorrland, Sweden on July 18, 1920. She was a daughter of Johanna Winblad (1859-1916) and Per Olof Bernhard Wahlberg (1852-1927). Their children include: Torbjörn Enström (1921-1983) who married Genenieve Shaw; Lennart Enström (1923-1999) who married Inga Lisa Bergengren; and Birgitta Enström (1925- ) who married Rickard Jörgen Ryott Malmros (1924-2006).

He was managing director of Svenska Cellulosa Aktiebolaget from 1950 to 1960.

On September 12, 1953, the golf course he created in Sundsvall was opened. The course was officially opened by His Royal Highness Prince Bertil. The SCA Men's Choir was established on August 28, 1957, on his initiative. His interest in male choral singing lead to the creation of choirs wherever there was an SCA run company, in Kramfors, Holmsund, Byske and Karlsvik. An icebreaking tugboat that belonged to SCA was named after him. It was later sold and renamed "Fram".

In 1953, he was elected a member of the Royal Swedish Academy of Engineering Sciences.

He was chairman of the board of Svenska Cellulosa Aktiebolaget from 1960 to 1965. He retired in 1965 and died on March 9, 1977, in Sweden.

Publications

 * Skogsbrukets och jordbrukets rationalisering - synpunkter på hur denna ... (1953)

Timeline

 * 1893 Birth of Axel Enström in Sweden
 * 1920 Marriage to Margit Lisa Magdalena Wahlberg in Ytterlännäs, Sweden on August 28
 * 1921 Birth of Torbjörn Enström
 * 1923 Birth of Lennart Enström
 * 1925 Birth of Birgitta Enström
 * 1950 Begins tenure as Director of SCA Forest Products in Sundsvall
 * 1953 Creation of golf course in Sundsvall on September 12
 * 1957 Creation of Men's Choir on August 28
 * 1960 Ends tenure as Director of SCA Forest Products in Sundsvall
 * 1960 Begins tenure as Chairman of the Board of SCA Forest Products in Sundsvall
 * 1965 Ends tenure as Chairman of the Board of SCA Forest Products in Sundsvall
 * 1977 Death of Axel Enström in Sundsvall, Sweden

Awards and decorations

 * Order_of_the_Polar_Star_-_Ribbon_bar,_pre_1975.svg 🇸🇪 Commander Grand Cross of the Order of the Polar Star (6 June 1963)

title: Axel Enström (industrialist)


text:
Portal:Aviation/Anniversaries/February

ar:بوابة:طيران/أحداث تاريخية/يوليو في الطيران

title: Portal:Aviation/Anniversaries/February


text:
User talk:LBYawaha

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text:
Portal:Aviation/Anniversaries/March

ar:بوابة:طيران/أحداث تاريخية/يوليو في الطيران

title: Portal:Aviation/Anniversaries/March


text:
Portal:Aviation/Anniversaries/April

ar:بوابة:طيران/أحداث تاريخية/يوليو في الطيران

title: Portal:Aviation/Anniversaries/April


text:
Ademption by satisfaction

Ademption by satisfaction, also known as satisfaction of legacies, is a common law doctrine that determines the disposition of property under a will when the testator has made lifetime gifts to beneficiaries named in the will. Under the doctrine, a gift that the maker of the will (the testator) gives during his lifetime to a named beneficiary of the will is treated as an advance payment of that beneficiary's inheritance. If the probate court determines that the testator intended the lifetime gift to satisfy a bequest under the will, the amount of the lifetime gift is deducted from the amount that the beneficiary would have received under the will.

Application
In the United States, state law determines which lifetime gifts are treated as gifts in satisfaction of a bequest. Under the Uniform Probate Code, § 2-609, a lifetime gift is treated as satisfaction of a legacy only if (i) the will provides for deduction of the gift, (ii) the testator indicated in a contemporaneous writing that the lifetime gift was intended to satisfy a legacy in the will, or (iii) the gift recipient acknowledged in writing that the gift was intended to satisfy a legacy in the will. Courts may presume that gifts of money from a parent to a child after the execution of the parent's will are gifts in satisfaction of the child's legacy under the will, even without a written indication of intent to satisfy the provision under the will. Courts are reluctant to apply the doctrine to certain kinds of legacies, for example, devises of specific real estate or bequests of personal property. These specific legacies are viewed by courts as unique and not able to be replaced with a lifetime gift of money or other property.

When the probate court determines that the doctrine applies to a lifetime gift made to a will beneficiary, the amount beneficiary's gift under the will is reduced by the amount the beneficiary has already received. For example, if the will bequeaths $5,000 to a beneficiary, but the beneficiary received a lifetime gift of $4,000 from testator that was intended to partially satisfy the gift under the will, the beneficiary will receive only $1,000 under the will. If the will provides that the beneficiary receives a percentage of the testator's estate, the court may engage in a hotchpot calculation to determine the amount, if any, that the beneficiary should receive under the will. If the value of the lifetime gift received is greater than the beneficiary's calculated share under the will, the beneficiary receives nothing under the will, but does not return any of the lifetime gifts.

title: Ademption by satisfaction


text:
John Hamilton (Quebec politician)

John Hamilton (16 December 1827 – 3 April 1888) was one of the founding members of the Senate of Canada.

He was born in Hawkesbury in Upper Canada in 1827, the son of George Hamilton. John and his brothers continued to expand their father's lumber business from its base on the lower Ottawa River. He served as reeve of Hawkesbury from 1858 to 1864. In 1860, he was elected to the Legislative Council of the Province of Canada for the Inkerman division in Canada East. A Conservative, he was appointed to the senate on 23 October 1867 by royal proclamation following the Canadian Confederation of 1867. He served in that capacity, representing the province of Quebec until his resignation on 1 May 1887.

He died at Montreal in 1888.

The Hamilton Memorial Prize was instituted at the University of Trinity College by Hamilton's family in his honour. It is given each year to the Divinity student with the top Honours Thesis.

title: John Hamilton (Quebec politician)


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Portal:Aviation/Anniversaries/May

ar:بوابة:طيران/أحداث تاريخية/يوليو في الطيران

title: Portal:Aviation/Anniversaries/May


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CSI effect

The CSI effect describes the various ways in which the exaggerated portrayal of forensic science on crime television shows such as CSI: Crime Scene Investigation influences public perception. The term was first reported in a 2004 USA Today article describing the effect being made on trial jurors by television programs featuring forensic science.

It most often refers to the belief that jurors have come to demand more forensic evidence in criminal trials, thereby raising the effective standard of proof for prosecutors. While this belief is widely held among American legal professionals, some studies have suggested that crime shows are unlikely to cause such an effect, although frequent CSI viewers may place a lower value on circumstantial evidence. As technology improves and becomes more prevalent throughout society, people may also develop higher expectations for the capabilities of forensic technology. The CSI effect has also re-popularized the forensic sector of the criminal justice system in the media and academia.

Background
The CSI effect is named for CSI: Crime Scene Investigation, a television program which first aired in 2000. In CSI, a fictional team of "crime scene investigators" ("CSIs") solve murders in the Las Vegas metropolitan area. In each episode, the discovery of a human corpse leads to a criminal investigation by members of the team, who gather and analyze forensic evidence, question witnesses, and apprehend suspects.

The fictional show's popularity led to three spin-offs: CSI: Miami, which debuted in 2002, CSI: NY, first aired in 2004, and CSI: Cyber, which premiered in 2015. In 2021, a new spinoff aired, CSI: Vegas, which brought back William Petersen and Jorja Fox, replaying their original roles as Gil Grissom and Sara Sidle, respectively.

The CSI franchise's success resulted in the production of many similar shows. The "CSI effect" has been associated with drama and true crime television series that preceded CSI, such as American Justice, Cold Case Files,  Cold Squad, Exhibit A: Secrets of Forensic Science, Forensic Files, Silent Witness,  Waking the Dead; and others that followed, including Bones, Cold Case, Criminal Minds, Crossing Jordan,  NCIS, Numb3rs, Wire in the Blood, and Without a Trace.

Based on the Nielsen ratings, six of the top ten most popular television shows in the United States in 2005 were crime dramas, and CSI: Crime Scene Investigation reached the number one ranking in November 2007.

Several aspects of popular crime shows have been criticized as being unrealistic. For instance, the show's fictional characters not only investigate ("process") crime scenes, but they also conduct raids, engage in suspect pursuit and arrest, interrogate suspects, and solve cases — which, in real life, falls under the responsibility of detectives and uniformed officers, not CSI personnel. Additionally, if CSIs process a crime scene, it is inappropriate for them to also be involved in the examination and testing of any evidence collected from that scene as it would compromise the impartiality of scientific evidence. In real investigations, DNA and fingerprint data are often unobtainable and, when they are available, can take several weeks or months to process, whereas television crime labs usually get results within hours.

In the first season of CSI, technicians made a plaster mold of the interior of a wound to determine the type of knife used to make the wound, which is not possible with current technology. Characters on television often use the word "match" to describe a definitive relationship between two pieces of evidence, whereas real forensic technicians tend to use terms that are less definite, which acknowledges that absolute certainty is often not possible.

Anthony E. Zuiker, creator of the CSI franchise, claimed that "all of the science is accurate" on the shows; researchers, however, have described CSI portrayal of forensic science as "high-tech magic". Forensic scientist Thomas Mauriello estimated that 40 percent of the scientific techniques depicted on CSI do not exist. In addition to using unrealistic techniques, CSI ignores all elements of uncertainty present in real investigations, and instead portrays experimental results as absolute truth.

The notion that these inaccurate portrayals could alter the public perception of forensic evidence was dubbed the "CSI effect", a term which began to appear in mainstream media as early as 2004.

Under this effect, victims and their families – and jurors – are coming to expect instant answers from showcased techniques such as DNA analysis and fingerprinting, when actual forensic processing often takes days or weeks, with no guarantee of revealing a "smoking gun" for the prosecution's case. District attorneys state that the conviction rate in cases with little physical evidence has decreased, largely due to the influence of CSI on jury members.

By 2009 more than 250 stories about the CSI effect had appeared in newspapers and magazines, including articles in National Geographic, Scientific American, and U.S. News & World Report.

Research findings
Although the CSI effect is a recent phenomenon, it has long been recognized that media portrayals of the United States legal system are capable of significantly altering public awareness, knowledge, and opinions of it.

An attorney told The New York Times in 1990 that "Any lawyer who doesn't watch L.A. Law the night before he's going to trial is a fool". A 2002 juror survey showed that viewers of the popular court show Judge Judy were greatly misinformed about the purpose of the judge within a courtroom.

Earlier programs which may have affected public perception of "the legal or investigative systems" include Perry Mason (1957–1966), Quincy, M.E. (1976–1983) and the Law & Order franchise (1990–present).

News media reports on criminal trials, extensive internet blogging, and the successes of the Innocence Project have also contributed to the increased public awareness of forensic science. CSI franchise creator Zuiker has stated that The CSI Effect' is, in my opinion, the most amazing thing that has ever come out of the series."

The CSI effect is described by researchers N. J. Schweiter and Michael J. Saks as a reference to the alleged phenomenon of CSI raising crime victims' and jury members' real-world expectations of forensic science, especially crime scene investigation and DNA testing. Donald E. Shelton, Young S. Kim and Gregg Barak have said it has changed the way many trials are presented today, in that prosecutors are pressured to deliver more forensic evidence in court.

In 2006, the evidence cited in support of the supposed effect was mainly anecdotes from law enforcement personnel and prosecutors, and allegedly little empirical examination of the effect had been done, and the one study published by then suggested the phenomenon may be an urban myth. A study in 2008 using psychology graduate students found no evidence of the CSI effect among heavy viewers of these types of programs.

A survey conducted by Donald E. Shelton on 1,027 potential jurors in Ann Arbor, Michigan revealed that while CSI viewers had higher expectations for scientific evidence than non-CSI viewers, in most cases, scientific evidence was not needed in order to reach a verdict.

However, more recent research suggests that these modern TV shows do have a misleading influence on public perceptions and expectations, and juror behavior.

Citing the "CSI effect", at least one researcher has suggested screening jurors for their level of influence from such TV programs.

Cultivation theory
Many studies on the "CSI effect" cite George Gerbner's cultivation theory to explain the effects that consuming television may have on viewers' perceptions of reality. Gerbner's theory claims that television is a centralized system of storytelling and causes the distortion of reality. Cultivation Theory argues that the more time people spend "living" in the television world, the more likely they are to believe social reality aligns with the "reality" portrayed on television. The theory suggests that those who watch more television are more likely to develop certain beliefs about reality based on the various depictions shown on television.

One study applied Gerbner’s Cultivation Theory to college students to see if the United States' crime shows distorted their perception of reality. Students who had heavily viewed U.S. crime shows were found to be more likely to believe various misconceptions of reality, such as how likely one is to get attacked at night in the United States.

Another study applied Gerbner's theory to a content analysis of popular crime dramas like CSI: Las Vegas, Law & Order: Special Victims Unit, Criminal Minds, and Without a Trace. Researchers found that DNA was frequently referenced within these shows, which supports with the argument that cultivation in fictional media had real-world consequences.

Trials
The popularity of forensic crime television shows supposedly gives rise to many misconceptions about the nature of forensic science and investigation procedures among jury members. The CSI effect is hypothesized to affect verdicts in two main ways:
 * First, that jurors expect more forensic evidence than is available or necessary, resulting in a higher rate of acquittal when such evidence is absent; and
 * Second, that jurors have greater confidence in forensic and particularly DNA evidence than is warranted, resulting in a higher rate of conviction when such evidence is present.

While these and other effects may be caused by crime shows, the most commonly reported effect is that jurors are wrongly acquitting defendants despite overwhelming evidence of guilt. In particular, prosecutors have reported feeling pressured to provide DNA evidence even when eyewitness testimony is available.

In fact, in a study of 444 prosecutors, 56% believed the CSI effect to almost always or always influence juries, and 81% believed the CSI effect to influence judges.

In one highly publicized incident, Los Angeles County, California District Attorney Steve Cooley blamed actor Robert Blake's acquittal on murder charges on the CSI effect. Cooley noted that the "not guilty" verdict came despite two witness accounts of Blake's guilt, and claimed that the jury members were "incredibly stupid".

By 2005, some judges and prosecutors had begun altering their trial preparations and procedures in an attempt to counter the CSI effect.

Some ask questions about crime drama television viewership during voir dire to target biased jurors.

For example, in Charles and Drake v. State (2010), the defendants were convicted of second degree murder, and during voir dire, the judge presented a question about the CSI effect. In this case, the Maryland appellate court ruled the CSI effect voir dire question inappropriate due to its biased language and use of the term "convict" without mention of acquittal.

Prosecutors have also used opening statements and closing arguments to minimize the possible impact of the CSI effect.

In Goff v. State (2009), the prosecutor asked jurors during voir dire about their ability to render a verdict without scientific evidence, and then reminded them during closing arguments about this question. In this case, the mention of the CSI effect was considered acceptable because the language used was neutral and unbiased.

Additionally, jury instructions have also been used as a means of informing jurors about the CSI effect.

In Atkins v. State (2011), the jury was instructed that scientific evidence is not necessary for a case to be valid. The court ruled that this jury instruction regarding scientific evidence was improper because the State was not held to its burden of proof.

Furthermore, prosecutors have hired expert witnesses to explain why particular forms of physical evidence are not relevant to their cases. In one Australian murder case, the defense counsel requested a judge-only trial to avoid having DNA evidence misinterpreted by a jury.

In addition to having to add questions during voir dire and making opening and closing statements, prosecutors are spending more time during the jury selection process in order to avoid choosing jury members who regularly watch crime-based television shows.

By 2006, the CSI effect had become widely accepted as reality among legal professionals, despite little empirical evidence to validate or disprove it.

A 2008 survey by researcher Monica Robbers showed that roughly 80% of all American legal professionals believed they had had decisions affected by forensic television programs.

New York University professor Tom R. Tyler argued that, from a psychological standpoint, crime shows are more likely to increase the rate of convictions than acquittals, as the shows promote a sense of justice and closure which is not attained when a jury acquits a defendant. The perceived rise in the rate of acquittals may be related to sympathy for the defendant or declining confidence in legal authorities.

A 2006 survey of U.S. university students reached a similar conclusion: the influence of CSI is unlikely to burden prosecutors, and may actually help them.

One of the largest empirical studies of the CSI effect was undertaken in 2006 by Washtenaw County Circuit Court Judge Donald Shelton and two researchers from Eastern Michigan University. They surveyed more than 1,000 jurors, and found that while juror expectations for forensic evidence had increased, there was no correlation between viewership of crime shows and tendency to convict.

One alternate explanation for the changing perception of forensic evidence is the so-called "tech effect": as technology improves and becomes more prevalent throughout society, people develop higher expectations for the capabilities of forensic technology.

Shelton described one instance in which a jury member complained because the prosecution had not dusted the lawn for fingerprints, a procedure which is impossible and had not been demonstrated on any crime show. A later study by the same authors found that frequent CSI viewers may place a lower value on circumstantial evidence, but their viewership had no influence on their evaluation of eyewitness testimony or their tendency to convict in cases with multiple types of evidence.

Many stories about the CSI effect assume that there has been an increase in acquittal rates, though this is often based entirely on anecdotal evidence.

A 2009 study of conviction statistics in eight states found that, contrary to the opinions of criminal prosecutors, the acquittal rate has decreased in the years since the debut of CSI. The outcome of any given trial is much more strongly dependent on the state in which it took place, rather than whether it occurred before or after the CSI premiere.

A 2010 study by the University of Wisconsin–Milwaukee suggests that, while there may be a correlation between crime show viewership and a perceived understanding of DNA evidence, there was no evidence that such viewership affected jury decision making. As of August 2010, no empirical evidence has demonstrated a correlation between CSI viewership and acquittal rates.

One researcher suggested that the perception of a CSI effect—and of other courtroom effects, such as Perry Mason syndrome and white coat syndrome—is caused not by the incompetence of jury members, but by a general distrust of the jury system as a whole.

Academia
The CSI effect has influenced the manner in which forensic scientists are educated and trained. In the past, those who sought to enter the field of forensics typically earned an undergraduate degree in a science, followed by a master's degree. However, the popularity of programs such as CSI has caused an increase in the demand for undergraduate courses and graduate programs in forensic science.

In 2004, the forensics programs at Florida International University and the University of California, Davis, doubled in size, reportedly as a result of the CSI effect. However, many students enter such programs with unrealistic expectations. Vocational interest in forensic science has proliferated among students in countries besides the United States, including Australia, the United Kingdom, and Germany. The increased popularity of the forensic science program at the University of Lausanne in Switzerland has also been attributed to the CSI effect.

Although the increased popularity of forensics programs means there are more applicants for jobs at crime labs, there is some concern that these courses do not adequately prepare students for real forensics work, as graduates often lack a firm grasp of basic scientific principles that would come from a science degree. Many forensics students are presented with streamlined exercises with overly clear answers, which may give them distorted perceptions of the power of forensic science. The Albuquerque Police Department has attempted to improve scientific literacy among future forensic scientists and jurors alike by developing a "Citizen CSI" course which familiarizes local citizens with the "capabilities and limitations of authentic forensic science techniques".

While forensic crime shows are often criticized for portraying technologies that do not exist, these may inspire inventors and research teams, as it is not uncommon for scientific innovations to be first portrayed in science fiction.

The popularization of forensic, criminal justice, criminology, and psychology courses in higher education may be partially due to crime-related television shows. While forensic-based shows like CSI and Bones heightened the popularity of forensic programs, Criminal Minds and Quantico have promoted psychology and criminal justice programs, respectively. One study of college students found that criminal justice majors did not base their personal decisions about their majors or careers on the media, but believed that their fellow classmates did.

Crimes
The CSI effect may also alter how crimes are committed. In 2000, the year that CSI: Crime Scene Investigation debuted, 46.9% of all rape cases in the United States were resolved by police. By 2005, the rate had fallen to 41.3%. Some investigators attributed this decline to the CSI effect, as crime shows often inadvertently explain in detail how criminals can conceal or destroy evidence. Several rape victims have reported that their assailants forced them to shower or clean themselves with bleach after their assaults.

In December 2005, Jermaine McKinney broke into a home in Trumbull County, Ohio, where he murdered two women. A fan of CSI, McKinney went to unusual lengths to remove evidence of his crime: he cleaned his hands with bleach, burned the bodies and his clothing, and attempted to dispose of the murder weapon in a lake. McKinney was eventually apprehended.

Ray Peavy, head of the Los Angeles County homicide division, commented that, in addition to teaching criminals how to conceal evidence, crime shows may even "encourage them when they see how simple it is to get away with [it] on television".

Others argue that shows like CSI are not having any educational effect on criminals. Max Houck, director of the Forensic Science Initiative at West Virginia University, said although CSI may be educating criminals, people who resort to a life of crime generally are not very intelligent to begin with.

It is also possible that crime shows have the opposite effect, if attempts to conceal evidence generate more evidence. Houck gave an example of criminals who avoided licking envelopes because of the DNA in their saliva, but left fingerprints and hair samples on adhesive tape instead.

Tammy Klein, the lead investigator on the McKinney case, said that the killings she investigates are committed by people "who for the most part are pretty stupid". Larry Pozner, former president of the National Association of Criminal Defense Lawyers, argued that because people who commit violent crimes generally do not take precautions, television forensics programs are unlikely to have any effect on their behavior.

Convicted serial rapist Jonathan Haynes forced his victims to destroy forensic evidence. He was only caught after one of his victims deliberately pulled out her own hair which was later discovered in his car, tying him to the attacks. She was inspired by watching the CSI television series.

Police Chief's effect
A lesser-known subcategory of the CSI effect is known as the Police Chief's effect. The police chief's effect suggests that crime-related television shows have educated criminals on how to avoid detection from law enforcement. Crime-related television show often show techniques criminals use to reduce the likelihood of their DNA being left behind at the crime scene, such as wearing gloves or using bleach. This effect also stems to non-DNA related evidence like strategically passing a polygraph test.

Police investigations
Law enforcement officers often receive inquiries and demands about their investigations that stem from unrealistic portrayals on television. In a 2010 survey of Canadian police officers, some were frustrated by these CSI-affected queries, though most saw them as opportunities to inform the public about real police work.

New technologies and the increased public awareness of forensic science have stimulated new interest in solving cold cases and encouraged higher accountability among police investigators.

However, the increased demand for forensic evidence can cause an unmanageable workload for forensic laboratories. Some crime labs process several thousand cases every year.

Many law enforcement agencies have insufficient storage space for the increasing amount of physical evidence they collect. In some investigations, DNA evidence is not collected simply because there is not enough space to store it properly.

title: CSI effect


text: User talk:68.84.203.76

title: User talk:68.84.203.76


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title: Talk:Lotus FM


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Summerhaven, Arizona

Summerhaven is a small unincorporated community and census-designated place (CDP) on Mount Lemmon in the Santa Catalina Mountains north of Tucson in Pima County, Arizona, United States. As of the 2010 census it had a permanent population of 40. Summerhaven sits at an elevation of approximately 7600 to 8200 ft above sea level. Summerhaven is accessed via the Catalina Highway from suburban northeast Tucson, and it is about 24.5 mi from the base of the mountains to Summerhaven.

History
White Anglo-Americans originally used the area of Summerhaven when the U.S. Army at Fort Lowell in Tucson put a military camp there in its defense against the Apache in the 1870s and 1880s. As to white settlement of the vicinity, the Ransier School in Carter Canyon, run by Lydia Ransier and 'Auntie' Broadbent, had two cabins, the larger log one being built in 1912, "one of the oldest cabins on the mountain."

According to historian David Leighton, Summerhaven at one point had the highest golf links in the world. He wrote, "F.E.A Kimball (namesake of Mount Kimball), head of the Summerhaven Land and Improvement Co. on Mount Lemmon, constructed a six-hole golf links. The course was on 50 acres, a mix of Forest Service and private land, with two trout streams running through the acreage. The links were about 7,800 feet above sea level, making it the highest golf course in the world...."

Geography
Summerhaven is located in the Santa Catalina Mountains and is surrounded by pine trees. According to the U.S. Census Bureau, the Summerhaven CDP has a total area of 11.8 km2, almost all land.

Climate
Due to its high elevation of 8200 ft, Summerhaven experiences moderately warm summers and cool snowy winters. Yearly snowfall averages can be significant, on average reaching 65 in a year. A windstorm hit Summerhaven in May 2010 and caused extensive damage to the forest around it. Some trails were severely damaged, although repair efforts were underway. The climate could be classified as a subtropical highland climate (Cfb).

Demographics
In 2010, the population of the Summerhaven census-designated place was 40. Note that this includes only people who were living in Summerhaven on the day of the census, thus excluding many part-time or seasonal residents. As of the 2010 census, the racial composition of Summerhaven was:

 * White: 75% (Non-Hispanic Whites: 70%)
 * Black or African American: 0%
 * Native American: 15%
 * Asian: 10%
 * Native Hawaiian and Other Pacific Islander: 0%
 * Some other race: 0%
 * Two or more races: 0%

Tourism and recreation
Summerhaven is a popular tourist destination. Several small shops in Summerhaven attract visitors, including the Mount Lemmon General Store and The Cookie Cabin, which offers homemade cookies and pizzas. In the winter, residents from lower elevations travel to Summerhaven, when the Catalina Highway is open, to enjoy the snow. Also during the summer, the same residents will frequent the area to get away from the heat. Because of the elevation difference between the Tucson area (5,000–6,000 feet), the temperature in Summerhaven will be anywhere from 15–30 degrees F cooler depending on weather patterns, which usually makes it a very comfortable place to be compared to the hot desert heat in the summer time.

October 2010 saw the inaugural running of the Mount Lemmon Marathon, in which nearly 800 participants finished the race from near the start of the Catalina Highway up to Summerhaven.

Mount Lemmon Ski Valley
The Mount Lemmon Ski Valley located outside Summerhaven is the southernmost ski location in the continental United States.

Aspen Fire
The Aspen wildfire struck Summerhaven in the summer of 2003, which resulted in the destruction of more than 250 of the 700 homes in the community. Arizona Governor Janet Napolitano assessed the damage, and both federal and county officials surveyed the extensive loss. In the months that followed, Tucson residents organized "Lemmon Aid" to help rebuild Summerhaven.

City services
There is a general store and several food venues, but no gasoline or automotive services. The Mount Lemmon Fire Department maintains a station near Summerhaven, providing fire and EMS services. Summerhaven is not located in a school district; the closest district is Tanque Verde Unified School District.

title: Summerhaven, Arizona


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Jimmy Eat World (1994 album)

Jimmy Eat World is the debut studio album by the American rock band of the same name, released in December 1994 on Wooden Blue Records, limited to 2,000 copies. The album displays their early sound with guitarist and eventual backing vocalist Tom Linton singing lead on most of the songs on this album. The one song on this album that is sung by current primary vocalist Jim Adkins is the track "Usery". The album also marks the only appearance of former bass guitarist Mitchel Porter.

The album cover is an old picture of Linton's younger brothers Jim and Ed, from whom the band's name originated.

Reception
In 2012, The A.V. Club's Jason Heller noted, "It's long been out of print, and there’s a good reason for it. It’s not terrible, but it doesn't represent what the band would become."

Personnel
Jimmy Eat World
 * Jim Adkins – lead guitar, backing vocals, lead vocals on "Usery"
 * Zachary Lind – drums, accordion
 * Thomas Linton – lead vocals, rhythm guitar, backing vocals on "Usery"
 * Mitchel Porter – bass guitar

Additional personnel
 * Sarah Pont – violin on "Usery"
 * Steve Naugton – engineer
 * Larry Elyea – mastering
 * Craig Robeson – photography
 * Jim Schroeder – design

title: Jimmy Eat World (1994 album)


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Roger Voisin

Roger Louis Voisin (June 26, 1918 – February 13, 2008) was an American classical trumpeter. In 1959, The New York Times called him "one of the best-known trumpeters in this country."

Performing career
Among the most influential trumpet performers and teachers of the twentieth century, Voisin joined the Boston Symphony Orchestra as assistant principal trumpet in 1935 at age seventeen, and became principal trumpet in 1950. He performed in the Boston Symphony for 38 years, until 1973. During this period, he was also principal trumpet with the Boston Pops Orchestra.

Voisin moved to the United States as a child when his father, René Voisin (1893–1952), was brought to the Boston Symphony as fourth trumpet by Sergei Koussevitzky in 1928. He was initially a student of his father, but he later studied with the Boston Symphony's second trumpet Marcel LaFosse (1894–1969) and principal trumpet Georges Mager (1885–1950). He also studied solfege with Boston Symphony contrabassist Gaston Dufresne.

He is credited with premiere performances of many major works for trumpet including Paul Hindemith's Sonata for Trumpet and Piano (with Hindemith at the piano), and Alan Hovhaness' Prayer of St. Gregory. He is also credited with the US premiere of Alexander Arutiunian's Trumpet Concerto, performing with the Boston Pops Orchestra in 1966. Leroy Anderson's A Trumpeter's Lullaby was written for Roger Voisin in 1949, and first recorded with Arthur Fiedler conducting Voisin and the Boston Pops Orchestra in 1950. Leroy Anderson states that "(A Trumpeter's Lullaby) had its beginning backstage at Symphony Hall in Boston. In addition to composing and conducting, I was arranger for the Boston Pops Orchestra for a number of years --- and after one of the concerts I was sitting talking with the conductor Arthur Fiedler and the first trumpet of the Boston Pops, Roger Voisin. Suddenly Roger Voisin asked me why I didn't write a trumpet solo for him to play with the orchestra that would be different from traditional trumpet solos which are all loud, martial or triumphant. After thinking it over, it occurred to me that I had never heard a lullaby for trumpet so I set out to write one --- with a quiet melody based on bugle notes played by the trumpet and with the rest of the orchestra playing a lullaby background."

He has also been involved with many early recordings and performances of both solo and orchestral works including J. S. Bach's Brandenburg Concerto #2, Béla Bartók's Concerto for Orchestra, Aaron Copland's Quiet City, Joseph Haydn's Concerto for Trumpet in Eb, Alexander Scriabin's The Poem of Ecstasy, Georg Philipp Telemann's Concerto for Trumpet in D, and Antonio Vivaldi's Concerto for Two Trumpets in C.

Teaching career
Roger Voisin was with the Boston Symphony at the inception of the Tanglewood Music Center in 1940, and continued to serve on the faculty there, coaching the orchestral winds and teaching solfège to the conducting class, until his death in 2008. He became chair of the New England Conservatory of Music (NEC) brass and percussion department in 1950 and was the primary trumpet teacher at NEC for nearly 30 years. In 1975 he became a full professor at Boston University, teaching trumpet and chairing the wind, percussion and harp department until his retirement in 1999. In 1989 Voisin donated much of his personal music library to Boston University, where it is housed in the Mugar Library's "Special Music Collections". He was awarded an honorary Doctorate from the New England Conservatory in 1991, along with legendary jazz trumpeter Dizzy Gillespie. He has served on the jury of the Maurice André trumpet competition since 1988.

His students are found performing in orchestras and teaching at conservatories and universities throughout the world. A partial list follows:

George Kent (University of Rhode Island, New England Conservatory, Chorus of Westerly), Andrew Balio (Baltimore Symphony Orchestra), Gilbert Blais (Conservatoire de musique de Saguenay), Peter Chapman (Boston Symphony Orchestra), Jon Paul Danté (Paramount Brass Quintet, Singapore Symphony Orchestra), Russell Devuyst (Montreal Symphony Orchestra), Kurt Dupuis ("The President's Own" U. S. Marine Band), Anthony DiLorenzo (Center City Brass, composer, recording artist), Albert DiPietro (Longy School of Music), Joseph D. Foley (Atlantic Brass Quintet, Wellesley College, Boston University), William Harvey (Oakland East Bay Symphony), Edward Hoffman (Baltimore Symphony Orchestra, Peabody Institute), Bruce Hopkins (College of the Holy Cross), Paul Jackson (Alabama Symphony Orchestra), Robert Lemons (Eastern Connecticut State University), Louis Larouche ( Québec Symphony Orchestra), Steven Matera ("The President's Own" U. S. Marine Band), Vincent Monaco (Handel and Haydn Society, Phillips Academy) Timothy Morrison (Boston Symphony Orchestra, Hollywood recording artist), Rodney Mack (Chamber Orchestra of Philadelphia), Niel Mueller (North Dakota State University), Dennis Najoom (Milwaukee Symphony Orchestra), Ramon Parcells (Detroit Symphony Orchestra), Gary Peterson (Bergen Philharmonic Orchestra, Grieg Academy), William Pfund (University of Northern Colorado, Greeley Philharmonic Orchestra), Marc Reese (Empire Brass Quintet), Betty Barber Rines (Portland Symphony Orchestra), Jay Rizzetto (California State University, San Francisco Ballet), John Schnell (Portland Symphony Orchestra), David Scott (McNeese State University), Lt Col Alan Sierichs (The United States Air Force Band), Rolf Smedvig (Empire Brass Quintet), Thomas V. Smith (New York Philharmonic, Manhattan School of Music), Edward Tarr (trumpet soloist, historian), James Thompson (Montreal Symphony Orchestra, Atlanta Symphony Orchestra, Eastman School of Music), Peter Voisin (Jacksonville Symphony Orchestra), Linn Weeda (Anchorage Symphony Orchestra, University of Alaska Anchorage), Alan Wenger (Central Missouri State University), Mike Zonshine (Honolulu Symphony) Earl Gaar (Top Brass Louisville KY).

The Roger Voisin Memorial Trumpet Competition for student trumpet performers was founded by Marc Reese and is named in Voisin's memory.

Editing career
Roger Voisin was also very active as an editor for International Music Company, providing over 45 editions for the company.

VOISIN EDITIONS:

 * Giuseppe Aldrovandini (1671–1707), Sonata No. 1 for Two Trumpets (International Music Company)
 * Giuseppe Aldrovandini (1665–1707), Sonata No. 2 for Two Trumpets (International Music Company)
 * Giuseppe Aldrovandini (1665–1707), Sonata No. 3 for Two Trumpets (International Music Company)
 * Alexander Arutiunian (born 1920), Concerto for Trumpet (International Music Company)
 * Guillaume Balay (1871–1942), Contest Piece (International Music Company)
 * Vassily Brandt (1869–1923), Concertpiece No. 1, Op. 11 (International Music Company, 1963)
 * Henri Buesser (1872–1973), Concertpiece (International Music Company)
 * Henri Buesser (1872–1973), Andante & Scherzo, Op. 44 (International Music Company)
 * A. H. Chavanne (died 1926), 25 Characteristic Studies (International Music Company)
 * Jeremiah Clarke (c. 1674–1707) (attributed to Henry Purcell), Trumpet Voluntary (International Music Company)
 * Michel Corrette (1709–1795), Two Divertimenti, Op. 7. (International Music Company)
 * Gaston Dufresne Develop Sight Reading (Charles Colin Music)
 * Ernst August Friese, 10 Studies For Trumpet (International Music Company, 1970)
 * Domenico Gabrielli (1651–1690), 6 Sonatas, Op. 11 Volumes I & II (International Music Company)
 * Domenico Gabrielli (1651–1690), Sonata for Two Trumpets (International Music Company)
 * André Gedalge (1856–1926), Contest Piece (International Music Company)
 * Reinhold Glière, Concerto (International Music Company)
 * Johann Christoph Graupner (1683–1760), Concerto No. 1 in D (International Music Company)
 * George Frideric Handel (1685–1759), Concerto in G min. (International Music Company)
 * George Frideric Handel (1685–1759) Concerto in F minor (International Music Company)
 * George Frideric Handel (1685–1759), Sonata No. 3 (International Music Company)
 * Joseph Haydn (1732–1809), Concerto in E flat maj. Edited & provided with Cadenzas by Roger Voisin (International Music Company)
 * Georges Hüe (1858–1948), Contest Piece (International Music Company)
 * Johann Nepomuk Hummel (1778–1837), Concerto for Trumpet (International Music Company)
 * Giuseppe Maria Jacchini (c. 1663 – 1727), Sonata (International Music Company)
 * Aram Khachaturian (1903–1978), Four Dances from the ballet "Gayane" (International Music Company)
 * Georg Kopprasch, 60 Studies Volumes I & II (International Music Company)
 * Francesco Manfredini (1684–1762), Concerto in C Major for Two Trumpets (International Music Company)
 * Georges Marty (1860–1908), Chorale (International Music Company)
 * Orchestral Excerpts from Classical and Modern Works Volumes VI, VII, VIII, IX, X (International Music Company)
 * Ernst Paudert (born c. 1899, date of death unknown), Six Duets (International Music Company)
 * Ernst Paudert (born c. 1899, date of death unknown), 24 Studies (International Music Company)
 * Giocomo Perti (1661–1756), Serenade (International Music Company)
 * Henry Purcell, Sonata for Trumpet in Bb or C (International Music Company)
 * Domenico Scarlatti, Sonata No. 17 (International Music Company)
 * Matthias Spiegler (1595 – c. 1634), Canzone I for Trumpet, Bass Trombone & Piano (International Music Company)
 * Matthias Spiegler (1595 – c. 1634), Canzone II for 2 Trumpets, Bass Trombone & Piano (International Music Company)
 * John Stanley, (1713–1786) Concerto i C Major (Füssl-Voisin) (International Music Company)
 * Giuseppe Tartini (1692–1770), Adagio and Allegro for two trumpets (Orvid-Voisin) (International Music Company)
 * Georg Philipp Telemann (1681–1767), Concerto in D major (International Music Company)
 * Georg Philipp Telemann (1681–1767), Concerto in B flat major (orig. in D for Clarino) (Füssl-Voisin)(International Music Company)
 * Georg Philipp Telemann (1681–1767), Concerto for Two Trumpets (International Music Company)
 * Francis Thomé (1850–1909), Fantasy (International Music Company)
 * Giuseppe Torelli (1658–1709), Concerto in C major (International Music Company)
 * Roger Voisin (1918–2008), Album of 12 Classical Pieces (Beethoven, Grieg, Handel, Mendelssohn, Mozart, Schubert, Weber, et al.) (International Music Company)
 * Roger Voisin (1918–2008), 24 Daily Exercises (International Music Company)
 * Roger Voisin (1918–2008), 11 Studies (International Music Company, 1963)
 * Wilhelm Wurm (1826–1906), 40 Studies (International Music Company)

Discography

 * The Modern Age of Brass (Kapp "Unicorn" monaural recording)
 * Hindemith, "Morgenmusik"
 * Dahl, Music for Brass Instruments
 * Berezowsky, Brass Suite
 * Sanders, Quintet in B flat
 * Roger Voisin / Music for Trumpet & Orchestra (Vol 1) (Kapp "Unicorn" recording)
 * Haydn, Concerto for Trumpet and Orchestra in E flat
 * Antonio Vivaldi, Concerto for Two Trumpets and Orchestra in C
 * Henry Purcell, Tune and Air for Trumpet and Orchestra in D
 * Henry Purcell, Voluntary for Two Trumpets in C
 * Henry Purcell, Voluntary for Two Trumpets in C
 * Henry Purcell, Trumpet Voluntary in D
 * Henry Purcell, Sonata for Trumpet and Strings in D
 * Roger Voisin & John Rhea Trumpets / Trumpet Impressions 2
 * Girolamo Fantini, Chiamata no. 3
 * Henry Purcell, Symphony From The Fairy Queen
 * Alessandro Stradella, Sonata For Trumpet and Two String Orchestras
 * Jean-Baptiste Lully, Carousel Music
 * Girolamo Fantini, Chiamata no. 6
 * Claudio Monteverdi, Sinfonia da Guerra
 * Johann Caspar Ferdinand Fischer, Le Journal de Printemps: Suite no. 8
 * Christian Pezold, Sonata no. 30 "Hora Decima"
 * John Stanley, Trumpet Tune
 * Henry Purcell, The Yorkshire Feast Song: Symphony
 * Henry Purcell, The Duke of Gloucester's Birthday Ode: Overture
 * Henry Purcell, Trumpet Overture From "The Indian Queen"
 * Henry Purcell, Trumpet Tune And Air "The Cebell"
 * C. P. E. Bach, Marche For Three Trumpets And Timpani "Fur Die Arche"
 * Roger Voisin: The Baroque Trumpet - Disc One
 * Antonio Vivaldi, Concerto in E flat major for two Trumpets and Strings
 * Manfredini, Concerto in D major for Two Trumpets and Orchestra
 * Biber, Sonata a Six for B flat Trumpet and Strings
 * G. P. Telemann, Concerto in D major for Trumpet in D, Two Oboes, and Continuo
 * John Stanley, Trumpet Tune
 * Henry Purcell, Yorkshire Feast
 * Henry Purcell, Duke of Gloucester's Birthday Ode: Overture
 * Henry Purcell, Indian Queen: Trumpet Overture
 * Henry Purcell, The Cebell
 * C. P. E. Bach, March for Three Trumpets and Timpani
 * Legrenzi, Sonata La Buscha
 * G. P. Telemann, Concerto in D for Trumpet, Strings and Continuo
 * Roger Voisin: The Baroque Trumpet - Disc Two
 * J. E. Altenburg, Concerto for Seven Trumpets and Timpani
 * Henry Purcell, Symphony from "The Fairy Queen"
 * Alessandro Stradella, Sonata for Trumpet and Two String Orchestras
 * Claudio Monteverdi, Sinfonia da Guerra
 * J. K. F. Fischer, Le Journal de Printemps" (Suite No. 8)
 * Alessandro Stradella, Sinfonia to II Barcheggio
 * Domenico Scarlatti, Sinfonia No. 2
 * Fux, Serenada
 * Music of Jubilee - Johann Sebastian Bach: E. Power Biggs, organ; Richard Burgin, Conductor; Columbia Chamber Orchestra; Recorded in Symphony Hall, Boston; Solo Trumpets: Roger Voisin and Marcel LaFosse
 * Sinfonia to Cantata No. 29
 * Chorale Prelude: In Dulci Jubilo
 * Chorale Prelude: Rejoice, Beloved Christians
 * Concerto and Chorale "Alleluia" - Cantata No. 142
 * Chorale: Jesu Joy of Man's Desiring - Cantata No. 147
 * Chorale Prelude: Fantasia on "In Dulci Jubilo"
 * Chorale: Now Christ Doth End in Triumph - Christmas Oratorio
 * Duet: My Spirit be Joyful - Easter Cantata No. 146
 * Sheep May Safely Graze - Birthday Cantata No. 208
 * Chorale: Now Thank We All Our God - Cantata No. 79
 * Sonata to Cantata No. 182
 * Chorale: Awake Thou Wintry Earth - Cantata No. 129
 * Fugue in G Minor ("Little")
 * Passacaglia and Fugue in C Minor
 * Fugue in C Major ("Fanfare")
 * Toccata and Fugue in D Minor
 * The Old South Brass, Organ and Timpani; Frederick MacArthur, Organ; Roger Voisin, Conductor
 * Chucherbutty Fanfare
 * Edward Elgar Pomp and Circumstance Military March No. 1, Opus 39 - Arr. George Faxon
 * George Faxon Adagio from Miniature Suite For String Quartet
 * George Faxon Fanfare No. 2
 * Karg-Elert Praise The Lord With Drums And Cymbals, Opus 101
 * McKinley Hymn Tune Fantasie On "St. Clement"
 * Perry Christos Patterakis
 * John Philip Sousa The Stars & Stripes Forever - Arr. George Faxon
 * Tchaikovsky 1812 Overture - Arr. George Faxon
 * The Star-spangled Banner (National Anthem) - Arr. George Faxon
 * Traditional Auld Lang Syne - Arr. George Faxon
 * Vierne Carillon De Westminster from Pièces De Fantaisie, Troisième Suite, Opus 54 - Arr. George Faxon
 * Vierne March Triomphale Centenaire De Napoléon I, Opus 16
 * Richard Wagner The Ride Of The Valkyries - Arr. George Faxon
 * Koussevitzky Conducts Bach (Boston Symphony Orchestra)
 * The Six Brandenburg Concertos
 * The Four Orchestral Suites
 * Bernstein, conducts Stravinsky and Ravel
 * Igor Stravinsky, "Histoire du Soldat"
 * Igor Stravinsky, Octet for Wind Instruments
 * Maurice Ravel, Piano Concerto in G
 * Pierre Monteux Conducts the BSO: Debussy; Liszt; Scriabin
 * Franz Liszt, Les Préludes (Symphonic Poem No. 3); Pierre Monteux/Boston SO
 * Alexander Scriabin, Le Poeme De L'extase, Op. 54; Roger Voisin
 * Havanaise, Op. 83 - Leonid Kogan
 * Claude Debussy La Mer - Pierre Monteux/Boston SO
 * Saint-Saëns: Symphony No.3/Debussy: La Mer/Ibert: Escales, Boston Symphony, Charles Münch

title: Roger Voisin


text:
User talk:Xbomber88

Welcome
Hello , and welcome to Wikipedia. Thank you for your contributions. I hope you like the place and decide to stay. Here are a few good links for newcomers: I hope you enjoy editing here and being a Wikipedian! By the way, you can sign your name on Talk and vote pages using three tildes, like this: ~~~. Four tildes (~~~~) produces your name and the current date. If you have any questions, see the help pages, add a question to the village pump or ask me on my talk page. Again, welcome!
 * The Five Pillars of Wikipedia
 * How to edit a page
 * Editing tutorial
 * Picture tutorial
 * How to write a great article
 * Naming conventions
 * Manual of Style

– Minh Nguyễn (talk, contribs, blog) 03:32, 25 July 2005 (UTC)

title: User talk:Xbomber88


text:
Talk:Jimmy Eat World (1994 album)

Fair use rationale for Image:JimmyEatWorld1994.gif
Image:JimmyEatWorld1994.gif is being used on this article. I notice the image page specifies that the image is being used under fair use but there is no explanation or rationale as to why its use in this Wikipedia article constitutes fair use. In addition to the boilerplate fair use template, you must also write out on the image description page a specific explanation or rationale for why using this image in each article is consistent with fair use.

Please go to the image description page and edit it to include a fair use rationale. Using one of the templates at Fair use rationale guideline is an easy way to insure that your image is in compliance with Wikipedia policy, but remember that you must complete the template. Do not simply insert a blank template on an image page.

If there is other fair use media, consider checking that you have specified the fair use rationale on the other images used on this page. Note that any fair use images lacking such an explanation can be deleted one week after being tagged, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you.

BetacommandBot (talk) 20:09, 2 January 2008 (UTC)

not emo
this album is not emo,as they had not experimented with emo yet,they don't say they were emo until static previals —Preceding unsigned comment added by Nirvanarox55 (talk • contribs) 12:53, 30 August 2008 (UTC)

 * It is definitely not emo, but it isn't post-grunge either, grunge hadn't fallen yet, therefore post-grunge didn't exist!--Samushi101 (talk) 06:41, 1 November 2008 (UTC)

What about just grunge.its sounds a bit like it.in fact,i think punk rock would just be fine at the end of the day.

but,emo????

the person who thought it acceptable to list that probably never listened to it.those lyrics are not emo.its acctually impossible. —Preceding unsigned comment added by 86.44.95.30 (talk) 13:41, 5 December 2008 (UTC)

Genre
This article currently states that this album is a "Pop Punk" album but the article that is cited to justify that classification does not use that term to describe this album at all. In fact, that article classifies this album as "Skate Punk."

"Static Prevails' hardest, scrappiest, most out-of-tune song is opener 'Thinking, That's All.' On this album, lead vocals were split between Tim [sic] Linton (who was the lead vocalist on Jimmy Eat World's 1994 skate punk debut) and Jim Adkins (who took over as lead vocalist on Clarity)..."

I personally don't like either the "Skate Punk" or "Pop Punk" label for this album, but I'm going to update the article to say "Skate Punk" since that's what the cited article says and it's at least probably a more accurate description of this album than "Pop Punk" since they released another two punk/post-hardcore/emo-core albums after this one before going in a more pop-punk direction with Bleed American. JustSomePersonOnTheInterwebtubes (talk) 15:56, 15 February 2023 (UTC)

title: Talk:Jimmy Eat World (1994 album)


text:
Angar the Screamer

Angar the Screamer (David Alan Angar, also known as Scream) is a fictional character, a supervillain appearing in American comic books published by Marvel Comics.

Publication history
Angar first appeared in Daredevil v1, #100 (June 1973), and was created by Steve Gerber, Gene Colan, and John Tartaglione. Angar also appeared in issues #101 (July 1973), and #105-107 (November 1973-January 1974) of Daredevil.

The character subsequently appeared in Marvel Premiere #25 (October 1975), Iron Fist v1, #1-2 (February-March 1976), 5-7 (June-September 1976), Spider-Woman v1,  #34-35 (January-February 1981), 50 (June 1983), Avengers Spotlight #26 (December 1989), 28-29 (January-February 1990), Marvel Comics Presents #97 (1992), Nick Fury: Agent of SHIELD v2,  #33-35 (March-May 1992), Captain America v1,  #411-414 (January-April 1993), and Avengers Unplugged #4 (April 1996). Angar was killed in Thunderbolts Annual '97.

Angar returned a few years later, as an energy being named Scream, and appeared in Thunderbolts #49-56 (April-November 2001), and 58-59 (January-February 2002)

Angar the Screamer received an entry in the Official Handbook of the Marvel Universe Deluxe Edition #1.

Fictional character biography
David Angar was born in San Francisco, California. He became a hippie and a radical social activist, who volunteered for an experiment that would give him superhuman powers. Moondragon provided a crooked lawyer named Kerwin J. Broderick with a machine built on Titan. The machine subjected Angar's vocal cords to a bombardment with hypersound. As a result, Angar could scream very loudly and cause people to hallucinate. Moondragon intended for Angar to be an ally against the mad Titan Thanos, but Broderick hired Angar as an assassin. In his first appearance, Angar tried to kill Daredevil and Black Widow. Angar was defeated and would fight many Marvel superheroes over the years. He tended to attack crowds of civilians for little or no reason.

He later entered a relationship with the similarly powered Screaming Mimi. In a robbery, he was shot, and as he died in her arms, she screamed for over an hour until her larynx was destroyed. She was then found by Baron Helmut Zemo, who had Fixer rebuild her voicebox and give her new powers, after which she joined the Thunderbolts as Songbird. The Fixer also took Angar's body and experimented upon his larynx.

The Fixer's experiments resurrected Angar himself as the abstract sound being Scream, who became part of the Redeemers. Scream showed no emotions or intelligence and only obeyed orders. When the Redeemers fought Graviton, most of the team was killed and Scream was dispersed. He managed to restore himself through Songbird's energy and went on a rampage, until he had Songbird disperse him for good.

Songbird and the Redeemers were unaware of Scream's true identity as Angar the Screamer. Songbird did notice something familiar about Scream, but only realized his true identity when Scream restored himself and took Angar's appearance again.

As part of the All-New, All-Different Marvel event, an Angar the Screamer from an as-yet-unidentified reality appears as a member of Maker's New Revengers.

As Angar the Screamer
Angar can emit an extremely powerful scream of high amplitude, thus deafening or even causing permanent hearing damage to those around him. He can also induce hallucinogenic effects on people with his own voice. Unfortunately, these hallucinations are disturbing and violent in nature. He is immune to his own powers. Angar could make his victims lose all memory of his attacks.

As Scream
Angar is a being made out of "solid sound" that allows him to exist without food or sleep, except for air he needs as a transmission medium. He is also immune to physical harm and capable of reintegrating himself when dispersed. Scream can fly, as well as to generate sound around him. He could locate his opponents by the noises they make or disorient them. Despite his unique abilities, Scream cannot talk while in the form of a mindless creature.

In other media

 * David A. Angar appears in the Agents of S.H.I.E.L.D. episode "One of Us", portrayed by Jeff Daniel Phillips. This version has a voice that can render any living thing catatonic as a result of an experimental cancer treatment and was previously captured by S.H.I.E.L.D., who remanded him to Brynmore Psychiatric Facility.
 * Angar the Screamer appears in M.O.D.O.K., voiced by Bill Hader. This version was previously the lead singer of the rock band Sweet Leg in the 1960s, which he is prone to reminiscing on.

title: Angar the Screamer


text:
Herbie Goes Bananas

Herbie Goes Bananas is a 1980 American adventure comedy film directed by Vincent McEveety and written by Don Tait. The film is the fourth installment in the Herbie film series and the sequel to Herbie Goes to Monte Carlo (1977).

Herbie Goes Bananas was followed by the television film The Love Bug (1997).

Plot
Picking up sometime after the Trans-France Race, Pete Stancheck has inherited Herbie from his uncle, Jim Douglas, and travels to Puerto Vallarta, Mexico with his friend Davy "D.J." Johns to retrieve the car. They get directions from Paco, a comically mischievous, orphaned pickpocket to the car lot. Unable to pay the holding fee due to Paco taking their wallets, the pair quickly leave in Herbie to find him. Elsewhere, Paco pickpockets one of the members of a trio of three villains who are planning to steal gold from some forgotten Inca ruins. The trio chase Paco after realizing the film showing the location of the gold is in the stolen wallet, but Pete and DJ catch him first.

Paco hides in Herbie's hood, and is consequently loaded on the Sun Princess cruise ship, bound for Rio de Janeiro, where Pete and DJ plan to enter Herbie in the Brazil Grand Prêmio. En route, they meet an anthropology student named Melissa and her extravagant, eccentric aunt Louise, who is trying to find a husband for her niece. When Herbie wreaks havoc on board, Pete pretends to court Melissa, intending that her Aunt Louise will sponsor their race.

Meanwhile, Paco is discovered by the crew and locked in the hold by Captain Blythe. Herbie (whom Paco calls "Ocho") helps Paco escape, and they ruin the ship's costume party while trying to escape the crew. Captain Blythe has Herbie dropped into the sea, while Pete, DJ, Melissa and Aunt Louise are ordered off at the next port. Paco evades the police sent to pick him up, ending up at an inlet, where he rescues the rusty Herbie when he resurfaces from the water. The two go into business with Herbie as a taxi.

The gold thieves soon find Paco, and threaten to use an acetylene torch to cut up Herbie if Paco doesn't give them the film, which Paco put in Pete's wallet by mistake. Paco manages to get Pete's wallet, but as he and Herbie escape the men they are hailed by both Louise and Blythe. Melissa quickly commandeers a dilapidated bus so she, Pete, and DJ can go after them.

Herbie tries to hide from the men at a bullfighting arena, only for them to end up in the ring. After Herbie defeats the bull, he and Paco leave without Louise and Blythe, who are soon picked up by Pete, DJ and Melissa. Later at a café, Paco is grabbed by the men and taken aboard their plane. After failing to stop it from taking off, Herbie goes to find Pete and the others, who are stuck in a small village after the bus finally broke down.

As a rainstorm hits, the men retrieve a large gold disc from the ruins, planning to melt it down so they can hire equipment to get the rest. They abandon Paco to fend for himself, but Herbie finds him. After Paco explains the thieves' plans to Pete, Herbie chases after the men, catching the gold in his trunk.

Herbie and the group travel to the next major town (using bananas as camouflage) where Blythe and Louise go to get help while the others take the disc to the local university, where they are overpowered by the men. Paco is outside selling the bananas to locals when he and Herbie see the men loading the disc into their plane. Herbie throws the bananas at them before chasing the plane and 'biting' its tail off. After Herbie wrecks the rest of the plane, the villains are defeated by Herbie and Paco and arrested by the police.

The group reunite on the Sun Princess, where Pete and DJ resume their plans to enter a repainted and restored Herbie in the Brazil Grand Prêmio, albeit with Paco as the driver (Pete conceding that Paco and Herbie have a better connection than Pete would have if he drove Herbie himself). Aunt Louise once again tries to get Blythe to notice her, but he is more interested in a passing schooner. DJ finally asks Paco why he keeps referring to Herbie as "Ocho", since that is Spanish for eight. Paco looks at Herbie's "53" and remarks that 5+3=8.

After that Pete, Davy, Aunt Louise, and Melissa have a toast for Herbie to win the Brazil Grand Prêmio, with Paco giving a thumbs up.

Cast

 * Cloris Leachman as Aunt Louise Trends
 * Charles Martin Smith as Davy "D.J." Johns
 * John Vernon as Prindle
 * Stephan W. Burns as Peter "Pete" Stancheck
 * Elyssa Davalos as Melissa
 * Joaquin Garay III as Paco
 * Harvey Korman as Captain Blythe
 * Richard Jaeckel as Shepard
 * Alex Rocco as Quinn
 * Fritz Feld as Chief Steward
 * Vito Scotti as Armando Moccia
 * Jose Gonzalez Gonzalez as Garage Owner
 * Ruben Moreno as Store Owner
 * Tina Menard as Store Owner's Wife
 * Jorge Moreno as Bus Driver
 * Allan Hunt as Canal Operator #1
 * Tom Scott as Canal Operator #2
 * Hector Morales as Mexican General
 * Iris Adrian as Loud American Wife
 * Ceil Cabot as Mrs. Purkiss
 * Pat Van Patten as Cigarette Guest
 * Jack Perkins as Loud American
 * Henry Slate as Off-Watch Officer
 * Ernie Fuentes as Native
 * Antonio Trevino as Pigeon Owner
 * Dante D'Andre as Dr. De Moraes
 * Alma Beltran as General's Wife
 * Dolores Aguirre as General's Daughter #1
 * Aurora Coria as General's Daughter #2
 * Alex Tinne as Local #1
 * Don Diamond as Local #2
 * Warde Donovan as Maitre d'
 * Ray Victor as Guard Attendant
 * Bert Santos as Policeman #3
 * Buddy Joe Hooker as Chef
 * Steve Boyum as Panama Policeman
 * Kenny Endoso as Mexican Policeman
 * Mario Cisneros as Puetro Vallarta Policeman
 * Jeff Ramsey as The Matador
 * John Meier as Ship's Officer

Music
The score for Herbie Goes Bananas was written by Frank De Vol. Two original songs appear in the film, both written by Frank De Vol, as well. Look at Me is played as Pete dances with Louise at the cruise ship's costume party. After Paco rescues Herbie who resurfaced after being dropped into the sea by Captain Blythe, I Found a New Friend plays as the two drive through the countryside. The song is reprised over the end credits.

Reception
Herbie Goes Bananas was poorly received and is widely considered to be the weakest film in the Herbie franchise. Most film critics remarked that the series felt tired, and had run its course, with Leonard Maltin commenting that there was "one amusing scene where the VW turns matador; otherwise, strictly scrap metal." Maltin (who rated the film 1½ out of 4) added that the plot dealt with its cast "encountering all sorts of 'hilarious' obstacles along the way." Phil Patton, author of the book Bug: The Strange Mutations of the World's Most Famous Automobile, observed that the Herbie franchise was "a game of diminishing returns: Herbie Goes Bananas...is filled with 'south of the border' clichés and stereotypes." The film has a 40% rating on the website Rotten Tomatoes, while on Metacritic, it has a weighted average score of 55 out of 100 based on 4 critic reviews, indicating "mixed or average reviews".

Cars
The prop Herbie dropped into the ocean was never retrieved. A total of 26 VW Beetles were used, by reason of the quantity of stunts and tricks.

Novelization
A paperback novelization of the film was written by Joe Claro and published by Scholastic Paperbacks in July 1980 to coincide with the film's release.

Home media
Herbie Goes Bananas was released on VHS in late 1984 and re-released on November 6, 1985, and September 16, 1997. It was first released on DVD in Region 1 on May 4, 2004, and re-released on DVD on September 2, 2012, as part of Herbie: 4-Movie Collection with The Love Bug, Herbie Rides Again and Herbie Goes to Monte Carlo.

On June 30, 2015, Herbie Goes Bananas was released on Blu-ray Disc as a Disney Movie Club exclusive title.

title: Herbie Goes Bananas