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I'll Cry Instead

"I'll Cry Instead" is a song written by John Lennon (credited to Lennon–McCartney), and recorded by the English rock band the Beatles for their third studio album, A Hard Day's Night (1964), a part-studio and part-soundtrack album to their film of the same name (1964). In the United States, the song originally appeared in the US version of A Hard Day's Night before it was released as a single backed with "I'm Happy Just to Dance with You" along with the US album Something New.

Background and composition
Both John Lennon and Paul McCartney identified "I'll Cry Instead" as having been written entirely by Lennon. Lennon wrote the song for inclusion in the Beatles' 1964 film, A Hard Day's Night, intended for use in the film's "break out" and open field sequence. However, director Richard Lester disliked the song and replaced it in the film with "Can't Buy Me Love", so the band opted to wait on its recording.

Lyrics
Lennon later reflected that the lyrics of "I'll Cry Instead" represent his then newfound feelings of frustration with success and the sense that he had lost his freedom. Lennon's wife, Cynthia Lennon, similarly described the lyrics as a cry for help, explaining that "[i]t reflects the frustration he felt at that time", being "the idol of millions... [while] the freedom and fun of the early days had gone." McCartney later suggested the song referred to difficulties in Lennon's marriage with Cynthia.

In contrast to the Beatles' earlier teenage love songs, the lyrics of "I'll Cry Instead" are comparatively darker. The song's singer explains that, while he is now crying over a lost love, he plans to seek vengeance and break the hearts of girls "around the world", thereby punishing anyone who had ever rejected him. Author and musician John Kruth describes the song as one of Lennon's "stalker songs", alongside his other 1964 compositions "You Can't Do That" and "No Reply", dealing in themes of separation and uncontrollable jealousy. The singer makes reference to a chip on his shoulder, something author Steve Turner suggests signals Lennon's entrance into a period of self-examination that lasted through the 1969–1970 break-up of the Beatles and his first solo albums.

Music
"I'll Cry Instead" is in 4/4 (common time) and is in the key of G major, except the bridge, which modulates to D major. The song uses the three blues chords I, IV and V. Structurally, it employs two bridges while avoiding instrumental solos and double verses between bridges.

Among musicologists and authors, several describe "I'll Cry Instead" as country, including Ian MacDonald, Jean-Michael Guesdon & Philippe Margotin, Alan W. Pollack, Tim Riley and William Ruhlmann. Jonathan Gould calls it "rockabilly-styled", and Stephen Thomas Erlewine describes it as "tough folk rock". Country music was popular in the Beatles' hometown of Liverpool throughout the 1950s and Lennon listened to the genre regularly before he experienced rock and roll. Doggett writes the song is the first among several by the Beatles from 1964 and 1965 that were overtly country and rockabilly influenced, as does critic Richie Unterberger, who compares the song to the Beatles' next studio album, Beatles for Sale, and McCartney's 1965 composition "I've Just Seen a Face". Doggett further comments that, even if it lacks the "pace or bite of Carl Perkins or Elvis Presley at their peak", the influence is heard in the lead guitar work of George Harrison, as well as Lennon's rhythm guitar playing and chord progressions.

Recording
The Beatles recorded "I'll Cry Instead" on 1 June 1964, during an afternoon session in which they also recorded covers of "Matchbox" and "Slow Down". Recording took place in EMI's Studio Two, with George Martin producing the session, assisted by balance engineer Norman Smith. Rather than recording the song straight through, the Beatles split it into two parts designated "Section A" and "Section B", something author John C. Winn suggests would allow for greater versatility in editing the track into the film.

Six takes of "Section A" were recorded followed by two takes of "Section B", with the latter takes marked seven and eight. Both sections consist of four tracks, with electric guitar, bass and drums on the first track; Lennon's vocal on the second; his acoustic guitar on the third; and overdubs onto the fourth, including a tambourine from Ringo Starr and a second vocal from Lennon to double-track his original. On the third line of each verse ("show you what your lovin' man can do"), McCartney adds a bass break which Riley suggests anticipates those heard on the Beatles' 1966 songs "Rain" and "I'm Only Sleeping".

Mixing
On 4 June 1964, Martin and Smith mixed several songs, including "I'll Cry Instead". They mixed each section for mono, then edited takes six and eight together; take six consists of the first two verses, the bridge and the third verse, while take eight begins at 1:09, containing the fourth verse, a repeating bridge and a fifth verse. The completed mono mix lasts 2:04. On 9 June, Martin and Smith copied this mix, sending it to the US record labels United Artists and Capitol.

On 22 June 1964, Martin and Smith finished production on the rest of the A Hard Day's Night LP, including mixing "I'll Cry Instead" for stereo. Like the mono version, they edited together takes six and eight, but joined the takes at a different place. After an edit at 1:08, the song cuts to the second bridge, omitting the fourth verse and resulting in a length of 1:43, 21 seconds shorter than the US mono mix. To make the mono and stereo version match, they roughly trimmed the mono version, bringing it down to 1:44, though this fix was only made to the UK mono releases, the longer mono version having already been sent for printing in the US.

Release
EMI's Parlophone label released the A Hard Day's Night LP in the UK on 10 July 1964. "I'll Cry Instead" appears on the album's second side, sequenced alongside the other tracks that do not appear in the film. Despite the song's absence from the film, United Artists kept the song on the North American version of A Hard Day's Night, released in the US on 26 June 1964. Capitol retained the rights to the same songs, so long as they were not marketed as a film soundtrack, and began issuing songs from the United Artists soundtrack as singles in the US. The label released "I'll Cry Instead" as a single in the US on 20 July 1964, backed with "I'm Happy Just to Dance with You". The song reached on the Cash Box Top 100 and  on the Billboard Hot 100 record charts,  additionally achieving  in Canada. Capitol collected the released singles on the North American LP Something New, also released on 20 July 1964, sequencing "I'll Cry Instead" as the album's opening track.

When Universal Pictures and Walter Shenson re-released A Hard Day's Night in cinemas in 1982, "I'll Cry Instead" was included in an opening sequence as a tribute to Lennon, consisting of a "Swingin'" early to mid-1960s-style collage of photos of the Beatles in 1964.

Personnel
According to Ian MacDonald:

 * John Lennon – double-tracked vocal, acoustic rhythm guitar
 * Paul McCartney – bass
 * George Harrison – lead guitar
 * Ringo Starr – drums, tambourine

title: I'll Cry Instead


text:
When I Get Home

"When I Get Home" is a song written by John Lennon (credited to Lennon–McCartney), and recorded by the English rock band the Beatles on 2 June 1964, during the last session for their third studio album A Hard Day's Night (1964). Its first US release was on the Something New LP.

Influenced somewhat by the Shirelles, "When I Get Home" is essentially a rock and roll number, but with unusual chord progressions. Lennon liked this particular ploy, and used it on many of his songs at the time.

Typical also of this period of the Beatles is the vocal leap into falsetto.

Recording
After completing "When I Get Home" in 11 takes, the Beatles finished recording another Lennon song, "Any Time At All", which they had started work on earlier that day. They also recorded Paul McCartney's "Things We Said Today" during the same session.

A mono mix was made on 4 June 1964, although this was replaced when new mono and stereo mixes were made on 22 June.

Cover versions
The band Yellow Matter Custard covered the song for their CD/DVD release One Night In New York City.

There have also been covers by The Rustix, Tony Visconti and Alejandro Escovedo.

Personnel

 * John Lennon – lead vocal, rhythm guitar
 * Paul McCartney – harmony vocal, bass, piano
 * George Harrison – harmony vocal, lead guitar
 * Ringo Starr – drums
 * Personnel per Ian MacDonald, except where noted.

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

title: When I Get Home


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Johann Dzierzon

Johann Dzierzon, or Jan Dzierżon or Dzierżoń, also John Dzierzon (16 January 1811 – 26 October 1906), was a Polish apiarist who discovered the phenomenon of parthenogenesis in bees.

Dzierzon came from a Polish family in Silesia. Trained in theology, he combined his theoretical and practical work in apiculture with his duties as a Roman Catholic priest, before being compulsorily retired by the Church and eventually excommunicated over the question of papal infallibility. In 1905, he was reconciled with the Catholic Church.

His discoveries and innovations made him world-famous in scientific and bee-keeping circles, and he has been described as the "father of modern apiculture".

Nationality/ethnicity
Dzierzon came from Upper Silesia. Born into a family of ethnic Polish background which did not speak German but a Silesian dialect of the Polish language, he has been variously described as having been of Polish, German, or Silesian nationality. Dzierzon himself wrote: "As for my nationality, I am, as my name indicates, a Pole by birth, as Polish is spoken in Upper Silesia. But as I came to Breslau as a 10-year-old and pursued my studies there, I became German by education. But science knows no borders or nationality."

It was at gymnasium and at the theological faculty that he became acquainted with German scientific and literary language, which he subsequently used in his scientific writings, rather than his native Polish-Silesian dialect. He used Silesian-Polish in some press publications, in his private life, and in pastoral work, alongside literary Polish. Dr. Jan Dzierzon considered himself a member of the Polish nation.

Dzierzon's manuscripts, letters, diplomas and original copies of his works were given to a Polish museum by his nephew, Franciszek Dzierżoń. Following the 1939 German invasion of Poland, many objects connected with Dzierzon were destroyed by German gendarmes on 1 December 1939 in an effort to conceal his Polish roots. The Nazis made strenuous efforts to enforce a view of Dzierżoń as a German.

Life
Dzierzon was born on 16 January 1811 in the village of Lowkowitz (Polish: Łowkowice), near Kreuzburg (Kluczbork), where his parents owned a farm. He completed Polish elementary school before he was sent to a Protestant school located a mile from his village. In 1822 he moved to Breslau (Wrocław), where he attended middle school (gymnasium). In 1833 he graduated from the Breslau University Faculty of Catholic Theology. In 1834 he became chaplain in Schalkowitz (Siołkowice). In 1835, as an ordained Roman Catholic priest, he took over a parish in Karlsmarkt (Karłowice), where he lived for 49 years.

Scientific career

In his apiary, Dzierzon studied the social life of honeybees and constructed several experimental beehives – possibly using ideas from Petro Prokopovych's widely-publicized developments. In 1838 he devised a movable-comb beehive, which allowed manipulation of individual honeycombs without destroying the structure of the hive. The correct distance between combs had been described as 1+1/2 in from the center of one top bar to the center of the next one. In 1848 Dzierzon introduced grooves into the hive's side walls, replacing the strips of wood for moving top bars. The grooves were 8 × 8 mm – the exact average between 1/4 and 3/8 in, which is the range called the "bee space." Such designs quickly gained popularity in Europe and North America. On the basis of the aforementioned measurements, (May 1852) in Thuringia and L.L. Langstroth (October 1852) in the United States designed their own movable-frame hives.

In 1835 Dzierzon discovered that drones are produced from unfertilized eggs. Dzierzon's paper, published in 1845, proposed that while queen bees and female worker bees were products of fertilization, drones were not, and that the diets of immature bees contributed to their subsequent roles. His results caused a revolution in bee crossbreeding and may have influenced Gregor Mendel's pioneering genetic research. The theory remained controversial until 1906, the year of Dzierzon's death, when it was finally accepted by scientists at a conference in Marburg. In 1853 he acquired a colony of Italian bees to use as genetic markers in his research, and sent their progeny "to all the countries of Europe, and even to America." In 1854 he discovered the mechanism of secretion of royal jelly and its role in the development of queen bees.

With his discoveries and innovations, Dzierzon became world-famous in his lifetime. He received some hundred honorary memberships and awards from societies and organizations. In 1872 he received an honorary doctorate from the University of Munich. Other honors included the Austrian Order of Franz Joseph, the Bavarian Merit Order of St. Michael, the Hessian Ludwigsorden, the Russian Order of St. Anna, the Swedish Order of Vasa, the Prussian Order of the Crown, 4th Class, on his 90th birthday, and many more. He was an honorary member of the German Academy of Sciences Leopoldina. He also received an honorary diploma at Graz, presented by Archduke Johann of Austria. In 1903 Dzierzon was presented to Emperor Franz Joseph I of Austria. In 1904 he became an honorary member of the Schlesische Gesellschaft für vaterländische Kultur ("Silesian Society for Fatherland Culture").

Dzierzon's questioning of papal infallibility caused him to be retired from the priesthood in 1869. This disagreement, along with his public engagement in local politics, led to his 1873 excommunication. In 1884 he moved back to Lowkowitz, settling in the hamlet An der Grenze, (Granice Łowkowskie). Of his new home, he wrote:"In every direction, one has a broad and pleasant view, and I am pretty happy here, despite the isolation, as I am always close to my beloved bees – which, if one's soul be receptive to the works of the Almighty and the wonders of nature, can transform even a desert into a paradise." From 1873 to 1902 Dzierzon was in contact with the Old Catholic Church, but in April 1905 he was reconciled with the Roman Catholic Church.

He died in Lowkowitz on 26 October 1906 and is buried in the local graveyard.

Legacy
Johann Dzierzon is considered the father of modern apiology and apiculture. Most modern beehives derive from his design. Due to language barriers, Dzierzon was unaware of the achievements of his contemporary, L.L. Langstroth, the American "father of modern beekeeping", though Langstroth had access to translations of Dzierzon's works.

Dzierzon's manuscripts, letters, diplomas and original copies of his works were given to a Polish museum by his nephew, Franciszek Dzierżoń.

In 1936 the Germans renamed Dzierzon's birthplace, Lowkowitz, Bienendorf ("Bee Village") in recognition of his work with apiculture. At the time, the Nazi government was changing many Slavic-derived place names such as Lowkowitz. After the region came under Polish control following World War II, the village would be renamed Łowkowice.

Following the 1939 German invasion of Poland, many objects connected with Dzierzon were destroyed by German gendarmes on 1 December 1939 in an effort to conceal his Polish roots. The Nazis made strenuous efforts to enforce a view of Dzierżoń as a German.

After World War II, when the Polish government assigned Polish names to most places in former German territories which had become part of Poland, the Silesian town of Reichenbach im Eulengebirge (traditionally known in Polish as Rychbach) was renamed Dzierżoniów in the man's honor.

In 1962 a Jan Dzierżon Museum of Apiculture was established at Kluczbork. Dzierzon's house in Granice Łowkowskie (now part of Maciejów village) was also turned into a museum chamber, and since 1974 his estates have been used for breeding Krain bees. The museum at Kluczbork houses 5 thousand volumes of works and publications regarding bee keeping, focusing on work by Dzierzon, and presents a permanent exhibition regarding his life presenting pieces from collections from National Ethnographic Museum in Wrocław, and Museum of Silesian Piasts in Brzeg

In 1966 a Polish-language plate was added to his German-language tombstone.

Selected works
Dzierzon's works include over 800 articles, most published in Bienenzeitung but also in several other scientific periodicals, and 26 books. They appeared between 1844 and 1904, in German and Polish. The most important include:

 * 15 November 1845: Chodowanie pszczół – Sztuka zrobienica złota, nawet z zielska, in: , Issue 20, Pszczyna (Pless).
 * 1848–1852: Theorie und Praxis des neuen Bienenfreundes. ("Theory and Practice of the Modern Bee-friend")
 * 1851 and 1859: Nowe udoskonalone pszczelnictwo księdza plebana Dzierżona w Katowicach na Śląsku – 2006 reprint
 * 1852: Nachtrag zur Theorie und Praxis des neuen Bienenfreundes (Appendix to "Theory and Practice"), C. H. Beck'sche Buchhandlung, Nördlingen,
 * 1853: Najnowsze pszczelnictwo. Lwów

Magazines published by Dzierzon:
 * 1854–1856: Der Bienenfreund aus Schlesien ("The Bee-friend from Silesia")
 * 1861–1878: Rationelle Bienenzucht ("Rational apiculture")

Articles published by Dzierzon since 1844 in ''Frauendörfer Blätter, herausgegeben von der prakt. Gartenbau-Gesellschaft in Bayern, redigirt von Eugen Fürst'' ("Frauendorf News" of the Bavarian Gardeners Society) were collected by Rentmeister Bruckisch from Grottkau (Grodków) and re-published under the titles:
 * Neue verbesserte Bienen-Zucht des Johann Dzierzon ("New improved bee-breeding, of John Dzierzon"), Brieg 1855
 * Neue verbesserte Bienen-Zucht des Pfarrers Dzierzon zu Carlsmarkt in Schlesien ("New improved bee-breeding, of priest Dzierzon at Carlsmarkt in Silesia"), Ernst'sche Buchhandlung, 1861
 * Lebensbeschreibung von ihm selbst, vom 4. August 1885 (abgedruckt im Heimatkalender des Kreises Kreuzburg/OS 1931, S. 32–28), 1885 (Dziergon's own biography, reprinted in 1931)
 * Der Zwillingsstock ("Semi-detached beehive"), E. Thielmann, 1890

English translations:
 * Dzierzon's rational bee-keeping; or The theory and practice of dr. Dzierzon of Carlsmarkt, Translated by H. Dieck and S. Stutterd, ed. and revised by C. N. Abbott, Published by Houlston & sons, 1882

title: Johann Dzierzon


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I'll be back

"I'll be back" is a catchphrase associated with Arnold Schwarzenegger. It was made famous in the 1984 science fiction film The Terminator. On June 21, 2005, it was placed at No. 37 on the American Film Institute list AFI's 100 Years... 100 Movie Quotes. Schwarzenegger uses the same line, or some variant of it, in many of his later films.

History
Schwarzenegger first used the line in The Terminator. In the scene, his character, the Terminator, a cyborg assassin, is refused entry to the police station where his targets, Sarah Connor and Kyle Reese, are being detained. He surveys the counter, then tells the police desk sergeant: "I'll be back." Moments later, he drives a car into the station, destroying the counter, and massacres the staff.

In an October 1, 2012, interview on Good Morning America, Schwarzenegger revealed that he had difficulty pronouncing the word I'll and asked director James Cameron if it could be changed to "I will be back". Cameron refused but told him that the shot would be taken as many times as he wished and the best would be used in the final cut of the film so Schwarzenegger could vary the line.

Usage in Terminator films
Variations of the line have been used by Schwarzenegger and other actors in each of the Terminator films.
 * The Terminator (1984) – "I'll be back". Said by the Terminator after being denied entry into a police station. The Terminator returns by driving a car through the front door and massacring the crew of the police station. Schwarzenegger has been quoted that he had not thought much about the line when filming the movie. Cameron notes in the DVD features that he expected the line to get a laugh only upon repeat viewings when what the character means is known, and he was surprised to see it get a big reaction from first-time audiences, who had quickly come to understand the character and immediately anticipated the outrageous violence the nonchalant line signifies. In the novelization of the film script, The Terminator by Shaun Hutson the Terminator says "I'll come back," rather than "I'll be back," on p. 117. ISBN 0-352-31645-4.
 * Terminator 2: Judgment Day (1991) – "Stay here, I'll be back." (1:53:47) It is said by the Terminator to Sarah and John Connor during the escape from the Cyberdyne building. The character returns by driving a truck through the front door to rescue the human protagonists trapped inside, referencing the corresponding scene in the first movie. A fitness ad on the initial VHS releases ends with Schwarzenegger telling viewers, "And if you're still not convinced, I'll be back."
 * Terminator 3: Rise of the Machines (2003) – "She'll be back" is said by the Terminator in reference to the enemy T-X android. It says "I'm back!" after it flies a helicopter into the antechamber of a military bunker and emerges from the wreckage. In the latter use, the phrase "I'm back" also refers to his return to loyalty and allegiance with the protagonists, after having been "corrupted" by the villainous T-X. Schwarzenegger also uses it in the DVD introduction.
 * Terminator Salvation (2009) – "I'll be back" is said by John Connor after being asked by his wife Kate Brewster, "What should I tell your men when they find out you're gone?". Another line, "We knew, you'll be back" is said by Skynet in a monitor under the guise of the late Dr. Serena Kogan, after Marcus Wright recovers himself at Skynet Central.
 * Terminator Genisys (2015) – "I'll be back" is said by the Guardian right before jumping out of a helicopter onto another pursuing helicopter. Also "I'll go back" is said by Kyle Reese as he volunteers for teleporting back to 1984.
 * Terminator: Dark Fate (2019) – "I'll be back" is said by Sarah Connor after she throws a grenade from a bridge at the exoskeleton of the Rev-9 prototype, before marching off with a shotgun, intending on destroying the Terminator. Carl, the T-800 that killed John Connor, tells its human family "I won't be back" before leaving with Sarah, Grace and Dani.

Usage in other films
Schwarzenegger has uttered the phrase in other films following The Terminator, including:

 * Commando (1985): John Matrix (Schwarzenegger) says, "I'll be back, Bennett" in a scene wherein Bennett, Cooke, Sully, and Henriques take him to the airport (at 20 minutes).
 * The Running Man (1987): Benjamin Richards (Schwarzenegger) says, "I'll be back!", as he faces off against evil game show host Damon Killian.
 * Twins (1988): Julius Benedict (Schwarzenegger) says, "If you're lying to me, I'll be back" in a scene in the Los Alamos lab, as a doctor reveals that his mother is still alive and he's the result of a genetic experiment.
 * Total Recall (1990): Douglas Quaid (Schwarzenegger) says, "I'll be back." as he's strapped into a memory-altering machine.
 * Last Action Hero (1993): Jack Slater (Schwarzenegger) says, "I'll be back!" three times.
 * The Expendables 2 (2012): During a gunfight in an airport, Trench (Schwarzenegger) says, "I'm almost out, I'll be back!" To this, Church (Bruce Willis) replies, "You've been back enough. I'll be back." Trench then mutters, "Yippie-ki-yay.", which is Willis's famous line in the Die Hard franchise.

title: I'll be back


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Quelite

Quelite can mean any of a number of different plants commonly eaten in Mexico for their leaves, as leaf vegetables or herbs, including:

 * Amaranthus, species known as Quelite quintonil/quintonilli Amaranthus hybridus, Amaranthus retroflexus, Amaranthus palmeri S. Wats., Amaranthus powellii S. Wats., Amaranthus dubius, Amaranthus spinosus
 * Chenopodium, species known as Quelite cenizo, especially Chenopodium album
 * Coriandrum, species

title: Quelite


text:
Wikipedia:Main article fixation

Main article fixation is an observed effect that editors are likely to insist that their contribution appear in the most prominent article, rather than in a sub-article where it may be better suited. Similar to this is lead fixation: article leads get by far the most attention from editors. The effect is especially prominent on highly visible and already reasonably complete topics, such as Canada, Human and Islam. Articles also get overwhelmed in articles of a size like United States and Donald Trump. Contributions should often be placed:
 * In Temperature in Canada, Weather extremes in Canada, Climate change in Canada, etc., rather than the main Canada article.
 * In Human evolution, Human migration, Human anatomy, etc., rather than the main Human article.
 * In Islam and other religions, Apostasy in Islam, Islamic eschatology etc., rather than the main Islam article.

One explanation for this behaviour is the natural desire of the author that their contributions be seen by as many readers as possible. Especially if an editor has a political or religious agenda, they will insist that their point appear in the intro, where it will get more attention, often neglecting whether the point is substantially relevant, or how it is covered in the article body.

An alternative explanation is the natural desire for all articles to be as complete as possible. This leads to editors inserting additional information, perhaps without sufficient thought as to the level of content appropriate to a main article. In a complex subject which already has many sub-articles it can be quite difficult to decide what level of information is appropriate in which article. It may even be difficult to determine what sub-articles exist, and how they relate to each other. Organisation does not come easily to everyone. It is especially hard in a non-hierarchical collaborative online environment like Wikipedia.

Yet another explanation is the natural disagreement which exists between editors as to what information is most important. In the case of less well established articles, an editor might reasonably add information without disagreement. In the case of a popular or fundamental topic, it is likely that an established view about the article already exists in the minds of several editors, who may defend the existing structure against changes. Even where they themselves might not entirely agree with it, it may already be the result of past battles between opposing viewpoints. Sometimes the established position may be eminently sensible, but in other cases it may be a historical accident due to the order in which information arrived at the article, or the knowledge of early contributors.

title: Wikipedia:Main article fixation


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Alyssa Beckerman

Alyssa Erin Beckerman (born January 23, 1981) is an American former gymnast and balance beam national champion. She was a member of the United States national team from 1997 to 2000, and competed on the University of California, Los Angeles intercollegiate gymnastics team from 2001 to 2003. She was an alternate for the 2000 Sydney Olympic Games.

Pre-elite
Beckerman began training in gymnastics in 1986, when she was five years old.

Elite career
In 1996, Beckerman placed twenty-fifth in the all-around junior division at the Coca-Cola National Championships. In 1997, Beckerman became a senior competitor and a member of the United States national team. She competed at the 1997 US Classic and placed ninth in the all-around. She also competed at the 1997 John Hancock US Gymnastics Championships, placing twentieth in the all-around.

In 1998, Beckerman moved from New Jersey to Ohio to train with coach Mary Lee Tracy at Cincinnati Gymnastics Academy. Tracy trained Beckerman for up to ten hours per day, and kept Beckerman on a restrictive diet of under 1100 calories per day. According to Beckerman, Tracy "controlled every element, in and out of the gym" creating a competitive culture of anxiety and silence.

Beckerman was a silver medalist on bars at the 1998 US National Championships and placed second in the all-around at the 1998 Ecoair Gymnastics Cup. Beckerman was third on bars and fourth in the all-around at the 1999 US National Championships. She was third in the all around at the 1999 American Classic and a team silver medalist at the 1999 Pan American Games. She took third in the all-around at the 1999 World Championships trials and was named to the 1999 US World Championships team but was unable to compete due to a broken wrist. Beckerman won the all-around and team competition at the 2000 Spieth Sogipa. She was first on balance beam, second on bars and fifth in the all-around at the 2000 US National Championships. She was named an alternate member of the 2000 US Olympic team,  but did not compete because fellow alternate Tasha Schwikert was selected instead to replace injured team member Morgan White.

By the end of Beckerman's elite career, she had suffered nine broken bones, undergone two surgeries, and developed bleeding ulcers from overuse of anti-inflammatory drugs. During her career, she also suffered from disordered eating. During her elite career, her favorite event was uneven bars.

Intercollegiate career
Beckerman competed on the University of California, Los Angeles (UCLA) intercollegiate gymnastics team from 2001 to 2003 while pursuing a degree in sociology. In 2001, Beckerman was limited to three competitions due to a wrist injury. She placed second and recorded a score of 9.875 on balance beam at Arizona State, as well as placing fifth on balance beam with a score of 9.8 at the UCLA Invitational. She earned NACGC Scholastic All-America honors that year. During the 2002 season, Beckerman was UCLA's anchor on balance beam, averaging 9.77 over the year and winning individually six times. She was NCAA South Central Regional balance beam champion and Pac-10 balance beam champion, as well as earning a Pac-10 All-Academic honorable mention. On September 11, 2003, at the beginning of her senior year, Beckerman was dismissed from the UCLA team by coach Valorie Kondos Field. Kondos Field claimed that the dismissal was due to Beckerman's performance in training and unenthusiastic attitude, although Beckerman disputed those allegations. Beckerman was stripped of her athletic scholarship and housing, but completed her degree. In 2020, following widespread public discussion on social media under the hashtag "#gymnastalliance" of allegations by gymnasts of an abusive gymnastics culture that rewarded coaches who damaged and belittled gymnasts, Beckerman posted an open letter to Ms Kondos Field on social media where she related her experiences of competing at UCLA.

Post-gymnastics career
As of 2018, Beckerman owns a music school and works as an emergency medical technician in New Jersey. In a 2018 interview after the USA gymnastics abuse scandal became public, Beckerman expressed that she was "leaning toward" favoring the dissolution of USA Gymnastics because "the structure needs to be changed completely so obedience isn't the desired outcome." She said:"'When [a coach] has so much control, it puts a young person in a mindset that the coach has more authority than anyone else in their life - that they should put all their faith in them...There's a fine line between...where the culture is healthy, to a culture of silence...[In elite gymnastics, gymnasts] were not allowed to speak...That does a lot to you, psychologically. You try to be as meek and as serious as possible. 'Stoic' was this huge compliment at [national training] camp. We all strived [sic] for that. Being someone who never complained was a compliment. So, you don't speak out, because it's ingrained in you that if you do, you have poor integrity, that you're a bad gymnast, a bad teammate. Asking questions [in elite gymnastics] is very taboo.'"

Personal life
Beckerman was born in Long Branch, New Jersey to Howard and Melanie Beckerman. She has two brothers and is the middle sibling. Beckerman grew up in Middletown Township, New Jersey, where she attended Middletown High School South. In 2014, she married Matthew King.

title: Alyssa Beckerman


text:
User talk:Harpalus

Explanation
Can you explain a bit the ? I am completely confused what you intended to say and what Vikings are doing here. Thanks. Pavel Vozenilek 20:19, 17 July 2005 (UTC)

RfD
Rifleman 82 nominated the redirect BioDiesel for deletion. However, he incorrectly applied the rfd2 tag to the article page when it was supposed to be listed on Redirects for deletion (WP:RFD). This is to allow the nomination to be discussed and a consensus reached. You then added a comment to the article page agreeing with the nomination. This should have been at WP:RFD also. I have listed Rifleman 82's nomination and your agreement at WP:RFD. You may wish to participate in any debate that occurs there. Let me know if you have any questions. Thanks. -- JLaTondre 01:57, 18 May 2006 (UTC)

Image copyright problem with Image:Widgetlogo.jpg
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title: User talk:Harpalus


text:
Template:Geelong suburbs

Editors note: The suburb list is complete as of 11 January 2023 according to Mapshare Vic

title: Template:Geelong suburbs


text:
It Won't Be Long

"It Won't Be Long" is a song by the English rock band the Beatles, released as the opening track on their second UK album With the Beatles (1963), and was the first original song recorded for it. Although credited to Lennon–McCartney, it was primarily a composition by John Lennon, with Paul McCartney assisting with the lyrics and arrangement.

Composition
John Lennon claimed in 1971 and 1980 that he wrote the song. In the 1990s Paul McCartney described the song as dominated by Lennon, but written in collaboration, stating: "John mainly sang it so I expect that it was his original idea but we both sat down and wrote it together." The chorus is a play on the words "be long" and "belong".

The song features early Beatles trademarks such as call-and-response yeah-yeahs and scaling guitar riffs. Typical also of this phase of Beatles songwriting is the melodramatic ending (similar to "She Loves You", which had just been recorded and was about to be released) where the music stops, allowing Lennon a brief solo vocal improvisation before the song finishes on a "barber shop" major seventh ("She Loves You" ends on a major sixth). The middle eight uses chromatically descending chords over which Lennon, McCartney and Harrison sing in counterpoint.

John Lennon, in one of his final interviews, told Playboy magazine that the song was the beginning of a wider audience for Beatles music than the youthful throngs that had fervently followed them from their Liverpool club days. "It was only after a critic for the [London] Times said we put 'Aeolian cadences' in 'It Won't Be Long' that the middle classes started listening to us. ... To this day, I have no idea what 'Aeolian cadences' are. They sound like exotic birds." In fact, the critic, William Mann, had written this about the song "Not a Second Time." Rolling Stone stated that "It Won't Be Long" was "the kind of song Bob Dylan had in mind when he wrote that Beatles chords were 'outrageous, just outrageous.'" With its composers not being versed in musical theory, the song incorporates chords it "shouldn't", being in the key of E but veering off into D, C and F♯, and "a hybrid of D and Bm".

Recording and release
The Beatles recorded this song on 30 July 1963 in two sessions. The first session was in the morning, where they recorded ten takes. The second session was in the afternoon, where they recorded seven more takes. The final product was a combination of takes 17 and 21, put together on 21 August.

The original release in the UK was on With the Beatles, on 22 November 1963. In the US, "It Won't Be Long" first appeared on Meet the Beatles!, released 20 January 1964.

The song was never performed live or at any of the group's BBC sessions, although they did lip-synch to the track on an edition of Ready Steady Go! in March 1964.

Personnel
According to Ian MacDonald:
 * John Lennon – double-tracked vocal, rhythm guitar
 * Paul McCartney – backing vocal, bass
 * George Harrison – backing vocal, lead guitar
 * Ringo Starr – drums
 * George Martin – producer
 * Norman Smith – engineer

title: It Won't Be Long


text:
File:Lahijadelcanibal book.PNG

Non-free/fair use media rationale
Although this image is subject to copyright, it is covered by US fair use laws because:
 * 1) The image is only being used in the article about Lucía, Lucía for informational and educational purposes.
 * 2) Use of the book cover visually identifies the book and its author in a manner that mere prose cannot, and meets all criteria in WP:NFCC.
 * 3) This image enhances the article in which it's displayed, as it provides an immediate relevance to the reader more capably than the textual description alone.
 * 4) The image is not replaceable with an uncopyrighted or freely copyrighted image of comparable educational value.
 * 5) The image is a low resolution image of the book cover.
 * 6) The image is only a small portion of the commercial product.
 * 7) The use of this image will not affect the value of the original work.
 * 8) The use of this image will not limit the copyright holder's rights or ability to distribute or make a profit from the original. In particular, copies could not be used to make illegal copies of the book.

title: File:Lahijadelcanibal book.PNG


text:
All I've Got to Do

"All I've Got to Do" is a song written by John Lennon (credited to Lennon–McCartney) and performed by the English rock band the Beatles on their second British album, With the Beatles (1963). In the United States, "All I've Got to Do" originally appeared on Meet the Beatles! (1964). According to Dennis Alstrand, the song is the first time in rock and roll or rock music in which the bass player plays chords as a vital part of the song.

Inspiration
Lennon said he was "trying to do Smokey Robinson again," and Ian MacDonald compared it to "(You Can) Depend on Me" by the Miracles, both musically and lyrically. Richie Unterberger of Allmusic said it sounds like Robinson but also Arthur Alexander. Beatles biographer Bob Spitz said the song is "restlessly dark and moody", and compared it to the Shirelles' "Baby It's You" (a song the Beatles previously covered) and early Drifters recordings.

It was one of three songs Lennon was the principal writer for on With the Beatles, with "It Won't Be Long" and "Not a Second Time". Lennon said that it was written specifically for the American market, because the idea of calling a girl on the telephone was unthinkable to a British youth in the early 1960s. For instance, Lennon said in an interview regarding "No Reply": "I had the image of walking down the street and seeing her silhouetted in the window and not answering the 'phone, although I have never called a girl on the 'phone in my life! Because 'phones weren't part of the English child's life."

Recording
The band recorded the song in a single recording session on 11 September 1963 in 14 takes with one overdub, take 15. The master take was take 15. It was mixed for mono on 30 September and for stereo on 29 October.

Although music journalist Steve Turner claims the song was written in 1961, MacDonald said the song was never in the Beatles' live repertoire, which explains why 8 of the 14 takes were incomplete: the band was unfamiliar with the song.

Release
In the UK, "All I've Got to Do" was released on With the Beatles which also includes the Beatles' cover of "You Really Got a Hold on Me" by the Miracles, the most direct connection between the album and Robinson's music. In the US, Capitol Records pulled "You've Really Got a Hold on Me" off Meet the Beatles!, releasing it later on The Beatles' Second Album.

Personnel
According to Ian MacDonald:
 * John Lennon – lead vocal, rhythm guitar
 * Paul McCartney – backing vocal, bass
 * George Harrison – backing vocal, lead guitar
 * Ringo Starr – drums

Cover versions

 * In 2007, the Smithereens covered "All I've Got to Do"—and all the other songs on Meet The Beatles!—on their tribute album Meet the Smithereens!.
 * Toxic Audio covered it on Come Together: An A Cappella Tribute to The Beatles.

title: All I've Got to Do


text:
Afidnes

Afidnes (Αφίδνες, Ἄφιδνα or Ἀφίδναι, from the Middle Ages until 1919: Κιούρκα - Kiourka ) is a small town in East Attica, Greece. Since the 2011 local government reform it is part of the municipality Oropos, of which it is a municipal unit. The municipal unit has an area of 34.638 km2. It is situated in the eastern foothills of the Parnitha mountains, 3 km southwest of Polydendri, 5 km southeast of Malakasa and 27 km north of Athens city centre. Afidnes has a station on the railway from Athens to Thessaloniki. The Motorway 1 (Athens - Lamia - Thessaloniki) passes east of the town. It is part of Athens metropolitan area.

Ancient Aphidna was one of the twelve ancient towns of Attica. In Greek mythology, Aphidna was the place where Theseus left Helen after he had abducted her. The archaeological site of Aphidnae is small. It was excavated in the 19th century. 13 Middle Helladic tumuli have been found.

Settlements
The municipal unit Afidnes consists of the following settlements:
 * Afidnes (2021 census pop. 2,422)
 * Agía Triada (995)
 * Drosopigi (164)
 * Kosmothea (158)

Historical population
Markopoulou has historically been an Arvanite settlement.

Places of interest

 * Beletsi Lake, a small lake on the east slopes of Parnitha, near Afidnes. It is important place for migratory birds.
 * Monastery of Holy Angels, modern monastery near Afidnes

Persons

 * Callistratus of Aphidnae, an ancient Archon of Athens.
 * Callimachus, the Athenian Polemarch at the Battle of Marathon.

title: Afidnes


text:
Merrion Street

Merrion Street is a major Georgian street on the southside of Dublin, Ireland, which runs along one side of Merrion Square. It is divided into Merrion Street Lower (north end), Merrion Square West and Merrion Street Upper (south end). It holds one entrance to the seat of the Irish Parliament, the Oireachtas, major government offices and two major cultural institutions.

Name
The street and square are named after Oliver FitzWilliam, 1st Earl of Tyrconnell who lived at Merrion Castle.

The term "Merrion Street" is often used as a metanym for the Irish Government in the same way as Whitehall or Downing Street are used to refer to the British Government. The official Irish Government news service website is merrionstreet.ie.

Features
The garden entrance of Leinster House, formerly Kildare House, seat of a major aristocratic house, is located on the street as is Irish Government Buildings, formerly the Royal College of Science for Ireland, and the main location of the Department of the Taoiseach and other arms of government.

Between these is the National Museum of Ireland – Natural History which opened in 1857, and beyond Leinster House is the main entrance to the National Gallery of Ireland.

History
The street was commissioned by statute in 1752 by John Ensor for the FitzWilliam Estate, who would go on to lay out the neighbouring Fitzwilliam Square, Holles Street, Clare Street, Wentworth Place, and Denzille Street. It was laid out to run parallel with Kildare Street.

The street narrows at the southern end where it meets Merrion Row and Baggot Street as there was no cohesive planning between the land owners and their estates at that time. The street was originally lined on both sides by Georgian houses. Some reports suggest that Field Marshal The 1st Duke of Wellington was born in his family’s Mornington House on the street. The house is now a hotel.

Between 1904 and 1922, all the houses on one side of the street were demolished and replaced by the Royal College of Science for Ireland, which became Government Buildings and was designed by Sir Aston Webb. A joint press meeting was held between Enda Kenny and British Prime Minister Theresa May in Merrion Street on 30 January 2017, to discuss the implications of Brexit on Northern Ireland and Ireland.

title: Merrion Street


text:
St Leonard's College, St Andrews

St Leonard's College is a postgraduate institute at the University of St Andrews in St Andrews, Scotland. Founded in 1512 as an autonomous theological college of the University of St Andrews, it merged with St Salvator's College in 1747 to form the United College. In 1974 it was re-instituted as a postgraduate institute.

History
Named after the 6th-century Frankish saint Leonard of Noblac, St Leonard's College of the University of St Andrews was founded as 'The College of Poor Clerks of the Church of St Andrews' in 1512 by Alexander Stewart, Archbishop of St Andrews and John Hepburn, Prior of St Andrews (receiving Papal recognition by proxy in 1545), on the site of St Leonard's Hospital and Church. Its founding was a result of the poverty and declining status of St John's College, also known as the Pedagogy.

The first Provost of St Leonard's was the Dominican John Annand, a pupil of Jan Standonck and a determined reformer of the clergy. St Leonard's was consequently extremely monastic in nature, with members of the college being subjected to a far more rigorous and formal code of conduct than was in practice at St Salvator's.

Because of financial considerations and the general decline of the university, in 1747 St Salvator's and St Leonard's Colleges were amalgamated to form the United College of St Salvator and St Leonard. The buildings of St Leonard's College on South Street were sold, and all teaching thereafter was on the St Salvator's site on North Street.

Famous alumni of St Leonard's College include Alexander Ales (Alesius), John Knox, George Buchanan, Patrick Adamson and James Melville.

Re-establishment
In 1974 a new St Leonard's College was established as a non-statutory college exclusively for postgraduate students and postdoctoral fellows. After matriculation, such students are de facto members of St Leonard’s College. The head of the college retains the medieval title of the older St Leonard's College, Provost.

Notable Principals

 * George Buchanan from 1568 to 1570
 * Robert Wilkie from 1591 to 1611 (Moderator of the Church of Scotland in 1600)
 * Joseph McCormick from 1781 to 1799 (Moderator of the Church of Scotland in 1782)
 * James Playfair from 1799 to 1819
 * Francis Nicoll from 1820 to 1835
 * John Lee 1837/8 (Moderator of the Church of Scotland in 1844)
 * David Brewster from 1838 to 1859 (the first principal with no religious background)
 * James Donaldson 1886 to 1915 - including the transition to university status in 1890
 * Sir John Herkless 1915 to 1920

Buildings
The old college site was visited by Samuel Johnson and James Boswell in August 1773. The old college site has, since the late 19th century, been occupied by St Leonards School. The college chapel remains the property of the university. When it was re-established in 1974 it did not own any property, but since then it has accumulated several buildings including Deans Court and the Martyrs Kirk postgraduate library. St Leonard's College has been based in the Old Burgh School since 2020.

title: St Leonard's College, St Andrews


text:
All My Loving

"All My Loving" is a song by the English rock band the Beatles, from their second UK album With the Beatles (1963). It was written by Paul McCartney (credited to Lennon–McCartney), and produced by George Martin. Though not officially released as a single in the United Kingdom or the United States, the song drew considerable radio airplay, prompting EMI to issue it as the title track of an EP. The song was released as a single in Canada, where it became a number one hit. The Canadian single was imported into the US in enough quantities to peak at number 45 on the US Billboard Hot 100 in April 1964.

Composition
According to journalist Bill Harry, McCartney thought of the lyrics whilst shaving: "I wrote 'All My Loving' like a piece of poetry and then, I think, I put a song to it later". However, McCartney later told biographer Barry Miles that he wrote the lyrics while on a tour bus and after arriving at the venue he then wrote the music on a piano backstage. He also said "It was the first song [where] I'd ever written the words first. I never wrote words first, it was always some kind of accompaniment. I've hardly ever done it since either."

The lyrics follow the "letter song" model as used on "P.S. I Love You", the B-side of their first single. McCartney originally envisioned it as a country & western song, and George Harrison added a Nashville-style guitar solo. John Lennon's rhythm guitar playing utilised back and forth strummed triplets similar to "Da Doo Ron Ron" by The Crystals, a song that was popular at the time, while McCartney plays a walking bass line.

In his 1980 Playboy interview, Lennon said, "[I]t's a damn good piece of work... But I play a pretty mean guitar in back."

It has been hypothesized that the piece draws inspiration from the Dave Brubeck Quartet's 1959 song "Kathy's Waltz".

Recording
The Beatles recorded the song on 30 July 1963 in eleven takes with three overdubs. The master take was take fourteen overdubbed on take eleven. It was remixed on 21 August (mono) and 29 October (stereo).

A slightly longer stereo edition of the song, featuring a hi-hat percussion introduction not found on the common stereo or mono mixes, was released on the German stereo version of With the Beatles in 1963. Later, it was released in Germany and the Netherlands in 1965 on a compilation album entitled Beatles' Greatest. This version was later released in the UK, but only as part of The Beatles Box (1980). It also turned up on a European CD bootleg release of the US Rarities with other bonus tracks not included on the original LP.

Releases and performances

 * "All My Loving" was originally released in the UK on 22 November 1963 on With the Beatles.
 * The first US release was on Meet the Beatles!, released January 20, 1964.
 * The song was the title track of the All My Loving EP released in the UK on 7 February 1964.
 * The song was released on another EP, Four by The Beatles in the US, on May 11, 1964.

"All My Loving" was the Beatles' opening number on their debut performance on The Ed Sullivan Show February 9, 1964; the recording was included on Anthology 1 (1995). The group also performed "All My Loving" three times for BBC radio, once in 1963 and twice in 1964. The final version, which was recorded on 28 February 1964, was included on Live at the BBC.

The song was used twice in films by the group—it plays in the background at the end of the nightclub scene in A Hard Day's Night (1964), though without the drum opening and the coda; while an instrumental version appears in the film Magical Mystery Tour (1967).

According to Alan Weiss, a TV producer who happened to be there, "All My Loving" was playing on the sound system at Roosevelt Hospital emergency room when Lennon was pronounced dead after being shot on December 8, 1980.

Reviews
Among the critics who have praised the song, Ian MacDonald said, "The innocence of early Sixties British pop is perfectly distilled in the eloquent simplicity of this number". Richie Unterberger of AllMusic said it "was arguably the best LP-only track the Beatles did before 1964" and that if it had been released as a single in America it would have been a huge hit. Mark Lewisohn wrote in his The Complete Beatles Recording Sessions book that the song was "magnificent ... by far [McCartney's] best, most complex piece of songwriting yet".

Harrison's concise solo has been described as reminiscent of Chet Atkins, and Lennon's complex rhythm work (relying on the unusual use of constant triplets ) was referred to as "the most recognizable feature" of the song; Lennon himself later described his performance as "a superb piece of guitar."

Personnel
According to Ian MacDonald:
 * Paul McCartney – double-tracked lead vocals, harmony vocals, bass guitar
 * John Lennon – backing vocals, rhythm guitar
 * George Harrison – backing vocals, lead guitar
 * Ringo Starr – drums
 * George Martin – producer
 * Norman Smith – engineer

Cover versions

 * In 1964, the Hollyridge Strings released an instrumental version of the song, which reached No. 93 Billboard Hot 100 chart.
 * Annette Funicello covered the song for her 1964 album, Something Borrowed, Something Blue.
 * Jim Sturgess covered the song for the 2007 film Across the Universe. His version was the opening song on the film's soundtrack.

title: All My Loving


text:
User talk:SNIyer12/Archive 1

Thanks!
Thanks for all your work at List of dignitaries at the funeral of Pope John Paul II! Excellent stuff... -- Seth Ilys 18:00, 6 Apr 2005 (UTC)

Eisenhower Article
Instead of just making changes only to be reverted how about coming to the talk page and discuss your plans before instituting them?? --Wgfinley 19:27, 16 Apr 2005 (UTC)

 * In reply to your note, no, there's little doubt that JFK's was THE most famous. I've seen some of your edits reverted lately though and it's usually better if you discuss them first on established articles like these. --Wgfinley 22:19, 16 Apr 2005 (UTC)

State funeral of Pierre Trudeau
I thought at least one photo should bring up the top of the article, especially one with a crowd of people, as long as the caption made absolutely clear where it happened and when in the timeline it fell. (Then I accidentally clicked submit on a version with two I was previewing but didn't want to save. Sorry! I did fix that though.) Samaritan 04:10, 17 Apr 2005 (UTC)
 * ...Are you absolutely convinced there shouldn't be one at the beginning? I think it was a lot more powerful without having to scroll down to the third page (on my default window size) before seeing anything. Samaritan 04:16, 17 Apr 2005 (UTC)
 * OK, but don't be surprised if somebody else thinks a photo at the beginning would add to the article.
 * Two tips:
 * Please post your comments to User talk:Samaritan (or whoever else), rather than User:. User: is meant primarily to be the user's own little space, to introduce themselves however they see fit, etc. And when you commented on my User: page, I didn't get the helpful "You have new messages" box; that only comes up via User talk:. (I moved what you'd posted to my User talk: for consistency.)
 * You can't be too proprietary about a Wikipedia article. In fact, you can't be proprietary at all. I've created things that have evolved in ways I wouldn't have gone if I were the boss of everything... but that's just what a wiki is about. I'm not talking about the state funeral piece here, but in the future, with other people: saying 'this is my creative vision and I started the article' doesn't carry much weight here. It's a disadvantage, in many ways, compared to creating your own website; in other ways it's a remarkable advantage.
 * Cheers, enjoy, and keep the contributions coming. :) Samaritan 04:32, 17 Apr 2005 (UTC)

Moving pages
Please don't move pages using copy-and-paste. Instead, use the move function, or if you cannot use it, Requested moves. See Help:Renaming (moving) a page for more info. --cesarb 16:07, 18 Apr 2005 (UTC)
 * The really important reason to move a page is to bring the Page history with it. Samaritan 21:48, 18 Apr 2005 (UTC)

And don't bother moving without discussing first. You'll just get reversed, as you did with Funeral of Pope John Paul II. JDG 06:40, 19 Apr 2005 (UTC)

Thank you for your help on the JEB BUSH Article page

 * Thanks very much for the helpful correction you made to the Asia caption on the Jeb Bush page. (And, what does the new, corrected abbreviation mean? I am just curious,) Also, I would like to totally rewrite Section 3 of the JEB article (other people had written that, and while I would like to include some of their thoughts, I think the writing needs improvement and more information added), and finish Section 4 (a section I started). But, I now have a migraine headache from his site, so I am taking this week off. But, when I finish what I am writing, I would like to show it to you for your comments before I post it. I see from the subjects you do that you are interested in politics and appear not to be entrenched on the side of the aisle who hates the subject of the article I am working on. Thanks again for your help. SummerFR 23:41, 24 Apr 2005 (UTC)

 * Thanks for your reply on my page. here is what I wrote back to you there:

SummerFR 01:16, 25 Apr 2005 (UTC)
 * Very interesting. Thanks. I am wondering - do you have suggestions on how we can include the above info you have provided into the article? Maybe as a footnote or something?

September 11, 2001 attacks
You've been asked repeatedly by several editors over many months to stop adding your effects-on-children section to September 11, 2001 attacks, yet you continue to do so, now using a different account, to the point where it appears to constitute vandalism. If you add it once more, you may be temporarily blocked from editing. SlimVirgin (talk) 23:40, May 19, 2005 (UTC)

Anastas Mikoyan
When there's a new article, then change the link; don't though, change a link from blue to red just because you're going to add an article some time in the (unspecified) future. Mel Etitis ( Μελ Ετητης ) 15:33, 23 May 2005 (UTC)

 * Fine — I'm not questioning the creation of the article, just saying that you should create it before you turn a perfectly good link into a dead link. Mel Etitis ( Μελ Ετητης ) 16:06, 23 May 2005 (UTC)

Pan Am Flight 103
Please stop making the same changes over and over to this page. Your edit: "However, the people of Lockerbie showed the best of humanity, even though they had to live with the sight of bodies in their gardens and streets. In the days after the bombing, relatives of the victims came to Lockerbie and have forged friendships with people there. People of Lockerbie have also shown the relatives where their loved ones fell," is unencyclopedic, as has been explained to you before. I'd be happy to collaborate with you about material you feel ought to be included, so let me know if you'd like to do that. SlimVirgin (talk) 23:57, May 23, 2005 (UTC)

 * Thanks for your response. Would you agree to wait for a day or two? I'm about to stop editing for the day, or at least for most of the rest of it. If we are to include a section on the response of Lockerbie, it has to be written in a tone that does not seem to lend support to the people there. We can't say that they showed the best of humanity, or anything similar. We can, however, attribute that view to a newspaper article, or we can quote from an article. However, bear in mind, too, that the response of the people there was more complicated than early newspaper reports indicated. It is true that they were very helpful and that they forged lifelong friendships with some of the victims' families, but it's also true that they became very tired of being associated with PA 103; so whatever we write, we mustn't be gushing, if you see what I mean. Do you mind if we discuss this again in a couple of days? Perhaps in the meantime, we could both look for a good newspaper article to quote from. SlimVirgin (talk) 00:06, May 24, 2005 (UTC)

 * Hi SN, I've taken a look at the source you provided. Thank you for doing that. I'm going to make a suggestion for that paragraph at Talk:Pan Am Flight 103, so maybe we could discuss it there? SlimVirgin (talk) 06:56, May 25, 2005 (UTC)

 * Hi again SN, yes, I just put the paragraph we discussed into the article. SlimVirgin (talk) 04:33, Jun 3, 2005 (UTC)

Death and State funeral of Ronald Reagan
Actually I am not done yet, no. Also, again, I don't need "permission" to work on an article. Also, please go through the proper methods of adding the Pierre Trudeau article to the Cleanup Taskforce. Please go to the Cleanup Taskforce page and add it to my desk or someone else's desk. Just slapping the tag onto the page doesn't do anything. --Woohookitty 18:37, 28 May 2005 (UTC)

I have no problem with things being added to my desk, but please next time, do it right. The Cleanup Taskforce article has step by step instructions on how to add an issue to someone's desk. Follow them. Thanks. --Woohookitty 05:40, 29 May 2005 (UTC)

Thanks for chasing up those references, it seemed a bit too much like the authors commentary without knowing where they came from. --nixie 23:43, 6 Jun 2005 (UTC)

Bugs
Do you think the page 'Bugs' should be a disambiguation page instead of redirecting to 'Bugs Bunny'? There is also 'Bugs (Television Programme)' to consider. Thanks. --Sp82 23:02, 30 May 2005 (UTC)

 * This user obviously thinks that Bugs Bunny is the be all and end all of Bugs, and the rabbit is the most common usage, which its not, the VW Beetle is. --Spotteddogsdotorg 04:42, 31 May 2005 (UTC)

 * I've just noticed that this page has been in some dispute. I agree with User:FuriousFreddy that it is better to link to Bug (disambiguation) than directly to Bugs Bunny or VW Beetle! --Sp82 07:33, 31 May 2005 (UTC)

The page Bug (disambiguation) was formatted according to the guideline at Manual of Style (disambiguation pages). That's a fairly new guideline. Are you familar with it? Josh Parris ✉ 02:47, 8 Jun 2005 (UTC)

Marking edits as minor
Hi SN, regarding Pan Am Flight 103, could you start to use the preview button when you edit, mark your edits as minor when they are, and always fill in an edit summary? These changes would make it much easier for other editors to keep track. For example, with this edit, you deleted the embedded TOC (minor edit, not marked as minor, no edit summary). With the next edit, you reinstated it (minor edit, not marked as minor, no edit summary). And with the third edit,, you deleted it again (minor edit, not marked as minor, this time with an edit summary). Failing to mark the edits as minor means editors have to check the diffs of each of your edits, which is time-consuming, only to find that nothing of substance has changed. A minor edit, by the way, is one that does not alter the meaning of the content. Also, if you would use the preview button instead of saving all the time, it would mean editors wouldn't have to check so many edits. I hope you'll consider making these changes in the interests of collaborative editing. Feel free to ask if there's anything you're not clear about, and I'll be happy to help. Cheers, SlimVirgin (talk) 03:07, Jun 12, 2005 (UTC)

Thanks
Hey SN, thanks for fixing the mistake I made when I put in the latest PA 103 reference. I appreciate it. SlimVirgin (talk) 21:41, Jun 13, 2005 (UTC)
 * I've only just seen the note you left on my talk page about the other article. I'll take a look as soon as I have a minute, but have a few other things I need to do first. Will be in touch. SlimVirgin (talk) 22:29, Jun 13, 2005 (UTC)

quote gnosticism
you have stated in an edit summary for Abraham Lincoln that "Stanton actually said, 'Now he belongs to the ages.'" is this quote on tape somewhere? do you have a video? were you there? how do you know what somebody said in 1865, to the point where you'll undo a version that merely attempts to allow for the possibility of difference? SaltyPig 04:23, 2005 Jun 18 (UTC)

The Ronald Reagan funeral article
I'm giving you one more chance. I had to do more major editing because you again restored sections that I took out that were basically just trivia or that you have no citations for. I am going to look at this article next week. If this stuff has been reverted again, I am going to see if you can be banned from editing for at least a day. I've had alot of patience with you, but you keep pulling this stuff. Enough. Add to the article if you wish but stop reverting the stuff I have removed. --Woohookitty 02:25, 20 Jun 2005 (UTC)

John F. Kennedy International Airport
Is there a reason you moved this to New York/John F. Kennedy International Airport? That does not seem to be the official or common name. --SPUI (talk) 23:50, 20 Jun 2005 (UTC)

 * That's not a reason to change it; the official and common name does not include the "New York/". --SPUI (talk) 01:16, 21 Jun 2005 (UTC)

Operation Yellow Ribbon
You referred Operation Yellow Ribbon to the Cleanup Taskforce for cleanup, and it was placed on my desk. So far I've worked a bit on the introduction to make it a bit lengthier, and I intend to continue with the body of the article. Was there anything specifically that you would like cleaned up—were you thinking of a rewrite/restructuring of just some tweaking? Ben Babcock 23:26, 23 Jun 2005 (UTC)
 * Okay, I'll work on a rewrite then. I got the 224 and 17 numbers from the Transport Canada Chronology, any additional sources you could provide would help.  Googling it does not bring many relevant results, to the point that I've found at least two pages dealing with the Canadian Operation Yellow Ribbon that have directly copied their content from this article. Ben Babcock 23:49, 23 Jun 2005 (UTC)

Once again though, some sources regarding statistics would help, not only in rewriting the article, but in order to list as references. Ben Babcock 00:06, 24 Jun 2005 (UTC)

I've cleaned up the Pacific flights section as best I could given my limited knowledge, and have been through every section of the article. Ben Babcock 21:40, 15 July 2005 (UTC)

Coffin
I tend to believe that page moves such as this ought to be noted on Requested moves and also discussed in the article's talk page before actually being carried out. Smerdis of Tlön June 29, 2005 21:56 (UTC)

Lying in repose
When you move something that is on VfD, you also need to clear up the resulting disconnect. Generally, for something like this it is better to let the VfD run its course and then move it. DS1953 1 July 2005 02:50 (UTC)

Dick Cheney move
Why did you move Dick Cheney to Richard Cheney? A vote was taken, and the result was overwhelmingly opposed to the move. I've just moved it back. Regards, --Mr. Billion 1 July 2005 03:07 (UTC)

title: User talk:SNIyer12/Archive 1


text:
Red Mountain Pass (San Juan Mountains)

Red Mountain Pass elevation 11018 ft is a mountain pass in the San Juan Mountains of western Colorado in the United States.

The pass straddles a divide that separates Ouray and San Juan counties. The pass is named for the nearby Red Mountain on the northeast side of the pass. The name is derived from the iron oxide laden rock that forms their slopes.

The pass separates the Uncompahgre and Las Animas River watersheds, and also serves as a dividing point between the Uncompahgre and San Juan National Forests. The pass is traversed by the Million Dollar Highway, U.S. Highway 550 between Ouray and Silverton, which is part of the San Juan Skyway Scenic Byway.

The pass is known for being treacherous in the wintertime due to the steep 8% grade and switchbacks on the north side facing Ouray, though the entire road is paved. Avalanches are frequent, and can block the highway for some time. The lower part of the pass towards Ouray is blasted into near-vertical cliffs of quartzite hundreds of feet above Red Mountain Creek and the Uncompahgre River. This section of road is winding, narrow and has no shoulder.

There are an average of seven deaths per year.

Mining district
The Red Mountain Mining District lies from the divide northward to Ironton Park, halfway down towards Ouray. It was the site of a historic silver boom from 1882 until 1893, including the Yankee Girl and National Belle. Headframes of the old workings are still visible from the highway, as are the remains of the three largest communities: Red Mountain Town, Ironton, and Guston. The sprawling Idarado Mine (Treasury Tunnel) continued digging until the 1970s, and reclamation of tailings is ongoing.

Climate
At an elevation of 11200 ft (3414m), Red Mountain Pass has a subalpine climate (Köppen Dfc), bordering on an Alpine climate (Köppen ET).

title: Red Mountain Pass (San Juan Mountains)


text:
Talk:Altair

Motion
Is it not the case that Altair has very fast proper motion? I believe I have read somewhere that its apparent motion relative to us is ca. 1 degree per 5000 years. Also, I seem to have read that Altair is Arabic for eagle: it isn't. It means 'the flying'. — Preceding unsigned comment added by 82.68.94.86 (talk) 22:18, 29 September 2016 (UTC)

Age citation
The age citation lists both an arxiv preprint and the resulting published ApJ article. The preprint claims the authors derived a model age of 630 Myr for Altair, but this has been removed from the final published article. Is there a better citation for Altair's age? DAnuu (talk) 21:15, 19 May 2016 (UTC)

OtherUses template
Please change the article to use Template:OtherUses instead of Template:otheruses it currently uses. The OtherUses template has information about the contents of the article.

For a sample use of this template refer to the articles Alabama or Algiers-- —The preceding unsigned comment was added by DuKot (talk • contribs).

 * Note that that functionality is now at otheruses1. OtherUses redirects to otheruses, and is deprecated.--Srleffler 18:41, 23 July 2006 (UTC)

This can't be correct
"The whiter spot at the pole and the deeper blue at the equatorial regions are manifestations of the polar temperature increase & equatorial temperature decrease due to Altair's rapid rotation."

Altair would actually be brighter and hotter--thus bluer--at its poles and whiter at its equator given Stefan-Boltzmann law and Wien law. A star or region of a star that radiates more blue light is hotter than that which radiates white light (actually a balance of red and blue light). This is apparent on the Sun as limb darkening, whereby the edge appears redder (cooler and dimmer) than the centre of the solar disc.

Thus, Altair radiates more intensely at its poles. At its equator, it radiates less, so it would appear 'redder'; in this case, white.

An astrophysicist can and should review this article, but it's basic astronomy that blue stars are always hotter than white stars. The error may stem from the fact that we generally consider cooler things to be blue and warmer ones red. It's the reverse for stellar radiation, though! 68Kustom (talk) 23:12, 11 November 2008 (UTC)
 * The colors in question refer to the image Image:Altair PR image6.jpg. This is not a true-color image of the star.  Rather, it is an interferometrically observed infrared image of the star which has been processed so that regions which radiate less intensely appear bluer and regions which radiate more intensely appear white.  So, the statement in the article is correct.  See  (Imaging the Surface of Altair, John D. Monnier et al., Science 317, #5836 (20 July 2007), pp. 342–345, .) Spacepotato (talk) 04:10, 22 November 2008 (UTC)

WP:Not A Forum
reminder - the TP's are not a Forum to discuss whatever drivel happens to pop into your minds ...

Planets
Is there any knowledge of whether Altair has planets?  -RadicalOne •Contact Me•Chase My Tail 03:44, 26 January 2010 (UTC)
 * Why do you ask? Because of the fourth one? flarn2006 [u t c] 05:54, 19 October 2011 (UTC)

 * Apparently not. Some effort was made from what I gather in the latest period, but there appears to be a conventional wisdom that the youth and rotational characteristics make it unlikely/interesting for planet formation but should be addressed in article. 72.228.189.184 (talk) 23:50, 7 July 2012 (UTC)

 * Most of the extrasolar planets that have been found so far, have been with relatively large planets around relatively small stars. Altair is about the size of the sun, and if there are any Earth-sized planets orbiting in Altair's habitable zone, we don't yet have the facility to detect them. Kortoso (talk) 17:13, 11 September 2014 (UTC)

 * More like this: https://en.wikipedia.org/wiki/A-type_main-sequence_star#Planets
 * "Surveys indicate massive planets commonly form around class A stars although these planets are difficult to detect using the Doppler spectroscopy method. This is because class A stars typically rotate very quickly, which makes it very difficult to measure the small Doppler shifts induced by orbiting planets since the spectral lines are very broad." Kortoso (talk) 17:11, 31 July 2015 (UTC)

Castlevania
I'm not sure if this is notable enough to be put in, but Altair is also the name of the eagle enemies throughout the Castlevania video game series. 98.239.184.6 (talk) 17:44, 3 June 2010 (UTC)
 * There is a star names in fiction article which is usually the best place to start for things like this. Lithopsian (talk) 13:11, 7 September 2015 (UTC)

Spelling
Altair is misspelt Atair on the constellation map! - Adrian Pingstone (talk) 21:36, 5 November 2011 (UTC)
 * I've just noticed that Atair is given in the text as an alternative but surely Altair is far the commonest spelling? - Adrian Pingstone (talk) 18:31, 7 November 2011 (UTC)
 * Atair is pretty obscure. I've removed it from the lead and replaced the chart with one that uses the more common spelling. The chart is more complex though, so not as clear in the thumbnail.  Lithopsian (talk) 13:12, 7 September 2015 (UTC)

Visual companions
"The A-type main sequence star..." This refers to Altair, doesn't it? Altair is represented by A in this paragraph, right? I will edit for clarity as soon as I have confirmation. Kortoso (talk) 21:33, 3 December 2013 (UTC)

Unclear citation style?
Inline citations seem like the preferred style. Too many? Not enough? Poor quality sources? Problem with footnotes? I'd like to help but I don't see a problem. Lithopsian (talk) 13:21, 7 September 2015 (UTC)

External links modified
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title: Talk:Altair


text:
Don't Bother Me

"Don't Bother Me" is a song by the English rock band the Beatles from their 1963 UK album With the Beatles. It was the first song written by George Harrison, the group's lead guitarist, to appear on one of their albums. A midtempo rock and roll song, it was originally released in the United States on the 1964 album Meet the Beatles!

Composition
Between 19 and 24 August 1963 the Beatles held a residency in Bournemouth, England with Billy J. Kramer & the Dakotas and Tommy Quickly. Feeling sick one day, George Harrison was prescribed tonic and bed rest by a doctor. With nothing to do in his room at the Palace Court Hotel, he began writing a song, recording himself on a portable tape recorder. The surviving recording includes him working on the bridge and whistling through the song's melody, likely because the song did not yet have lyrics.

Besides the 1958 song “In Spite of All The Danger” – co-written with McCartney, and the 1961 instrumental "Cry for a Shadow" – co-written as Lennon–Harrison, "Don't Bother Me" was Harrison's first composition. Liverpool journalist Bill Harry claims that he encouraged Harrison to write a new song, and that Harrison's response of "Don't bother me" served as inspiration for the song's title. In his 1980 autobiography, I, Me, Mine, Harrison describes the song "as an exercise to see if I could write a song.... I was sick in bed – maybe that's why it turned out to be Don't Bother Me." Published by the Dick James–Brian Epstein partnership, Jaep Music, this predated the five-year contract Harrison signed with Northern Songs on 9 November 1963.

After "Don't Bother Me", it was not until 1965's Help! album that any more Harrison-penned songs ("I Need You" and "You Like Me Too Much") would appear on record. "You Know What to Do" - another song by Harrison - was recorded in 1964, but was not released at the time.

Musical structure
The sullen mood and desolate lyrics—"So go away, leave me alone, don't bother me"—were unusual for the Beatles at the time but would become characteristic for Harrison. The song follows the E Dorian mode: the Em of "since she's been gone" shifting to a v (Bm chord) on "gone" then an IV (A chord) on "no-one” in the verse. The chords of the chorus (Em-A-Em) also create the Dorian progression i-IV-i. The song achieves a thick sound through its double-tracked vocal, reverbed guitars, and busy drumming. The elaborate percussion lends the song a Latin rhythm accentuated by its stop-time structure.

Recording
The Beatles first recorded the song in EMI's Studio Two on 11 September 1963. Recording seven takes, three of which were overdubs, none of these takes were used. Beatles historian Mark Lewisohn writes the results were deemed unsatisfactory, while Beatles writer John C. Winn writes the band ran out of time during their slated recording time. Returning to the studio the next day, the band remade the song from 7:00–11:30 pm, designating the first take as "take 10". George Martin produced, assisted by engineers Norman Smith and Richard Langham. Harrison sings lead vocal and plays the guitar solo on all tracks, complaining between takes about the difficulty this adds to performing. Lennon plays rhythm guitar, trying to achieve a "dirty" sound on early takes by raising the signal gain on his Rickenbacker 325 Capri. Martin was unsatisfied with the effect and suggested the use of a compressor to flatten the guitar's dynamic range and achieve the desired "organ sound". Lennon's amp provides a tremolo effect, resulting in a more "sinister" sound in the refrain and bridge, similar to the timbre heard in songs by the Shadows. Take 13 was deemed best, allowing the band to proceed with overdubbing. Harrison records another vocal, double tracking his original, while McCartney plays claves, Lennon the tambourine and Starr an Arabian bongo. Recording concludes with take 19, the overdub of take 15 onto take 13 deemed "best".

Martin, Smith and Geoff Emerick mixed the track for mono on 30 September, then for stereo on 29 October. Another engineer assisted with stereo mixing, unidentified besides the initials "B. T." The stereo mix includes the end of "four" from Harrison's "one-two-three-four" count-in.

Release
With the Beatles was released by EMI's Parlophone label on 22 November 1963, with "Don't Bother Me" sequenced as the fourth track between "All My Loving" and "Little Child". Release in the US followed on 20 January 1964 on Capitol's Meet the Beatles!, sequenced as seventh and opening the second side of the record. Ian MacDonald writes reception to the song has generally been poor, with even Harrison himself subsequently discounting it. In I, Me, Mine, Harrison writes "I don't think it's a particularly good song, it mightn't even be a song at all but at least it showed me that all I needed to do was keep on writing and then maybe eventually I would write something good." Tim Riley describes it as a weak songwriting debut and demonstrates the strength of the Beatles as a group that they "find a groove in this tune despite its flaws." Mark Hertsgaard was more favourable to the song, describing it as one of the best on With the Beatles and "a promising premiere".

Everett describes the song as a watershed moment, being the first time a guitar tone was manipulated electronically. The contrasting timbres of the guitars are unique among the songs on Please Please Me and With the Beatles, going beyond their "typical homogeneity of sound". He writes that "Don't Bother Me" and the later "Baby's in Black" presage the band's subsequent work, such as the feedback heard on "It's All Too Much".

The song is heard in the Beatles 1964 film A Hard Day's Night. Along with other earlier numbers played in the film – "She Loves You", "I Wanna Be Your Man" and "All My Loving" – United Artists originally planned to include the song on the North American soundtrack album. After the band recorded enough new material, the label deemed the older songs' inclusion unnecessary.

British actor Gregory Phillips released a version of "Don't Bother Me" as his third single. Though unsuccessful, this was the first cover version of a Harrison composition.

Personnel
According to Ian MacDonald, except where noted:

The Beatles
 * George Harrison – double-tracked vocal, lead guitar
 * John Lennon – rhythm guitar, tambourine
 * Paul McCartney – bass, claves
 * Ringo Starr – drums, bongos

Production
 * George Martin – producer
 * Norman Smith – engineer
 * Richard Langham – engineer

title: Don't Bother Me