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Wooden horse (device)

A wooden horse, Chevalet (as it was called in Spain), Spanish donkey or cavalletto squarciapalle is a torture device, of which there exist two variations; both inflict pain by using the subject's own weight by keeping the legs open, tied with ropes from above, while lowering down the subject. The French called this instrument the chevalet, from the French diminutive of cheval, horse.

Torture device
The first variation of the wooden horse is a triangular device with one end of the triangle pointing upward, mounted on a sawhorse-like support. The victim is made to straddle the triangular "horse." Weights or additional restraints were often added to keep the victim from falling off. A punishment similar to this called "riding the rail" was used during the American colonial period and later. The victim was often carried through town in this predicament, often in conjunction with the punishment of tarring and feathering. The crotch could be injured and the victim left unable to walk without pain.

The Jesuit Relations say that in 1646, a man "was sentenced to make reparation, by the Civil authority, and to mount the Chevalet," and "a public blasphemer, was put on the Chevalet. He acknowledged his fault, saying that he had well deserved punishment, and came of his own accord to confess, that evening or the next day," and that another man "acted at the fort as such a glutton, that he was put on the Chevalet, on which he was ruptured."

The device was used during the American Civil War by Union guards against their Confederate prisoners:

There were some of our poor boys, for little infraction of the prison rules, riding what they called Morgan's mule every day. That was one mule that did the worst standing stock still. He was built after the pattern of those used by carpenters. He was about fifteen feet high; the legs were nailed to the scantling so one of the sharp edges was turned up, which made it very painful and uncomfortable to the poor fellow especially when he had to be ridden bareback, sometimes with heavy weights fastened to his feet and sometimes with a large beef bone in each hand. This performance was carried on under the eyes of a guard with a loaded gun, and was kept up for several days; each ride lasting two hours each day unless the fellow fainted and fell off from pain and exhaustion. Very few were able to walk after this hellish Yankee torture but had to be supported to their barracks. The History Channel documentary Eighty Acres of Hell describes a torture device, "the mule", on which Confederate prisoners were forced to ride until they passed out; many were crippled for life.

The device was also used by Union officers as an entertaining way to discipline troops, and on freedmen and women after the Civil War.

title: Wooden horse (device)


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Wikipedia:Articles for deletion/Ezzat Gabriel

 * 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 01:18, 23 July 2005 (UTC)

Ezzat Gabriel
Non-notable, google search finds no hits. Article does not seem to indicate any notability, just a biography of sorts Gblaz 20:28, July 22, 2005 (UTC)
 * This is actually a speedy delete after the recent policy change. Done. Thue | talk 20:39, 22 July 2005 (UTC)
 * Actually the article was also blanked by the creator; that could/should be interpreted as a request for deletion, and coming from the author that also makes the article a speedy. Thue | talk 20:42, 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.

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


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Analytic element method

The analytic element method (AEM) is a numerical method used for the solution of partial differential equations. It was initially developed by O.D.L. Strack at the University of Minnesota. It is similar in nature to the boundary element method (BEM), as it does not rely upon the discretization of volumes or areas in the modeled system; only internal and external boundaries are discretized. One of the primary distinctions between AEM and BEMs is that the boundary integrals are calculated analytically. Although originally developed to model groundwater flow, AEM has subsequently been applied to other fields of study including studies of heat flow and conduction, periodic waves, and deformation by force.

Mathematical basis
The basic premise of the analytic element method is that, for linear differential equations, elementary solutions may be superimposed to obtain more complex solutions. A suite of 2D and 3D analytic solutions ("elements") are available for different governing equations. These elements typically correspond to a discontinuity in the dependent variable or its gradient along a geometric boundary (e.g., point, line, ellipse, circle, sphere, etc.). This discontinuity has a specific functional form (usually a polynomial in 2D) and may be manipulated to satisfy Dirichlet, Neumann, or Robin (mixed) boundary conditions. Each analytic solution is infinite in space and/or time.

Commonly each analytic solution contains degrees of freedom (coefficients) that may be calculated to meet prescribed boundary conditions along the element's border. To obtain a global solution (i.e., the correct element coefficients), a system of equations is solved such that the boundary conditions are satisfied along all of the elements (using collocation, least-squares minimization, or a similar approach). Notably, the global solution provides a spatially continuous description of the dependent variable everywhere in the infinite domain, and the governing equation is satisfied everywhere exactly except along the border of the element, where the governing equation is not strictly applicable due to discontinuity.

The ability to superpose numerous elements in a single solution means that analytical solutions can be realized for arbitrarily complex boundary conditions. That is, models that have complex geometries, straight or curved boundaries, multiple boundaries, transient boundary conditions, multiple aquifer layers, piecewise varying properties, and continuously varying properties can be solved. Elements can be implemented using far-field expansions such that models containing many thousands of elements can be solved efficiently to high precision.

The analytic element method has been applied to problems of groundwater flow governed by a variety of linear partial differential equations including the Laplace, the Poisson equation, the modified Helmholtz equation, the heat equation, and the biharmonic equations. Often these equations are solved using complex variables which enables using mathematical techniques available in complex variable theory. A useful technique to solve complex problems is using conformal mapping which maps the boundary of a geometry, e.g. an ellipse, onto the boundary of the unit circle where the solution is known.

In the analytic element method the discharge potential and stream function, or combined the complex potential, are used. This potential links the physical properties of the groundwater system, the hydraulic head or flow boundaries, to a mathematical representation of a potential. This mathematical representation can be used to calculate the potential in terms of position and thus also solve groundwater flow problems. Elements are developed by solving the boundary conditions for either of these two properties, hydraulic head or flow boundary, which results in analytical solutions capable of dealing with numerous boundary conditions.

Comparison to other methods
As mentioned the analytic element method thus does not rely on the discretization of volume or area in the model, as in the finite elements or finite different methods. Thus, it can model complex problems with an error in the order of machine precision. This is illustrated in a study that modeled a highly heterogeneous, isotropic aquifer by including 100,000 spherical heterogeneity with a random conductivity and tracing 40,000 particles. The analytical element method can efficiently be used as verification or as a screening tool in larger projects as it may fast and accurately calculate the groundwater flow for many complex problems.

In contrast to other commonly used groundwater modeling methods, e.g. the finite elements or finite different method, the AEM does not discrete the model domain into cells. This gives the advantage that the model is valid for any given point in the model domain. However, it also imposes that the domain is not as easily divided into regions of e.g. different hydraulic conductivity, as when modeling with a cell grid; however, one solution to this problem is to include subdomains to the AEM model. There also exist solutions for implementing vertically varying properties or structures in an aquifer in an AEM model.

title: Analytic element method


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Talk:Wentworth letter

Editorial changes
The changes from the version printed in the Times and Seasons were made in 1851 and 1902 according to the article Articles of Faith, and I included those figures in the present article. But the quote from JF Smith indicates the changes were made in 1921. Can another editor resolve this discrepency? --Blainster 20:29, 22 July 2005 (UTC)
 * The correct dates are 1851 and 1902, corresponding to publication dates of editions of the Pearl of Great Price. The Tanners have scanned these PGP editions, and they indeed show the changes. I haven't checked the Joseph Fielding Smith cite, but if he actually said 1921, he's wrong. Also, he's wrong that the Articles of Faith was part of the Doctrine and Covenants. CO GDEN  00:48, 22 July 2006 (UTC)

Thanks. I didn't see the JF Smith quote on AoF being in D&C but he must have meant the Lectures on Faith, which was part of the earlier D&C editions rather than Articles of Faith. --Blainster 11:56, 29 July 2006 (UTC)

Removed section
The following at least needs a citation. It is controversial, even among some Mormon scholars.

 * "Some have asserted that the First Vision was ignored, and was added to the proselyting message only recently. However, this assertion ignored the 1832 account of the First Vision, the second attempt at writing an official history of the church. Also, it ignores the fact that early on, the Church of Jesus Christ of Latter-day Saints had no formal and systemized format for preaching the Gospel. (See the Preface to A Marvelous Work and A Wonder.)"  —The preceding unsigned comment was added by 67.182.236.190 (talk) 19:52, 17 April 2007 (UTC).

title: Talk:Wentworth letter


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Talk:Sunspot (Marvel Comics)

Moved discussion
I have moved the discussion regarding the definitiveness of the OHOTMU here from the metatext of the page proper:

By User Britney Spears: "Actually, the versions of the Official Handbook of the Marvel Universe prior to the 1990's Master Edition and the Editions of 2004-2005 are not considered definitive by editors and writers at all. This is because older editions were written hastilly by TWO editors (Peter Sanderson and Mike Lehrer) who usually did not correspond with the creaters of the characters they were defining and as such thier entries were only marginally accurate. As email and the world wide web did not functionally exist as means of communication between such creative parties the problems were understandable, as writers didn't always have accessable mailing addresses. An assumption readers make is that the person who provided the art for the character in the Marvel Universe also wrote the entry, which was not the case. (example John Byrne for Wolverine in Marvel Universe issue 12 vol.1) Only sometime after 1990 the internet was in wide use and an accurate Marvel Universe was possible. But don't take my word for it, contact Marvel editors and confirm it for yourself. http://www.marvel.com/about/contact_us/email.htm"

The fanbase at large considers the OHOTMUs of the eighties *far* more accurate and better done than the 90s Master Edition. The jury is still out on the 2004-2005 series and it will only accurately be judged after the passage of time. You also overestimate the importance of email and www, presenting the situation as if people somehow lived in isolation prior to the 'enlightened' Age of the Internet, and you suggest that accuracy was impossible prior to the Internet -- a ludicrous claim. You also throw around wild assumptions, like the art argument you make, that seem to have nothing to do with the main point; this combined with your frequent misspellings suggest that you do not really know what you're talking about.

I will seek to corroborate your story regarding the definitiveness of the eighties OHOTMUs from fellow comic book historians, rather than from Marvel's PR department. Sending an email to Marvel's PR people will be the equivalent of calling an IT helpdesk. They're clueless, and to get to the real answers, you will have to go to the actually knowledgeable people behind the scenes.

Wrong
Your comments about the nomenclatures are wrong. In Spanish Da Costa wouldn't be one word either. For example De la Torre, Del Valle, Lavalle (this one became a single word, we never put capitals in the middle of a word), Del Puerto, De la Rocha, Del Toro or "Mier y Terán". In Italian it's also the same: Da Vinci, Da Angelo, etc. Now that i think about it in French they ise contractions like D'Argeaens, L'Something and is probbably only in English that last names goes MacSomethings or McThat or O'Somebodies, but nope, you will never see 2 capital letters in the sameword in Spanish.

--201.114.99.246 05:09, 25 May 2006 (UTC)

 * Just a sidenote to an otherwise correct mini-dissertation on nomenclature - only names with origins from say, Irish or Scottish, have capitals in the middle, either, in English (MacDonald, for instance, which IRRC means "from the clan of Donald"). It's true that members of those countries also speak English (though they also speak other languages, too), but real "English" names, even when they come from two seperate words, like "Shakespeare", do NOT have random capitals in the middle of a word either, at least not any I've ever seen that have actually come from England/Britain and had Anglo-Saxon origins. Also, I wouldn't count the French names as being smooshed the way "MacDonald" is, as French does that all the time with regular words and phrases anyway; it's not a change in grammar for the sake of nomenclature, it's nomenclature that follows the same rules of grammar as the rest of the language (de la Rosa, for instance, is similarly proper grammar in Spanish regardless of whether you are using it as a name or in a sentence - with each word being seperated). French names are still seperated into seperate words in the way the grammar of the language dictates; "Le'Blanc" means "The White" regardless of whether it's a surname or in a sentence in the title of a book. Runa27 20:41, 25 August 2006 (UTC)

As a Brazilian I have to correct some of the information presented in the main article. First of all, in Brazil the language spoken is Portuguese (not Spanish). Therefore, DC's character "Fire" could never has Beatriz Bonilla da Costa as her name. Although "Costa" is a common name, "Bonilla" is not.Actually, it's a Spanish family name. The last point is that "Da Costa" is not a family name. "Costa" it is. But "Da" is not the correct written form of this nomenclature in the Portguese language. The real correct way to write such nomenclature would be "da". So, this shows how little writers know about the culture of the characters' countries that they created.

--- I deleted this nonsense: "Another point to consider, is the fact that Brazillians don't use their father's last name as their own, they use their mother's; so da Costa should actually be his mother's last name, and not his father's, although it is quite possible that they both had the same last name, even if they weren't related, as da Costa is a common surname in Brazil." It's just plain wrong. Simply read the Portuguese names article. One's last surname, in Brazil, is almost always the father's last name. If "Roberto da Costa" is his full name, almost certainly both his parents had the common "da Costa" surname; it could also have a middle surname from his mother (who had addopted his husband last name after marriage) yet to be revealed. 200.255.9.38 18:34, 25 June 2007 (UTC)

I readed the discussion, so I have to ask: What are wrong with u, guys?If Sunspot name is written in Spanish or Potuguese, it's just a detail.I'm a Brazilian, descendent of a Spanish saylorman, so I need talk in English,Spanish & Portuguese...And I wanna learn French,German, Italian... By the way: It's supernormal translate names from Spanish to Portuguese, and Vice-Versa. The most important is: There is a Brazilian Super Hero in the Marvel Universe, and I proud to be a Brazilian Citzen, 'coz Sunspot show in the fiction the best qualities ( and the commom mistakes ) of my co-citzens.So, Brazilian fans, just send your comments to Marvel.com

Regards, { Bryard 13:43, 13 March 2011 (UTC) 23:10, 25 June 2009 (UTC)}

Yes, the World Trade Center
Was Sunspot involved when Juggernaut and Black Tom attacked and partially destroyed parts of the World Trade Center? I know, I know, but it was a very, very confusing story.

Lots42 15:04, 18 June 2007 (UTC)

 * I believe he was still with Gideon at the company

Fair use rationale for Image:Marfan027sun.jpg
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BetacommandBot (talk) 14:26, 8 March 2008 (UTC)

Current pic
Sunspot isn't even in the forefront of this pic. It should be changed post-haste. Lots42 (talk) 16:19, 29 October 2008 (UTC)

Image copyright problem with Image:Xforce46.jpg
The image Image:Xforce46.jpg is used in this article under a claim of fair use, but it does not have an adequate explanation for why it meets the requirements for such images when used here. In particular, for each page the image is used on, it must have an explanation linking to that page which explains why it needs to be used on that page. Please check

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Cleanup
This article is bad. Like, really bad. The whole thing is fixated on whether his name and activities are consistent between writers, and less on Sunspot as a character. It comes off as extremely defensive and trying to rationalise these inconsistencies. If I had more time and more working knowledge of the character in question I would clean it up. 69.196.139.214 (talk) 21:45, 30 June 2011 (UTC)

Main Picture
I don't regularly make changes on this website and I assume that if I just changed the main picture, somebody with a more vested interest in this page who edits it regularly would be annoyed and just change it back, but I think it's worth noting that the current picture is a notably whitewashed rendering of Roberto a black mixed race character. This is enough of an issue that several articles have been written on the subject of Sunspot's whitewashing specifically, at least one addresses this artist specifically. Like I said, I don't really know what I'm doing here so I'd appreciate if someone could just change it.65.175.159.120 (talk) 06:11, 18 January 2020 (UTC)

title: Talk:Sunspot (Marvel Comics)


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Wikipedia:Articles for deletion/Guy charrison

 * 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)

Guy charrison
Based on the current article I would say that this guy is not notable. Thue | talk 20:31, 22 July 2005 (UTC)

 * Delete - Agree with Thue Athf1234 20:35, 22 July 2005 (UTC)
 * Speedy under WP:CSD A7. DES 20:53, 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.


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Éric Losfeld

Éric Losfeld (Mouscron, 1922 – Paris, 1979) was a Belgian-born French publisher who had a reputation for publishing controversial material with his publishing imprint Éditions Le Terrain Vague.

He was the publisher of Emmanuelle (1967), two film magazines (Midi Minuit Fantastique and Positif) founded by Ado Kyrou.

He published a series of controversial erotic cult comic books, like Barbarella, created by Jean-Claude Forest, Scarlett Dream by Robert Gigi, Epoxy by Paul Cuvelier and Jean van Hamme, the French edition of Phoebe Zeit-Geist, The Adventures of Jodelle and Pravda, both by Guy Peellaert. In 1967, he also published legendary psychedelic feminist comic book Saga de Xam by Jean Rollin. In 1970, Xiris by Serge San Juan. And Kris Kool by Caza.

Losfeld's tombstone inscription reads, "Tout ce qu'il éditait avait le souffle de la liberté." ("Everything he edited had the breath of freedom.").

title: Éric Losfeld


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Wirehead (science fiction)

Wireheading is a term associated with fictional or futuristic applications of brain stimulation reward, the act of directly triggering the brain's reward center by electrical stimulation of an inserted wire, for the purpose of 'short-circuiting' the brain's normal reward process and artificially inducing pleasure. Scientists have successfully performed brain stimulation reward on rats (1950s) and humans (1960s). This stimulation does not appear to lead to tolerance or satiation in the way that sex or drugs do. The term is sometimes associated with science fiction writer Larry Niven, who used the term in his Known Space series. In the philosophy of artificial intelligence, the term is used to refer to AI systems that hack their own reward channel.

More broadly, the term can also refer to various kinds of interaction between human beings and technology.

Literature
Wireheading, like other forms of brain alteration, is often treated as dystopian in science fiction literature.

In Larry Niven's Known Space stories, a "wirehead" is someone who has been fitted with an electronic brain implant known as a "droud" in order to stimulate the pleasure centers of their brain. Wireheading is the most addictive habit known (Louis Wu is the only given example of a recovered addict), and wireheads usually die from neglecting their basic needs in favour of the ceaseless pleasure. Wireheading is so powerful and easy that it becomes an evolutionary pressure, selecting against that portion of humanity without self-control. A wirehead's death is central to Niven's story "Death by Ecstasy", published in 1969 under the title The Organleggers, and a main character in the book Ringworld Engineers is a former wirehead trying to quit.

Also in the Known Space universe, a device called a "tasp" which does not need a surgical implant (similar to transcranial magnetic stimulation) can be used to achieve similar goals: the pleasure center of a person's brain is found and remotely stimulated (considered a violation without seeking the person's consent beforehand). It is an important device in Niven's Ringworld novels.

Niven's stories explain wireheads by mentioning a study in which experimental rats had electrodes implanted at strategic locations in their brains, so that an applied current would induce a pleasant feeling. If the current could be obtained any time the rats pushed the lever, they would use it over and over, ignoring food and physical necessities until they died. Such experiments were actually conducted by James Olds and Peter Milner in the 1950s, first discovering the locations of such areas, and later showing the extremes to which rats would go to obtain the stimulus again.

In the novel Mindkiller (1982) by Spider Robinson, the antagonist "Jacques" has the ability to wirehead his targets by inducing an enslaving brain-ecstasy from a distance.

The Shaper/Mechanist stories by Bruce Sterling use the term "wirehead" in the broader sense of people or cyborgs who can link their minds to computers or other technology.

In The Terminal Man (1972) by Michael Crichton, forty electrodes are implanted into the brain of the character Harold Franklin "Harry" Benson to control his seizures. However, his pleasure center is also stimulated, and his body begins producing more seizures in order to receive the pleasurable sensation.

title: Wirehead (science fiction)


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File:Mario's Tennis screenshot.png

Mario prepares to serve in Mario's Tennis. Copyright Nintendo. Screenshot taken by the uploader.

Fair use rationale:

 * This image is used to illustrate the articles Virtual Boy and List of commercial failures in computer and video gaming, and demonstrates one of the major reasons the system was a failure (the monochromaticity). In this case, a picture is worth a thousand words...
 * This image is of web resolution.
 * This image does not interfere with the copyright holder's use of this image.
 * No free alternative exists.

title: File:Mario's Tennis screenshot.png


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John Meyendorff

John Meyendorff (Jean Meyendorff; Иоа́нн Мейендо́рф; February 17, 1926 – July 22, 1992) was a leading theologian of the Orthodox Church of America as well as a writer and teacher. He served as the dean of St. Vladimir's Orthodox Theological Seminary in the United States until June 30, 1992.

Early life
Meyendorff was born in Neuilly-sur-Seine, France, into the émigré Russian nobility as Ivan Feofilovich Meyendorf (Иван Феофилович Мейендорф). He was the grandson of Baron General Feofil Egorovich Meyendorff.

Meyendorff completed his secondary education in France and his theological education at the St. Sergius Orthodox Theological Institute in Paris in 1949. In 1948, he also received a licentiate at the Sorbonne, and later earned a Diplôme d'Études Supérieures (1949) and a Diplôme de l'école pratique des Hautes Etudes (1954). He earned the degree of Doctor of Theology in 1958 with a groundbreaking doctoral thesis on the teachings of St. Gregory Palamas.

Theological career
In France, Meyendorff was an assistant professor of church history at the St. Sergius Institute, and a Fellow at the Centre National de la Recherche Scientifique.

After his ordination to the priesthood in the Orthodox Church in 1959, Meyendorff and his family moved to the United States. There he joined the faculty of Saint Vladimir's Seminary, first located in New York City then in Crestwood, Yonkers, New York, as a professor of Church history and patristics. Additionally, he held successive joint appointments as a lecturer in Byzantine theology at Harvard University, Dumbarton Oaks (to which he returned for a semester as acting director of studies in 1977), and as professor of Byzantine history at Fordham University (from 1967). He also was adjunct professor at Columbia University and Union Theological Seminary, both in New York City, and lectured widely on university campuses and at church events. He held the position of dean of St. Vladimir's Seminary from March 1984 until June 1992.

Meyendorff was a major voice in the Orthodox community and worked for the reunion of the three splinter groups into which the Russian Orthodox Church broke up after the Russian Revolution. He was instrumental in the establishment of the Orthodox Church in America as an independent entity in 1970, and urged the various Orthodox Churches in the United States, which were ethnically based, to grow closer together in their shared faith. He frequently represented the Orthodox tradition in ecumenical gatherings, such as the Uppsala Assembly held in 1968 by the World Council of Churches, during his tenure as chairman of its Faith and Order Commission (1967-1975).

Death and legacy
While on vacation at the family's summer home in Quebec following his resignation, Meyendorff took ill and was taken to St. Mary's Hospital in Montreal. He died there on 22 July as the result of pancreatic cancer.

His son, Paul Meyendorff (born 1950), also taught at St. Vladimir's Seminary holding the position of Professor of Liturgical Theology.

In memory of John Meyendorff, the Fordham University instituted the Father John Meyendorff & Patterson Family Chair of Orthodox Christian Studies, thanks to a contribution given by the philanthropers Solon and Marianna Patterson.

Publications and courses
Meyendorff's publications include the critical text and translation of Byzantine theologian Gregory Palamas (1959), as well as a number of books in the fields of theology and history, such as A Study of Gregory Palamas (French ed., 1959; Engl. 1964); The Orthodox Church (1963); Orthodoxy and Catholicity (1966); Christ in Eastern Christian Thought (1969); Byzantine Theology (1973); Marriage, an Orthodox Perspective (1975); Living Tradition (1978); Byzantium and the Rise of Russia (1980); The Byzantine Legacy in the Orthodox Church (1981); Catholicity and the Church (1983); and ''Imperial unity and Christian divisions. The Church 450–680 A.D. (1989); Rome, Constantinople, Moscow: Historical and Theological Studies'' (1996). His books have been published in a number of languages, including French, German, Italian, Russian, Greek, English, Finnish, Spanish, Dutch, Korean, Japanese, Serbian, Romanian, Polish, Hungarian and Chinese.

Study of Gregory Palamas
Meyendorff's doctoral dissertation on Palamas is considered to have transformed the opinion of some in the Western Church regarding Palamism. Before his study of Palamas, Palamite theology was considered to be a "curious and sui generis example of medieval Byzantium's intellectual decline." Meyendorff's landmark study of Palamas however, "set Palamas firmly within the context of Greek patristic thought and spirituality" with the result that Palamism is now generally understood to be "a faithful witness to the long-standing Eastern Christian emphasis on deification (theosis) as the purpose of the divine economy in Christ."

Affiliations
A member of several professional associations, Meyendorff served during different periods as President of the Orthodox Theological Society in America, President of the American Patristic Association, and a member of the executive committee, U.S. Committee for Byzantine Studies. He was a Fellow of the National Endowment for the Humanities (1976–77), and a Guggenheim Fellow (1981).

During his service at the seminary, he held the positions of librarian, director of studies, and was long-time editor of St Vladimir's Theological Quarterly. His service to the church included positions as chairman of the Department of External Affairs of the Orthodox Church in America, as advisor to the Holy Synod, and as editor of the monthly newspaper The Orthodox Church.

As a representative of the Orthodox Church, he participated in the activities of the World Council of Churches, having been Chairman of the Commission on Faith and Order (1967–75) and a member of the Central Committee. Committed particularly to inter-Orthodox unity and cooperation, he was one of the founders and the first general secretary of Syndesmos (World Fellowship of Orthodox Youth Organizations), and served later as its president.

Awards
Meyendorff held honorary doctorates from the University of Notre Dame and General Theological Seminary, and was a Corresponding Fellow of the British Academy.

Meyendorff was a Senior Fellow at Dumbarton Oaks. The Diploma of Honorary Member of the Leningrad Theological Academy was bestowed upon Fr John in May 1990. In June 1991, Fr John was awarded the Order of St Vladimir, 2nd Class, by Aleksy II, Patriarch of Moscow and All Russia.

Legacy
From 9–11 February 2012, an International Conference "The Legacy of Fr John Meyendorff, Scholar and Churchman (1926-1992)" was held at the St. Sergius Institute in Paris, to honour the 20th anniversary of the passing away of Protopresbyter John Meyendorff.

title: John Meyendorff


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Too Young (Sidney Lippman and Sylvia Dee song)

"Too Young" is a popular song, with music written by Sidney Lippman and lyrics by Sylvia Dee. A recording of the song was released by Nat King Cole in 1951, which reached No. 1 in the United States and became the best-selling song of the year. The song was an early attempt by music labels to appeal to the younger demographics and its success later led to a boom in music that catered to the young. Another successful version was released by Donny Osmond in 1972.

Nat King Cole recording
"Too Young" was one of the early attempts by record labels to release songs with a young musical persona that might appeal to a young audience. In the United States, among the earliest versions were those recorded by Victor Young and His Orchestra, and Johnny Desmond. However, it was the version recorded by Nat King Cole that proved to be most successful.

The song was recorded on February 6, 1951, and released by Capitol Records (catalog number 1449) in March. It reached the number one position on the Billboard chart in June 1951, staying there for five weeks and altogether on the Best Seller chart for 29 weeks. It also spent an unprecedented 12 weeks on top of Your Hit Parade, and 8 weeks at No. 1 on the Cash Box chart. It was a million-selling record and Billboard ranked this version as the number one best-selling song of 1951. Cole described this song as one of his three favorites among his own songs.

The success of the song may have convinced record executives that young people had the buying power, which would lead to the boom of rock and roll music that catered to a young audience in the mid-'50s.

Other early versions
Several versions contemporary to Nat King Cole's version were recorded, some making the US charts but not as high.

The recording by Patty Andrews was released by Decca Records as catalog number 27569. It first reached the Billboard Best Seller chart on June 8, 1951 and lasted one week on the chart, peaking at number 30. On other Billboard charts, this version reached as high as number 19 on the Most-played Jukebox Records chart.

Versions that did not make the top 30 best-seller list, but did chart on various other Billboard charts were by Toni Arden (Columbia, number 15 on Records Most Played by Disk Jockeys), by Fran Allison (RCA, number 20 on Records Most Played by Disk Jockeys), and by Richard Hayes (Mercury, number 24).

Semprini, piano with rhythm accompaniment recorded it in London on July 7, 1951, as the second song of the medley "Dancing to the piano (No. 7): Part 1. Hit Medley of Slow Foxtrots" along with "Alice in Wonderland" and "Forbidden Love". It was released by EMI on the His Master's Voice label as catalog number B 10123.

In the United Kingdom, Jimmy Young had a success with his version of the song, also made in 1951. The song made No. 1 on the UK's sheet music charts in 1951, spending 12 weeks in that position. Another contemporary version was released by Steve Conway.

Donny Osmond cover
A version of "Too Young" by then 14-year-old Donny Osmond became an international top 10 hit for him, reaching number 5 in the UK and number 6 in Canada. It also spent eight weeks on the U.S. top 40, with a peak position of number 13 when released as a single (MGM catalog number 14407) in 1972.

Other versions

 * Sam Cooke recorded it for his Hits of the Fifties LP in 1960. In Australia, on Parlophone, Jim Gussey And His Orchestra, with vocals by Matt Dryden and Olive Lester, released their version.
 * Bobby Vinton recorded the song for the album There! I've Said It Again.
 * Michael Jackson included the song on Motown in 1973 in the album Music & Me. This version was released as a single in Italy.
 * In 1978, the Swedish dansband Vikingarna released a disco version of the song on their album, The Vikings Export.


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Talk:Baltic states/Baltic state

Naming
Shouldn't this be named Baltic states as the article is on the Baltic States as a group. - SimonP 18:20, Oct 17, 2003 (UTC)

 * The "Baltic States" refers to Estonia, Latvia and Lithuania as group, while a "Baltic state" could just as well mean any of the states or countries connected to the Baltic Sea, like Sweden, Germany, Poland, etc. Baltic countries tries to deal with this but there is still too much ambiguity over "Baltic state", which doesn't exist with the "Baltic States". -- Mic 18:32, 16 Jun 2004 (UTC)

 * See: http://en.wikipedia.org/w/wiki.phtml?title=Baltic_States&action=history
 * Maveric maybe wished to avoid constructs like  "Estonia is a Baltic State" ?
 * --Ruhrjung 00:40, 2004 Jun 17 (UTC)

 * The current naming follows a convention common to many Wikipedia articles, and from that perspective the change was understandable. What I am trying to say is that following this convention here makes the name missleading. Besides the terminology should rather be used like this  "Estonia is one of the Baltic States" . -- Mic 09:32, 17 Jun 2004 (UTC)

Collapse of the USSR?
I removed "Following the collapse of the Soviet Union in 1991" from the following sentence, as the dates didn't add up. Someone with more knowledge could rephrase, perhaps; it did happen around the same time?

 * Following the collapse of the Soviet Union in 1991, the three Baltic states declared their independence in 1989 and 1990 and their independence was recognized by the Soviet Union on September 6, 1991.

-- Blorg 12:36, 19 Jan 2005 (UTC)

 * The September 6 date is correct . Their independence was indeed recognized 3-4 months before Soviet Union ceased to exist. "Following ..." was clearly incorrect. It may be viewed as a part of the collapse, but they gained independence earlier than everyone else. I would either leave it as it is after your change, or add "three months before Soviet Union ceased to exist" at the end. Andris 20:46, Jan 19, 2005 (UTC)

Merge needed
The pages Baltic state and Baltic countries ought to be merged and listed under Baltic countries. "Baltic state" is a term used during Soviet era while the countries were occupied, while the correct present term is "countries". Jakro64 06:11, 21 Mar 2005 (UTC)

 * The term that used to refer to these countries during the Soviet occupation was the Baltic Republics. Baltic countries is a term that generally refers to all countries that border the Baltic Sea. The correct term to refer to the three independent countries of Estonia, Latvia and Lithuania would be the Baltic States. Regards, ivi

 * Please consider also the article on Baltic Republics. --Johan Magnus 07:18, 21 Mar 2005 (UTC)

 * I agree with User:ivi. Baltic Republics shouldn't be merged with Baltic States, but Baltic countries should, this however should be done under "Baltic States" rather than Baltic countries (which is direct translation of Lithuanian term but unused in English). DeirYassin 14:56, 5 Jun 2005 (UTC)

This page should be combined with the Baltic states page or vice versa. Same with the Spanish Wikipedia -- there are two redundant pages: Estados bálticos and Países bálticos. 18:50, 21 July 2005 (UTC)

 * I am going to undertake the merge shortly. --taestell 21:22, July 21, 2005 (UTC)

title: Talk:Baltic states/Baltic state


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Zirconia light

A zirconia light is an intensely brilliant chemical light produced by incandescent zirconia. It is similar in design to the Drummond light (limelight), but uses a block of zirconia instead of quicklime. Both have been replaced by the electric light.

title: Zirconia light


text: File:Tsimshian tea party.jpg

title: File:Tsimshian tea party.jpg


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Agapemonites

The Agapemonites or Community of The Son of Man was a Christian religious group or sect that existed in England from 1846 to 1956. It was named from the agapemone meaning "abode of love". The Agapemone community was founded by the Reverend Henry Prince in Spaxton, Somerset. The sect also built a church in Upper Clapton, London, and briefly had bases in Stoke-by-Clare in Suffolk, Brighton and Weymouth.

The ideas of the community were based on the theories of various German religious mystics and its primary object was the spiritualisation of the matrimonial state. The Church of England had dismissed Prince earlier in his career for his radical teachings. The Agapemonites predicted the imminent return of Jesus Christ. According to newspaper accounts, Prince's successor, John Hugh Smyth-Pigott, declared himself Jesus Christ's reincarnation.

The Agapemone community consisted mostly of wealthy unmarried women. Both Prince and Smyth-Pigott took many spiritual brides. Later investigations have shown that these "brides" were not solely spiritual and that some produced illegitimate children. In 1860, Prince lost a lawsuit brought on behalf of Louisa Nottidge by the Nottidge family and the group vanished from the public eye. It finally closed in 1956 when the last member died.

Henry James Prince
Henry James Prince, baptised on 21 February 1811, was the son of Thomas and Mary Ann Prince of Lyncombe and Widcombe, Bath. He studied medicine at Guy's Hospital, obtained his qualifications in 1832, and was appointed medical officer to the General Hospital in Bath, his native city. Compelled by ill health to abandon his profession, in 1837 Prince entered himself as a student at St David's College, Lampeter (now the Lampeter campus of the University of Wales Trinity Saint David), where he gathered about him a band of earnest religious enthusiasts known as the Lampeter Brethren. The vice principal of the college contacted the Bishop of Bath and Wells who, in 1840, installed Prince as the curate of Charlinch in Somerset, where he had sole charge during the illness and absence of the rector, Samuel Starkey.

Attendances at the church were small until, during one of the services, Prince acted as if he was possessed, throwing himself around the church. Congregations grew each week as the "possession" was repeated. The congregation was then divided with separate services for men and women. Subsequently, he separated them again into sinners and the righteous, the latter of which generally included women who were wealthy. The bishop was summoned to investigate the practices. By that time, Prince had contracted his first "spiritual marriage" and had persuaded himself that he had been absorbed into the personality of God and become a visible embodiment of the Holy Spirit. During his illness, Starkey read one of his curate's sermons, and was not only "cured" forthwith, but embraced his strange doctrines. Together, they procured many conversions in the countryside and the neighbouring towns. In the end, the rector was deprived of his living and Prince was defrocked. Together with a few disciples they started the Charlinch Free Church, which had a very brief existence, meeting in a supportive farmer's barn.

Prince used money inherited on the death of his first wife, Martha, to marry Julia Starkey, the sister of the rector. They all moved to Stoke-by-Clare in Suffolk where Prince started again to build a congregation, which grew over the subsequent one to two years. The Bishop of Ely then expelled them. Prince opened Adullam Chapel, which was also known as Cave Adullam, in the North Laine area of Brighton. Meanwhile, Starkey established himself at Weymouth. Their chief success lay in the latter town, and Prince soon moved there.

Followers
A number of followers, estimated by Prince at 500 but by his critics at one fifth of the number, were gathered together, and it was given out by "Beloved" or "The Lamb" (the names by which the Agapemonites designated their leader) that his disciples must divest themselves of their possessions and throw them into the common stock. This was done, even by the poor, all of whom looked forward to the speedy end of the present dispensation and were content, for the short remainder of this world, to live in common and, while not repudiating earthly ties, to treat them as purely spiritual. With the money thus obtained the house at Spaxton that was to become the "Abode of Love" was enlarged and furnished luxuriously, and the three Nottidge sisters, who contributed £6,000 each, were immediately married to three of Prince's nearest disciples. Agnes, the eldest of the Nottidge sisters, objected to the spiritual marriage which entailed a celibate life and, as one writer reports, became pregnant by another member of the community; however, it is unlikely that she committed adultery because her husband never accused her, and she later gained sole custody of their child in 1850 after proving herself of good moral character before a court. Agnes wrote to her younger sister Louisa Nottidge warning her not to come to Spaxton. Despite this Louisa travelled to Somerset to join them. Her mother Emily feared the spiritual and financial influence that Prince had established over her daughters. Emily instructed her son Edmund, her nephew Edward Nottidge, and her son-in-law, Frederick Ripley, to travel down to Somerset and to rescue her unmarried daughter, Louisa after her arrival. The three men succeeded in removing Louisa against her will in November 1846, and imprisoned her in 12 Woburn Place, a villa by Regents Park.

Following Louisa's persistent claims regarding the divinity of Henry Prince, her mother enlisted medical aid and had Louisa certified insane and then placed her in Moorcroft House Asylum, Hillingdon. Her treatment and forced incarceration in the asylum have remained of interest with respect to the rights of psychiatric patients; Dr Arthur Stillwell, the presiding physician, made notes on Louisa's condition and treatment, recorded in The Lancet. Louisa escaped from the asylum in January 1848, travelling across London to meet the Reverend William Cobbe from The Agapemone at a hotel in Cavendish Square, but was recaptured two days later at Paddington railway station. Cobbe alerted the Commissioners in Lunacy, whose report by Bryan Procter led to her release in May 1848. Louisa then sued her brother, cousin, and brother-in-law, Frederick Ripley, for abduction and false imprisonment in Nottidge v. Ripley and Another (1849); the trial was reported daily in The Times newspaper. Louisa Nottidge returned to Spaxton and spent the rest of her life as one of the Agapemonites. In 1860 Louisa's brother, Ralph Nottidge, sued Prince to recoup the money that Louisa had given him as a result of his undue influence over her, in the case of Nottidge v. Prince (1860). The Nottidges won the case, with costs.

In 1856, a few years after the establishment of the "Abode of Love", Prince and Zoe Patterson, one of his virginal female followers, engaged in public ceremonial sexual intercourse on a billiard table in front of a large audience. The scandal led to the secession of some of his most faithful friends, who were unable any longer to endure what they regarded as the amazing mixture of blasphemy and immorality offered for their acceptance. The most prominent of those who remained received such titles as the "Anointed Ones", the "Angel of the Last Trumpet", the "Seven Witnesses" and so forth.

Spaxton
Extensive building work was undertaken to accommodate members and followers at Four Forks in Spaxton, to which Prince and his followers moved in the summer of 1846. Behind 15 ft high walls were built a 20-bedroom house and attached chapel, as well as a gazebo, stables, and cottages, all set within landscaped gardens. The buildings were designed by William Cobbe. The buttressed chapel, with its pinnacles and stained glass, was completed in 1845; today, together with the attached house, it is a Grade II listed building.

In 1899, Prince died at the age of 88. His followers buried Prince in the grounds of the chapel, with his coffin positioned vertically so that he would be standing on the day of his resurrection.

In the early 20th century, a number of houses (some in the Arts and Crafts style) were built at Four Forks by members of the Agapemonites, including Joseph Morris and his daughter Violet.

Since closure of the community, the chapel has been used as a studio for the production of children's television programmes, including Trumpton and Camberwick Green. The complex of buildings became known as Barford Gables and was put on the market in 1997. The chapel received planning permission for conversion into a residential house and was put on the market again in 2004.

Upper Clapton
Between 1892 and 1895 the Agapemonites built the Church of the Ark of the Covenant, Upper Clapton, London. It was designed by Joseph Morris (and his sons and daughters, some of whom lived with the sect ) in a Gothic style. Although it is fairly conventional in floor plan, the outside of the church is a riot of statuary and symbolism. The main doorways sport large carvings of angels and the four evangelists symbolised by a man, an eagle, a bull and a lion. The same four figures, cast in bronze, look out over the four quarters of the Earth from the base of the steeple. The two flanking weather vanes show a certain symbolic debt to William Blake's Jerusalem depicting, as they do, a fiery chariot and a sheaf of arrows (presumably of desire), while the main steeple is clearly surmounted by a spear. The stained glass windows, designed by noted children's book illustrator Walter Crane, and made by J. S. Sparrow, betray the unconventional nature of the sect as they illustrate the 'true station of womankind'. The church was abandoned after 1956, used by a splinter group, and now is used by the Georgian Orthodox Church who have renamed it as the Cathedral of the Nativity of our Lord.

Background
Smyth-Pigott's birth name was John Hugh Smyth. He was born in Somerset around 1853. He had wealthy parents, and was an Oxford graduate, but he began his career as a sailor. After ordination as an Anglican clergyman in 1882, he became a curate and Salvation Army officer. He died of influenza, and his funeral took place in the Agapemone grounds on 24 March 1927.

Smyth-Pigott at Agapemone
After Prince died in 1899 he was replaced by the Reverend John Hugh Smyth-Pigott. Around 1890, Smyth-Pigott again started leading meetings of the community and recruited 50 young female followers to supplement the ageing population of Agapemonites. He took Ruth Anne Preece as his second wife and she had three children, named Glory, Power and Life. By 1902 his fame had spread as far as India, from where Mirza Ghulam Ahmad warned him of his false teachings and made a death prophecy against him in a letter written in November 1902, stating that should Smyth-Pigott refuse to repent from his claims to divinity, then he would die within the lifetime of Mirza Ghulam Ahmad. Also adding that should Smyth-Pigott not die within his lifetime, then this would falsify Mirza Ghulam's claim to messiahship. Along with the cited letter, Mirza Ghulam also separately announced the prophecy he received about Smyth-Pigott in 1902. This was recorded in the 'Tadhkirah'-a collection of his dreams, visions and revelations. Despite this prophecy, Smyth-Pigott continued to claim to be God, both during the life of Mirza Ghulam Ahmad, and after his death. Cited are two August 1905 newspaper clippings from the Auckland Star and The Cambrian detailing separate eyewitness reports of both Smyth-Pigott claiming to be God and his followers still openly preaching his divinity. Similarly, following Mirza Ghulam's death in 1908, Smyth-Pigott once again claimed to be God in 1909 during his inhibition by the Bishop of Bath and Wells, as recorded in the Nottingham Evening Post of March 1927.

The house which may have belonged to Smyth-Pigott in St John's Wood was visited by John Betjeman in his film Metro-land. It is built in the neo-gothic style. It is currently the home of the television presenter Vanessa Feltz and was previously the home of Charles Saatchi.

Following Smyth-Pigott's death in 1927, the sect gradually declined until the last member, Ruth, died in 1956. Her funeral in 1956 was the only time when outsiders were admitted to the chapel.

Smyth-Pigott's grand daughter, Margaret Campbell, recalled that her grandmother (Ruth Preece) had warned her that there were many stories made up about Smyth-Pigott but that he was a 'good man'. Campbell argued that Smyth-Pigott, or Beloved as he was known, did not have affairs although he did have two bigamous wives. She claimed that both wives were happy with the arrangement (one being older and unable to have children) and that the sect had to be viewed as of its time, emerging shortly after religious emancipation in the 1830s. It allowed many rich women an alternative lifestyle to their other options of governess or wife and they lived in luxury at the Agapemone in Somerset until their death. She recalled growing up at the cult as a very happy experience in an interview to the Henley Standard in 2016, shortly before her death. Campbell argued that Beloved had once given a sermon in which he said, 'Christ is no longer here (pointing skywards) but here (pointing to his chest),' thereby expounding the central Christian doctrine of Christ within every Christian and that this had been twisted by the media for their own aims. Kate Barlow deftly dispels rumours of a 'revolving stage of virgins' as described by one newspaper at the time as myth in her memoir 'The Abode of Love' and details many interesting aspects of the cult such as its own signature tea served at 4pm every day.

Books about the sect
The Abode of Love by Aubrey Menen – "an appallingly inaccurate popular account" according to one review – is a novelisation of the history of the Agapemonites under Prince's leadership.

In 2006 Smyth-Pigott's granddaughter, Kate Barlow, published an account of life as a child with her family in the sect. The book includes family photographs and details of conversations she had as a child with the then elderly sect members.

title: Agapemonites


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Everlong

"Everlong" is a song by American rock band Foo Fighters, released in August 1997 as the second single from their second studio album, The Colour and the Shape (1997). The song reached number three on the US Billboard Alternative Songs chart and the Canadian RPM Rock/Alternative chart. It is often regarded as the band's signature song. "Everlong" was the last song performed live by former drummer Taylor Hawkins before his death in March 2022. As a result of his death, streams of the song increased and charted on the Billboard Global 200 at #123, the band's first appearance on the chart.

Production
In late 1996, Dave Grohl was lodging at Bear Creek Studios in Woodinville, Washington, recording what was to be the second Foo Fighters album. While playing around with his guitar during downtime between takes of the song "Monkey Wrench" (which is in drop D tuning), he stumbled on a "Sonic Youth rip off" riff, which he felt had the same vibe as one of that band's songs, "Schizophrenia". He took a liking to it and decided to develop it into a song, the band jamming on what became the verse. The song had not progressed beyond this rudimentary draft by the end of those sessions.

Shortly thereafter, around Christmas time, Grohl returned to his residence in Virginia. As he was going through a divorce, he decided to stay at a friend's house, using a sleeping bag on the floor. It was there that he wrote "Everlong" as a proper song, in 45 minutes. The lyrics were inspired by Grohl's ongoing romance with Louise Post of the band Veruca Salt: "That song's about a girl that I'd fallen in love with and it was basically about being connected to someone so much, that not only do you love them physically and spiritually, but when you sing along with them you harmonize perfectly". Grohl recorded a demo of the song soon after, during a visit to a friend's studio in nearby Washington, D.C. He describes the demo, on which he played all the instruments, as being essentially the same as the album version, but "super raw".

Grohl returned to the West Coast to continue work on The Colour and the Shape. He met with producer Gil Norton at Grandmaster Recorders in Hollywood again, and played the "Everlong" demo for him. Norton was impressed. Soon, Nate Mendel and Pat Smear joined Grohl and Norton, and the group recorded the song. The solo guitar intro was recorded through an Astatic JT40 microphone, which outputs "dull" recordings with "no clarity". Grohl wanted Post to provide vocals. She was in Chicago at the time, however, so her parts (doo doo doos alongside the lead guitar riff, and harmonizing on the chorus) were recorded using two separate telephone lines in the studio, one for her monitor, and the other for recording. Grohl recorded his chorus harmonies through the JT40, which provided vocals at a similar level of fidelity as Post's. For the breakdown, Grohl recorded three spoken word tracks, one telling a story from assistant engineer Ryan Boesch's childhood, of being punished for disturbing his father's sleep, and two others of Grohl reading random passages from a book. The three tracks were planned to be blended together, but only the first was used in the final mix.

Critical reception
"Everlong" is widely regarded as one of Foo Fighters' best songs. In 2020, Kerrang ranked the song number one on their list of the 20 greatest Foo Fighters songs, and in 2021, American Songwriter ranked the song number two on their list of the 10 greatest Foo Fighters songs.

"Everlong" reached 1 billion streams on Spotify on December 2, 2023, the 55th birthday of the Foo Fighters' bassist, Nate Mendel.

Live performances
The Foo Fighters traditionally close their shows with "Everlong". To date, it is the band's most frequently performed song, with 1095 live performances. Since the song was released in 1997, it has been performed in all but four of the Foo Fighters' full-length concerts.

Music video
The surreal, satirical video for "Everlong" was directed by Michel Gondry. It is, in part, a parody of the film The Evil Dead. The version of the song used in the video is longer than the single and album versions.

The video opens in black and white, with Smear and Mendel, dressed as Teddy Boys, outside of a house in which Grohl and his wife, played by Taylor Hawkins, are asleep. In Grohl's dream (in color), he is Sid Vicious at a party, and Hawkins, as Nancy Spungen, is being harassed by Smear and Mendel. In Hawkins' dream (also in color), his character is in a cabin reading a book, while Grohl gathers firewood outside. A hand appears from under a trap door in the floor of the cabin. Back in Grohl's dream, he attacks Smear and Mendel with his enlarged hand. He defeats them, and they vaporize (only to materialize in Hawkins' dream). Grohl and Hawkins escape the party into a room with an enormous telephone, which is ringing loudly. Grohl awakens in their bedroom, where their real phone is ringing. Hawkins, trying to fend off Smear and Mendel in his character's dream, phones Grohl. Grohl, in their bedroom, answers the phone, and realizes that Hawkins is in distress in Hawkins' dream. Unable to wake Hawkins, Grohl returns to sleep in order to enter Hawkins' dream and rescue Hawkins. Grohl finds a nunchaku among the logs that he is carrying in Hawkins' dream. He enters the cabin, and he and Hawkins overcome Smear and Mendel again. Grohl throws their bodies in a nearby lake. Smear and Mendel are then shown in Grohl and Hawkins' bedroom. All of the band members cast off their costumes, and the video ends with them performing the rest of the song as themselves.

Although Hawkins is shown drumming in the video, Grohl was actually the drummer on the song, as Hawkins had not yet joined the band at the time of its recording.

"Everlong" was nominated for Best Rock Video at the 1998 MTV Video Music Awards. On May 11, 2021, it passed 200 million views on YouTube.

Other versions
Although the song is normally performed with electric guitars, vocalist/guitarist Dave Grohl's solo acoustic variation gained popularity after an impromptu rendition on Howard Stern's radio show in 1998. The band has performed it acoustically since then and an acoustic performance concludes their 2006 live CD and DVD Skin and Bones. Additionally, an acoustic version was released on Foo Fighters' 2009 Greatest Hits album.

A live version filmed at Hyde Park on June 17, 2006, was released on the Hyde Park DVD.

A live version appears on the Live at Wembley Stadium DVD which was released in 2008.

Eleven-year-old Ipswich musician Nandi Bushell joined Foo Fighters on stage to perform the song during their concert at the Forum in Los Angeles on August 26, 2021. Bushell had gone viral on YouTube in part due to her drum covers, including "Everlong", and her online drum challenge with Grohl in 2020, which drew millions of views before Grohl "conceded" defeat to Bushell. Grohl had offered her the chance to join Foo Fighters during a performance; it was delayed to 2021 due to the COVID-19 pandemic. "Everlong" gained newfound popularity as a result of this performance and appeared on several Billboard charts that did not exist when the song was first released.

Accolades
* denotes an unordered list.

Usage in media
"Everlong" was used in "Lane Miserables", the eighth episode of the third season of Daria, an animated series on MTV. In the original broadcast, the song played as Daria Morgendorffer watched Trent and Monique leave to go on a date. The episode originally aired on MTV on July 14, 1999.

"Everlong" has been featured in the music video games Rock Band 2, Rock Band Unplugged, Guitar Hero World Tour (which is exportable to other games) and Rocksmith 2014. It is also included in Rock Band for iOS and as a purchasable track in Fortnite Festival.

An arrangement of the song for string quartet was used in the Friends episode "The One with Monica and Chandler's Wedding", during the titular event. It was also used in a 1998 episode of the US daytime soap opera All My Children. The original version of the song was used in Martin Scorsese's 2013 film The Wolf of Wall Street. The song was also used briefly in the movie Little Nicky while Nicky is ascending his girlfriend's apartment building.

The song was used in early workprint versions of David Fincher's 1999 film Fight Club, playing over an unfinished version of the film's title sequence in place of The Dust Brothers' track "Stealing Fat" from the film's original soundtrack, which was used in the final theatrical film. Footage of the unfinished workprint intro sequence featuring "Everlong" has surfaced online.

Comedian and late night talk show host David Letterman has called "Everlong" his favorite song, citing it as having helped him through his recovery from heart surgery in 2000. Foo Fighters were invited to serve as the musical act on the February 21, 2000, episode of Late Show with David Letterman, the first since his surgery, to perform "Everlong." Grohl stated that he was "blown away" after learning that Letterman was a fan of their music. The band went as far as cancelling a stop on a tour in South America so they could perform, explaining that "We just felt like we had to be there. Not only was it an honor to be asked, but it felt like something we had to do – because he had always meant so much to us. And that started this connection that we've had for years. It's fucking cool, you know?" On May 20, 2015, the band returned to perform "Everlong" again, the night of Letterman's final episode. The six-minute-long performance was set to a montage of footage spanning Letterman's career.

Track listings

 * UK CD1 (blue cover)
 * 1) "Everlong"
 * 2) "Drive Me Wild" (Vanity 6 cover)
 * 3) "See You" (Live Manchester Apollo May 25, 1997)

 * UK CD2 (grey cover)
 * 1) "Everlong"
 * 2) "Requiem" (Killing Joke cover)
 * 3) "I'll Stick Around" (Live Manchester Apollo May 25, 1997)

 * Australian CD single, Australian limited edition maxi-single digipack with bonus poster and Netherlands slimbox CD single
 * 1) "Everlong"
 * 2) "Down in the Park" (Gary Numan cover)
 * 3) "See You" (acoustic)

 * Netherlands card sleeve CD single
 * 1) "Everlong"
 * 2) "Down in the Park" (Gary Numan cover)

 * Promo (black cover)
 * 1) "Everlong"

 * UK Limited Blue Vinyl Edition (blue cover)
 * 1) "Everlong"
 * 2) "Drive Me Wild" (Vanity 6 cover)

Personnel

 * Foo Fighters
 * Dave Grohl – lead vocals, lead guitar, drums
 * Nate Mendel – bass guitar
 * Pat Smear – rhythm guitar

 * Additional Personnel:
 * Louise Post – backing vocal

title: Everlong


text:
Batch (album)

Batch is the second album by American punk rock band Big Drill Car. It was released in 1991.

It was the last studio recording with the original line-up, and their last album distributed by Cruz Records. "Freedom of Choice" is a cover of the Devo song.

Critical reception
Trouser Press wrote that "Batch upholds the group’s stylistic consistency: riffs, tunes and punchy rhythms collide in an enjoyable blend of big rock, vampy thrashfunk and nicely detailed pop that hardly belongs on a punk-rooted indie label." The Los Angeles Times wrote that "there is no denying the clean, unrelenting crunch that guitarist Mark Arnold, bassist Bob Thomson and drummer Danny Marcroft achieve as they find hard-rocking middle ground between Led Zeppelin and Husker Du."

Track listing

 * 1) "Take Away" (Arnold, Daly, Smooth, Thomson) - 2:38
 * 2) "Restless Habs" (Arnold, Daly, Thomson) - 2:51
 * 3) "If It's Poison" (Daly) - 2:59
 * 4) "Freep" (Arnold, Daly, Thomson) - 3:30
 * 5) "Never Ending Endeavor" (Daly, Thomson) - 2:48
 * 6) "In a Hole" (Daly) - 2:23
 * 7) "Crust" (Daly, Thomson) - 1:51
 * 8) "Freedom of Choice" (Mothersbaugh, Casale) - 2:35
 * 9) "Ick" (Arnold, Daly, Thomson) - 2:37
 * 10) "Faster" (Daly) - 5:26

Credits
Additional personnel
 * Frank Daly - Vocals
 * Mark Arnold - Guitar
 * Bob Thomson - Bass, album art
 * Danny Marcroft - Drums, background vocals
 * Rich Cranium - Guitar solo on 'Ick'
 * Bill Stevenson - Producer
 * Stephen Egerton - Engineer, Producer
 * Anthony Arvizu - Assistant Engineer, Second Engineer
 * Steve McNeil - Assistant Engineer, Second Engineer
 * Recorded and Mixed at Mambo Sound and Recording, Long Beach, CA

title: Batch (album)


text:
Template talk:User hy

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Should we have a native Eastern Armenian speaker templete or will this do? I think that it should just be native Armenian and not include eastern or western. Like to hear other Armenians thoughts on my idea, or on ideas of their own.--Moosh88 20:37, 22 July 2005 (UTC)
 * I think in this case there's too little difference (the "n" at the end of "andzin") for it to matter. However, I think "մասնակից" may be a better translation of "user", and is used at http://hy.wikipedia.org; in that case there would be a bigger difference, since in Western Armenian, the word is "մասնագիձ" (I think, correct me if I'm wrong). So far in Wikipedia, I've been following conventions similar to those on US/UK English spelling. Whichever spelling is used by the creator of the article is used in the future, except in cases where the article topic pertains directly to one of the two cultures. In the Armenian case, this would probably mean that any location within current-day Armenia, or any person that gained fame under the Soviet rule would unconditionally be spelled using Eastern, while with historical places or figures (e.g. Saint Mesrob), whichever is used by the article creator is kept. So far there haven't been any real problems with that policy, but at some point it would be great to formalise it, since I can tell this may become a point of controversy in the future. --Aramգուտանգa|  03:49, 23 July 2005 (UTC)
 * I think both "մասնակից" and ""մասնագիձ" will be problematic, for the reason you mentioned. On the other hand, the exclusion of the "n" will still be OK for Western Armenians, they'll feel something is missing, but it still is OK for their ears, for at least mines... In other languages like French, the equivalent of the term "personne" is used instead of "user." So andzi, is a good term here, and the text will be acceptable for Westerns and Easterns. Fadix  (My Talk) 15:55, 23 July 2005 (UTC)

Ok, as long as nobody has any serious objections to it. By the way I'd like to know how you can write in Armenian letters. Is it a download for Microsoft Word or is it some other program. Please let me know, thanks!--Moosh88 04:12, 24 July 2005 (UTC)
 * OK, so I guess we'll use "andzi" then. To type Armenian, if you're using Windows2000+, just add Armenian as an input locale in your keyboard control panel, and now that Wikipedia switched to unicode, you can just type Armenian text directly into the edit box. To use it in Word, you may need to download additional fonts though, but they're easy to find on the Internet. --Aramգուտանգa|  18:49, 24 July 2005 (UTC)

Could you tell me how to add Armenian to my input locale, Aram? And do you have any good links for Armenian fonts?--Moosh88 01:28, 25 July 2005 (UTC)
 * I think you'll find everything you need at http://www.armunicode.org/en/, including instructions, keyboard layouts and fonts (in the "Contents" toolbar on the right). There are also some more Armenian fonts at http://www.cilicia.com/armo8.html. --Aramգուտանգa|  21:29, 25 July 2005 (UTC)

Thank you Aram, those sites will be helpful to me.--Moosh88 20:04, 26 July 2005 (UTC)

title: Template talk:User hy


text:
Talk:Batch (album)

Fair use rationale for Image:BigDrillCarBatch.jpg
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title: Talk:Batch (album)