text:
User talk:Cquan

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 Where to ask a question, ask me on my talk page, or place  on your talk page and someone will show up shortly to answer your questions. Again, welcome! I'm surprised no one welcomed you before! --Angr/undefined 19:37, 22 July 2005 (UTC)
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student newspapers
in the event you aren't watching, I responded on my own talk page. TravellingCarithe Busy Bee 17:03, 30 May 2008 (UTC)
 * and again :) TravellingCarithe Busy Bee 00:25, 1 June 2008 (UTC)

Stellar ignition
Why did you re-direct "Stellar ignition" to "Star formation" withoput carrying over the information content that was posted on "Stellar ignition? Please be explicit Marvin Herndon (talk) 01:09, 31 May 2008 (UTC)Marvin Herndon

You indicated that you might add the content of Stellar ignition to Star formation. So far nothing has been done. Would you like for me to phrase such an addition? Please advise.Marvin Herndon (talk) 02:09, 14 June 2008 (UTC)

WQA on you
Just to inform you of its existence here - filed by User:Drewhamilton. Ncmvocalist (talk) 07:58, 1 June 2008 (UTC)

 * You're welcome. :) Ncmvocalist (talk) 16:42, 1 June 2008 (UTC)

User:Emotionalnerd
I was just going to report him, lolz.  Ziggy  Saw  dust  18:37, 2 June 2008 (UTC)

Warning about restoring warnings
Please do not restore warnings deleted by users on their on user pages, such as you have done at User talk:EmotionalNerd. Deleting a warning is taken as an indication that the user has read the warning. Restoring those warnings is disruptive. Thanks, and feel free to delete this warning. Delicious carbuncle (talk) 19:01, 2 June 2008 (UTC)

UH Law Center
Thanks for keeping up with the page.

MC Lewis (talk) 02:13, 17 June 2008 (UTC)

DimensionM thing
Well maybe admin should delete it. It's not a big deal and also help me delete Tabula digita. Negabandit86 (talk) 02:22, 19 November 2008 (UTC)

On second thought, Don't delete it. it's still important. Negabandit86 (talk) 02:26, 19 November 2008 (UTC)

Astral Feedback
There is no need to add multiple CSD tags. Ironholds (talk) 18:34, 17 January 2009 (UTC)

User:DPRVig
Hi Cquan. To let you know, I elected to unblock this user. Could I ask you a favour: may I ask you to disengage from this fellow in the spirit of WP:BITE? I know that you are rightly trying to help sort through the likely COI article he made (and correctly reverting his use of the user talk page) but I think it would be best if you just let the AfD's go through now, and leave things at that. Thanks very much -- Samir 05:51, 18 January 2009 (UTC)
 * No probs. BTW, you should run for adminship if you have time for it, as you certainly know your way around the wiki. -- Samir 06:00, 18 January 2009 (UTC)

Robert S. Langer
Thanks for the cleanup. -- Orange Mike  |   Talk  01:11, 11 February 2009 (UTC)
 * Np...thanks for tagging. I always like keeping one of my first articles up to standard. Cquan (after the beep...) 01:22, 11 February 2009 (UTC)

Re ex-GWLS computer law student
I dithered for some time but finally felt I must take your advice. What are you doing now? I invite you to go over my Contributions list, mostly computer law stuff, and see if you can make any helpful improvements. Also, we might talk about some W. articles that are terrible but because they are so bad I have felt it was hopeless to try to fix them up. You might be less daunted. --PraeceptorIP (talk) 20:33, 20 February 2009 (UTC)

Cleanup search results
Hi, Cquan. You said on your user page that you are Deletionist. In this case, maybe you are interested to useUser:AlexNewArtBot/CleanupSearchResult and User:AlexNewArtBot/CleanupLog tools and add them on your watchlist. This is a list created by bot about the problematic new articles. They are not all to be deleted – vice versa, I think that most of them are worth to be improved, but definitely there is also lot of nonsense and non-notable promotional material. Beagel (talk) 20:31, 22 February 2009 (UTC)

Federal Circuit cases format
Hmm, I don't know. I have "forwarded" your question to Eastlaw (see User talk:Eastlaw). I hope this may help... --Edcolins (talk) 20:29, 24 March 2009 (UTC)

Sean Kennedy (Author)
Thank you. :o)

CelticWonder (talk) 18:45, 26 March 2009 (UTC)

Thanks for your help
Your feedback has really helped me clarify what I am trying to do on the Wiki and on my howOLDisit web site. I have posted replies to the issues you raised and some questions about the Wiki. I would greatly appreciate your responses.Vidshow (talk) 06:44, 29 March 2009 (UTC)

Re: User talk:Dr.HicksHarper
I had thought that there was something wrong with the page's existence; you had removed the content that was there and replaced it with a COI warning without the author having made any other contributions.  Elm-39 - T/C/N 12:15, 30 March 2009 (UTC)

RantMedia to stay in Wikipedia
As you were previously involved in AfD discussions regarding RantMedia and Sean Kennedy (Author), I respectfully request your attendance to the current Articles for deletion/RantMedia. I believe there have been MANY productive responses to concerns on past AfD's, but some still don't seem to agree. If there is any way you can think of improving the article, or contributing to the current AfD, I would appreciate it. Thank you very much for your time. ₪—  Ce lt ic Wonder  ( T · C ) 18:13, 15 June 2009 (UTC)  "

WP:Hornbook -- a new WP:Law task force for the J.D. curriculum
Andrew Gradman talk/WP:Hornbook 06:13, 31 July 2009 (UTC)

Speedy deletion notifications
Hello Cquan. Please, do not forget to notify the original creators of articles, which you nominate for speedy deletion. I'm refering to User talk:Kalai apec. You can copy the notification from the bottom of the speedy tag and paste it to user talk. Thank you. --Vejvančický (talk) 09:08, 6 November 2009 (UTC)

GA reassessment of Stem cell
I have conducted a reassessment of the above article as part of the GA Sweeps process. You are being notified as you have made a number of contributions to the article. I have found some serious concerns which you can see at Talk:Stem cell/GA1. The artcile appears to contain many copyright violations. I have placed the article on hold whilst these are addressed. Thanks. Jezhotwells (talk) 21:08, 27 February 2010 (UTC)

Not getting it ≠ vandalism
I understand that Ruinsofman is not getting it with respect to repeatedly creating that Insatanity prefix mess, but he is not being a vandal. I have salted the page, but I have also deleted your warning which I think was inappropriate. Lady of  Shalott  05:34, 30 November 2010 (UTC)

inre Articles for deletion/Ramin Farahani
I only just came accross the deletion discussion, and in addressing the nom's concerns, I was able to find reliable sources that allowed improvement and sourcing to the article. While the individual's notability is not world-wide, it appears he is notable enough that hhe has received in-depth coverage and his work has received critical review. Might you revisit the article or discussion? Thanks,  Schmidt,  MICHAEL Q. 04:33, 4 December 2010 (UTC)

Wikipedia Ambassador Program is looking for Campus Ambassadors in Houston
Hi! I'm leaving you this message because you are listed as a Wikipedian connected with the University of Houston. The Wikipedia Ambassador Program is currently looking for Campus Ambassadors to help with Wikipedia assignments at another Houston school, which will be participating in the Public Policy Initiative for the Spring 2011 semester. The role of Campus Ambassadors will be to provide face-to-face training and support for students on Wikipedia-related skills (how to edit articles, how to add references, etc.). This includes doing in-class presentations, running workshops and labs, possibly holding office hours, and in general providing in-person mentorship for students.

Prior Wikipedia skills are not required for the role, as training will be provided for all Campus Ambassadors (although, of course, being an experienced editor is a plus).

If you live in Houston and you are interested in being a Wikipedia Campus Ambassador, or know someone else from the area who might be, please email me or leave a message on my talk page.--Sage Ross - Online Facilitator, Wikimedia Foundation (talk) 20:20, 29 December 2010 (UTC)

ArbCom elections are now open!
MediaWiki message delivery (talk) 13:07, 23 November 2015 (UTC)

Nomination of List of systems biology research groups for deletion
A discussion is taking place as to whether the article List of systems biology research groups is suitable for inclusion in Wikipedia according to Wikipedia's policies and guidelines or whether it should be deleted.

The article will be discussed at Articles for deletion/List of systems biology research groups until a consensus is reached, and anyone is welcome to contribute to the discussion. The nomination will explain the policies and guidelines which are of concern. The discussion focuses on high-quality evidence and our policies and guidelines.

Users may edit the article during the discussion, including to improve the article to address concerns raised in the discussion. However, do not remove the article-for-deletion notice from the top of the article.  DGG ( talk ) 03:31, 7 April 2016 (UTC)

RC Patrol-related Proposals in the 2016 Community Wishlist Survey
Greetings Recent Changes Patrollers!

This is a one-time-only message to inform you about technical proposals related to Recent Changes Patrol in the 2016 Community Wishlist Survey that I think you may be interested in reviewing and perhaps even voting for:

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Proposed deletion of File:Scalers.jpg

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Hello from a new NSF-funded legal research project!
Hi there,

I hope this message finds you well! My name is Scott, and I work with a project called SCALES, out of Northwestern University (https://scales-okn.org). We recently received a grant from the National Science Foundation to create a national resource for enabling access to court records and increasing the transparency of the justice system. Here's a paper we published recently in Science discussing the goals of our project, as well as an introductory video.

As you've contributed to the Supreme Court cases WikiProject, I wanted to reach out and inquire into how this SCALES corpus might be useful to you as an editor. We have a great deal of data and metadata about cases in the federal court system that could improve lots of stubs and B-/C-class articles (something I'm personally excited about, since in my brief teenage Wikipedia-editing heyday I was often drawn to working with stubs and new articles...) And in general, I think the SCALES platform will be a powerful tool for empowering citizens to understand the judiciary and its impact on the country, a priority I know many of us share in this topic space.

Let me know if you're interested in talking further and helping us understand how we can work with you. Thanks for your time!

All best,

Scott —Preceding undated comment added 21:54, 14 October 2020 (UTC)

title: User talk:Cquan


text:
Santi Gucci

Santi Gucci (c. 1530–1600) was an Italian architect and sculptor.

Biography
He moved to Poland after 1550, most probably from Florence, and became the court artist of king Sigismund II Augustus of Poland, his sister Anna Jagiellonka and his successor Stefan Batory of Poland. Santi Gucci's workshop in Pińczów became a notable school which attracted many future artists and became one of the centres of Mannerist art and culture in Poland. For his merits for the Polish crown he was ennobled, accepted into the ranks of the szlachta and given a Zetynian Coat of Arms.

One of the most successful and fruitful artists of his epoch, Gucci built or reconstructed a number of palaces of notable people in all parts of the Polish Republic. Among them was the Firlej family castle in Janowiec on the Vistula (1565–1585), for whom he also sculpted a Mannerist tomb in a local parish church (c. 1586). For the Piotr Myszkowski family he erected a new palace in Książ Wielki (1585–1595), Mirów Castle. He also erected the Łobzów palace (1585–1587), in Kraków, and expanded the castle in Pińczów (1591–1600). He is also supposed to be the architect of the Pińczów synagogue.

One of his most notable works is the integral design and funerary monuments in the Bartolommeo Berrecci's Sigismund's Chapel in the Wawel Cathedral. The chapel, often referred to as the pearl of Italian Renaissance north of the Alps, housed the graves of King Sigismund Augustus of Poland and Anna Jagiellonka. Between 1594 and 1595 he also refurbished the Mariacka Chapel to house the tomb of Stefan Batory. Others among his major works include the Branicki family chapel in Niepołomice (1596) and St. Anne's Chapel in Pińczów.

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

title: Santi Gucci


text:
Vladimir Lukin

Vladimir Petrovich Lukin, sometimes (rarely and erroneously) Lokin, (Влади́мир Петро́вич Луки́н; born 13 July 1937) is a Russian politician who served as Human Rights Commissioner of Russia from February 2004 to March 2014. He was the President of the Russian Paralympic Committee from 1997 to 2021. He was the Russian Ambassador to the United States from 1992 to 1994.

Political activity
In 1990s, Lukin was one of the founders of the liberal-democratic Yabloko Party (the letter L in "Yabloko" came from his name). He previously served as the deputy chairman of the Russian Duma, chair of the Duma's Foreign Affairs Committee and as Ombudsman. He is a director on the board of the Nuclear Threat Initiative (NTI), and is also a former Ambassador to the United States. He is considered a long-time specialist in U.S.-Soviet/Russian strategic arms control issues and is a member of Russia's Council on Foreign and Defense Policy, an independent association of national security experts.

On 18 February 2009, at President Medvedev's recommendation, the Russian Duma voted him another five-year term as human rights commissioner. This term expired in March 2014, and Lukin was replaced by Ella Pamfilova.

Awards
In 2014, Lukin was awarded the Paralympic Order.

title: Vladimir Lukin


text:
Marco Basaiti

Marco Basaiti (c. 1470–1530) was a Venetian painter of the Renaissance who worked mainly in Venice and was a contemporary of Giovanni Bellini and Cima da Conegliano. He has been referred to by several names including Marco Baxaiti, Marcus Basitus, and Marcus Baxiti. (Vasari believed that Marco Basarini and Marco Basaiti were two artists, but later information reveals that these two were in fact the same painter.) There is little documentation on Marco Basaiti besides his painting signatures and a guild's ledger of 1530 that records him as a painter of figures.

His works are mainly portraits and religious subjects. There is no known painting attributed to Marco Basaiti with a mythological theme. Although trained in the quattrocento style, Basaiti's career began right at the beginning of the cinquecento style which forced him to attempt to adapt his style to stay current.

Personal life, training, and influence
Marco Basaiti was born around 1470, in either Venice or Friuli. His family was of either of Albanian    or possibly Greek origin, as Vasari reported. In either case this explains the variety of names Basaiti is known by because the Greek and Albanian communities, and other foreign communities, for the most part kept to themselves and do not often appear on Venetian records. A will dated 1526 may provide evidence of his family, but the connection between Basaiti and this will is debated. Due to this lack of documentation, not much is known about Basaiti's life, except what scholars can learn about the artist through his art.

There is evidence that Basaiti trained with Bartolomeo Vivarini as Basaiti's earlier pieces are thought to reflect Bartolomeo's style and composition. After Bartolomeo died in the late 1490s, it is thought that Basaiti began working with Alvise Vivarini, Bartolomeo's nephew. This is supported by the fact that when Alvise died in 1505, Basaiti was commissioned to finish the altar piece entitled St. Ambrose Enthroned with Saints that Alvise had left uncompleted. Typically only major assistants working in the studio would have been asked to do this type of work which suggests that Basaiti was closely connected to Alvise by this time. Additionally, Basaiti's work seems to be influenced stylistically by both Vivarinis, further implying the link between Basaiti and these two masters.

Basaiti was influenced by a variety of great artists that lived during this era. For example, he began to incorporate more extensive landscapes into his backgrounds, taking inspiration from Giovanni Bellini. In fact, some of Bellini’s older works were misattributed to Basaiti for a long period of time. Another likely influence for Basaiti’s more complex backgrounds is the work of Netherlandish painters. Specifically, it has been noted that after Albrecht Dürer’s stay in Venice, Basaiti’s style shifted somewhat towards more complex and dramatic landscapes with less of an emphasis on the figures in the painting. This style can be seen in the Lamentation over the Dead Christ and St. Jerome in the Wilderness. The latter is thought to be a copy of a painting by Cima da Conegliano which presents yet one more important artistic influence in Marco Basaiti’s life. For the most part Basaiti focused on religious themes rarely delving into mythological or historical topics. Despite this his style seems fairly contemporary with complex composition and correct proportions.

Early period (1495–1510)
More than half of Basaiti's known works come from this first period in his painting career. This period comes right after his training and is marked by a constantly changing style as Basaiti experiments with his art to find his own personal style. This era is marked by the Portrait of a Young Man (1495) which represents his first finished piece as an independent painter.

Stylistically there are strong influences from his two proposed mentors in the composition of his paintings, with Bartolomeo specifically influencing his figure design. Notable features of the Antonellian include strong geometric forms and sharp contrast in lighting. Furthermore, in accordance with the style of his proposed masters, Basaiti’s paintings often feature brightly colored clothing and cool skin tones. Indeed, Basaiti’s early works are very like some of Alvise’s established disciples such as Jacopo da Valenza which further confirms the link between Basaiti and Alvise. Around 1500, the influence of the Antonellian school becomes less distinct. Basaiti’s backgrounds become more developed demonstrating the influence of Giovanni Bellini and Northern artists. This development can be seen in paintings such as in Portrait of a Young Man (1505), where, in contrast to his first Portrait of a Young Man (1495), the screen behind the figure has been completely removed and the landscape given more importance. In addition to developing a more complex landscape composition, Basaiti appears to become more concerned with spatial consistency after 1500.

This change to more expressive landscapes coincided with Albrecht Dürer's stay in Venice during 1505–1506. It has been suggested that the landscape style Basaiti adopted is more influenced by Netherlandish paintings than by Bellini.

As Basaiti continued to mix the styles of Alvise and Bellini his paintings become comparable to Cima da Conegliano. However, Basaiti arrived at this mix of styles after Cima and he was never able to exert the same influence.

Middle period (1510–1520)
This period represents the most cohesive time stylistically for Basaiti's paintings. It was a prosperous decade for Basaiti and included several large commissions such as the high altarpiece at Sant'Andrea della Certosa, the Call of the Sons of Zebedee. This piece in particular marked the beginning of his mature period and is considered by Vasari and many later critics to be one of his best pieces. Unlike the portraits which up until now had been his main artistic endeavors, the Calling of the Sons of Zebedee is a narrative painting which requires more complex composition, and features a detailed and expansive landscape. Although Basaiti tried to compose narrative paintings later on, none were as successful as this first one. Another notable example of Basaiti’s work with narrative pieces is the Agony of Christ. This represents a large commission as the altarpiece of the Foscari in San Giobbe. This altarpiece is set up next similar pieces by Giovanni Bellini and the influence from Bellini in Basaiti's painting is obvious.

Later, during this period, Basaiti’s paintings became more focused and returned to one-figure paintings as intricacies of narrative paintings proved to be too difficult. As seen in the Resurrected Christ and the Blessed Redeemer, while many aspects of Basaiti’s former success remain, the painting features only one main figure.

Continuing his emphasis on the use of landscapes in paintings, backgrounds became more integrated into the overall painting but the influence of Bellini and of Netherlandish painters is still apparent. As Basaiti’s style developed, the light in his pictures became softer and the components of the painting blended more fluidly. This gradual shift towards softer lines and an emphasis on natural lighting was the popular style developing during this era. The quattrocento style in which Basaiti was trained was declining in popularity, and his attempts to incorporate some of the new techniques can be seen particularly in his later works.

Late period ( 1520–1530)
This was Basaiti's last period and no paintings have been dated after 1530. Basaiti appears on a ledger for a painters guild in 1530 but there is no known mention of him after this ledger and he is presumed to have died in the early years of that decade. According to current estimations, this would have made him 60 around the time of his death. In this last decade of his painting career, his composition became slightly more developed and more in tune with the contemporary style but remained heavily influenced by the quattrocento style. During this time he mainly focused on portraits, which were the area where he was best able to adapt his style to the changing times. Landscapes started to decline in importance in his paintings although their presence never disappeared completely.

One exception to this trend is the painting The Lamentation which once again demonstrates Basaiti's ability to compose narrative scenes. The Lamentation blends many of the influences throughout Basaiti's life and exhibits his progress towards more organic lighting and forms.

Some call Basaiti one of the last masters of the early Renaissance and his works demonstrate a refined quattrocento style. However, despite his best efforts, his works are still generally considered to be one step behind the trends of the Venetian painting of that time.

Works
There are approximately 30 known pieces currently attributed to Basaiti. The table is ordered by date and those with a range of dates were ordered based on their earliest estimated date. Those with no determined dates were listed last.

title: Marco Basaiti


text:
David Peel (actor)

David Peel (19 June 1920 – 4 September 1981) was an English film and television actor.

He was born in London on 19 June 1920. He attended the Royal Academy of Dramatic Art and was a minor player in a few films. In 1960, he was cast in the starring role of Baron Meinster in Hammer Film Productions’ The Brides of Dracula. After appearing in The Hands of Orlac later in the year, he retired from the film industry and became an estate agent and antiques dealer. He died in London on 4 September 1981 aged 61.

Selected filmography

 * Squadron Leader X (1943)
 * We Dive at Dawn (1943)
 * Escape to Danger (1943)
 * They Who Dare (1954)
 * The Brides of Dracula (1960)
 * The Hands of Orlac (1960)

title: David Peel (actor)


text:
User:Jameso1234

hello

title: User:Jameso1234


text:
User talk:Stillborn

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 Where to ask a question, ask me on my talk page, or place  on your talk page and someone will show up shortly to answer your questions. Again, welcome! --Angr/undefined 19:40, 22 July 2005 (UTC)
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User Categorization
hey, are you still in BC? you might like to add yourself to the Wikipedians in British Columbia Category in addition to the canadian one.

--Doviende 20:47, 21 September 2005 (UTC)

Done thanks for the tip --Stillborn 08:07, 14 January 2006 (UTC)

Wikimedia Canada
Hi there! I'd like to invite you to explore Wikimedia Canada, and create a list of people interested in forming a local chapter for our nation. A local chapter will help promote and improve the organization, within our great nation. We'd also like to encourage everyone to suggest projects for our national chapter to participate in. Hope to see you there!--DarkEvil 17:11, 20 January 2006 (UTC)

title: User talk:Stillborn


text:
Wikipedia:Articles for deletion/Hye Sung Gehring

 * The following discussion is an archived debate of the proposed deletion of the article below. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in a deletion review).  No further edits should be made to this page.

The result of the debate was Speedy deleted. GarrettTalk 00:10, 23 July 2005 (UTC)

Hye Sung Gehring and Sungis
The page is obvious vanity: lines such as "He became well known through xanga, myspace, BCworld, and other forum sites." and links to various xanga sites and myspace profiles don't help. This should be a speedy userfy. jglc | t | c 19:40, 22 July 2005 (UTC)
 * As per User:Angr below, Speedy delete. jglc | t | c 19:57, 22 July 2005 (UTC)

 * Userfy to User:Sungis. --Angr/undefined 19:41, 22 July 2005 (UTC)
 * User has IMHO forfeited his right to userfy this page by removing VFD and Speedy labels and creating a sockpuppet. Just speedy delete both articles. --Angr/undefined 19:56, 22 July 2005 (UTC)

 * Userfy to User:Sungis. Craigy [[Image:Flag of the United Kingdom.svg|15px]] (talk) 19:47, July 22, 2005 (UTC)
 * UserfyDelete. I'd already begun to VfD this when another user suggestd speedy-delete, becuase it is apersonal page with not serious claim to notability. It's been re-recreated at least once. -Willmcw 19:49, July 22, 2005 (UTC)

 * Comment: Sungis is a repeat post of the article. jglc | t | c 19:49, 22 July 2005 (UTC)
 * Expletive. We have full-blown vandalous activity by this user. He has removed several VfD tags multiple times, created sockpuppet User:Hyojung from User:Sungis and seems intent on continuing this behaviour. jglc | t | c 19:51, 22 July 2005 (UTC)
 * Delete Vanity page (in the extreme I may add) --Richhil 19:59, 22 July 2005 (UTC)
 * Delete, maybe speedily (I tagged it for speedy once already when it was just his photo, but I see it was recreated) maybe block user. -R. fiend 20:34, 22 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 a deletion review). No further edits should be made to this page.


text:
Talk:Night Watch (Discworld)

Ned Coates
I removed this paragraph added by MartinRe because I don't think that the Coates character is important enough to appear in a synopsis and because I don't see what's so surprising (or important) about his "From how far back?" comment. (The image in my mind here is 'Fierce warrior from ancient, barbarian times' which has been used for Vimes-in-action in previous books.) 85.182.9.134 12:13, 26 January 2006 (UTC)
 * Fair point. The image in my mind when I read Coates's comment originally was a "you too?", but I may be reading too much into it. I think Coates has an interesting part in the book: he's the only one who knew the real Keel; he was a key revolutionary; he is unfraid of Carcer, argueing with him about harming young Vimes; When he resigns, Vimes/Keel talks to him about "revolutions always come around again" (circle of time reference?). Coates also dies in the battle just like Keel/Vimes. He's also very sure ("Yes. I can.") he can imagine what it would be like if Carcer was allowed to stay in this time. (understanding or foreknowledge?) I've have wondered whether Coates is a mirror of Vimes/Keel, only his task was to make sure the revolution took place correctly. All in all, probably a little too tenuous to have in the article, but I still feel there's more to Coates than meets the eye. MartinRe 15:56, 26 January 2006 (UTC)

Addition by a vandal
The following piecew is removed, since it was added by an anon with many vandalism edits, hence this addition requires independent verification.

 * Young Vimes believes Vimes to be the real Keel, allowing Vimes to teach Young Vimes the lessons for which Vimes idolised Keel. Essentially this means that Vimes taught and idolised himself, not Keel.

 * The novel climaxes in the Revolution, hinted at since the start of the book. Vimes baracades a few streets to keep people safe from the rebels, but the baracades are pushed forward gradually during the night to encompass the surrounding streets, until Vimes is under control of more of Ankh-Morpork than the rebels.

mikka (t) 19:40, 22 July 2005 (UTC)

 * The info is correct, so I placed it back. Djadek 17:55, 30 July 2005 (UTC)

 * I beg to differ. Lu Tze specifically tells Vimes in the book that Keel DID teach Vimes. The actual explanation is spread over several pages in my edition, but suffice it to say that Vimes is in a parallel universe of sorts. Hence, Vimes did not teach himself, but another incarnation of himself in this parallel universe. Watercleave (talk) 11:02, 8 August 2009 (UTC) Seconded Asdir (talk) 11:28, 25 August 2015 (UTC)

Parody of Les Mis
I see from the history that this was cut in the middle of a large and beneficial edit, but why is the book no longer regarded as a parody of Les Miserables? While the modified version ("A great deal of the plot is inspired by civil uprisings like the Paris Commune of 1871 and comparable ones, as depicted in Les Miserables, for example") is correct, the book has very strong ties to Les Mis in particular (see LSpace's comments) - while many are coincidental, the references to loaves of bread and the inverted definitions of justice imply a much stronger link. I'm not going to put it back in myself, but if this convinces anyone else then they can. Tyrhinis 10:49, 6 June 2006 (UTC)
 * That entire section (along with most of this article in fact) is original research and should be sourced or expunged but I don't have the time or the energy to do either at the moment but just something to bring up. Cat-five - talk 02:52, 6 April 2008 (UTC)
 * Moreover the novel is rather somber in tone, especially for a Pratchett novel. Pratchess knows how to write parody, and this isn't an attempt to do so. --Anticipation of a New Lover's Arrival, The 03:39, 6 April 2008 (UTC)

Buh?
"It is stated that the event which caused Vimes and Carcer to be sent into the past was a major temporal shattering, the implication being the cause of Vimes going through time is that he was caught in the explosion at the same instant the glass clock struck and time froze in Thief of Time." That's a bit original, eh? Vitriol 16:56, 13 July 2006 (UTC)

 * Only a bit... they talk about a lightning bolt hitting a clock shop in Cunning Artificers and stopping all the clocks in the shop at once, which would tie in very strongly, and Lu-Tze's dialogue when he's explaining the situation to Vimes suggests that, if it's not happening as part of the fallout from TOT, then the Men in Saffron have managed to have another serious event pretty damn fast considering their previous record of competence. The fight that LZ and Lobsang find on the way to Jeremy's shop (where LZ warns him not to touch the hovering arrow) isn't mentioned, true, but Ankh-Morpork's a big city, I'm sure they can have more than one arrest at once. Tyrhinis 17:13, 24 August 2006 (UTC)

 * If you really want, you can cite the Annotated Pratchett File for support for the above statement. --K e rowyn Leave a note 19:21, 29 August 2006 (UTC)

Lilac
Could the lilac-wearing and the relatively non-bloody revolution be an allusion to the Portugese Carnation Revolution? What do you think? PsychoPiglet 21:32, 20 June 2007 (UTC)

 * The revolutionaries in the book used the lilacs as a method of identification. As far as I can tell from the article on the Carnation Revolution, the revolutionaries there were celebrating.

 * In any case, the reference isn't explicit, and it seems to me like it's rather unimportant. Watercleave (talk) 11:06, 8 August 2009 (UTC)

 * I would suggest that much of the events and images of Night Watch may owe more to those of the Paris Commune than to the Carnation Revolution.; they constructed makeshift barricades on the streets (without all the attendant humor found in Night Watch); some 147 members of the Commune were summarily shot and their bodies dumped into a pit at Paris' Père Lachaise Cemetery (where there is a memorial to them known as the Communards' Wall), and some 25,000 marchers in 1880 wore "immortal" red roses in their buttonholes while facing police.
 * While far from an explicit homage to the Paris Commune, I would argue that Night Watch is much closer to it than to the Carnation Revolution. -- Couillaud 16:33, 30 July 2018 (UTC)

Life on Mars (TV series)
Somebody has remarked on Talk:Life on Mars (TV series) that Sam Tyler and Sam Vimes seem to have remarkably similar experiences. I don't think it's likely that one influenced the other, however, because the basic concept of Life on Mars seems to have been roughed out in the late 1990s, but the program wasn't made until the mid-noughties, whereas Pratchett seems to have conceived and written this 2002 novel in his usual timescale. --Tony Sidaway 23:06, 26 January 2008 (UTC)
 * I second this line of inquiry. LoM was written (originally) in ~1998, but not broadcast 'til 2006.  Meantime, NW was published in 2002.  Either it's a remarkable example of parallel development, or someone talked to someone.  I wonder if Pratchett's been asked about it? Srain (talk) 09:04, 7 October 2008 (UTC)
 * Well, considering that Life On Mars has now turned out to be something completely different...Lots42 (talk) 23:01, 5 April 2009 (UTC)

Funnily enough I got the exact same feeling when I heard the Radio Play version of the book. (I wonder if the Radio Play version tried to copy the style of "Life of Mars" as the introduction by Sam Vimes, is nearly identical to the introduction given by Sam Tyler in LoM. — Preceding unsigned comment added by 212.167.5.135 (talk) 14:44, 15 June 2011 (UTC)

Libertarian Science Fiction
On the strength of what is this classified as Libertarian Science Fiction? I think it's miscategorized. —Preceding unsigned comment added by 136.159.187.3 (talk) 19:10, 4 February 2008 (UTC)
 * On the basis of it winning the Prometheus Award in 2003, presumably. 205.167.180.130 (talk) 20:52, 5 February 2008 (UTC)
 * Whatever you may think of some libertarians, the Prometheus has gone to a surprising range of novels by a variety of authors, by no means all Randroids or even Friedmanites. -- Orange Mike  |   Talk  19:43, 10 April 2009 (UTC)

Fair use rationale for Image:Night watch discworld.jpg
Image:Night watch discworld.jpg 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.

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BetacommandBot (talk) 00:58, 14 February 2008 (UTC)

BBC Radio Adaption
There's currently a serialised radio adaption on BBC Radio 4 - Does anyone have any info on that that can be added to the article? (Not a big diskworld fan, myself, but I was hooked after the first episode of the Radio play) 81.149.182.210 (talk) 22:00, 2 March 2008 (UTC)

What year?
In what year did the Glorious Revolution of the Twenty-Fifth of May take place? Can we tell? -- Orange Mike  |   Talk  19:41, 10 April 2009 (UTC)

 * The Discworld uses a strange method of named years, and not numeric dates, as far as I can tell. FOr example, most of the books take place in the Century of the Fruitbat. Watercleave (talk) 11:08, 8 August 2009 (UTC)

Re write
I'm currently planning to rewrite and source this article, if anyone could provide any sources that'd be great, I'm specifically after stuff on development of the book, rather than reviews. Cheers! Rehevkor ✉  18:09, 14 August 2009 (UTC)

Kidby tribute to Kirby
The last paragraph of the lede section, about the cover illustration of the British edition, included the following sentence:
 * Kidby pays tribute to the late artist by placing him in the picture, in the position where Rembrandt painted himself.

I have changed it to
 * Kidby pays tribute to the late artist by placing him in the picture, in the position where Rembrandt is said to have painted himself.

removing the tag and adding a link to Talk:The_Night_Watch.

That section discusses the hypothesis of Rembrandt's self-insertion:
 * First trivia item states: "Rembrandt cleverly included himself in the painting. In the background, slightly above and to the left of the Captain's head, all that is visible of him is an eye, a nose, part of a forehead, and his painter's beret." Agreed that trivia does not belong; though artist's self depiction in famous painting might fit in narrative and not be considered trivia. However, no citation is provided and the curatorial materials at the Rijksmuseum note that *some believe* this figure to be a self portrait, but experts are not in agreement about it.

The entire Trivia section has since been removed, sometime after being renamed "Other Representations". --Thnidu (talk) 02:51, 7 October 2013 (UTC)

External links modified
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wrong assumption
background and publication section has rembrandts picture of a nightwatch which says in its memo: "The book's cover parodies Rembrandt's The Night Watch." this seems to be an erraneous assumption. the cover (picture at the top of the article) is a close remake, could be called a tribute, or reminiscence, or epigonism, whichever suits you but, has nothing satirical or caricaturistical about it, without wich theres no reason to call it a parody. 89.134.199.32 (talk) 20:04, 26 May 2018 (UTC).

title: Talk:Night Watch (Discworld)


text:
Talk:Marie-Thérèse Walter

Untitled
Cuando se conocieron == == Este artículo establece que se conocieron en 1925, cuando Marie-Thérèse fue de 15. El principal Picasso El artículo dice que se conocieron en 1927 cuando tenía 17 años. Athf1234 19:41, 22 de julio de 2005 (UTC) Mucho wikipedista para hacer un artículo de mierda, me voy al escusado a vomitar--LloydTzara (talk) 03:03, 16 December 2009 (UTC)

Fair use rationale for File:Le-reve-1932.jpg
File:Le-reve-1932.jpg 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 non-free use rationale. Using one of the templates at Non-free use rationale guideline is an easy way to ensure 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.

-- Marchjuly (talk) 05:31, 3 October 2017 (UTC)

Allegations of abuse
I have removed the following sentence from the Popular Culture section: "Furthermore, Australian stand up comic Hannah Gadsby outlined Walter's story and Picasso's abuse of Walter in her 2018 special Nanette." First of all, the sentence assumes Gadsby's mention of "abuse" is factual. Second, Gadsby only mentioned it in her stand-up routine, offering no sources - all she did was refer to the fact that Marie-Therese Walter was 17, and then falsely claimed that this made her underage - and this was the context in which the word "abuse" was used. The current age of consent in France is 15, but this is a recent one - it was certainly not higher in Walter's time. Picasso was himself from Spain, where the age of consent was 12 until 1999, and so he had even less reason to consider her underage. But even at the most conservative, 17 is well within the legal limits even in France, where they met. I do not think Gadsby's moral outrage and hyperbole in a stand-up routine should be used as any sort of source pointing to any alleged abuse.Tsuka (talk) 21:53, 18 July 2018 (UTC)

title: Talk:Marie-Thérèse Walter


text:
Collegiate summer baseball

Collegiate summer baseball leagues are amateur baseball leagues in the United States and Canada featuring players who have attended at least one year of college and have at least one year of athletic eligibility remaining. Generally, they operate from early June to early August. In contrast to college baseball, which allow aluminum or other composite baseball bats, players in these leagues use only wooden bats, hence the common nickname of these leagues as "wood-bat leagues". Collegiate summer leagues allow college baseball players the ability to compete using professional rules and equipment, giving them experience and allowing professional scouts the opportunity to observe players under such conditions.

To find a collegiate summer team, players work with their college coaches and prospective teams' general managers. They report to summer leagues after completing their spring collegiate season with their NCAA, NAIA, NJCAA, CCCAA, and NWAC teams. Some players arrive late due to their college team's postseason play, which sometimes runs into early June. In some cases, players are drafted during the collegiate summer season. These draftees can remain with their collegiate summer team until they sign a professional contract. During the season, players are housed by volunteer host families and bussed to and from road games.

The leagues vary greatly in their attendances, quality of play, and ability to attract scouts. The Alaska Baseball League (ABL) and the Cape Cod Baseball League (CCBL) are considered the two premier collegiate summer leagues.

Active leagues
This list is organized by federation.

National Alliance of College Summer Baseball
Source:
 * Atlantic Collegiate Baseball League – Eastern Pennsylvania; Northern New Jersey; Staten Island, New York
 * Cal Ripken Collegiate Baseball League – Washington–Baltimore metropolitan area
 * California Collegiate League
 * Cape Cod Baseball League – Cape Cod area of Massachusetts
 * Florida Collegiate Summer League – Orlando area
 * Great Lakes Summer Collegiate League – Michigan and Ohio
 * Hamptons Collegiate Baseball League – The Hamptons (Eastern Long Island, New York)
 * New England Collegiate Baseball League – New England
 * New York Collegiate Baseball League – Central and western New York state
 * Southern Collegiate Baseball League – Charlotte metropolitan area (North and South Carolina)
 * Sunbelt Baseball League – Georgia
 * Valley Baseball League – Shenandoah Valley and nearby areas (Virginia)

National Amateur Baseball Federation

 * Florida Collegiate Summer League
 * Great Lakes Bay Baseball Association
 * Metropolitan Collegiate Summer Baseball League of Illinois
 * New York Collegiate Baseball League
 * Northern League
 * Shoreline League
 * St. Louis Metro Collegiate Instructional Baseball League
 * Tri-State Collegiate League

National Baseball Congress

 * Alaska Baseball League
 * CenTex Collegiate League
 * Coastal Collegiate League
 * Houston Collegiate Summer League
 * Ohio Valley League
 * Pacific International League
 * Rocky Mountain Baseball League
 * Sunflower Collegiate League
 * Western Baseball Association

Minor League Baseball Prospect Development Pipeline

 * Appalachian League - Tennessee, Virginia, West Virginia, North Carolina

Other (unaffiliated) leagues

 * All-American Amateur Baseball Association - Pennsylvania
 * Arizona Collegiate Wood Bat League
 * Atlantic Baseball Confederation - New Jersey
 * Atlet Summer College Training League - Dallas/Ft. Worth, Texas (atletcollegeleague.com)
 * Ban Johnson Amateur Baseball League
 * Bay Area Collegiate League
 * Beach Collegiate Summer Baseball League
 * Blue Chip Collegiate Baseball League (Formerly known as the LICBL)
 * Cascade Collegiate League
 * Centennial State League - Northern Colorado
 * Coastal Plain League - North Carolina, South Carolina, Virginia, Georgia
 * Collegiate Baseball League Europe
 * Connecticut Collegiate Baseball League
 * Corn Belt Baseball League
 * Cotton States Baseball League
 * Futures Collegiate Baseball League - Massachusetts, Connecticut, New Hampshire, Vermont
 * Golden State Collegiate Baseball League
 * Greater Northeast Collegiate Baseball League (GNCBL)
 * Honor the Game College Wood Bat League
 * Hudson Valley Collegiate Baseball League
 * Independence League Baseball - Nebraska, North Dakota, South Dakota, Wyoming
 * Interstate Collegiate Baseball League
 * Kansas Collegiate League
 * Maryland Collegiate Baseball League
 * Mid-Plains League - Kansas, Missouri
 * Mile High Collegiate Baseball League
 * MLB Draft League – northeast United States
 * M.I.N.K. Collegiate Baseball League - Kansas, Iowa
 * New Jersey Amateur Baseball League
 * Northwoods League - Great Lakes states and Ontario, Canada
 * Ohio Valley Summer Collegiate Baseball League
 * Ohio Collegiate Summer Baseball League
 * Old North State League
 * Pacific Coast Collegiate League
 * Pacific Empire League
 * Palm Springs Collegiate League
 * Perfect Game Collegiate Baseball League - New York state
 * Piedmont Collegiate Baseball League
 * Play Ball Collegiate League
 * Prospect League - Great Lakes states, Missouri, Tennessee
 * Rockingham County Baseball League - Virginia
 * Southern California Collegiate Baseball League
 * Sunset Baseball League
 * Texas Collegiate League - Texas, Louisiana
 * Tidewater Summer League
 * West Coast League - US: Washington state, Oregon; Canada: British Columbia, Alberta
 * Western Canadian Baseball League - Alberta, Saskatchewan
 * Wild Wild West League - metro Portland, Oregon

Defunct leagues

 * Basin League
 * Big States League
 * Central Illinois Collegiate League
 * Clark Griffith Collegiate Baseball League
 * Cotton State League
 * Eastern Collegiate Baseball League
 * Expedition League
 * Far West League
 * Great West League
 * Hawaii Collegiate Baseball League
 * Horizon Air Summer Series
 * Jayhawk Collegiate League
 * KIT Summer Collegiate Baseball League
 * Lewis & Clark Baseball League
 * Mountain Atlantic Collegiate Baseball League
 * Mountain West Summer Collegiate Baseball
 * Northern League (1936–1941, 1946–1950, 1952; mainly in New York and Vermont)
 * Pacific West Baseball League
 * Puget Sound Collegiate League
 * Saskatchewan Major Baseball League
 * Sierra Baseball League
 * Thorobred Collegiate Baseball League

title: Collegiate summer baseball


text:
Gary Baseman

Gary Baseman (born September 27, 1960) is an American artist, cartoonist, and animator who investigates history, heritage, and the human condition (especially love, longing, and loss). Through iconography and visual narratives that celebrate “the beauty of the bittersweetness of life,” his work brings together the worlds of popular culture and fine art.

Baseman’s career includes illustration for clients including The New York Times, Rolling Stone, and The Wall Street Journal and the bestselling board game Cranium; as well as animation for the Emmy and BAFTA award-winning series Teacher’s Pet and its subsequent feature-length film of the same name for ABC/Disney. He is a frequent speaker at international conferences on graphic and multidisciplinary arts and visual communications. Recent projects include a collaboration with COACH; a documentary Mythical Creatures about his family heritage; a traveling retrospective that featured hundreds of his paintings, photographs, videos, and toy and costume designs.

Early life and education
Gary Baseman was born and raised in Los Angeles, California. He was the first American-born child of four to Ben and Naomi Baseman, (1916-2010 and 1921-2012 respectively) both Holocaust survivors originally from Eastern Poland (now Ukraine). His parents believed strongly in the American Dream, and instilled in their son democratic ideals, using their right to vote, unionize, and advocate for issues that resonated with them. Having experienced horrific history, they encouraged their son to show empathy and compassion for others, as well as be true to oneself.

The influence of media and Hollywood, blended with LA’s influential art scene, led to how Baseman would perceive and produce art. "“I grew up in the center of the city, the son of immigrants, attending public school with kids with different backgrounds. Our house was blocks away from CBS Television City. My mom worked at Canter’s in the Fairfax District, where people from the industry and rock-n-rollers would often land. I was a latchkey kid whose parents were often working, and whose older siblings were out on their own. Television was like my babysitter. Early on, my brother brought animation cels from Hanna-Barbera Studios home for me to play with. While sitting and drawing at the coffee table in the living room, I’d watch hours of cartoons and comedies and dramas.”"Baseman graduated magna cum laude from UCLA in communications, inspired by the American Constitution's First Amendment, and developed into an effective visual problem-solver and message-maker.

Pervasive art
While Baseman is a figure in the Los Angeles art world, he is also situated within an international cultural movement that includes both mainstream and underground artists. Baseman cites Yoshitomo Nara, Takashi Murakami, and the illustrator William Joyce as contemporaries.

Baseman coined the term pervasive art as an alternative to the lowbrow art label. Baseman uses the term didactically to describe a broad shift in his and others' work to more visible avenues of art-making. He has stated that his goal is to "blur the lines between fine art and commercial art." According to Baseman, pervasive art can take any medium, and need not be "limited to one world, whether that is the gallery world, editorial world, or art toy world."

Today, artists whom Baseman might refer to as pervasive are part of a larger movement with a recognizable "pop" sense, but not necessarily a shared artistic mission. However, by virtue of where these artists are shown and in what ways they garner public attention, it can be said that all pervasive artists in some way play with the boundaries between high and low art.

Among artistic peers, critics, and Baseman followers, pervasive art referred to an aesthetic that was until recently, limited to the mediums of album art, comic books, cartoons, graffiti, and speciality galleries. Now, pervasive art is largely realized in multiple mediums and across a range of industries, from fashion design, advertising and graphic design, to toy design, film, music collaboratives, and music videos. Cult-status street artists like Banksy, new wave comics illustrators like Gary Panter, Japanese pop artists, post-punk and hip hop artists, and graphic artists like Shepard Fairey all contribute to a highly visible aesthetic that is virtually ubiquitous in contemporary culture.

Baseman himself exemplifies pervasive art in that he works commercially and also remains an independent fine artist. While he creates products that are sold to a mass market, he also shows in museums and galleries, selling original artworks to collectors. Baseman employs traditional art practices such as painting, printmaking, sculpture, drawing, and collage. For Baseman, being a pervasive artist means staying true to a particular message and aesthetic no matter the medium employed.

Illustration
As Tom Teicholz pointed out in his 2013 interview "Going Home with Gary Baseman", "'After graduating from UCLA, Baseman pursued a commercial art career while continuing to make art, “on the side.” He did a short stint at an ad agency, but that did not really agree with him, so he began to pursue work as a commercial illustrator. To make his American Dream come true and despite his parents’ initial objections, Baseman moved to New York in 1986.”""“The advertising and publishing and art world were all in New York. Every major artist was in New York, and at the time if you lived in L.A. you were a substandard regional artist. You had to go there”, Baseman has said."From 1986-1996, Baseman worked as an illustrator in New York. He established himself during this period as an in-demand artist with a unique visual sense and the ability to generate sharp, witty messages. He earned several awards from American Illustration, Art Directors Club and Communication Arts. Baseman refers to his illustration work, and to his general process, as message-making. Baseman's drawings have been published in The New Yorker, The Atlantic Monthly, Time, Rolling Stone, The New York Times and The Los Angeles Times. He has had major independent and corporate clients such as AT&T Corporation, Gatorade, Nike, Inc. and Mercedes-Benz. Baseman created the visual identity for the best-selling board game Cranium. After ten years in New York, Baseman returned to Los Angeles to explore opportunities in art and entertainment.

Fine art
By the end of the 1990s, Baseman realized his creativity could extend beyond the world of illustration. His desire to learn and explore other areas of art would result in an explosive creative period for him that blurred lines and expanded audiences as he explained:"“I had a hunger for many things. I started looking at my legacy and thinking ‘what am I leaving behind me’? I loved the editorial work, but it didn’t seem rich enough. I had a fear of creating my own body of work and bringing it out into the world. It always stems from a fear of failure or that people won’t be interested. But I didn’t let that stop me. While doing my editorial work, even if I had an assignment, I couldn’t stop experimenting with my own things and painting like crazy, but still always made sure to hit my professional deadlines. At the same time, I also wanted to do TV; I created two pilots for Nickelodeon that never got created in the end. I was expanding in different ways, getting bigger within the toy world and participating in exhibitions. At the time, I was gradually giving up the editorial work, so it was an easier transition.”"In 1999, Baseman exhibited "Dumb Luck and Other Paintings About Lack of Control" at the Mendenhall Gallery in Los Angeles. The exhibition established Baseman's transition from illustration to fine art, during a time when many of his artist-friends, like Mark Ryden, the Clayton Brothers, and Eric White made similar moves.

Since then, Baseman has exhibited in museums and galleries throughout the United States, Brazil, Canada, China, France, Germany, Hong Kong, Israel, Italy, Mexico, New Zealand, the Philippines, Russia, Spain, Taiwan, Thailand, and the United Kingdom. Baseman's work is featured in the permanent collections of the Laguna Art Museum, Los Angeles County Museum of Art, National Portrait Gallery in Washington, D.C. and the Museum of Modern Art in Rome. Baseman had his first major art museum retrospective, "Gary Baseman: The Door is Always Open", in 2013 at the Skirball Cultural Center in Los Angeles, California. The exhibition presented more than 300 artworks (including paintings, photographs, toys, sketchbooks, and videos) in an experiential home environment in which guests were invited to sit on a sofa or at the dining room table and explore, participate and visit. The Door is Always Open has since traveled to MOCA Taipei, Taiwan (Summer 2014) and to Shanghai chi K11 Art Museum (Winter 2015).

Toby
Toby is one of Baseman's most recognizable characters, an adventurous cat that loves unconditionally. Named after one of Baseman's childhood friends, Toby is your best friend and keeper of your secrets.

In 2005, Toby first appeared in drawings, paintings, and plush toys in the exhibition For the Love of Toby at Billy Shire Fine Arts in Culver City, California, marking the official beginning of Toby as a bridge between character development, toy culture, and fine art. Debuted at a crucial moment when popular culture and lifestyle strongly influenced art, Toby represents an important aspect of 21st century art: art everywhere, in multiple media and platforms.

In Summer 2015, Baseman commemorated Toby's 10th year as a formal artwork, blurring the lines of fine art and toy culture. HAPPY TOBY TO YOU! at Hong Kong Times Square showcased works from the first Toby art exhibition, photographs, and videos of Toby's adventurous world travels, and a birthday party sculptural installation of Toby and other Baseman characters. The exhibition was housed in another experiential environment conceptualized by Baseman and co-designed by Hjalti Karlsson of New York-based design firm karlssonwilker.

Fashion and toys
Baseman has translated many of his characters into toys and figurines, clothing, handbags, and other accessories. Prominent characters include Toby, Hotchachacha, "the little devil who steals haloes," and ChouChou who "dispels hate and fear, and oozes Creamy Gooey Love out of his belly button."

For toy, figurine, and limited edition projects, Baseman has collaborated with Critterbox, Toy2R, Kidrobot, Pretty in Plastic, The Loyal Subjects, and 3DRetro. Fashion collaborations include Swatch, Hobbs & Kent, Harvey's, Poketo, and Frau Blau.

In 2015, Baseman collaborated with Coach's Creative Director, Stuart Vevers, for the Baseman x COACH 2015 Spring Collection. The collection introduced an original series of Baseman characters (Buster Le Fauve, Emmanuel Hare Ray, Kiki, Buddy Boy, Butch), capturing the attitude of New York City and developed with the Coach girl in mind. In Summer 2015, Coach released the Baseman x Coach Wild Beast collection, featuring handbags, apparel, and accessories with Baseman's reimagined animal print.

Television
In 1998, Baseman co-created the Disney animated series Teacher's Pet with Bill and Cheri Steinkellner, which is about a dog who dresses as a boy because he wants to go to school. Baseman claims the character Spot was based on his dog at the time, Hubcaps. The series aired on ABC from 2000–2002, and the feature film of the same name came out in 2004.

The cartoon included the voice talents of Nathan Lane, Debra Jo Rupp, Jerry Stiller, David Ogden Stiers, Mae Whitman and Wallace Shawn. The film featured Kelsey Grammer, Paul Reubens and Estelle Harris.

Baseman won the Outstanding Individual in Animation Emmy for Production Design in 2003. The show also won two Emmy Awards: Outstanding Special Class Animated Program 2001 and 2002; Outstanding Performer in an Animated Program: Nathan Lane in 2001; and a BAFTA Emmy for Best International Children's Program in 2001.

Baseman also worked on an animated short for the Nickelodeon television series, KaBlam! The short was called The Louie & Louie Show, following the adventure of a hamster and a chameleon both named Louie. Baseman animated the sketch, and was directed by Tom McGrath. The short only aired once.

Performance
Baseman added performance art to his oeuvre in 2009 with "La Noche de la Fusion", a mythical holiday festival celebrating the bittersweetness of existence by fusing cultures and blurring the lines of reality. Shown in 2009 at the Corey Helford Gallery in Culver City, the event featured games, live music, dancers, and live models of Baseman's characters such as Toby, ChouChou, Hotchachacha, Skeleton Girl, Hickey Bat Girl, Bubble Girl, and Butterfly Girl.

In June 2010, Baseman presented "Giggle and Pop!" at the Los Angeles County Museum of Art. Live action costumed ChouChous played in the La Brea Tar Pits along with performers dressed as Baseman's WildGirls, who were renamed "Tar Pit Girls" for the occasion. The characters performed a dance choreographed by Sarah Elgart and the audience joined in with singer-songwriter Carina Round, who performed a song she composed for the event.

In July 2013, Toby's Secret Society came alive in "Secrets and Truths", a spectacular art performance created by Baseman with choreography by Elgart, costumes by Swinda Reichelt and music by LA- and Iceland-based Cassette Recordings Collective – arrangement by Scott Hackwith. Created in conjunction with Baseman's The Door is Always Open exhibition at the Skirball Cultural Center, the performance featured Veritas, the Goddess of Dreams, the Princess of Secrets, the Sacred Magi, and the WildGirls performing a special ritual that unveiled "Secrets and Truth."

In February 2015, Baseman created "The Secret Order of the Camellias", a site-specific installation and performative space at the Serpentine Gallery in London that commemorated the Baseman x Coach 2015 Spring collection. Showcasing the wild beast characters that protect secrets and represent loyalty and friendship, guests participated in a special rite of passage into the Secret Order by offering their deepest darkest dreams at the Shrine of Buster Le Fauve. Inspiring wonder and passion for life, Baseman initiated an adventurous few who faced their fears and desires.

Film
In July 2014, Baseman and director David Charles launched a Kickstarter campaign to fund one of Baseman's personally meaningful creative projects, a documentary feature titled Mythical Creatures.

The project began in 2012 when Baseman first traveled to Eastern Europe on a Fulbright Fellowship, detouring to his parents' hometowns which had not been visited by any family member in over 60 years. Mythical Creatures aims to connect the stories of the Holocaust to an entirely new generation through Baseman's parents' dark experiences during World War II. The film combines live action documentary elements, along with extensive animated sequences, and other storytelling techniques. Baseman says, "It's really about taking all of the different narratives from the myths I've been told and mixing them with my characters to try and find my truth," he says. "We're not doing it in a straightforward historical way. It's really an exploration of my psyche."

Mythical Creatures is supported by the Sundance Institute's New Frontier Story Lab and the Museum of the Holocaust in Los Angeles.

Selected solo exhibitions

 * Memento Moa, Suter Art Gallery, Nelson, New Zealand, 2023
 * Nine Lives, Wrong Gallery, Beijing, China, 2023

 * Imaginary Friends, Tauranga Art Gallery, New Zealand The Purr Room, 2019

 * The Purr Room, The Other Art Fair, London, UK, 2018

 * The Purr Room, The Other Art Fair Los Angeles, Santa Monica, CA, 2018

 * HAPPY TOBY TO YOU! Hong Kong Times Square, Hong Kong, China, 2015

 * The Door is Always Open, Shanghai chi K11 Art Museum, Shanghai, China, 2014

 * The Door is Always Open, Museum of Contemporary Art, Taipei, Taiwan, 2014

 * Mythical Homeland, Shulamit Gallery, Venice, CA, 2013

 * The Door is Always Open, Skirball Cultural Center, Los Angeles, CA, 2013

 * Vicious, Antonio Colombo Arte Contemporanea, Milan, Italy, 2012

 * Walking through Walls, Jonathan LeVine Gallery, New York, NY, 2011

 * La Noche de la Fusión, Corey Helford Gallery, Culver City, CA, 2009

 * Sacrificing of the Cake, Urbanix, Tel Aviv, Israel, 2009

 * Knowledge Comes From Gas Release, Iguapop Gallery, Barcelona, Spain, 2008

 * Hide and Seek in the Forest of ChouChou, Billy Shire Fine Arts, Los Angeles, CA, 2007

 * I Melt in your Presence, Modernism, San Francisco, CA, 2007

 * Venison, Mercado Gallery, Barcelona, Spain, 2006

 * Manifestations of Desire, OX-OP Gallery, Minneapolis, MN, 2006

 * Bedtime for Toby, Second Street Gallery, Charlottesville, VA, 2005

 * A Moment Ago, Everything was Beautiful Installation, Pasadena Museum of California Art, Pasadena, CA, 2005

 * The Garden of Unearthly Delights, Jonathan LeVine Gallery, New York, NY, 2005

 * For the Love of Toby, Billy Shire Fine Arts, Los Angeles, CA, 2005

 * Happy Idiot and Other Paintings about Unattainable Beauty, Earl McGrath Gallery, New York, NY, 2004

 * Open Wounds and Other Paintings about Vulnerability, OX-OP Gallery, Minneapolis, 2003

 * I am Your Piñata and Other Paintings about Love and Sacrifice, La Luz de Jesus, Los Angeles, CA, 2002

 * Dumb Luck and Other Paintings About Lack of Control, Mendenhall Gallery, Los Angeles, CA, 1999

title: Gary Baseman


text: User talk:81.205.188.101

title: User talk:81.205.188.101


text:
Talk:Bosh

Disambiguation
This article has been changed to a disambiguation page as discussed on Vfd Bosh, in order to make it useful and to keep. Please refrain from reverting back to the version proposed for deletion, as this will only get the article deleted or reverted back to the disambig version. Thank you. ∞ Who ? ¿ ? 19:43, 22 July 2005 (UTC)

VfD result
For an old VfD result, see Votes for deletion/Bosh. JYolkowski // talk 15:53, 3 September 2005 (UTC)

title: Talk:Bosh


text:
The Ocean (Led Zeppelin song)

"The Ocean" is a song by English rock band Led Zeppelin, from their 1973 album Houses of the Holy. The ocean is a metaphor for the "sea of heads" faced by lead singer Robert Plant "in the auditoriums", according to the group's biographer Dave Lewis.

Overview
Eddie Kramer, who was present during the recording of Houses of the Holy, commented on extraneous noises in the recording: "It's entirely possible. [The song was] done in a house [but] I don't remember there being [a phone ringing]." Jimmy Page remarked: "I'm thrilled the records are recorded in such a way that the hi-fi quality, even though it's tough... you can hear detail on it because that's what you're supposed to do. It was supposed to be something whereby you could hear everything that was going on."

"The Ocean" features an unusual time signature, being partially in septuple meter, with a repeated two-measure phrase consisting of one bar of and one bar of. The introduction, "We've done four already, and now we're steady" is done by John Bonham. He is referring to the previous four recording takes, and the one on the record presumably is the fifth take of the session. The song finishes with a "fifties rock 'n' roll sequence" complete with "doo-wops", that bears no relationship to the previous part of the song.

Live performances
In the last line, the "girl who won my heart" refers to Robert Plant's daughter Carmen, (born 21 November 1968), who was three years old at the time of recording. In concert, Plant always updated the lyric to reflect her current age, as captured on the Led Zeppelin DVD which features a performance of the song at Madison Square Garden in 1973. During this performance, Plant sang the third verse, which starts with "Sitting round singing songs 'til the night turns into day" as the second verse and sang the second verse at the end of the song. The band first played the song live on their 1972 U.S. concert tour and it remained as part of their performances through their 1973 U.S. tour. It was deleted from the set list thereafter.

Reception
In a review for the reissue of Houses of the Holy, Kristofer Lenz of Consequence of Sound gave "The Ocean" a positive review, calling the song "clattering and demonstrative... [an] underappreciated gem". Lenz continues, "Page and co. get back to their swaggering rock roots with one of the nastiest guitar riff/drum fill combos in rock history." and "The song and album end with a riotous crescendo as Plant screams out "Ohhhh, so gooood!" And he is soooo right."

However, not all the reception for the song was as positive. In a contemporary review for Houses of the Holy, Gordon Fletcher of Rolling Stone gave "The Ocean" a negative review, calling the track "so diluted" and filled with "pointless humor". Fletcher further wrote, "Jimmy Page's guitar spits jagged fireballs with John Paul Jones and John Bonham riffing along behind him, but the effect is destroyed by ridiculous backup cooings and an overbearing "killer" coda that's so blatant it can only be taken as a mock of straight rock & roll."

Released as single in Germany, "The Ocean" reached number eight on the charts.

Personnel
According to Jean-Michel Guesdon and Philippe Margotin:

 * Robert Plant – vocals
 * Jimmy Page – guitars, backing vocals
 * John Paul Jones – bass, backing vocals
 * John Bonham – drums, backing vocals

title: The Ocean (Led Zeppelin song)


text:
Wikipedia:Articles for deletion/Clotheshorse

 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. Joyous (talk) 22:01, July 30, 2005 (UTC)

Clotheshorse
Transwikied, now it comes here. humblefool® 19:44, 22 July 2005 (UTC)

Delete dicdef, and not a very accurate one either -Buuneko 09:59, 23 July 2005 (UTC)
 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in an undeletion request). No further edits should be made to this page.