text:
Talk:Luis Buñuel

Untitled
Warisill I changed the running time of Chien on the main page to 16 minutes, because it's 16 minutes not 24 as originally stated. I've also added a summary of La Joven and will continue to add summaries of Bunuel's Mexican period because I own copies of all almost of his films.

Mexican or Spanish?
I was surprised to see that Buñuel is regarded here as a Mexican film-maker. While it is true that he was given Mexican nationality in 1949, it is not less true that he frequently regarded himself as a "Spanish republican". He also lived more time in Spain than in Mexico. Why not label him as "Spanish-Mexican", to be more neutral?

--Ignacio 19:21, 1 November 2005 (UTC)
 * The article regards him as a Spanish-born Mexican. So it is both. He moved to Mexico, acquired the citizenship and died there. He chose to be Mexican, his wishes are granted. --Vizcarra 20:11, 1 November 2005 (UTC)
 * Hmmm... Perhaps we should ask him, if we could ;-) I think that his culture is more Spanish than Mexican, but that's an opinion, of course. Nevertheless, other encyclopaedias consider him Spanish. E.g.: The New Encyclopaedia Britannica, 15th edition, 1992: "Buñuel, Luis, Spanish director and filmmaker, noted especially for his early Surrealist films and for his work in the Mexican commercial cinema..." Wikipedia in Spanish: "Luis Buñuel Portolés... fue un director de cine español naturalizado mexicano..." Encarta on-line: "Buñuel, Luis (1900-1983), Spanish motion-picture director, one of the masters of 20th-century cinema... " In order to avoid upsetting my Mexican friends, I suggest calling him Spanish-Mexican. Other opinions? --Ignacio 15:14, 20 November 2005 (UTC)
 * that is complete bullsh*t, he went to Mexico at the age of 46, his DNA is spanish and he grew up in Spain. Having the nationality of Mexico doesn´t mean he chose to be mexican, he went to mexico because of the dictatorship in Spain. That is like saying Einstein was american instead because he migrated from Germany to U.S. 37.132.144.208 (talk) 20:06, 18 April 2024 (UTC)
 * amigo, el no es un mexicano nacido en españa, es un español, de familia española, criado en españa, que decide emigrar a mexico con 46 años, tu también eres un inmigrante, vives en Estados Unidos y eres mexicano, eso te hace ser estadounidense? Por supuesto que no, a no ser que hayas nacido/sido criado en estados unidos, pero ese no es el caso de Buñuel, tanto toda su juventud y gran parte de su vida adulta la pasó en españa, pasó mucho menos tiempo en mexico. En tu caso, tú te sientes mexicano verdad? por lo que no eres estadounidense, solo eres un mexicano nacionalizado estadounidense, al igual que buñuel era español nacionalizado mexicano, y Elon Musk es sudafricano nacionalizado estadounidense. no te equivoques 37.132.144.208 (talk) 20:12, 18 April 2024 (UTC)

Althought calling him Mexican can be formaly correct, It appear to me extrange to do so when he arrived at Mexico at the age of 46.

It is fucking wrong to call the guy Mexican. You can mention that he worked in Mexico and even obtained Mexican citizenship but it is ultimately misleading to call him a Spanish born Mexican filmmaker. He was much more international than that and it is probably most correct to call him a Spanish filmmaker. Should Robert De Niro be considered an Italian actor just because he holds Italian citizenship? No. Bunuel worked in Mexico as well as Spain, France, and the USA.

Whoever came up with the idea to call him "Aragonese" instead of Spanish? Introductory statements at the beginning of a bio always name a country, not a city or a town, or a state or a region, etc. Saying Aragonese instead of Spanish is as absurd as changing Clint Eastwood's entry to "a Californian film actor, director,..." — Preceding unsigned comment added by Calastheon (talk • contribs) 04:34, 22 October 2012 (UTC)

Editor 71.183.193.188 is repeatedly changing the lead sentence of the article to call Bunuel a Mexican filmmaker. That lead sentence is based on a reliable source that clearly identifies Bunuel a Spanish filmmaker. It is wrong to change the sentence in a way that is not supported by the RS. This misrepresents what the RS actually says. I urge the editor in question to stop making this change without specific reference to an RS.--Jburlinson (talk) 23:22, 11 May 2018 (UTC)

Bunuel vs. Dali
"Creative authorship of both films would be claimed by both men throughout their lives, but Dali's claim doesn't hold up against the great surreal film work later produced by Buñuel". - and the later great surrealist work produced by Dali is NOT a proof?! I am really surprised by the reasoning in the cited sentence. If you ever watched L'Age d'Or and know both the work of Dali and Bunuel, you can plainly see huge parts of script created by Dali that are retained in the film. The film increasing anti-clericalism and anti-burgeois emphasis are obviously Bunuel's doing, but it doesn't invalidate Dali's claim in any way. Such opinion was promulgated by the critics biased against Dali (I suppose based on his personal political views). In any case, as I said, go back to the sourse (film that is), and see for yourself. Also, I advise to read Dali's writings prior to the making of the movie, and around the time. Also, look INTO his art of the time and see if there are recurring themes there AND in the film. Bunuel at the time showed very little intellectual or literary abilities to claim that L'Age d'Or (or even Un Chien Andalou) is HIS creations only. He turned out to be a famous director later on in his life, but, to be frank, if it was not for Lorca and Dali "mentoring" him, I doubt it would have happened. Anchorite 06:47, 12 January 2006 (UTC)

My problem with that statment is that it's stating an opinion... Also, I believe Dali tried to downplay his role in L'Age d'Or once it became controversial. Donwithnoname 21:36, 5 February 2007 (UTC)

Regarding L'Age d'Or, it is a fact (as stated by both Buñuel and Dali in their memories) that they started working together in the script, but this time they didn't get along well, so they broke up and Dali had no participation whatsoever in the shooting of the film. This is why it can be considered a Buñuel piece, differently than Le Chien Andalou, that is really co-authored. — Preceding unsigned comment added by Jarvier (talk • contribs) 02:24, 9 February 2011 (UTC)

Redirection
Surely by searching for 'Buñuel' one should be redirected to Luis' page rather than a one liner about a town in Spain.

Clarification
Could someone use a more clear term than "non-diegetic" in the last paragraph of the Technique section? Reading the linked article offers no clear explanation as it does not refer to filmmaking.

Location of Centers of Study/Museums
Would it be perhaps a good idea to provide a section which catalogs the centers of study for bunuel's work? I've located one in his hometown, which doesn't appear if you do google searches for obvious things like, "Bunuel museum".

Thanks goes to the Spanish tourism bureau in Miami for locating this one:

CENTRO DE ESTUDIOS LUIS BUÑUEL ADDRESS: PLAZA MANUEL MINDÁN MANERO, 3. CALANDA, TERUEL, 44570, SPAIN TELF. (978) 846-905       WEB PAGE: www.cbcvirtual.com

Located in a XVII century Palace (Palacio de Fortón-Cascajares). Objects: artifacts, films, publications, and many objects belong to Buñuel.

--Krystian

Poor Image Choice
A personal picture should not qualify as the main image for a historical figure. I don't know the exact rules for this type of matter, but I would suspect that an original computer drawing might be considered a poor choice for the primary image. I am not particularly invested in this page, but, perhaps, someone who is can find a suitable, portrait-like photograph and apply it to this page. ask123 19:55, 3 June 2007 (UTC)

I see that someone has completed this task. Thanks! ask123 21:20, 17 July 2007 (UTC)

The story of the making of Viridiana
>>> '''In 1960, for political propaganda reasons, Franco instructed his minister of culture to invite the country's most famous filmmaker to return to Spain to direct a film of his choice. Buñuel accepted and proceeded to make Viridiana'''

This, and almost all the whole info on this subject in the article, is just childish fantasizing; the real story has been several times told by the people involved:

Viridiana was a coproduction between Spanish Uninci (a leftist production company -actually a cultural cover-up of the Spanish Communist Party, as admited years later by all people involved- tolerated by Spanish government) and Mexican Gustavo Alastriste. The initial conversations to shoot it in Spain took place in Mexico in 1958-59 during the shooting there of Uninci-produced Juan Antonio Bardem-directed Sonatas (Bardem was himself a well-known member of the SCP, again tolerated [Bardem, not the SCP] to some extent by the Spanish Government). And everybody agreed quickly: Alatriste wanted a lead role for Silvia Pinal, by then his wife, Uninci wanted the same for Fernando Rey, one of its shareholders and a player in Sonatas, and Buñuel was more than willing to go to Spain and shoot the screenplay he had written with Julio Alejandro.

Uninci got, without any major problem, the Spanish government permission for the shooting and the censorship approval for the script, and Viridiana was made. It was then sent, representing Spain, to the Cannes festival, again with the Spanish government permission; to the point that the person who took the stand to receive the Palme d'Or award was the General Director of Cinematography of the Spanish Government. So, everybody (from the Spanish Communist Party to the Spanish Governement) was happy ... until the following day L'Osservatore Romano, the Vatican newspaper, solemny declared Viridiana as blasphemous. Immediately the Spanish Governement backed down and banned the film.

Three additional precissions:

1. It is ridiculous to say that Franco cared, or even knew, about Buñuel. It shows a total ignorance of what and how both Franco and Spain under Franco were.

2. Luis Buñuel loved to go to Spain, loved the shooting of Viridiana, and loved to stay in Madrid, to the point that from then on he spent more time of his life in Madrid that in Mexico.

3. The ambiguous financial and legal status of Viridiana after the Spanish Government banning (the film was not only prohibited to be shown in Spain but was too declared as non-existing as a Spanish production) led to a bitter and long litigation between the Mexican (who unilaterally exploited the film all around the world) and the Spanish producers. This litigation eventually caused Uninci to go into receivership. —Preceding unsigned comment added by 81.44.132.204 (talk) 15:52, 17 June 2008 (UTC)

deathbed conversion - it's a fiction
deleted from Trivia:

 * Although he was famously a lifelong atheist, he reportedly experienced a religious conversion at the end of his life —Preceding unsigned comment added by Bustter (talk • contribs) 19:24, 11 August 2008 (UTC)

Buñuel conceived of his own deathbed conversion as a joke. From his autobiography:

As I drift toward my last sigh I often imagine a final joke. I convoke around my deathbed my friends who are confirmed atheists, as I am. Then a priest, whom I have summoned, arrives; and to the horror of my friends I make my confession, ask for absolution for my sins, and receive extreme unction. After which I turn over on my side and exire.

But will I have the strengh to joke at that moment?

I doubt very much that reality followed Buñuel's fiction.

I'm deleting this, it should not be restored without a good cite, Bustter (talk) 19:20, 11 August 2008 (UTC)

Masonic references in cinema
I found this page explaining that some of Bunuel's works are cited as Masonic references in cinema. In that case, it would be a good idea to mention it in the page. ADM (talk) 10:00, 15 April 2009 (UTC)

New Yorker article?
"repudiate this statement in a 1977 article in The New Yorker"

Not found in online search of New Yorker archives. Incorrect information? Different journal? —Preceding unsigned comment added by 173.9.5.145 (talk) 14:21, 21 May 2009 (UTC)

 * December 5th, 1977, p. 54 —Preceding unsigned comment added by 75.93.124.243 (talk) 03:38, 20 February 2010 (UTC)

 * Did you find the article online or from a hard copy? I think it should be cited in the references either way? Squandermania (talk) 02:29, 21 March 2010 (UTC)

Uneasy interludes abroad?
I don't know what the phrase "Uneasy interludes abroad" means. Does anybody know? Should I delete/change it? Squandermania (talk) 04:48, 21 March 2010 (UTC)

Major re-write underway
I'm working on a thorough re-write, building on the excellent material that had already been assembled. So far, I've updated "early life", and the first part of "career", the years covering Un Chien and L'Age d'Or. Also updated some of the section on "technique" relating to use of music.

I'd greatly appreciate any suggestions, complaints, guidance, collaboration, etc. My goal is to get the article to GA or (can I dream?) FA status. Any advice or help on how to get there would be wonderful. Jburlinson (talk) 23:54, 25 July 2012 (UTC)
 * This is great news! Bunuel was/is a great director and such an important figure in film. I look forward to seeing him have a full article. -- Lobo (talk) 12:17, 26 July 2012 (UTC)
 * May I add, I think the aspect most in desperate need of attention is the lead. It is pathetic right now! Will you be expanding it soon? Even if just a few more lines, for now, to mention his style, major films, and to actually make clear how important he was. -- Lobo (talk) 12:22, 26 July 2012 (UTC)
 * I had figured I'd save the first for last. I'll take a crack at the lead on your advice.  I agree that what's there now is minimal -- to say the least!  I've got the article in my sandbox now and am up to the Mexican period.  It's a lot of stop and start for me, so keeping a sense of continuity is quite a challenge.  I'm also trying to get good images that are either public domain or have copyright holder's permission.  Jburlinson (talk) 00:29, 6 August 2012 (UTC)
 * I added a paragraph to the lead. I'd appreciate feedback as to how well it hits the mark, if at all.  I'll likely add another paragraph to summarize LB's career when that part of the article is updated fully.  Thanks.Jburlinson (talk) 03:41, 7 August 2012 (UTC)

 * I looked at the lead. It looks like a good start. But I don't think you should mention the 2002 Sight & Sound list since a new one just came out and I can't find a Buñuel film anywhere in the Top 50. I also wouldn't mention WikiProject Films Core List since it looks like the source for that list is They Shoot Pictures, Don't They?. Maybe it would be better to mention that he was ranked 14 on their Top 250 Directors list (http://www.theyshootpictures.com/gf1000_top250directors.htm). I also don't like the line about "masterpieces" since it doesn't say who is calling them "masterpieces".

 * Finally, maybe it would be good to briefly mention something about his association with Surrealism in the lead. Hope that helps. Squandermania (talk) 22:59, 7 August 2012 (UTC)

 * OK. Good suggestions.  I made all the changes you suggested, but kept the reference to the 2002 S&S poll.  They should update the "top 100" next week sometime, and I'm hoping to see some of Bunuel's pictures listed.  Their not being included in the top 50 is nothing short of absurd.  Thanks for your message.Jburlinson (talk) 05:23, 8 August 2012 (UTC)

 * They just posted S&S's updated 2012 critics list of the top 250, and Buñuel had 6 films on the list. So I've updated the reference in the lead.  Jburlinson (talk) 22:05, 18 August 2012 (UTC)

I've just added some revisions to the sections "Spain" and "United States" in the treatment of his career. Plus, I've tweaked a few lines in the preceding sections as well. I've also changed some of the images, trying to de-emphasize use of non-free files and substituting them with cc licensed images or images with permission to use on WP. Also, I've added a section on "Characterizations", just ahead of "Awards", and I added a couple of items to the "Tributes" section as well. Feedback is definitely welcomed.

Next, I'm going to work on finishing updates to the "career" section, starting with the "Mexican Period."Jburlinson (talk) 02:36, 9 August 2012 (UTC)

Added information up through Los olvidados. More to come. Jburlinson (talk) 18:25, 4 September 2012 (UTC)

International period or 2nd French period
I'm thinking of changing the section now called "2nd French period" to "International period". Many of the films of this period are co-productions filmed and/or funded in the USA, France, Spain, Italy and Mexico, with the finished products released in French, Spanish and/or English. Thoughts? Thanks. Jburlinson (talk) 19:01, 4 September 2012 (UTC)

 * I agree with you 100%. My vote is definitely in favor of changing the name to "International period" as you have suggested. I think I made a similar point in a thread down below--sorry, I had not noticed that you had already brought up the matter in this thread. But, thank you for doing so. You make a great point here. Garagepunk66 (talk) 05:22, 18 June 2014 (UTC)

Photo used
File:Dali, Bunuel and Lorca.gif, that looks nothing like Buñuel.--Deoliveirafan (talk) 18:55, 11 November 2012 (UTC)

 * For some reason, I would prefer to see a picture (at the top) of Bunuel later in life, and I think most people would argree with me on this. That would be the image of Bunuel that first comes to mind, perhaps because he reached his popular and artistic peak during the later years and would be the look that is most readily identifiable: preferably a photo of him in his later period pictured with a viewfinder around his neck. That would perfectly capture the essence--the quintessential and eternal image of Bunuel that I think most people have. Garagepunk66 (talk) 09:47, 13 January 2013 (UTC)

"Not entirely approvingly" may not be appropriate for heading--also mention "satire" in heading
The term "...not entierely approvingly..." (regarding Bergman's opinion of Bunuel) may not be an appropriate thing to put in the heading of the article, particularly in light of the level of regard this director is held by followers of cinema wordwide

It may not accurately or fully describe Ingamr Bergaman's opinion of Luis Bunuel, because he made various comments about Bunuel at different times, and this allusion is only based on one comment. In the statement that the heading is obviously referring to, Bergamn is saying that he is not able to "appreciate" Bunuel, which is not the same thing as dissapproval.

 * A French critic cleverly wrote that "with Autumn Sonata Bergman does Bergman." It is witty but unfortunate. For me, that is. I think it is only too true that Bergman (Ingmar, that is) did a Bergman.... I love and admire the filmmaker Tarkovsky and believe him to be one of the greatest of all time. My admiration for Fellini is limitless. But I also feel that Tarkovsky began to make Tarkovsky films and that Fellini began to make Fellini films. Yet Kurosawa has never made a Kurosawa film. I have never been able to appreciate Buñuel. He discovered at an early stage that it is possible to fabricate ingenious tricks, which he elevated to a special kind of genius, particular to Buñuel, and then he repeated and varied his tricks. He always received applause. Buñuel nearly always made Buñuel films.

I need to go back and find the reference, but when I was reading Berman's autobiogrpahy, The Magic Lantern, a few years ago (a book Bergamn wrote late in life), he gave heartfelt praise to Bunuel in one passage. So let's not typcast his opinion of Bunuel in the heading.

Also, the heading makes no mention of Bunuel as a satirist: i.e. it makes no mention of satire in the litany of genres he has been associated with, which is a glaring omission. But, aside form these criticisms, I think that this is, otherwise, an outstanding and informative article and is a few small steps away from becoming one of the best Wiki articles ever done about a film director. The breadth, scope, and quality of writing here is amazing and a joy to read. Though I am not fluent in Spanish, this article appears to be superior to the one on Spanish Wikipeia, and that is quite an amazing feat. Garagepunk66 (talk) 10:36, 2 January 2013 (UTC)
 * Thanks for your comments. I've removed the speculation about Bergman's intentions and added satire to the litany.  Much appreciated. Jburlinson (talk) 19:34, 2 January 2013 (UTC)

Narrative block badly needed in "Second French period (1963–1977)" section/This section should be called "International Period (1961-1977)"--using chronological order rather than nationality

 * This otherwise wonderful article badly needs to have a narrative block (written in paragraphs) for the "Second French period (1963-1977)" section. Merely listing the movies from these years (many of which are now considered classics) is woefully deficient.  We need to give a full explanation about these critical and important years, which many regard as the pinnacle of his career.  These were the years when Bunuel reached his greatest level of success, both popularly and critically.  Belle de Jour was a big hit and won the Golden Lion award at the Venice film festival in 1967.  The Discreet Charm of the Bourgeoisie was even more popular and won the Academy award for best foreign film in 1972.

 * While creating a narrative block, we could rename this section "Late period (1961-1977)" (i.e. note the change in years, which is generally thought of as the time span comprising his late period). Not all of his films were made in France during the time covered in the present "Second French period" section.  For instance, Simon of the Desert (1965) was made in Mexico, between Diary of a Chambermaid (1964) and Belle de Jour, (1967). Tristana (1970) was made in Spain between The Milky Way (1969) and Discreet Charm of the Bourgeoisie (1972).  So, rather than presenting things according to nationality, we could narrate this section in chronological order.   This will be necessary in order to create a cogent narrative block.  We could roll back the time period of this section to start in 1961, beginning with Viridiana, which is generally regarded as the actual tuning point into his late career. Garagepunk66 (talk) 06:26, 17 June 2014 (UTC)

 * This sounds eminently reasonable. The cursory list coverage of Bunuel's career peak is a bizarre lacuna in an otherwise good article. Although coverage of the works of that period may be "obvious" to experts, we need to write for the interested layman who wants to learn more about Bunuel.  Breaking the classification by nationality is fine, because Bunuel worked in more that one country during that period.  Reify-tech (talk) 20:23, 17 June 2014 (UTC)

 * In his thread above Jburlinson advocates (like us) moving away from the sole focus on France in this section. He proposed to re-name the section "International period," which I think is a great name (even better than "Late period" in fact). I just changed the name of this thread to include the title he proposed. Garagepunk66 (talk) 05:51, 12 July 2014 (UTC)Garagepunk66 (talk) 06:42, 12 July 2014 (UTC)

 * From my understanding, his late (international) period is usually seen as beginning in circa 1961 with Viridana, not in 1963 with Diary of a Chambermaid. Bunuel, in his Autobiography, My Last Sigh, considers the making Viriadia to be the beginning of his late period.  The chapter devoted to covering that period is Chapter 19 and is tiled: "From Spain to Mexico to France (1960-1977)."  He begins it by discussing his return to Spain and the making of Viridiana and ends it by discussing That Obscure Object of Desire.  The earlier chapter covering his Mexican Period is tiled "Mexico 1946-1961."  The last film he discusses in that chapter is Nazarin (1959), though he did make two other films in the time between that  and Viridiana.  There is an overlap of the two years 1960 and 1961.  We could probably settle on 1961 to begin the late period, because that was the year Viridiana was finished and released to the public.

 * So, therefore, the new section should be called "International Period 1960-1977," and would cover (in a narrative block in paragraphs) the mature masterworks he made during those years. Garagepunk66 (talk) 06:32, 12 July 2014 (UTC)

 * I'm forging ahead with some new text. I changed the section heading to cover the dates 1954-1977), because Bunuel's first true "international co-production" was the Adventures of Robinson Crusoe, and there were several others prior to Viridiana.  Dates only tell part of the story, though, since Viridiana definitely represents a major moment in Bunuel's career, after which he didn't make another "film for hire", so to speak, only films that he conceived from the ground up.  Please feel free to edit as you see fit and let me know if there are any questions or you would like to discuss further.--Jburlinson (talk) 20:52, 5 October 2014 (UTC)

I appreciate the additions of text for the late period...great job!!! Now one more BIG THING: For the post-1953 parts, we need to arrange the article in chronological order, rather than according to its current nationality emphasis--in other words, we should discuss the movies more clearly in the order he made them, so readers can see a lifeline of his creative development as an artist, rather separating his movies into national categories that defy chronology (i.e. the way the article currently separates movies he made in Mexico from those he made in other countries or for other national markets, and the way the timeline gets scrambled and overlapped). This just makes things confusing for the reader who wants to track his progress and have a linear narrative. Luckily that won't involve many changes other than in section tiles and a few minor "tweaks" in the text. We will can modify the section headings from being ordered according to nationality (as it currently is) to being chronological (as it should be)--the way Bunuel tracked his own progress in his autobiography and the way most books trace his history. The Mexico (1946-1965) section should be re-named to Mexico (1946-1953). We could add two new section headings to cover the text that covers those time periods. The 1946-1977 sections would look like this: All content in these sections could be discussed chronologically. This would be in accordance with how Bunuel viewed his career in My Last sigh and the way most books depict it. Garagepunk66 (talk) 12:58, 27 April 2015 (UTC)
 * Mexico (1946-1953): when he worked exclusively in Mexico, usually under constraints of studio system (though he had more freedom and worldwide success w/ Los Olvidados); some influence of neo-realism in films from this period
 * Mexico and beyond: Return to international filmmaking (1954–1960): when he began to work in international co-productions, but not yet fully free from Mexican studio system; peak of fame and success not yet fully realized
 * Late International Period (1961-1977): peak of career; working internationally in France, Spain, and Mexico; having achieved complete freedom and control of subject matter; achieving highest level of art-house pre-eminence; each film perceived as major event in art/independent world cinema (10 masterworks in a row)

 * I went ahead and made the changes. I think that you will like them a lot.  I kept almost everything in the text exactly the same.  But, I changed the section headings to better represent his three major periods in chronological time from 1954-1977.  There is no longer as much of the confusing overlapping of chronology (as was in the old in the Mexico and International sections).  His life story is now more clear and we can now more clearly see how he developed as an artist in the sequence of years.  The only changes in text I made were slight: I took references to the highly avant-garde and satirical The Extermination Angel (1962) and Simon of the Desert (1965) out of the early 1950s Mexico section (because they belong in his late international period), but made sure that those two films were adequately discussed in the Late International Period (1961-1977) section.  I made a another mention of Simon of the Desert after Diary of a Chambermaid (1964)/The Monk, but before Belle de Jour to make  it clear that the movie was filmed in this intervening time.

 * I realize that many of movies listed in bullet points at the end of the Mexico (1947-1953) section were done after 1953.  So, I put the wording, "Mexico and Beyond..." into the title of the next section to form a segue between the 1947-1953 and 1954-1960 sections--to show that Mexico was still a big part of his career.  It may be best to take the bullet points out of mentions of the movies and simply work them into work them into the text--time will tell (this is a work in progress).  I think that three films, El, Esayo de un Crimen, and Nazarin need special discussion.  Although El and Esayo de un Crimen were made for the Mexican market, they rise so far above the average fare that they are considered Bunuel classics.  Nazarin was a Mexican/Spanish/Italian co-production and was intended for an  international audience.  Though he made it in Mexico, Bunuel had considerably more freedom than in other films of the period.  It was one of his favorite films and is usually ranked just below Los Olvidados as one of his  two greatest films of the 50s, though some may also put El up there.
 * Some other areas for improvement:
 * I have never heard of Virididana, The Exterminating Angel, and Simon of the Desert referred to as a trilogy. Bunuel does not really have a "trilogy," so to speak (as, say, Bergman).  In his autobiography, My Last Sigh, he refers to The Milky Way, The Discreet Charm of the Bourgeoisie, and The Phantom of Liberty as forming a sort of "triptych," but that is strictly when looking back in retrospect.  Nazarin, Viridiana, and Simon of the Desert are sometimes spoken of as having common elements, in that they all feature heroes who suffer for religious folly.
 * I have never heard The Exterminating Angel spoken of as tied in with Viridiana or Simon of the Desert (other than the presence of Sylvia Pinal). It is a panoramic social satire of the bourgeoisie.  It's most similar in theme and style to The Discrete Charm of the Bourgeoisie--Bunuel compares the two in his autobiography.  However, I don't think we need to engage in a lot of comparisons and bunch-categories of films in the article.
 * We should have pictures of actors and actresses that factor in importantly in Bunuel's filmography (such as Francisco Rabal, and Catherine Denuve), not ones who only appeared once--in only minor films (such as Libertad Lamarque and Gerard Phillipe).

So: maybe it is best to just discuss the films in chronological order, rather than as trilogies, etc. We could say a lot more about The Exterminating Angel (as with Nazarin, and others I mentioned earlier). Right now there is an overload of information (anecdotes, etc.--wonderful though they are, are a bit distracting)--the text could be simplified (ever so slightly), drawing the reader's attention more to the films. The more the article evolves to where it highlights films and chronology the better and more helpful it will become to the reader. These are areas for improvement. But, I don't want to "nitpick"--the article is moving in a very good direction, and I am glad that the later films are finally discussed at length. I have to give so much of the credit to Jburlinson for all of his sizable contributions to this article. Much thanks! Garagepunk66 (talk) 22:43, 2 May 2015 (UTC)

Marriage
According to the box he married in 1925 but in the text it says 1934. Which one is correct? — Preceding unsigned comment added by 31.185.170.229 (talk) 23:24, 30 August 2014 (UTC)
 * 1934 is the correct date, thanks for the report. -- Bkouhi (talk) 09:51, 31 August 2014 (UTC)

Peer Review for featured article
I've requested a peer review of this article in preparation for nominating it for Featured Article status. Please share any thoughts, comments, suggestions, advice, etc. on the peer review page -- https://en.wikipedia.org/wiki/Wikipedia:Peer_review/Luis_Bu%C3%B1uel/archive1  Thanks.--Jburlinson (talk) 01:20, 17 December 2014 (UTC)
 * I created new section headings for the later periods that will be helpful. A few other tidbits and this article will really ascend to the stratosphere.  See comments above.  Garagepunk66 (talk) 02:22, 30 April 2015 (UTC)

personal/ private life
the page is superheavily focused on his career and people he worked with. it has no section on his personal / private life, which i consider mandatory for a BLP. looks like he had no children. his wife wrote a book- there must be info about their private life.--Wuerzele (talk) 01:38, 21 January 2016 (UTC)

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 * Silvia Pinal (1970).jpg

title: Talk:Luis Buñuel


text: Category:Languages of Liechtenstein

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

title: Category:Languages of Liechtenstein


text:
User talk:Tzvi A~enwiki

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, please be sure to sign your name on Talk and vote pages using four tildes (~~~~) to produce your name and the current date, or three tildes (~~~) for just your name. 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!
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Redwolf24 23:11, 10 July 2005 (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 Tzvi A. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Tzvi A~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.

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Sorry for the inconvenience.

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Renamed
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title: User talk:Tzvi A~enwiki


text:
Jive Talkin'

"Jive Talkin" is a song by the Bee Gees, released as a single in May 1975 by RSO Records. This was the lead single from the album Main Course (as well as a song on the 1977 Saturday Night Fever soundtrack) and hit number one on the Billboard Hot 100; it also reached the top-five on the UK Singles Chart in the middle of 1975. Largely recognised as the group's comeback song, it was their first US top-10 hit since "How Can You Mend a Broken Heart" (1971).

Barry Gibb re-recorded the song as a duet with country music star Miranda Lambert for his 2021 album Greenfields.

Origins and recording
The song was originally called "Drive Talking" in its early stage. The song's rhythm was modelled after the sound their car made crossing the Julia Tuttle Causeway each day from Biscayne Bay to Criteria Studios in Miami.

Recording for "Jive Talkin took place on 30 January and 2 February 1975. The scratchy guitar intro was done by Barry and the funky bass line by Maurice. The pulsing synthesiser bass line, which featured in the final recording, was (along with the pioneering work of Stevie Wonder) one of the earliest uses of "synth bass" on a pop recording. It was overdubbed by keyboardist Blue Weaver using a then state-of-the-art ARP 2600, which producer Arif Mardin had brought in for the recording of the Main Course album. Weaver stated, "Usually Maurice would play bass guitar, but he was away from the studio that night. And when Maurice came back, we let him hear it and suggested he re-record the bass line on his bass guitar". "I really liked the synth bass lines", Maurice said. "I overdubbed certain sections to add bass extra emphasis".

"Jive Talkin was also influenced by "You're the One" (written by Sly Stone) by Little Sister.

According to Maurice, while hearing this rhythmic sound, "Barry didn't notice that he's going 'Ji-Ji Jive Talkin'', thinking of the dance, 'You dance with your eyes'...that's all he had...exactly 35 mph...that's what we got." He goes on to say, "We played it to [producer] Arif [Mardin], and he went 'Do you know what "Jive Talkin means?' And we said 'Well yeah, it's, ya know, you're dancing.' [...] And he says 'No, it's a black expression for bullshitting.' And we went 'Oh, really?!? Jive talkin', you're telling me lies...' and changed it." Maurice goes on to describe how Arif gave them "the groove, the tempo, everything." Robin Gibb then goes on to mention that, because they were English, they were less self-conscious about going into the "no-go areas", referring to musical styles that were more black in styles, etc. He then said, "We didn't think that there was any 'no go' areas, it's music!" Barry's guitar strumming has a smoother version of Kool and the Gang's signature chicka-chicka and funky Nassau version of KC and the Sunshine Band's Caribbean strumming. The song's rhythm riff perhaps resembles the riff from "Shirley & Company's "Shame, Shame, Shame", with a prominent use of the Bo Diddley beat.

After hearing "Jive Talkin, Lindsey Buckingham of Fleetwood Mac, and co-producer Richard Dashut built up the song "Second Hand News" (released on the band's Rumours in 1977) with four audio tracks of electric guitar and the use of chair percussion to evoke Celtic rock.

Release
Upon its release to radio stations, the single was delivered in a plain white cover, with no immediate indication of what the song's name was or who sang it. The DJs would only find out what the song was and who played it when it was placed on the turntable; RSO did provide the song with a label on the record itself. It was the second time in the band's career that this strategy had been employed to get airplay for their music, after a similar tactic had popularised their debut US single "New York Mining Disaster 1941" in 1967.

Record World said that this "delightful departure from [the BeeGees] time-tested sweet sound is no jive at all."

The original studio version was included on the Saturday Night Fever soundtrack, as it was used in a scene that was cut from the final film. Later pressings of the album used the live version of "Jive Talkin from the Bee Gees 1977 album, Here at Last... Bee Gees... Live, due to contractual distribution changes. The CD version restores the use of the studio version.

Personnel
Credits adapted from the album Main Course.
 * Barry Gibb – vocals, rhythm guitar
 * Robin Gibb – vocals
 * Maurice Gibb – rhythm and electric guitars, bass, vocals
 * Alan Kendall – electric guitars, steel guitar
 * Blue Weaver – keyboards, synthesizer
 * Dennis Bryon – drums, percussion

Boogie Box High version
In 1987, "Jive Talkin was covered by Boogie Box High, a musical project of Andros Georgiou's that featured collaborators such as George Michael and Haircut One Hundred's Nick Heyward. Michael sang lead on "Jive Talkin, although his vocals were uncredited.

Track listing
7″ single
 * 1) "Jive Talkin – 3:40
 * 2) "Rhythm Talkin (part 1) – 3:50

title: Jive Talkin'


text: User talk:82.161.59.225

title: User talk:82.161.59.225


text:
User:Esther scholle

 * ]]

title: User:Esther scholle


text:
Sam Rosen (comics)

Sam Rosen (April 4, 1922 - April 8, 1992), often credited as S. Rosen, was an American calligrapher best known as a letterer for Marvel Comics during the period fans and historians call the Silver Age of Comic Books. Along with letterer Artie Simek, Rosen lettered and helped design logos for virtually all Marvel Comics published during the 1960s. Rosen also moonlighted for other companies during this time: he was the (uncredited) letterer for the 1965-66 Archie Comics series The Mighty Crusaders.

Biography
Sam Rosen began his career as a comic book letterer in New York City in 1940, working on writer-artist Will Eisner's The Spirit, the seven-page lead feature in a comic-book style Sunday supplement syndicated to newspapers. During this period, he also worked for Fox Comics and Benjamin W. Sangor studio, a comic book packager.

Credits for Rosen are hard to determine, as comic-book letterers did not begin to routinely receive published credit until the early 1960s. Beginning with his first confirmed Marvel Comics credit, the three-page recap "The Origin of the Hulk" in The Incredible Hulk #3 (Sept. 1962), Rosen became, with Artie Simek and, later, Rosen's brother Joe Rosen, one of Marvel's primary letterers, hand-drawing the word balloons and sound effects for virtually every comic produced by the company, including such flagship titles as The Amazing Spider-Man and Fantastic Four.

In addition to his work for Marvel during the decade of the 1960s, Rosen worked extensively during that period as a letterer for Archie Comics.

Rosen's last known credited comics work to appear is the 20-page story "Two Into One Won't Go" in Captain America #156 (Dec. 1972), which he was unable to complete. Comics historian Nick Caputo reported that Rosen's last published work appeared in 1972, after which he "had a nervous breakdown".

title: Sam Rosen (comics)


text:
Karl Ludwig von Knebel

Karl Ludwig von Knebel (30 November 1744 – 23 February 1834) was a German poet and translator.

Biography
He was born at the Castle of Wallerstein (near Nördlingen) in Franconia. After having studied law for a short while at Halle, he entered the regiment of the crown prince of Prussia in Potsdam and was attached to it as officer for ten years. Disappointed in his military career, owing to the slowness of promotion, he retired in 1774, and accepting the post of tutor to Prince Frederick Ferdinand Constantin of Saxe-Weimar, accompanied him and his elder brother, the hereditary prince, on a tour to Paris. On this journey he visited Goethe in Frankfurt-on-Main, and introduced him to the hereditary prince, Charles Augustus. This meeting is memorable as being the immediate cause of Goethe's later intimate connection with the Weimar court.

After Knebel's return and the premature death of his pupil he was pensioned, receiving the rank of major. In 1798 he married the singer Luise von Rudorf, and retired to Ilmenau; but in 1805 he moved to Jena, where he lived until his death in 1834.

Works
Knebel's Sammlung kleiner Gedichte (1815), issued anonymously, and Distichen (1827) contain many graceful sonnets, but it is as a translator that he is best known. His translation of the elegies of Propertius, Elegien von Properz (1798), and that of Lucretius, De Rerum Natura (2 vols., 1821) are deservedly praised. Also notable is his translation of Vittorio Alfieri's tragedy Saul.

Since their first acquaintance, Knebel and Goethe were intimate friends, and not the least interesting of Knebel's writings is his correspondence with the eminent poet, Briefwechsel mit Goethe (ed. G. E. Guhrauer, 2 vols., 1851). Varnhagen von Ense and Theodor Mundt edited his Literarischer Nachlass und Briefwechsel (“Literary remains and correspondence,” 3 vols., Leipsic, 1835), the latter furnishing a biographical notice.

title: Karl Ludwig von Knebel


text:
Dries Buytaert

Dries Buytaert (born 19 November 1978) is a Belgian open-source software programmer. He is the founder and lead developer of the Drupal content management system. He also serves as the CTO of Acquia.

Career
Buytaert was born in Wilrijk, Antwerp, Belgium. He defended his PhD dissertation in computer science on 27 January 2008, at Ghent University in Belgium.

From 1999 to 2000 he was the maintainer of the Linux-WLAN FAQ.

On 1 December 2007, Dries announced, together with co-founder Jay Batson, the launch of a start-up called Acquia. Acquia is a commercial open-source software company providing products, services, and technical support for Drupal. Acquia tries to be to Drupal what Red Hat has been to Linux. In 2009, Acquia helped re-launch Whitehouse.gov on Drupal.

On 31 March 2008, Dries launched Mollom, a service dedicated to stopping website spam: "Mollom's purpose is to dramatically reduce the effort of keeping your site clean and the quality of your content high. Currently, Mollom is a spam-killing one-two punch combination of a state-of-the-art spam filter and CAPTCHA server." Over 59,000 websites were protected by the Mollom service, including all of Netlog's messages. Mollom support ended 2 April 2018.

In 2008, Buytaert was elected "Young Entrepreneurs of Tech" by BusinessWeek. He was also named to the MIT Technology Review TR35 as one of the top 35 innovators in the world under the age of 35.

Dismissal of Larry Garfield
In February of 2017, Buytaert privately asked developer Larry Garfield to leave the Drupal project, shortly after forum posts came to light that outed Garfield as a participant in the Gorean subculture. In a March 22 blog post, Garfield accused Buytaert of tolerating doxing and wrote that Drupal's Community Working Group had not found any Code of Conduct violations in his history. Buytaert made a post the next day which defended the decision as necessary for fostering an inclusive community. He also wrote that his precise reasoning was confidential and that he "did not make the decision based on the information or beliefs conveyed in Larry's blog post." Several commentators disputed this characterization citing Buytaert's deleted sentence "further participation in a leadership role implies our community is complicit with and/or endorses these views, which we do not." 85 Drupal developers posted an open letter criticizing Buytaert for his handling of the situation. On April 9, Buytaert apologized "for causing grief and uncertainty, especially to those in the BDSM and kink communities who felt targeted by the turmoil". On July 13, Buytaert and Drupal Association Executive Director Megan Sanicki issued statements providing additional information about the situation and clarified that while Garfield's technical leadership roles had been removed, he could continue to participate in the development of Drupal as an individual contributor.

Personal life
Buytaert lives in Boston.

Interviews

 * An In-Depth Interview With Dries Drupal Watchdog interview (February 2011)
 * Drupal founder, Dries Buytaert Interview CMS Critic interview (January 2009)
 * Video interview with Dries Buytaert by Noel Hidalgo in Antwerp, Belgium (26 July 2007)

Talks

 * DrupalCon Los Angeles 2015: Driesnote Keynote - Dries' talk at DrupalCon 2015 in Los Angeles, United States (May 2015)
 * The State of Drupal - Dries' talk at FOSDEM 2007 in Brussels, Belgium (February 2007)
 * Video of talk delivered by Dries Buytaert titled the State of Drupal from OSCMS conference on Yahoo campus in Sunnyvale, California (late March 2007)
 * The State of Drupal - Dries' State of Drupal talk at Drupalcon 2007 in Barcelona, Spain (September 2007)

title: Dries Buytaert


text: User talk:81.154.250.117

title: User talk:81.154.250.117


text:
Betty Blue

Betty Blue (37°2 le matin) is a 1986 French erotic psychological drama film directed by Jean-Jacques Beineix, based on the 1985 novel 37°2 le matin by Philippe Djian. The film stars Béatrice Dalle and Jean-Hugues Anglade. It was the eighth highest-grossing film of 1986 in France.

The film received both a BAFTA and Oscar nomination for Best Foreign Language Film in 1986.

Plot
Zorg, a thirty-something aspiring writer, makes a living as a handyman for a community of beach houses in the seaside resort of Gruissan on France's Mediterranean coast. He meets nineteen-year-old Betty, a volatile and impulsive young woman, and the two begin a passionate affair, living in his borrowed shack on the beach. Following a row with him where she tears apart and smashes up the house, she finds the manuscript of his first novel; she reads it in one long sitting and decides that he is a genius. However, after another argument with his boss, she empties the shack and burns it down. The two decamp to the outskirts of Paris, where her friend Lisa has a small hotel. Betty laboriously types out Zorg's novel and submits it to various publishers. They meet Lisa's new boyfriend, Eddy, and the four have many fun times, often fuelled by alcohol. They find work in Eddy's pizzeria, but a fight erupts in which Betty stabs a customer with a fork. Zorg tries to slap her back to her senses.

Though Zorg hides the rejection letters, Betty finds one and, going to the publisher's house, slashes his face. Zorg induces him to drop charges by threatening him with violence, saying that she is the only good thing in his life and she is all he has. Eddy's mother dies and the friends go to the funeral in Marvejols. There, Eddy asks Zorg and Betty if they will live in the dead woman's house and look after her piano shop. Zorg enjoys the quiet provincial life and makes friends with the grocer Bob, his sex-starved wife Annie, and various offbeat characters, but Betty's violent mood swings are a concern. One day, after an irritating comment from Zorg, she punches out a window with her bare hand and goes on a screaming flight through the town. Happiness seems on the horizon when a home test suggests that Betty is pregnant, but a lab test is negative, and she sinks into depression and tells him that she is hearing voices talking to her in her head. Zorg, masquerading as a woman, robs an armoured cash collection van delivery headquarters, holding the guards at gunpoint, and tying them up. He attempts to use the money to buy Betty's happiness, but she fails to respond and enacts yet another prosecutable offence by luring a small boy away from his mother and taking him to a toy store. Zorg finds her, and they both flee from the authorities as they rush to rescue the boy.

One day, Zorg comes home to find blood all over the place and Betty gone. Bob tells him she has gouged out an eye and is in the hospital. Rushing there, Zorg finds her under heavy sedation and is told to come back the next day. Going home, he receives a phone call from a publisher accepting his manuscript. On his next visit to the hospital, he finds Betty restrained and catatonic. He becomes agitated, and a doctor tells him that she will need prolonged treatment and may never recover her sanity. Zorg reacts by blaming her illness on the medication being administered and physically attacks the doctor. He is forcefully ejected from the hospital after a violent struggle with three orderlies. Returning in disguise, he whispers his farewells and smothers Betty with a pillow. Going home, he sits down to continue his current novel, while conversing with his adopted cat, from whom he hears Betty's disembodied voice.

Production
According to the director Jean-Jacques Beineix, the relationship between Jean-Hugues Anglade and Béatrice Dalle went far beyond a simple professional collaboration. "They were flirting all the time. It's clear that we didn't know if we were in the movie anymore. They lived an extraordinary story."

Release
Betty Blue was distributed in the UK and the US in November 1986 with English subtitles.

A 185-minute director's cut debuted in 2000 with the extra hour allowing Betty's descent into madness to take up more space and her pursuit of motherhood to get more screen time. Zorg's character is explored with several solo vignettes, including his cross-dressing crime spree.

Both the 185-minute Director’s Cut and the original theatrical cut were released on Blu-ray in 2013 by Second Sight Films. The director's cut was added to The Criterion Collection on DVD and Blu-ray on 19 November 2019.

Reception
Betty Blue received mostly positive reviews from critics. The film holds a 78% rating on Rotten Tomatoes based on 27 reviews, and an average rating of 6.6/10. Metacritic assigned the film a weighted average score of 56 out of 100, based on 15 critics, indicating "mixed or average reviews".

title: Betty Blue


text:
Yamaha Drums

Yamaha Drums is a subsidiary of the Yamaha Corporation founded in 1967. The company manufactures acoustic and electronic drum kits as well as percussion instruments, marching band equipment, and drum hardware.

Production
Most of Yamaha's drums are manufactured at two different locations in Asia. Their factory in Osaka produces their high-end professional drums as well as all of their marching percussion. The research and development of new products also takes place there. Marketing is managed from the Yamaha Corp. headquarters in Hamamatsu. The factory in China produced the entry-level GigMaker kit and the intermediate-kit Stage Custom Birch. Their factory in Indonesia produces the Tour Custom and the newly introduced Rock Tour series drums. The Indonesian factory uses the same machinery and techniques in their drum shells and all of the craftsmen working there are trained by Japanese craftsmen from the Osaka site. The only difference between these two plants is that the Osaka plant uses the more exclusive woods (maple, birch and oak)

Acquisition of Premier
In 1987, Yamaha acquired the Premier Percussion factory in England in an attempt to establish the Yamaha name in the tougher European market. Yamaha placed machinery and trained the Premier craftsmen in the "Yamaha-way" of making drums, resulting in Premier producing a large number of Yamaha drums "made in England." In 1992, Yamaha withdrew and sold their stock shares back to Premier.

title: Yamaha Drums


text:
Vernon Ingram

Vernon Martin Ingram, (May 19, 1924 – August 17, 2006) was a German–American professor of biology at the Massachusetts Institute of Technology.

Biography
Ingram was born Werner Adolf Martin Immerwahr in Breslau, Lower Silesia. When he was 14, he and his family left Nazi Germany because of their opposition to Nazism (being Jewish) and settled in England. He then Anglicised his name to Vernon Ingram.

During the Second World War, Ingram worked at a chemical factory producing drugs for the war effort and at night studied at Birkbeck College at the University of London. He received a bachelor's degree in chemistry in 1945 and a PhD in organic chemistry in 1949.

After receiving his doctorate, Ingram worked at postdoctoral appointments at the Rockefeller Institute and Yale University. At Rockefeller, he worked with Moses Kunitz on crystallising proteins. While at Yale, he studied peptide chemistry with Joseph Fruton. In 1952, Ingram returned to England and started working at the Cavendish Laboratory at the University of Cambridge, studying protein chemistry.

In 1956, Ingram, John A. Hunt, and Antony O. W. Stretton determined that the change in the haemoglobin molecule in sickle cell disease and trait was the substitution of the glutamic acid in position 6 of the β-chain of the normal protein by valine. Ingram used electrophoresis and chromatography to show that the amino acid sequence of normal human and sickle cell anaemia haemoglobins differed due to a single substituted amino acid residue. Much of this work was done with the support of Max Perutz and Francis Crick. Ingram won the William Allan Award from the American Society of Human Genetics in 1967.

This was the first time a researcher demonstrated that a single amino acid exchange in a protein can cause a disease or disorder. As a result, Vernon Ingram is sometimes referred to as "The father of Molecular Medicine."

Ingram joined the MIT faculty in 1958, intending to stay for only one year. He found that he enjoyed it there so much that he stayed on. While at MIT, Ingram collaborated with Paul Marks of Columbia University on haemoglobin research. He was also interested in embryonic haemoglobin and how it differed from that of adults.

By the 1980s, Ingram became interested in neuroscience and especially Alzheimer's disease. His interest was sparked by the work his second wife, Elizabeth (Beth), was doing with intellectually disabled people in the Boston area. She had heard that Down syndrome was a disease of the neurofilaments; this turned out not to be the cause, but it was noted that people with Down syndrome did develop Alzheimer's Disease by the time they were 40.

After retirement, Ingram continued his research, maintaining a small laboratory at MIT. He and his wife, Beth, were housemasters of Ashdown House at MIT for 16 years. Asteroid 6285 Ingram is named in their honour. Ingram was Director of the Experimental Study Group, an alternative undergraduate education community at MIT, from 1989 to 1999. He was elected to the National Academy of Sciences in 2002.

Ingram died in Boston, Massachusetts, on 17 August 2006 of injuries stemming from a fall.

Selected publications

Inaugural Article: Efficient reversal of Alzheimer's disease fibril formation and elimination of neurotoxicity by a small molecule Barbara J. Blanchard, Albert Chen, Leslie M. Rozeboom, Kate A. Stafford, Peter Weigele, and Vernon M. Ingram PNAS 2004 101: 14326-14332

title: Vernon Ingram


text:
Nick Punto

Nicholas Paul Punto (born November 8, 1977) is an American former professional baseball infielder. He played in Major League Baseball (MLB) for the Philadelphia Phillies, Minnesota Twins, St. Louis Cardinals, Boston Red Sox, Los Angeles Dodgers, and Oakland Athletics. With the Cardinals, he won the 2011 World Series over the Texas Rangers. He has also played for the Italian national baseball team in the World Baseball Classic.

Early career
Punto attended Trabuco Hills High School in Mission Viejo, California. He was drafted by the Minnesota Twins in the 33rd round (993rd overall) of the 1997 Major League Baseball draft, but did not sign. He stayed in Mission Viejo to attend Saddleback College before being drafted in the 21st round (614th overall) of the 1998 Major League Baseball draft by the Philadelphia Phillies. Punto played in the Phillies system for the Single-A Clearwater Phillies, Single-A Batavia Muckdogs, Double-A Reading Phillies and Triple-A Scranton/Wilkes-Barre Red Barons before his promotion to the majors.

Philadelphia Phillies (2001-2003)
Punto made his major league debut with the Philadelphia Phillies on September 9, 2001. He singled to right field off Bob Scanlan of the Montreal Expos as a pinch hitter in the eighth inning. He had two hits in five at-bats (.400) in just four games with the Phillies that season. In 2002 with the Scranton/Wilkes-Barre Red Barons, Punto played in 115 games and hit .271 with a home run, 29 RBI and 42 stolen bases, earning a selection as an International League All-Star.

In three years with the Phillies, Punto played in a total of 77 games and hit .223. His first, and only, home run with the Phillies was hit off Steve Trachsel of the New York Mets on July 10, 2003.

Minnesota Twins (2004-2010)
After playing in 64 major-league games in, Punto was acquired by the Minnesota Twins on December 3, 2003, along with Carlos Silva and Bobby Korecky for Eric Milton. He started the season with the team, but he was injured twice and spent the majority of his time in 2004 on the disabled list. In, he competed for the starting job at second base, which he eventually won, and in became the starting third baseman.

Punto was one of four Twins players nicknamed "the Piranhas" by then Chicago White Sox manager, Ozzie Guillén. The other Piranhas were Jason Tyner, Jason Bartlett, and Luis Castillo.

In 2005, Punto batted .239 with a career-high four home runs and 26 RBI in 112 games.

Punto had his best full season in Minnesota during the 2006 season when he batted .290 with a home run, 45 RBI and 17 stolen bases in 135 games.

In, Punto experienced his statistically worst full season with Minnesota, batting .210 with a home run and 25 RBI 150 games. He posted the lowest slugging percentage (.271) of any major league player with at least 200 at-bats in a single season. This was the lowest slugging percentage by a player with over 400 at-bats since José Lind recorded a .269 slugging percentage for the Pittsburgh Pirates in. Punto also posted a −27.1 VORP in 2007, 8.5 runs worse than the second-worst position player in baseball, White Sox infielder Andy González. However, he has always played excellent defense and believed in his defensive abilities which the Twins are so keen on. On May 27 during an MPR broadcast Punto said, "I take too much pride in my defense to ever let (offensive struggles) affect me or affect my team. The one thing I can control is how I play defense."

After being injured most of the first half of the season, Punto was activated from the DL on June 25, 2008, and finished the season batting .284 with two home runs and 28 RBI in 99 games. Punto spent most of the 2008 season as the Twins' primary shortstop.

On December 11, 2008, Punto signed a two-year, $8.5 million deal with the Twins that included a club option for 2011 worth $5 million.

Punto represented Team Italy in the 2009 World Baseball Classic.

After struggling as the Twins regular shortstop in 2009, Punto began losing time in the lineup to fellow Twin Brendan Harris. After returning from the disabled list, Punto was re-inserted into the regular lineup at second base, following the struggles of infielders Alexi Casilla and Matt Tolbert. He finished the season batting .228 with a home run and 38 RBI in 125 games.

Punto began the 2010 season as the Twins' starting third baseman, but ended up on the disabled list before the end of April with a strained groin muscle. Punto returned to the lineup in May, playing at third base, shortstop, and second base as injuries cropped up among other players. In July, he was essentially replaced as the starter at third base by Danny Valencia, but he continued to play regularly due to injuries to Orlando Hudson and J. J. Hardy.

On October 29, the Twins declined Punto's $5 million team option, making him a free agent. In seven years with the Twins, Punto played in 747 games with a .248 batting average.

St. Louis Cardinals (2011)
On January 21, 2011, Punto signed a one-year contract with the St. Louis Cardinals worth $700,000. He played in 63 games with the Cardinals as a utility player, and hit .278 with a career high .388 on-base percentage, a home run and 20 RBI in 133 at bats. Punto had three hits in 14 at-bats (.214) with five walks in the 2011 World Series as the Cardinals defeated the Texas Rangers in seven games, giving Punto his first World Series ring.

Boston Red Sox (2012)
On December 14, 2011, Punto agreed to a two-year contract with the Boston Red Sox worth $3 million. In 65 games with the Red Sox in 2012, he hit .200 with a home run and 10 RBI while starting games at second base, third base and shortstop. He also appeared in five games at first base.

Los Angeles Dodgers (2012-2013)
On August 25, 2012, Punto was traded to the Los Angeles Dodgers (along with Josh Beckett, Carl Crawford and Adrián González and $11 million in cash) for James Loney, Iván DeJesús, Jr., Allen Webster and two players to be named later (Jerry Sands and Rubby De La Rosa). He appeared in 22 games with the Dodgers and hit .286. Due to the nature of the trade involving many high-profile and expensive players and highly-touted prospects, the trade has sometimes been ironically referred to as “The Nick Punto Trade”.

Punto represented Italy in the 2013 World Baseball Classic in March 2013. He hit .421 (8-for-19) in five games.

In the 2013 season, Punto saw extensive time at shortstop due to injuries to Hanley Ramírez. He appeared in 116 games, his most since 2009, and hit .255 with two home runs, 21 RBI and 34 runs.

On September 16, 2013, Punto led off a game against the Arizona Diamondbacks with a single to center field off of Trevor Cahill. Despite the fact that the ball traveled into the outfield, Punto made a headfirst slide into first base anyway.

Oakland Athletics (2014)
On November 13, 2013, Punto agreed to a one-year, $3 million contract with the Oakland Athletics, that included a vesting option for 2015. His numbers dropped off from the year before, as he hit just .207 with two home runs and 14 RBI in 73 games.

Punto's option for the 2015 season vested but the Athletics released him on December 19, 2014.

Arizona Diamondbacks
On January 7, 2015, Punto signed a minor league contract with the Arizona Diamondbacks that included an invitation to spring training. However, on February 20, Punto informed the Diamondbacks that he would not be reporting to spring training and would be taking the year off from baseball, though he was not officially retiring. He officially announced his retirement from baseball on February 18, 2016.

Honors
Punto was inducted into the Saddleback College Athletics Hall of Fame, joining notable former Saddleback and MLB players Tim Wallach and Mark Grace.

Personal life
Punto and his wife, Natalie, have three children.

title: Nick Punto


text:
Talk:Alain Delon

Political views
Aren't they somewhat controversial? Yet they aren't even mentioned in the article. —Preceding unsigned comment added by 67.161.159.246 (talk) 23:55, 27 February 2009 (UTC)

Likewise the Stevan Markovic murder isn't mentioned either. Here follows an extract from Ephraim Katz's authoratitive "Film Encyclopedia" 1994 (New Edition)

"Late in 1968, Delon and his then-wife (1964-69), actress Natalie Delon (b.Francine Canovas, 1938), were the central figures in a major murder, drug, and sex scandal that rocked the French capital, following the discovery of the body of Delon's bodyguard in a garbage dump. Many prominent politicians and show business personalities were involved, and the affair was promptly hushed up. Although cleared of criminal suspicion, Delon admitted to the intimate association with underworld characters which dated back to his premovie years."

Katz continues by suggesting the affair actually helped Delon's on-screen "toughie" image. This is not idle redundant gossip, it is a recorded fact which had a significant effect on Delon's career and as such its omission looks like censorship. — Preceding unsigned comment added by 78.148.35.91 (talk) 13:02, 27 April 2012 (UTC)
 * Delon has now given an interview to a Swiss newspaper explicitly supporting the Front National. RolandR (talk) 16:40, 10 October 2013 (UTC)

The Stevan Markovic murder is a significant and noteworthy event in Delon's history, and certainly backed up with good reference. The omission of this event is not encyclopedic. — Preceding unsigned comment added by 78.148.46.74 (talk) 17:42, 14 January 2014 (UTC)

Beginning of Article Needs Serious Proper Formatting.
Beginning of Article is as follows:

""

Clearly the formatting did not take. Needs to be re-done. Also, there's no main picture of Delon. — Preceding unsigned comment added by Wiseguy007 (talk • contribs) 00:32, 11 May 2015 (UTC)

Issues: Grammar Polishing & The Marković affair
To Wikipedians visiting from past or future, someone please come and sweep this grammar. Bad flow and obvious grammar errors are present.

Second problem, there's two sections of the Marković affair. One is titled as "Marković affair and gangster movies" under "Return to France", and the second one is simply named as "Marković affair" under "Personal Life." I believe they can use some merging, as the respective sections provides different details and is rather confusing. TheeChEese (talk) 02:18, 19 December 2022 (UTC)

External links modified
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Death
Did he actually die or was everything just a hoax? --104.163.139.131 (talk) 16:04, 19 May 2022 (UTC)

 * No, he's currently still alive. Check your facts. ￼ TheeChEese (talk) 02:03, 19 December 2022 (UTC)

Swimming pool In Montreal
I was a 20 yr young lifeguard in Montreal, when, unknown to me many stars were staying at our Hotel. He helped me gather the towels around the pool.and just wanted to enjoy the peace of the closing of the pool.

It was really late in the evening. He told me that I looked alot like Romy Snyder, actually I did. My mother was a Montreal beauty,

My mother was beautiful, she was a stunning beauty in the great Montreal wife of Montreal's founders.

She even was invited to the Margaret ball in Los Angeles.

My futur husband was waiting for me, and told me who that very nice person was.

I only found out years later, who the kind man was. Indeed a gentleman. Never look back. Appreciated his kind and very human personality and a very polite gentleman 174.95.187.166 (talk) 02:43, 7 December 2023 (UTC)

title: Talk:Alain Delon


text:
Wikipedia:Articles for deletion/Mephistroth

 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. Woohookitty 07:06, 22 July 2005 (UTC)

Mephistroth
Warcraftcruft. Denni ☯ 23:17, 2005 July 10 (UTC)
 * Delete per Denni -Harmil 23:51, 10 July 2005 (UTC)
 * Delete as above. Jaxl 00:01, 11 July 2005 (UTC)
 * Delete as above (and abover), shouldn't all this stuff go in a Warcraft storyline....thingy....? (and i like that "warcraftcruft", makes me smile) -mysekurity 01:22, 11 July 2005 (UTC)
 * Delete non notable cruft. JamesBurns 08:58, 11 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: Category:Minnesota Pipers players

title: Category:Minnesota Pipers players


text:
User:Rhody~enwiki

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! Please sign your name on talk pages using four tildes (~~); this will automatically produce your name and the date. If you need help, check out Questions, ask me on my talk page, or place  on your talk page and someone will show up shortly to answer your questions. Again, welcome! (This is the "Welcome Wagon's kit --Wetman 23:18, 10 July 2005 (UTC))
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title: User:Rhody~enwiki


text:
Harry Diamond (politician)

Harry Diamond (1908–1996) was a socialist and an Irish nationalist. He was the MP for Belfast Falls in the Parliament of Northern Ireland, and later the leader of the Republican Labour Party.

In 1927, Diamond was the main initiator and first chairman of O'Donnell's GAA. He later became chairman of Antrim GAA.

Diamond was an active nationalist before the Second World War and in 1933 was sentenced to a month in jail for refusing to pay a fine given out for addressing an illegal rally in support of republican prisoners. The following year, he stood in the Belfast Central by-election as an "Anti-Partition" candidate.

In 1944, Diamond became a founder member of the Socialist Republican Party. He took the Belfast Falls seat at the 1945 Northern Ireland general election. In 1949, no one else contested the seat, and he remained the Socialist Republican Party's only MP, but the party disbanded that year. While most of its members joined the Irish Labour Party, Diamond held his seat, until 1964 as an independent standing as "Republican Labour".

In 1964, Diamond joined with Gerry Fitt to found the Republican Labour Party. He stood for the Westminster constituency of Belfast West in the October 1964 general election, but was defeated by James Kilfedder. The campaign was disfigured by riots after Ian Paisley attempted to lead a Unionist crowd up Divis Street to remove an Irish tricolour from the offices of Sinn Féin, who were supporting the candidacy of Billy McMillen. The riots galvanised the Unionist vote while the nationalist vote was split between Diamond and McMillen. Diamond alleged that the official Ulster Unionist Party had colluded in this.

Diamond saw a strong challenge to his position from the resurgent Northern Ireland Labour Party (NILP) in the late 1960s, and was criticised for being inattentive to his constituents' needs. Paddy Devlin of the NILP, a former supporter of the reformists in the Belfast branch of the Irish Labour Party, defeated him in the 1969 Northern Ireland general election.

In 1970, Fitt left the Republican Labour Party to found the broader-based Social Democratic and Labour Party. Paddy Kennedy assumed the leadership, but the party was in terminal decline and disbanded in 1973.

title: Harry Diamond (politician)


text: Category:Pittsburgh Pipers players

title: Category:Pittsburgh Pipers players


text: User talk:68.54.91.236

title: User talk:68.54.91.236


text:
User talk:Kisstheeclipse

Welcome from Redwolf24
Welcome!

Hello, and welcome to Wikipedia. Thank you for your contributions. I hope you like the place and decide to stay. We as a community are glad to have you and thank you for creating a user account! Here are a few good links for newcomers:
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Yes some of the links appear a bit boring at first, but they are VERY helpful if you ever take the time to read them.

I hope you enjoy editing here and being a Wikipedian! By the way, please be sure to sign your name on Talk and vote pages using four tildes ( Redwolf24 23:20, 10 July 2005 (UTC) ) to produce your name and the current date, or three tildes ( Redwolf24 ) for just your name. 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.

Redwolf24 23:21, 10 July 2005 (UTC)

P.S. I like messages :-P

title: User talk:Kisstheeclipse


text:
User:Squirrel OF DOOM!

Recommended links-

Squirrel

End of civilization

title: User:Squirrel OF DOOM!


text: User:Facethefacts

title: User:Facethefacts


text:
Wikipedia:Articles for deletion/Inherit the Earth

 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 keep. -- BD2412 talk 22:50, July 17, 2005 (UTC)

Inherit the Earth
Adventure game that was, and I quote, "Not a commercial success", with a non-notable spinoff webcomic (14 unique relevant Google hits for "Inherit the Earth webcomic -geek, Alexa rank 2,137,818). Somebody keeps trying to add it to List of web comics despite not meeting the webcomics inclusion guidelines.  — Gwalla | Talk 23:22, 10 July 2005 (UTC)

 * Weak Cleanup and Redirect. The article stub is not of a webcomic (although it does mention one), it is of an adventure game. It definately needs work, granted. It should be redirected, IMO, because "Inherit the Earth" is far too ambiguous of a page title. --Blu Aardvark 23:26, 10 July 2005 (UTC)
 * Comment: I said that the adventure game is non-notable (it was a flop), as is the webcomic.   — Gwalla | Talk 00:35, 11 July 2005 (UTC)
 * Good point. Changing to "weak" cleanup. --Blu Aardvark 01:35, 11 July 2005 (UTC)
 * Delete nn, possible vanity and/or ad. I don't see a basis for cleanup, Blu. -Harmil 23:47, 10 July 2005 (UTC)
 * Delete as per Harmil -mysekurity 01:23, 11 July 2005 (UTC)
 * Hmm, I don't know what a game must've done to be included in Wikipedia. There are tons of articles about open source games that obviously don't are a commercial success, and it's not easy to determine if they are a success in general.. At least this game made quite an impact in the Furry community, that's where I know the game from. So.. weak keep. --Conti|✉ 01:32, July 11, 2005 (UTC)
 * Delete non notable self promotion. JamesBurns 08:58, 11 July 2005 (UTC)
 * Keep — I played that game. It wasn't a dog, so to speak. MobyGames, for example, rates it 3.8 out of 5. It's notable enough to have a page, with a multitude of google hits. — RJH 16:03, 11 July 2005 (UTC)
 * Keep — I won't go as far to list every Wikipedia article of games that "weren't commercial successful", that would be a sisyphean task. I say keep because it is one of the best adventure games and because it would be the first game article that I saw to be deleted. It would be added again when Wikipedia has grown anyway, so I don't see the point in deleting it in the first place. -- Lightkey 23:59, 11 July 2005 (UTC)
 * Keep on the basis of the game, not the non-notable webcomic. -Sean Curtin 06:16, July 12, 2005 (UTC)
 * Keep. The article is small, but deleting it leaves no room for expansion. It shouldn't be on List of web comics, given that the article is about a game, but that doesn't mean that the article should be deleted. Perhaps it could be suggested as a CVG collaberation of the week. --Dave2 10:54, 16 July 2005 (UTC)
 * Keep. Googling '"Inherit the Earth" adventure game' finds a fair number of unique hits and reviews, clearly the game was noticed. It sells on Amazon, so it's not underground. I think it's notable enough. — Asbestos | Talk  12:45, 17 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:
Audrey Long

Audrey Gwendoline Long (April 14, 1922 – September 19, 2014) was an American stage and screen actress of English descent, who performed mainly in low-budget films in the 1940s and early 1950s. Some of her more notable film performances are in Tall in the Saddle (1944) with John Wayne, Wanderer of the Wasteland (1945), Born to Kill (1947), and Desperate (1947).

Early life and education
Long was born on April 14, 1922, in Orlando, Florida, the first-born child of English parents. Her father, Christopher Stanley Long, was an Episcopal minister, a naturalized American citizen who served as a chaplain with the United States Navy; her mother Ellen Gwendoline Erskine. She spent some time in Hawaii where her younger brother John Stanley Long was born. She was educated at St. Margaret's School in Tappahannock, Virginia, Los Gatos High School in Los Gatos, California, and Disputanta High School, Virginia. She worked as a model before becoming an actress.

Career
In 1942, Long made her screen debut in The Male Animal playing a student. That same year she was cast as a receptionist in Yankee Doodle Dandy. Other roles followed in 1943. In May 1943, Long played the character Dora Applegate in the Broadway production Sons and Soldiers. She returned to film work the following year, cast as the female lead with John Wayne in Tall in the Saddle. In 1945, she performed in Wanderer of the Wasteland.

In 1947, Long had featured roles in two films noir: Desperate and Born to Kill. She appeared in many low-budget films from 1948 through 1951, including six in 1948. In 1952, Long made her last film, Indian Uprising, playing the role of Norma Clemson. She retired from acting that year.

Personal life
In January 1945, Long married Edward Rubin, a dialogue director. They divorced in 1951. On April 26 the next year, in California, Long married Leslie Charteris, a British novelist best known for his works chronicling the adventures of Simon Templar in the literary series The Saint. The couple traveled extensively during their marriage, with Charteris using their travel locations as settings for his Saint novels, made into the popular 1960s British TV series. The two remained together for over 40 years, until Leslie's death in 1993.

Death
Long died on September 19, 2014, in Surrey, England. Upon her death, she was cremated, and her ashes were placed in a large urn which contains the ashes of her late husband Leslie Charteris. The inscription on the urn reads "Love Never Dies".

Filmography

 * The Male Animal (1942) - Student
 * Yankee Doodle Dandy (1942) - Dietz and Goff's receptionist (uncredited)
 * Eagle Squadron (1942) - Nurse
 * Pardon My Sarong (1942) - Girl on bus with Tommy (uncredited)
 * The Great Impersonation (1942) - Anna (uncredited)
 * A Night of Adventure (1944) - Erica Drake Latham
 * Tall in the Saddle (1944) - Clara Cardell
 * Pan-Americana (1945) - Jo Anne Benson
 * Wanderer of the Wasteland (1945) - Jeanie Collinshaw
 * The Lost Weekend (1945) - Cloakroom attendant (uncredited)
 * A Game of Death (1945) - Ellen Trowbridge
 * Perilous Holiday (1946) - Audrey Latham
 * Born to Kill (1947) - Georgia Staples
 * Desperate (1947) - Mrs. Anne Randall
 * Adventures of Gallant Bess (1948) - Penny Gray
 * Song of My Heart (1948) - Princess Amalya
 * Perilous Waters (1948) - Judy Gage
 * Stage Struck (1948) - Nancy Howard
 * Miraculous Journey (1948) - Mary
 * Homicide for Three (1948) - Iris Duluth aka Mona Crawford
 * Duke of Chicago (1949) - Jane Cunningham
 * Air Hostess (1949) - Lorraine Carter
 * Post Office Investigator (1949) - Clara Kelso
 * Alias the Champ (1949) - Lorraine Connors
 * Trial Without Jury (1950) - Myra Peters
 * David Harding, Counterspy (1950) - Betty Iverson
 * The Petty Girl (1950) - Mrs. Connie Manton Dezlow
 * Blue Blood (1951) - Sue Buchanan
 * Insurance Investigator (1951) - Nancy Sullivan
 * Cavalry Scout (1951) - Claire Conville
 * Sunny Side of the Street (1951) - Gloria Pelley
 * The Bigelow Theatre (1951; television series)
 * Indian Uprising (1952) - Norma Clemson

title: Audrey Long


text: User talk:69.112.0.44

title: User talk:69.112.0.44


text:
User:Billyd

Not using my name
I often forget to use my user name when I make edits, mostly because I forget I have one. I usually only make minor edits to fix grammar or bring an peice of information up to date. Some edits I've done without my username include:

-Gesture: Added "The gesture is also used in a trick played by adults and parents, with the intention of convincing their child that his or her nose has been ripped off. Someone (usually an adult) grabs at the child's nose and forms the fig sign exclaiming, "I've got your nose, I've got your nose!" The thumb, representing the clitoris in the previous meaning, is supposed to be the child's removed nose." under Fig Sign.

-David Gilmour: Added "The performance caused a 1,343 percent sales increase of Pink Floyd's album Echoes: The Best of Pink Floyd. As a result, Gilmour vowed to donate all his resulting profits to charities that reflect the goals of Live 8 saying, "Though the main objective has been to raise consciousness and put pressure on the G8 leaders, I will not profit from the concert." "This is money that should be used to save lives."

-Walt Disney: Minor grammar fix.

title: User:Billyd


text:
User talk:Facethefacts

Says a lot about the type of person you are to dig up comments made at a time like that. But then, I suppose the fact that you claim a source says the opposite of what it says, and then call William dishonest shows that you have no interest in the truth or in other people here, just in your agenda. And it is not acceptable to redirect your user & talk page to an article. Guettarda 05:03, 14 January 2006 (UTC)

Requests for arbitration/Ed Poor 2
This case is now closed and the results have been published at the link above.

Ed Poor is placed on Probation. He may be banned from any article or set of articles by an uninvolved administrator for disruptive editing, such as edit warring, original research, and POV forking. All bans are to be logged at Requests for arbitration/Ed Poor 2.

For the Arbitration Committee. Arbitration Committee Clerk, FloNight 13:49, 12 October 2006 (UTC)

3RR
I'm pretty sure you're aware of this, but just in case, please be aware you're only allowed to revert a page 3 times in 24h. See WP:3RR for details. You are free to remove this notice, of course William M. Connolley 19:07, 21 November 2006 (UTC)

 * Actually I don't revert that often, I try different ways of finding a compromise. See . Motes and beams come to mind. --Facethefacts 19:46, 21 November 2006 (UTC)

Global warming issue
Hi facethefacts. I am writing to you because you recently voted for option 2 in the "straw poll" at Global warming. We are currently pursuing a mediation request related to this exact topic. We could use some input from some concerned people like you. Please feel free to visit the page, and to post some comments and support for our side. You can visit the request at this location: Mediation_Cabal/Cases/2007-03-25_Global_warming. Thanks for your help with this. --Sm8900 20:52, 30 March 2007 (UTC)

title: User talk:Facethefacts


text:
The Nagus

"The Nagus" is the 11th episode of the American science fiction television series Star Trek: Deep Space Nine.

Set in the 24th century, the series follows the adventures on Deep Space Nine, a space station located adjacent to a stable wormhole between the Alpha and Gamma quadrants of the Milky Way Galaxy, near the planet Bajor. This is the first of several episodes in the series focusing on the politics of the Ferengi, an alien race distinguished by their emphasis on earning profit as the highest goal. In this episode, Grand Nagus Zek, the leader of the Ferengi people, names Deep Space Nine's bartender Quark as his successor; meanwhile Benjamin Sisko, the human station commander, frets over his son Jake's friendship with Quark's nephew Nog, a known troublemaker.

Plot
Zek, the Grand Nagus of the Ferengi Alliance, arrives at Deep Space Nine and seems to take an interest in Quark. He tells Quark that he wants to use Quark's bar for a conference, where he announces that Quark will be his successor. The Nagus then dies, apparently making Quark's appointment permanent.

Quark has a hard time adjusting to his new position, but he becomes popular among the Ferengi entrepreneurs by giving away lucrative business opportunities. Zek's son Krax and Quark's brother Rom attempt to kill Quark and are stopped by Zek, who appears before them still very much alive. Quark's appointment was a test to see how his son would respond in his absence, and as Zek says, "You failed! Miserably!" Quark congratulates Rom for having the "lobes" to try to kill him.

Meanwhile, Commander Sisko is trying to cope with the friendship between his son Jake and Rom's son Nog. His problem is seemingly solved when Rom orders Nog not to attend school; however, Jake and Nog begin spending even more time together. Jake will only tell Sisko that what they are doing is "private." In the end, Sisko finds he has nothing to worry about when he finds Jake teaching Nog how to read.

Production

The initial story concept came from director David Livingston, who pitched the idea Quark as a businessman and a secondary story about Jake teaching Nog to read. The writers had difficulty developing the business part of the story and Michael Piller suggested: "Well, let's do The Godfather"; the idea stuck and Ira Behr wrote the teleplay. Livingston was thrilled by the final script, and acknowledged that the name Zek was his only contribution to the main Godfather-inspired storyline. The idea for the "Rules of Acquisition" came from Behr.

The episode includes a very deliberate homage shot to The Godfather. Shortly after Quark is "made" Grand Nagus, the shot of the following scene is a near-exact duplicate of the opening of the movie, with a client coming to seek a favor. Quark is even reclining in a chair as did Marlon Brando as Don Vito Corleone, and petting an alien creature the way the Don held his cat. In his following line as well, he paraphrased Brando: "And now you call me [Nagus]…".

Casting director Ron Surma found out that Wallace Shawn was interested in doing an episode of Star Trek and writer Ira Behr said: "Let's find something that could possibly recur, and if he likes it…".

Shawn described the makeup process as "a little bit disturbing and uncomfortable and exhausting". It took three hours to put on the makeup, and an hour to take it off, and he would be wearing it for at least twelve hours. Although the process was arduous, and he would not have wanted to do it more than once a year, he appreciated the results. "To be in that world and to be in that makeup really liberated me in a way that I never experienced before — or since. I felt completely free, so it was a joyful experience." An unnamed executive visited the set and criticized Shawn's performance, telling him: "You do understand, this is a serious program? Star Trek is not a comedy." Shawn was not an expert on the show, never having owned a TV, and mentioned the conversation to director David Livingston, who reassured Shawn that he loved what he was doing and to keep doing it.

Reception
Zach Handlen of The A.V. Club, bemoaned the fact that the Ferengi are essentially a horrible cultural stereotype and that it provides a very limited platform on which to base a story. He called it a clever story about the limits of power, praised the casting of Shawn and the character work of Shimerman. "Without Shimerman, this would've been intolerable. With him, it’s surprisingly not bad. It's still not good, though." Handlen said the subplot with Jake and Nog was the most successful part of the story. "It's a simple story, and effectively finds the best out of two characters we've been given reason to doubt." Keith DeCandido of Tor.com rated the episode six out of ten, and called it "a delightful little episode that sets the tone for future Ferengi tales". He praised the casting of Wallace Shawn, Shimerman's performance, the hilarious Godfather riff, but concluded that it is the B-story with Jake and Nog that gives the episode its heart.

In 2018, CBR ranked Grand Nagus Zek, the character introduced in this episode, as the 13th best recurring character of all Star Trek.

title: The Nagus


text:
Don Corleone

Don Corleone may refer to:

 * Vito Corleone, the original Don in The Godfather, played by Marlon Brando and Robert De Niro
 * Michael Corleone, Vito's son, played by Al Pacino, who took over the control of the family
 * Vincent Corleone, Sonny's illegitimate son, played by Andy Garcia, who became Michael's successor and the third Don Corleone

title: Don Corleone