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User talk:PetSounds/Archive 001

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This archive page covers approximately the dates between 15 Jun 2005 and 16 Jul 2005.

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Welcome
Welcome!

Hello,, and welcome to Wikipedia! Thank you for your contributions. I hope you like the place and decide to stay. Here are a few good links for newcomers: I hope you enjoy editing here and being a Wikipedian! Please sign your name on talk pages using four tildes (~~); this will automatically produce your name and the date. If you need help, check out Where to ask a question, ask me on my talk page, or place  on your talk page and someone will show up shortly to answer your questions. Again, welcome! -- Longhair | Talk 22:04, 15 Jun 2005 (UTC)
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Great work with your contributions
I've seen your username appear a few times in Recent Changes of late, so I thought I'd check back to see how you were going since your intial welcome. I'm very impressed and I'm awarding you the Exceptional Newcomer Award. Feel free to display it on your user page with pride.

-- Longhair | Talk 12:40, 18 Jun 2005 (UTC)

Thanks very much Longhair! Much appreciated...

-- PetSounds | Talk 13:01, 18 Jun 2005 (UTC)

Edit summary
Great edit summary at Green Day. Now I understand. And thank you for not being miffed by my previous reversion. Upon reflection, the qualifications are an enhancement if we can add them consistently throughout. I will raise this at Talk:Green Day.—Theo (Talk) 12:30, 22 Jun 2005 (UTC)

No worries. :-) —PetSounds 5:42, 22 Jun 2005

 * I just wanted to drop you a note about Mike Garcia. Regarding Bill & Ted's Excellent Adventure (which is still protected), Mike reverted it 7 times (while being banned for violating the 3RR noless) because he doesn't understand the difference between a copyright date and a release date.  This may be the case if he reverts again (I have no clue if the first release album has 1990 or 1991 on the case).  Please feel free to read the B&T talk page, my talk page and Danny's talk page for more info. Cburnett June 28, 2005 19:16 (UTC)

 * I seem to have predicted the future: Mike reverted. My suggestion is to not revert and draw a consensus on the talk page. Cburnett June 28, 2005 19:41 (UTC)

1,039/Smoothed Out Slappy Hours
Please stop changing 1990 to 1991 to Green Day's first album 1,039/Smoothed Out Slappy Hours and how do you know it was released in July 1991? allmusic.com didn't say that. I'm sorry but your information is wrong. The album was released, copyrighted and published in 1990. Even their official website and the page at Rate Your Music agrees with 1990 and the CD (if you don't have it). If you continue changing it again, I have no other choice but to report you. -- Mike Garcia | talk 19:41, 28 Jun 2005 (UTC)

 * And Mike continues to make threats to other users. Perhaps your last couple revert wars have instilled more civility. Cburnett June 28, 2005 20:09 (UTC)

 * Cburnett, are there any options I can pursue with this person? Because I've presented the amazon release date link (definitive proof) and yet he keeps vandalizing the contents.  Or should I wait til he's banned once again? (I can see why it's happened, after what I've read)  PetSounds 28 June 2005 20:12 (UTC)

 * PetSounds, you have been reported at AMA Requests for Assistance about 1,039/Smoothed Out Slappy Hours. Please explain the meaning why you keep re-writing the incorrect release date. -- Mike Garcia | talk 20:18, 28 Jun 2005 (UTC)

 * Mike, you need to understand that the date on cases is only the copyright date and nothing more unless explicitly stated. This is twice in one week you fail to understand this.

 * PetSounds, if Mike continues to insist on reverting the page (it would seem that my warning of being banned stopped him from going onto his fourth revert) then you're in the same boat I am with Bill & Ted's Excellent Adventure. Cburnett June 28, 2005 20:38 (UTC)

 * Yes, the album does say 1990 on it PetSounds, see: . As I answered you at AMA Requests for Assistance. -- Mike Garcia | talk 28 June 2005 20:45 (UTC)

 * The link is invalid. But, again, the date on the case is the copyright date, NOT the release date. The copyright date is 100% wholly irrelevant to this discussion. Cburnett June 28, 2005 20:49 (UTC)

 * No, Cburnett, you don't understand. The album was orginally released in 1990 and it does make it a 1990 album. Please see the source above. I don't care if it's the copyright or release date. -- Mike Garcia | talk 28 June 2005 20:55 (UTC)

 * You don't get it Mike. WIKIPEDIA cares if it's the release date. I care if it's the release date.

 * FYI, Petsounds. I banned Mike after leaving a warning on his talk page. This is his second ban in a week's span for the same reason. I'm sure it would have been a 3rd time if he didn't do his work on Bill & Ted's Excellent Adventure as an anonymous. Consider this your warning. Since you are relatively new here consider this a lesson in the three revert rule. This rule is an electric fence that you do not cross (please read the page). Cburnett June 28, 2005 21:06 (UTC)

Coldplay discography
Please refer to the Coldplay discussion page and stop making unecessary changes to the main discography section. There's too many chart positions in that section, and I have moved them to their appropriate singles infoboxes.--Madchester June 28, 2005 20:24 (UTC)

Block
You have been temporarily blocked from editing due to revert warring. See Three-revert rule. Note that User:Mike Garcia has also been temporarily blocked for the same reason. Please try to discuss disagreements with other editors on article or user talk pages, and ask third parties for feedback/advise in case of unresolved disputes in the future. Please try to edit with more Civility in the future. Thank you. -- Infrogmation June 28, 2005 21:07 (UTC)

Hi PetSounds: I have restored the release dates to the article. I see that several people have explained matters to Mike. I am sorry that you reached such a point of exasperation that you breached 3RR. I imagine that this will not happen again now that you know the rule. Personally, I avoid reverting anything more than once without discussion, and that is not once every 24 hours, that is once and forever. In this case, I believe that Mike is being intransigent and unreasonable, but that does not justify multiple reverts. Multiple reverts tend to entrench positions. I am now off to check out those certifications that you mentioned.—Theo (Talk) 29 June 2005 05:59 (UTC)

Officializing the page? Is that what I did? It sounds impressive! Seriously, I am, glad that your block was lifted. I considered it myself but knew that I would not be around long enough this evening to discuss it properly with your blocker. I trust that you have "Only revert once" etched on your heart.—Theo (Talk) 29 June 2005 22:10 (UTC)

I sure do! Thanks again Theo... PetSounds 29 June 2005 22:12 (UTC)

Good to see you back
Sorry to see you were blocked last night. I probably would have unblocked you, but alas I'm not an admin. Did you get a warning about the 3 revert rule beforehand? It seems what happened is that Cburnett left you a warning about it on your talk page, but it got lost thanks to the edit conflict bug since the upgrade. Anyway Mike was blocked for 2 days, so that's a good thing. the wub  "?/!"  29 June 2005 22:20 (UTC)

Hey, thanks.... No, I never received that warning (or at least, hadn't seen it in time). No worries, now I'm aware. I just hope we don't have another repeat once Mike returns... It's pointless on his part. PetSounds 29 June 2005 22:24 (UTC)

Track listing lines
I don't know if its you either, but I have run into the same problem with the == == around track listing and used the === === already as well. Thanks for the question. Cbing01 30 June 2005 20:38 (UTC)

Nope, it isn't me. I'm just going around trying to sort it out. I already hit all the Green Day and Beck albums. Working on The Beatles now. PetSounds 30 June 2005 20:40 (UTC)

I'd just like to point out that you did not have to erase A Western Harvest By Moonlight or the stuff linking to it, since a decent article for that still needs to be created.

More Western Harvest chatter
The fact that it is an EP and not a full length album is irrelevant (The Radiohead chronology lists EPs alongside with full albums, as does the Nirvana chronology), as is the fact that it had such a limited run. Golden Feelings had a far smaller run, and The Banjo Story was never released to the public, but both are placed in the official chronology. Beck has also stated in interviews that A Western Harvest Field by Moonlight was his first proper release, so I think its inclusion is more than warrented. I just wish I could get an official release date. Beck's sites says 1994, and AMG has it Mid-1995. I think I'll go with Beck's site...--Weebot 1 July 2005 17:58 (UTC)

To be honest, I don't even know WHY Golden Feelings and The Banjo Story are there....they aren't even official. As far as I - and the general public seem to be concerned - all the Geffen material, including Stereopathetic Soul Manure and One Foot in the Grave are official albums. Something that has a limited run and put on vinyl (now that's obscure) can't really be considered an official or proper release, since NO one can have access to it. I just don't think it should be listed between his regular albums.... Why don't you create an "unofficial" list the main Beck page below his proper releases and put Banjo Story, Golden Feelings and Western Harvest there? This way the link can be accessed from his regular page.... Heck, I think I'll do it now.... PetSounds 1 July 2005 23:42 (UTC)

Blanking
Hello, PetSounds. Was this blanking intentional or accidental? Please be more careful next time. Thanks, Sango  123  July 6, 2005 18:12 (UTC)

Image contributions
Hi, thanks for all of your helpful image contributions. Please see Image copyright tags, for how to properly tag your images with a copyright tag. I have added to some of your recent uploads. You can use that tag and for albums and DVDs, respectively. Thanks again. <> Who ? ¿ ? 7 July 2005 02:41 (UTC)

 * Thanks for the message. I'm new here and I'm still learning my way around.... Cheers. PetSounds 7 July 2005 02:51 (UTC)
 * Glad to help. <> Who ? ¿ ?  7 July 2005 02:53 (UTC)

Weezer's Make Believe
Hey, I saw you deleted my changes to the Weezer-Make Believe article. I really think it's fair to say it was released to mixed reviews by both fans (especially older ones) and critics - I have seen some very negative reviews, and some older Weezer fans I know hate it, but some positive ones too. I mean, that Metacritic site which I had mentioned averages all of the reviews as a 49 out of 100, that's very middle of the road. It got 4 stars from Rolling stone, but you can't discount bad reviews just because you like Weezer or the album. Awiseman

Your last warning on 1,039/Smoothed Out Slappy Hours by Green Day
PetSounds, please don't change 1990 to 1991 for 1,039/Smoothed Out Slappy Hours again, you have the wrong information. Unconvinced? Please see the source again before changing/reverting: and you better not change/revert it again this time. If you do it, I'm gonna be tracking you off, so don't have me do it. -- Mike Garcia | talk 16:25, 9 July 2005 (UTC)

Sweetheart of the Rodeo
Please see my question/remark at Talk:Sweetheart of the Rodeo. -- Jmabel | Talk 05:30, July 10, 2005 (UTC)

Just saw your name around
..on the recent changes page. Thought I'd give ya' a call. I too am a fellow Beach Boys nutcase (all the album writeups, from the absolutely awesome, but still lacking important information and a picture, to the probably featured, but still needing work, I feel, to the crap wouldn't mind some co-assistance between the two of us. Together I reckon we could make them look real good. What do you think? I've worked in varying capacities on all these articles, so I don't mind what happens.

Looking forward to hearing from you. Bobo192 | Edits

 * Now that is cool. Some of these articles need real work.. but to be honest, I think if we work on them in order or something, to some kind of standard, so we start working on Surfin' Safari, and go all the way through to Still Cruisin', SIP, and S+S Vol 1.. come to think of it, S+S Vol 2 needs some work..

 * To be honest, part of me says that the article needs a sweet little bootlegs section.. (but don't tell anyone.. that way, nobody will know. Bobo192 | Edits

 * As I wrote that, I think I agreed immediately - though I think possibly think there is one we might be able to get away talking about which is the Vigotone bootleg of all of the sections on the original forms... something which says something in the form of: "there is somewhere which lists all the recording session's main sections for Smile", [but that it indeed is a bootleg] (a statement which in that form shouldn't really be touched with a ten foot porbeagle, obviously). Thank you. Bobo192 | Edits (incidentally, you may feel safer removing this message in the future, just in case, as you say, something might be wrong..)

 * That's cool, it's just that the last time I knew (ie, when I put the description of the album cover in there), the actual cover itself hadn't been uploaded. It's my fault for not checking it had been since. Bobo192 | Edits

 * No no, you're mistaken. That is just a general me, it's just my being guilty of having far too much information at my fingertips. I should definitely simplify to the basics, particularly with the earlier albums. If we could work more encyclopaedically on the tracks (particularly with a view simply to when they were recorded and if they were released as a single, if nothing else.. I think that would be adequate. If you show me what you have in mind, that would be cool. Bobo192 | Edits

 * Sweet work. Unless (last minute thought) it would be easier simply to list the singles beneath the track listing, like this. Bobo192 | Edits

Singles

 * Surfin' Safari b/w County Fair (Capitol 4777, June 4 1962 #14)
 * Surfin' b/w Luau (X; Candix 301 #75)

The Beach Boys Today
That's really cool - and probably a lot more than I could have done. I did have a passing thought last night about this idea and whether it was worth it - any tracks within any albums which we would want to go into detail about, make them a separate heading (above the track listing) and then talk about them in that way. For example, the Smiley Smile version of Good Vibrations (which to be honest, I can't listen to any more without thinking of Brian's 2004 version.. Obviously this wouldn't have to be the case for all tracks. Or would it? That would be awesome if we could, but sadly nobody apart from us two would probably care for it. Bobo192 | Edits

 * I'm not saying it's wrong. The opposite, in fact. I think the interest lies not in what people want to know, what people need to know... but what we, as self-confessed experts in the field, think people should know - as much as possible. In that way, maybe there are some people who would care for it - maybe it's them that are the people we should reach out to. Thoughts? Bobo192 | Edits

Wikification
Which in fairness we'd probably only do to those tracks which already have articles. You're right, I think I'm going to crazy in trying to be over the top about this. I mean, there'd only be a certain number of tracks we'd probably want to talk about, right? Good Vibrations, most, if not all on Pet Sounds, those already Wikified, viz California Girls, Fun, Fun, Fun, God Only Knows, Heroes and Villains, Kokomo and Sail On Sailor. I don't know. Maybe we actually don't need to talk about any others? In a way, that would be a pity, but in another, it's a perfect compromise for elegance. Bobo192 | Edits

Bob Dylan revisions -- Please STOP!
I have no polite way to put this. Stop screwing up the Bob Dylan pages. I don't know what references you're using, but they're really unreliable. For example:

You changed the title of one album from "At Budokan" to "Bob Dylan At Budokan" -- even though the original title is the one which appeared on the LPs, is the one which appears on the CD release, and is the official title used on Dylan's official website.

You removed the "incomplete" tag from the album list on the Dylan discography page -- there are at least 6 albums that still aren't included, mostly fairly rare releases from outside the North American market, but also at least two which have been distributed in the NA market. There are also several albums which were issued in multiple editions that need additional notes.

Your additions regarding the "Dylan" album are almost entirely wrong. It's taken almost entirely from the "New Morning" sessions, not the "Self Portrait" sessions. It has been issued on CD, but not in the North American market, and it wasn't deleted from the catalog, but until recently was available on cassette. It's not "universally" considered his worst album; there are repeated online arguments on this point, with "Dylan," "Dylan & The Dead," and "Down In The Groove" all having their champions. I'm not sure where you got those songwriting credits, either; "Ballad Of Ira Hayes" was written by Peter LaFarge, and "Spanish Is The Loving Tongue" may be public domain, but it should be credited to Charles Badger Clark.

Why in God's name did you change the image of "Blood On The Tracks" from the original release to the recent SACD version but leave the caption identifying it as the LP in place? Why change it at all?

Way too many of your textual additions that I've looked at are NPOV-violating. This isn't the place to express your aesthetic opinions, or mine.

And I'm really piqued that without justification you deleted the information regarding dates, etc, for sales milestones that I spent a considerable amount of time adding to the Dylan album discography page. The information (indicating long-term sales patterns) is often discussed and requested online, and supports comments made in other Dylan-related pages.

The graphics and formatting you added to many of the pages is certainly useful. But it's more than offset by the amount of misinformation you've added.

And learn to use the "show preview" function in page editing.

Monicasdude 01:22, 15 July 2005 (UTC)

Inaccurate Bob Dylan revisions -- Please STOP!
I still have no polite way to put this. Stop screwing up the Bob Dylan pages. I don't know what references you're using, but they're really unreliable. You don't respond to any of the factual issues I raise, and saying that you prefer your version of an album title to the official version is a ridiculous thing to say in the context of an encyclopedia.

For example:

You changed the title of one album from "At Budokan" to "Bob Dylan At Budokan" -- even though the original title is the one which appeared on the LPs, is the one which appears on the CD release, and is the official title used on Dylan's official website.

You removed the "incomplete" tag from the album list on the Dylan discography page -- there are at least 6 albums that still aren't included, mostly fairly rare releases from outside the North American market, but also at least two which have been distributed in the NA market. There are also several albums which were issued in multiple editions that need additional notes.

Your additions regarding the "Dylan" album are almost entirely wrong. It's taken almost entirely from the "New Morning" sessions, not the "Self Portrait" sessions. It has been issued on CD, but not in the North American market, and it wasn't deleted from the catalog, but until recently was available on cassette. It's not "universally" considered his worst album; there are repeated online arguments on this point, with "Dylan," "Dylan & The Dead," and "Down In The Groove" all having their champions. I'm not sure where you got those songwriting credits, either; "Ballad Of Ira Hayes" was written by Peter LaFarge, and "Spanish Is The Loving Tongue" may be public domain, but it should be credited to Charles Badger Clark.

Why in God's name did you change the image of "Blood On The Tracks" from the original release to the recent SACD version but leave the caption identifying it as the LP in place? Why change it at all?

Way too many of your textual additions that I've looked at are NPOV-violating. This isn't the place to express your aesthetic opinions, or mine.

And I'm really piqued that without justification you deleted the information regarding dates, etc, for sales milestones that I spent a considerable amount of time adding to the Dylan album discography page. The information (indicating long-term sales patterns) is often discussed and requested online, and supports comments made in other Dylan-related pages.

The graphics and formatting you added to many of the pages is certainly useful. But it's more than offset by the amount of misinformation you've added.

And learn to use the "show preview" function in page editing.

Monicasdude

title: User talk:PetSounds/Archive 001


text:
Wikipedia:Articles for deletion/Amber Rose (porn star)

 This page is an archive of the proposed deletion of the article below. Further comments should be made on the appropriate discussion page (such as the article's talk page or on a Votes for Undeletion nomination). No further edits should be made to this page.

The result of the debate was keep. Eugene van der Pijll 15:59, 31 July 2005 (UTC)

Amber Rose (porn star)
Google search for amber-rose queefer gives 18 hits, some of which are wikipedia mirrors. Vanity page. Delete. -- Norvy (talk) 15:44, 17 July 2005 (UTC)
 * This may be because of aliases used when refering to her. Finding her real name was quite a challenge. --Easyas12c 23:04, 17 July 2005 (UTC)

 * Keep and cleanup Slightly notable (according to Google) porn actress with 1,600 hits. I think this entry is too geared toward her recent work, and should probably be edited with less emphasis on anything in particular that she's done recently and more on her career as a whole and notable films. -Harmil 02:38, 18 July 2005 (UTC)
 * Delete. While a Google search revealed 46700 results, most of the results weren't about her. This indicates that she is not particularly notable. Capitalistroadster 17:03, 17 July 2005 (UTC)
 * Huh?! Because there are more notable "Amber Roses" out there, this one is non-notable?! I suggest you just stick to my results, above. -Harmil 02:41, 18 July 2005 (UTC)

(UTC)
 * Delete - non-notable porn star known only to fans of an obscure sub-genre. AdorableRuffian 17:57, 17 July 2005 (UTC)
 * Cleanup. If this was cleaned up a bit to explain more of why she is notable, we should keep it. Otherwise, delete.Nandesuka 18:04, 17 July 2005 (UTC)
 * Keep. The fact that she works in an obscure sub-genre sets her apart and makes her more notable, in my opinion. Pburka 19:36, 17 July 2005 (UTC)
 * Keep -- verifiable actor - Longhair | Talk 21:00, 17 July 2005
 * Keep, clean up and expand: my God that's a double-entendre.
 * Delete, that few hits for a porn actress = non-notable. Dcarrano 22:14, July 17, 2005 (UTC)
 * Keep. The subgenre is very obscure and I couldn't find another as notable porn star on that genre as she is -- Easyrider1283 2005-07-18T01:50:31.0+03:00
 * Keep. She is a genuine adult actress. Agree with Pburka's point about notability. -- Judson 22:58, 17 July 2005 (UTC)
 * Keep. As I already said on the talk page before VfD (with minor corrections)... Queefing genre isn't that big, so basicly anyone who has been in the movies is notable within the genre. And they will be even more notable, if the genre grows huge someday. So either it is reported as a shortly fading phenomenon or a huge success. So notable anyway I'd say. If there are lots of pornstars specialised in queefing who have been in the genre before 2002, then I guess that would make her less notable. --Easyas12c 23:07, 17 July 2005 (UTC)
 * Keep notable genre actress. JamesBurns 08:58, 18 July 2005 (UTC)
 * Delete Trivial and unnecessary. CalJW 13:13, 18 July 2005 (UTC)
 * Keep Meets the Google test for me. Impurience of her field is not reason for deletion. Xoloz 17:41, 18 July 2005 (UTC)
 * Keep and cleanup Enough Google hits for me.-- Grpunkim 19:28, 21 July 2005 (UTC)
 * Keep only with expansion. measurements would be a plus --fpo 01:26, July 27, 2005 (UTC)
 * Keep. -- BRIAN 0918  00:19, 1 August 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/


text:
User talk:PetSounds/Archive 002

Back to Brian's Archive Contents and Index

'''DO NOT EDIT OR POST REPLIES TO THIS PAGE. THIS PAGE IS AN ARCHIVE.'''

This archive page covers approximately the dates between 16 Jul 2005 and 17 Jul 2005.

Post replies to the main talk page, copying the section you are replying to if necessary. (See How to archive a talk page.)

Wiping out Endless Summer
Hello, Pet Sounds. You seem to be trying to wipe out the Beach Boys Endless Summer compilation on the grounds that it is "not an official album". That may be the case now, but it was certainly not the case back in 1974 when it came out. Discographies and album articles don't just describe what is available now, they also describe what was available then, and as the article points out, Endless Summer was an important album in restoring their popularity and one of their best sellers ever. I will restore the mentions of these records with a note that they are no longer in print. I hope this is acceptable to you. Wasted Time R 01:25, 16 July 2005 (UTC)

I concur
It's the only compilation to play an important part in their history. It should be listed. [Unsigned at 04:10, 16 July 2005 by L1759 ]

Stop vandalizing the Bob Dylan pages!
I still have no polite way to put this. Stop screwing up the Bob Dylan pages. I don't know what references you're using, but they're really unreliable. You don't respond to any of the factual issues I raise, and saying that you prefer your version of an album title to the official version is a ridiculous thing to say in the context of an encyclopedia. Your comments on several pages make clear that you neither respect consensus nor are you will to acknowledge well-documented facts.

For example:

You changed the title of one album from "At Budokan" to "Bob Dylan At Budokan" -- even though the original title is the one which appeared on the LPs, is the one which appears on the CD release, and is the official title used on Dylan's official website.

You insist in inserting an incorrect release date for John Wesley Harding, even though the correct date is listed in 4 in-print discographies, three on-line discographies, and Bob Dylan's official site.

You removed the "incomplete" tag from the album list on the Dylan discography page -- there are at least 6 albums that still aren't included, mostly fairly rare releases from outside the North American market, but also at least two which have been distributed in the NA market. There are also several albums which were issued in multiple editions that need additional notes.

Your additions regarding the "Dylan" album are almost entirely wrong. It's taken almost entirely from the "New Morning" sessions, not the "Self Portrait" sessions. It has been issued on CD, but not in the North American market, and it wasn't deleted from the catalog, but until recently was available on cassette. It's not "universally" considered his worst album; there are repeated online arguments on this point, with "Dylan," "Dylan & The Dead," and "Down In The Groove" all having their champions. I'm not sure where you got those songwriting credits, either; "Ballad Of Ira Hayes" was written by Peter LaFarge, and "Spanish Is The Loving Tongue" may be public domain, but it should be credited to Charles Badger Clark.

Why in God's name did you change the image of "Blood On The Tracks" from the original release to the recent SACD version but leave the caption identifying it as the LP in place? Why change it at all?

Way too many of your textual additions that I've looked at are NPOV-violating. This isn't the place to express your aesthetic opinions, or mine.

And I'm really piqued that without justification you deleted the information regarding dates, etc, for sales milestones that I spent a considerable amount of time adding to the Dylan album discography page. The information (indicating long-term sales patterns) is often discussed and requested online, and supports comments made in other Dylan-related pages.

The graphics and formatting you added to many of the pages is certainly useful. But it's more than offset by the amount of misinformation you've added.

Learn to use the "show preview" function in page editing, and stop posting lies and persaonal abuse on my talk page. Monicasdude 05:28, 16 July 2005 (UTC)

If I may be a third party observer
Point 1: "You changed the title of one album from "At Budokan" to "Bob Dylan At Budokan" -- even though the original title is the one which appeared on the LPs, is the one which appears on the CD release, and is the official title used on Dylan's official website." Seems like a minor point, but I have to go with Monicasdud on this. Wikipedia seems pretty anal in its searches, and most people as well as most record guides go by "At Budokan." Maybe it's different in Canada, I don't know.

Point 2: "You insist in inserting an incorrect release date for John Wesley Harding, even though the correct date is listed in 4 in-print discographies, three on-line discographies, and Bob Dylan's official site." If this is really true, I think the correct date M is referring to is probably the one to go with.

Point 3: "You removed the "incomplete" tag from the album list on the Dylan discography page -- there are at least 6 albums that still aren't included, mostly fairly rare releases from outside the North American market, but also at least two which have been distributed in the NA market. There are also several albums which were issued in multiple editions that need additional notes." No comment, not that familiar with every release.

Part 4: "Your additions regarding the "Dylan" album are almost entirely wrong. It's taken almost entirely from the "New Morning" sessions, not the "Self Portrait" sessions. It has been issued on CD, but not in the North American market, and it wasn't deleted from the catalog, but until recently was available on cassette. It's not "universally" considered his worst album; there are repeated online arguments on this point, with "Dylan," "Dylan & The Dead," and "Down In The Groove" all having their champions. I'm not sure where you got those songwriting credits, either; "Ballad Of Ira Hayes" was written by Peter LaFarge, and "Spanish Is The Loving Tongue" may be public domain, but it should be credited to Charles Badger Clark." Did it get changed back? Because I checked and it said New Morning sessions, so it seems this stuck. As for whether it's universally considered his worst album, maybe you should say it's "widely considered his worst album." Outside of critics some fans seem to dig it for some crazy reason. Good point about the songwriting credits.

Part 5: "Why in God's name did you change the image of "Blood On The Tracks" from the original release to the recent SACD version but leave the caption identifying it as the LP in place? Why change it at all?" PS said it was to get rid of the Compact Disc logo, so without having seen the previous image, I'm guessing the problem is the LP caption. Maybe you should get rid of it since it doesn't sound like the original LP cover was EVER posted.

Part 6: "Way too many of your textual additions that I've looked at are NPOV-violating. This isn't the place to express your aesthetic opinions, or mine...etc, etc" I can see PS's point, that info is pretty dry and personally I'm not interested in it, but if there's a demand, hell, who not, put it up. The more info, the merrier. Besides, I hate how bare and crummy some REAL encyclopedia entries are. "Orson Welles was a filmmaker. He did these films. He was born this date and died this date. End of story." Why not do something better.

Also looking at PS's other comments, he's sliding on a slippery slope there.

PS - Saying that Blood on the Tracks is one of his best-loved albums is not POV, that is fact. Saying "I really really like Blood on the Tracks, man! It's the best!" - now THAT's POV.

The tone and language is different, but you're expressing virtually the same sentiment. Both are opinions attributed to the writer too. If you were citing the consensus of critics or maybe sales or a fan poll somewhere that's one thing but to say it "is one of his best-loved albums" runs into the same problem that got Ken Burns in trouble for saying "Billie Holiday was the greatest jazz singer of all-time" at the opening of his Jazz documentary. I'm sure if you took a poll, she may very well win, but they weren't surveying opinions, they worded it as fact. A BIG no-no. [Unsigned at 07:21, 16 July 2005 by L1759 ]

Bob Dylan
The additions you made to the Bob Dylan discography page today are very good. Keep it up!

(PS i'm not sure that what the other two people said was really harassment, there's no need to be too sensitive :) ) SECProto 15:13, July 16, 2005 (UTC)

Stop whining to the admins
Stop harassing the admins whenever people disagree with your edits. Stop violating the wiki guidelines by posting dishonest information about your edits. Stop posting your personal opinions as fact and calling them the general consensus of observers; even if they reflect general opinion, it's still opinion, not fact. Calling people who disagree with you vandals is just bad faith personal abuse. Monicasdude 21:32, 16 July 2005 (UTC)

And editing other people's talk pages to remove comments you disagree with is beyond the pale. Monicasdude 02:49, 17 July 2005 (UTC)

Stop posting inaccurate personal abuse about me on other users' talk pages
And stop editing third parties' talk pages to delete my replies to your senseless invective. It's appalling misbehavior. Monicasdude 07:20, 17 July 2005 (UTC)

 Do not delete the following comment by User:Monicasdude again, per Wikipedia user_talk page guidelines. New users have the right to read of disputes older users have had with you. By the way, John Wesley Harding was released December 27, 1967 and don't delete my text either. — F REAK OF N URxTURE  ( TALK )  08:37, July 17, 2005 (UTC)

M.I.U. Album
A series of edits all marked minor led to this change:. Please only mark edits as minor when they genuinely are. --Mel Etitis ( Μελ Ετητης ) 10:06, 17 July 2005 (UTC)

 * I've just been tidying the article, and I notice that the text says "it produced a surprise hit in their cover of "Come Go with Me" in late 1981", but the single doesn't appear in the discography. I've added it, but I don't have any of the details (B-side, sales, etc.). --Mel Etitis ( Μελ Ετητης ) 10:13, 17 July 2005 (UTC)

Re: Help again Theo
Hi Brian: Before I do anything further about the issues that you raised at my talk page I want to address an number of points about the very message that you left. Talk pages are a public forum. Anything written on them can be read by anyone: by the person of whom you speak, by our peers, and by anyone who happens to drop in. The message that you left was at best mildly abusive and certainly hurtful towards Monicasdude. Such phrasing hinders communication and does not move us forward. I am going to take the time to annotate a copy below to show exactly what I mean. My comments are normal text in <>:

 * There's this rather persistent (and incorrigible ) user named User: Monicasdude who has become a real self-righteous  thorn in my foot. I have spent the last several days fixing (in some cases, literally creating) loads of album articles for The Beach Boys (please go to that page to find the studio album discography). This anonymous user has repeatedly vandalized my work, by reverting it to before I had even touched it. He has done this twice now (and likely will continue to do so) starting with Smiley Smile to Love You. His reasons are really because I improved upon his Bob Dylan pages  (because, you see, I learned over the last few days that those album articles actually belong to him, not Wikipedia  - no one can edit his work without it being reverted it seems ). He'll maintain that I've got loads of POV in the Beach Boys articles now, when in actual fact I'm merely summarizing the general impressions of the albums based on official reviews or historical views. I'm not putting MY view on things. The laughable part is that he's reverting everything I do (it's almost like I'm being targeted on purpose) and what remains are short and, in some cases, badly written blurbs with POV to begin with! Which leads me to consider this to be petty vandalism.'' I've explained and offered my authorized sources and told him I was open to collaboration, discussion, etc... but it's to no avail. He stubbornly wants the Dylan pages HIS way, and now has seen fit to come over to the Beach Boys pages to purposely fuel the fire (and pages which I had previously discussed fixing with another user, User:Bobo192). Theo, I've put LOADS of time into these BB articles and I feel they are well-written, informative and as objective as possible. I fixed song timings, album timings, song credits, added improved album graphics and even created whole new pages. What's more - I've had fun doing this and have had possible feedback. Look for yourself and see if what I've done is so awful that the whole page needs to be wiped from all my articles and compare them to what the other fellow is subtituting them with (in particular Wild Honey or 15 Big Ones). Surely, they can't be better?

 * Also, he persists in harrassing me on my home page by resubmitting an immature  and self-righteous   message.

I have to attend to real-life responsibilities now but I will return to your request. Be assured that all my comments are about the tone of your message and their likely consequences. I make no comment yet on my perception of the merits of your underlying case. Try to stay cool and very courteous. Indeed, irrespective of the merits of your case, I hope that you will apologise to Monicasdude for your tone. This may be condescending but I would rather be thought an arsehole than be misunderstood: I hope that you will bear in mind my opinion that conditional apologies are no real apology. —Theo (Talk) 10:31, 17 July 2005 (UTC)

Nice work!
Your contributions to Wikipedia so far have been exceptional. Great job, and here's hoping you stay with us awhile! Andrew Lenahan - St ar bli nd 13:47, July 17, 2005 (UTC)

Archiving
Hi Brian: It is better to archive your talk page rather than simply delete things. Although we are all exhorted to assume good faith, it can look like the hiding of bad news to do otherwise. Would you like me to create an archive for you? —Theo (Talk) 13:50, 17 July 2005 (UTC)

Yes please. I don't know yet how to do that, and I don't want it to look like there's anything to hide, although I resent being pestered by others on my own page (you excluded, of course). Thanks PetSounds 13:53, 17 July 2005 (UTC)

title: User talk:PetSounds/Archive 002


text:
Sister republic

A sister republic (république sœur, ) was a republic established by the French First Republic or by local revolutionaries during the French Revolutionary Wars. These republics, though nominally independent, relied heavily on France for protection, making them more akin to autonomous territories rather than independent states. This became particularly evident after the declaration of the French Empire, when several states were annexed, and the remaining turned into monarchies ruled by members of the Bonaparte family.

History
The French Revolution was a period of social and political upheaval in France from 1789 until 1799. The Republicans who overthrew the monarchy were driven by ideas of popular sovereignty, rule of law, and representative democracy. The Republicans borrowed ideas and values from Whiggism and Enlightenment philosophers. The French Republic supported the spread of republican principles in Europe. According to Paul D. Van Wie most of these sister republics became a means of controlling occupied lands as client regimes through a mix of French and local power.

Sister republics in Italy

 * The Subalpine Republic (1800–1802), annexed by the French Republic
 * The Piedmontese Republic (1798–1799), conquered by Austro-Russian troops and rendered back to Sardinia, but reconquered by Napoleon in 1800 and renamed the Subalpine Republic (Novara to the Italian Republic)
 * The Republic of Alba (1796), reconquered by the Kingdom of Sardinia
 * The Parthenopean Republic (1799), reconquered by the Sanfedisti for the King of Naples and Sicily
 * The Republic of Pescara (1799), reunited with the Kingdom of Naples
 * The Roman Republic (1798–1799), ended with the restoration of the Papal States
 * The Anconine Republic (1797–1798), joined the Roman Republic
 * The Tiberina Republic (1798–1799), joined the Roman Republic
 * The Ligurian Republic (1797–1805), annexed by the French Empire
 * The Republic of Lucca (1799 and 1800–01), later continued (1801–05) under the old oligarchy and replaced by the Principality of Lucca and Piombino
 * The Italian Republic (1802–1805), transformed into the Kingdom of Italy
 * The Cisalpine Republic (1797–1802), transformed into the Italian Republic
 * The Cispadane Republic (1796–1797), formed the Cisalpine Republic
 * The Bolognese Republic (1796), annexed by the Cispadane Republic
 * The Transpadane Republic (1796–1797), formed the Cisalpine Republic
 * The Republic of Crema (1797), formed the Cisalpine Republic
 * The Republic of Bergamo (1797), formed the Cisalpine Republic
 * The Republic of Brescia (1797), annexed by the Cisalpine Republic
 * The Provisional Municipality of Venice (1797–1798), annexed by the Austrian Empire

Other sister republics

 * The Republic of Bouillon (1794–1795)
 * The Republic of Liège (1789–1791)
 * The Rauracian Republic (1792–1793), French revolutionary republic in Basel
 * The Lémanique Republic (1798), joined the Helvetic Republic
 * The Republic of Mainz (1793), French revolutionary republic in Rhenish Hesse and the Electoral Palatinate
 * The Batavian Republic (1795–1806)
 * The Cisrhenian Republic (1797)
 * The Irish Republic (1798), accompanied General Jean Joseph Amable Humbert's Irish expedition in support of the Irish Rebellion of 1798
 * The Helvetic Republic (1798–1803)
 * The Republic of Danzig (1807–1814)
 * The Rhodanic Republic (1802–1810) (Valais)

title: Sister republic


text:
Sikorsky S-39

The Sikorsky S-39 is an American light amphibious aircraft produced by Sikorsky Aircraft during the early 1930s. The S-39 was a smaller, single-engine version of the S-38.

Spirit of Africa
Filmmakers Martin and Osa Johnson used a giraffe-patterned S-39 Spirit of Africa, with companion zebra-striped S-38 Osa's Ark, to explore Africa extensively, making safari movies and books.

Military usage

One example of the S-39 was acquired by the United States Army Air Corps in 1932, given the designation Y1C-28. It was evaluated for use in coastal patrol and light transport roles; in 1934 it was redesignated C-28 and assigned as a liaison aircraft to the United States Military Academy.

At least one S-39 saw service with the Civil Air Patrol Coastal Patrol from 1942 to 1943. This was part of a fleet of civilian aircraft flown by volunteers along the Atlantic and Gulf Coasts, searching for both German submarines and for allied ships in distress. Seaplanes such as the S-39 were sometimes used for search and rescue if another aircraft crashed or went missing. A surviving CAP S-39, previously based at Rehoboth Beach, Delaware, is currently on display at the New England Air Museum.

Yacht
Edward A. Deeds had the yacht Lotosland designed to incorporate aircraft capability. After loss of the planned aircraft on first loading Deeds ordered an S-39-A replacement the next day. The aircraft was intended to allow Deeds to quickly travel from his yacht to business and events ashore.

Variants

 * S-39-A: 4-seat version
 * S-39-B: Improved 5-seat version of the S-39-A
 * S-39-C: Converted from S-39-B
 * C-28: One example of the S-39 acquired by the United States Army Air Corps

Surviving aircraft

 * 904 – S-39-B on static display at the New England Air Museum in Windsor Locks, Connecticut.
 * Composite – S-39-C airworthy with at Fantasy of Flight in Polk City, Florida. It was recovered from Alaska in 1965 and incorporated parts of five S-39s. It was restored by Dick Jackson and first flew in 2003.
 * 920 – S-39-C under restoration with Frederick W. Patterson III of American Canyon, California. This is the last S-39 produced and was originally owned by Shell Eastern, the original name of the Shell Oil Company.

title: Sikorsky S-39


text:
User talk:PetSounds/Archive

Back to Brian's Talk Page

Archive 001
Archive from 15 Jun 2005 to 16 Jul 2005.

Archive 002
Archive from 16 Jul 2005 to 17 Jul 2005.

title: User talk:PetSounds/Archive


text:
Wikipedia:Articles for deletion/Lesbian Queefing & Other Kinks

 This page is an archive of the proposed deletion of the article below. Further comments should be made on the appropriate discussion page (such as the article's talk page or on a Votes for Undeletion nomination). No further edits should be made to this page.

The result of the debate was delete. Joyous (talk) 23:13, July 25, 2005 (UTC)

Lesbian Queefing & Other Kinks
Non-notable movie by non-notable porn star. Google search for lesbian-queefing other-kinks turns up 53 results, which are wikipedia mirrors and online stores with one-line descriptions. Delete. -- Norvy (talk) 15:49, 17 July 2005 (UTC)
 * Delete nn. BTW Norvy, you can use "-wikipedia" on Google searches to remove Wikipedia and most of the sites that use Wikipedia content (as they will mention Wikipedia on the page). -Harmil 02:51, 18 July 2005 (UTC)
 * Delete, not notable. AdorableRuffian 17:58, 17 July 2005 (UTC)
 * Delete not notable CDC   (talk)  18:35, 17 July 2005 (UTC)
 * Delete per above. Dcarrano 19:00, July 17, 2005 (UTC)
 * Weak Keep as per vote below. JamesBurns 08:59, 18 July 2005 (UTC)
 * Delete Trivia. CalJW 13:14, 18 July 2005 (UTC)

 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in an undeletion request). No further edits should be made to this page.


text:
Wikipedia:Articles for deletion/Amber, The Lesbian Queefer (movie)

 This page is an archive of the proposed deletion of the article below. Further comments should be made on the appropriate discussion page (such as the article's talk page or on a Votes for Undeletion nomination). No further edits should be made to this page.

The result of the debate was no consensus. Joyous (talk) 23:15, July 25, 2005 (UTC)

Amber, The Lesbian Queefer (movie)
Non-notable movie by non-notable porn star. Delete. -- Norvy (talk) 15:49, 17 July 2005 (UTC)
 * Delete. It's no "Whore of The Rings" or "Sa-pornos" :-) --Madchester 16:33, July 17, 2005 (UTC)
 * Weak delete 1000 hits on Google, but most are retail sites... -Harmil 16:39, 17 July 2005 (UTC)
 * Delete, very obscure and non-notable. AdorableRuffian 18:02, 17 July 2005 (UTC)
 * Delete not notable CDC   (talk)  18:35, 17 July 2005 (UTC)
 * Delete per above. Dcarrano 19:01, July 17, 2005 (UTC)
 * Keep. Verifiable movie, per IMDB. Pburka 19:34, 17 July 2005 (UTC)
 * Keep -- Verifiable film. - Longhair | Talk 20:59, 17 July 2005 (UTC)
 * Delete nn, obscure. Wikipedia $$\neq$$ IMDB. -Splash 22:25, 17 July 2005 (UTC)
 * Keep. Important because of it's relation to queef. Note that there are not many queef movies that are more notable than this one (, not in Wikipedia anyway) --Easyas12c 22:48, 17 July 2005 (UTC)
 * Keep. There are many other erotic movies that have articles on wikipedia. -- Judson 22:57, 17 July 2005 (UTC)
 * Keep verifiable genre film. JamesBurns 09:00, 18 July 2005 (UTC)
 * Delete Trivia. Serves no purpose except as an advertisement. CalJW 13:16, 18 July 2005 (UTC)
 * Keep. Obscure ? Or  even very obscure.... sounds interesting :-) MutterErde 14:23, 19 July 2005 (UTC)
 * Keep. Not my kind of thing mind you, but it is notable only for the fact that this is one of the (apparently) few movies in this sub-genre. Therefore it should be covered, if only for that reason.  -- Joe Beaudoin Jr. 04:43, 23 July 2005 (UTC)

 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in an undeletion request). No further edits should be made to this page.


text: Talk:Sharif of Mecca

title: Talk:Sharif of Mecca


text:
Nipple clamp

A nipple clamp is a type of sex toy that is applied to a person's (typically female's) nipples to pinch them. Varieties of nipple clamp include clothes-pin-style, tweezer and clover. Nipple clamps are used to cause pain in the nipples as part of certain BDSM activities. They are also used to produce erotic stimulation as part of nipple play. In this context they are not primarily used to produce pain but rather to increase nipple sensation. Their use traps blood in the nipples, increasing the sensitivity of the nipple. The sexologist Carol Queen says that "clamps are also very useful for hands-free nipple play".

The first literary depiction of the nipple clamp was in 1790, in the novel Justine by the Marquis de Sade.

Forceps are also sometimes used as nipple clamps to facilitate nipple piercing.

Technique
As the nipples are an erogenous zone, nipple clamps can be used to heighten sensation and may lead to orgasm. BDSM practices, such as the use of a safeword, are often employed when nipple clamps are used. Before the clamps are applied the nipples are typically stimulated manually or orally to prepare them. Pulling on the nipples to elongate them makes it easier to attach the clamps. Once the nipples are erect they are held taut and the "jaws" of the clamps are closed slowly, usually on the base of the nipples where they meet the areolae as this area is less sensitive than the tip. The technique for ensuring a firm grip on the nipples varies depending on their size. Small nipples are often clamped along with part of the areolae, while large nipples are sometimes clamped without first being erected. Subsequently the tension is increased, and this is often accompanied by additional manual or oral stimulation.

For safety reasons the length of time for which nipple clamps are worn is limited. Bruising and soreness can result if they are used for more than 10 minutes at a time. If the blood circulation to the nipple is cut for too long there is also a risk of damage to the tissue and nerves. Changes in skin colour can be used to determine the level of blood flow, which needs to be re-established regularly to prevent any permanent damage. When the clamps are removed the restricted blood flow rushes back into the nipples and releases oxytocin, a hormone associated with orgasm. This can make skin sensations more intense and pleasurable. The restriction and reintroduction of blood flow into the nipples can be painful, and this is used as part of some BDSM activities such as breast torture.

Nipple clamps are also be used in BDSM for predicament bondage. They can be connected to a secondary attachment point such as a hook on a wall or a piece or furniture so that the wearer is unable to move without pulling on their nipples. To avoid this they have to remain in a position which is uncomfortable or in which they can be tickled or tortured. Similarly nipple clamps can be attached to a leash allowing the wearer to be led by their clamps.

After the clamps are removed it is common to soothe the nipples with ice, lotion, or aloe.

Design variations
Different kinds of nipple clamps can produce different sensations and different intensities. The area covered by the clamps affects the experience, with some clamps being more or less suitable for individuals with different sized nipples. Carol Queen says that: "Some clamps cover a wider surface area and might be preferred by people with bigger nipples... Thin or small tips on clamps focus the pressure down to one small spot instead of spreading it out." Heavy clamps or additional weights can be used to pull on the nipples resulting in a tugging sensation which can give additional stimulation and pleasure. A number of designs are commercially produced, including clothes-pin style clamps, tweezer clamps and butterfly clamps. Some have additional features, such as extra weights or built-in vibrators. Nipple clamps can be applied to pierced nipples once the piercings have fully healed. Clamps specifically designed for pierced nipples can be attached directly to the piercings or applied behind them. Nipple clamps are typically used in pairs and are sometimes connected by a chain. Both nipples are tugged simultaneously if the chain is pulled. A second chain attached midway along the first may be connected to a clit clamp attached the clitoris or onto a cock ring. This arrangement is called a Y clamp from the shape of the chains linking the three points on the body.

Clothes-pin style
A clothes-pin style or alligator clamp works like a common household clothes-pin. It has two short lengths of metal, joined by a spring to keep one end closed; in its simplest form, it is made of a crocodile clip. Its serrated jaws are usually covered with removable rubber sheaths to protect the nipple from damage and to reduce pain. This type often comes with screws to adjust the pressure. It can produce a high intensity of sensation, especially if it has teeth, and is mostly used by experienced users.

Tweezer clamp
A tweezer clamp looks like a pair of regular tweezers. It consists of two short lengths of metal, no more than 5–10 cm in length, fixed together at one end and open at the other end. The open ends are curved slightly to improve their ability to grip the nipple.

These clamps are lightweight and adjustable and their starting pressure is mild, making them suitable for beginners. They are one of the most popular types of nipple clamp on sale. Typically, they have small 1 cm rubber sheaths over the open ends for comfort, to protect the nipple from damage and to reduce slippage. A small ring wraps around the two pieces of metal and is used to adjust the tension.

The user places the two sides of the metal head either side of the nipple, then by sliding the ring along the clamp shaft towards the nipple, causes the two halves to close tighter together. Tension can thus be adjusted depending on the location of the ring — the closer the ring is along the shaft toward the nipple, the tighter the clamp.

Clover clamp
The clover clamp, also referred to as "butterfly clamp" or "bird clamp" is of Japanese origin and was designed for clamping sails or sewing fabric. The clamp is flat, about 4 in long and 2 in wide, and has an eyelet to which a chain or cord can be attached. If this is pulled a mechanism inside the clamp moves the jaws closer together and provides increasing tension. When they are applied to the nipples a spring hinge holds them in place under tension and provides a very high pain level. They are used for nipple torture in the BDSM community. To increase the tension on the nipples, small weights are sometimes attached to the clamps or the chain. These can be weights designed specifically for this purpose or weights such as fishing sinkers can be used. Another use for the clamps is to keep a person in one place. If a cord is tied from the clamp to a fixed place, the wearer of the clamps cannot move away because the clamps will tighten as they move. This technique can be used for predicament bondage. The removal of the clamps is also painful and different methods of removal can increase or decrease this pain.

These clamps have small points of contact and hence their pinch is usually painful, especially on people with larger nipples. They are usually only used by more experienced users for the purposes of edging, orgasm denial or nipple torture.

Magnetic clamp
A magnetic clamp pinches the nipple between two strong magnets. The pressure applied cannot be varied in the way that it can using adjustable clamps. Magnetic clamps typically produce a high level of pain akin to clover clamps and are more suitable for experienced wearers.

title: Nipple clamp


text:
Clusia

Clusia is the type genus of the plant family Clusiaceae. Comprising 300-400 species, it is native to the Neotropics. The genus is named by Carl Linnaeus in honor of the botanist Carolus Clusius.

Taxonomy
The closest relatives of Clusia are the neotropical genera Chrysochlamys, Tovomita, Dystovomita and Tovomitopsis. Together with Clusia, these genera form the tribe Clusieae, where the fruit is a fleshy capsule with arillate seeds.

Distribution and habitat
The distribution ranges from the Florida Keys and southern Mexico to southernmost Brazil, and from near sea level to at least 3500 m altitude in the northern Andes. The apomictic Clusia rosea is an invasive species in Hawaii and Sri Lanka, and possibly elsewhere.

Species of Clusia are a characteristic component of a number of Neotropical vegetation types, and may even be dominant, as is often seen in montane forests of the Greater Antilles. Most species are found in lowland or montane rainforests, but some occur in drier habitats such as the restingas of Brazil, Caribbean coastal scrub and dry inter-Andean valleys. A number of species are confined to rocky habitats, such as tepuis or granitic inselbergs. A few grow as scattered shrubs in páramo.

Description
Its species are shrubs, vines and small to medium-size trees up to 20 m tall, with evergreen foliage. Some species start life as epiphytes which grow long roots that descend to the ground and eventually strangle and kill the host tree in a manner similar to strangler figs.

Many Clusia species have Crassulacean acid metabolism, which can be considered an adaptation to the often dry (micro)habitats of the genus.

The plants contain variously coloured latex in stems, leaves and fruit. The leaves are simple, entire and opposite, 5–70 cm long and 2–20 cm broad. Leaf texture is usually leathery, less commonly rigid or slightly succulent. Flower size varies from ca 5 mm wide (e.g. Clusia gundlachii) to ca 150 mm in Clusia grandiflora. The 4-9 petals are white, cream, yellow, pink, red, blackish or green. Flowers are unisexual and plants are dioecious (pistillate and staminate flowers are borne on separate plants). Stamen number ranges from four to several hundred. Shape and size of stamens are extremely variable. Sterile stamens are often present, both in pistillate and staminate flowers. Stigmas are four to 16 in number and usually sessile. The fruit is a leathery valvate capsule which splits open to release several red or orange, fleshy-coated seeds.

Ecology
Pollination involves a range of different animals, and several types of rewards. Floral resin occurs in many, probably most species of Clusia. The resin is produced by the stamens (by sterile stamens, referred to as staminodes, in pistillate flowers) and is collected by bees that use it in nest construction. Nectar is most common in montane species, e.g. Clusia clusioides, and these flowers are visited by insects such as moths and wasps, and sometimes by bats or hummingbirds. In flowers lacking nectar or resin, pollination may be carried out by pollen-eating beetles, which visit also the rewardless pistillate flowers, as observed in Clusia criuva. Clusia blattophila is pollinated by male cockroaches attracted by a pheromone-containing fluid produced by the flowers.

Seeds are dispersed by birds and perhaps, in some cases, by small mammals.

Clusia plants provide excellent nesting sites for some insects. For instance, Clusia grandiflora, a common species in Guianese forests, is an attractive place for Polistes pacificus wasps to build their paper nests because arboreal ants, which often prey on these wasps, do not normally reside in this species of tree.

Uses
The wood of Clusia is highly durable, and is sometimes used for roof construction. The latex and the floral resin have antiseptic properties and have been used to seal wounds. Dry latex is sometimes burned like incense in churches. A few species are grown as house plants, or, in tropical areas, as ornamental trees and shrubs. Examples are Clusia rosea, C. major and C. orthoneura.

Selected species
321 species are currently accepted. Selected species include:
 * Clusia alata
 * Clusia amazonica
 * Clusia blattophila
 * Clusia bracteosa
 * Clusia carinata
 * Clusia caudata
 * Clusia celiae
 * Clusia clarendonensis
 * Clusia clusioides
 * Clusia cochlitheca
 * Clusia croatii
 * Clusia colombiana
 * Clusia columnaris
 * Clusia congestiflora
 * Clusia crenata
 * Clusia cuneifolia
 * Clusia cupulata
 * Clusia decussata
 * Clusia dixonii
 * Clusia ducu
 * Clusia ducuoides
 * Clusia duidae
 * Clusia elliptica
 * Clusia flava
 * Clusia flavida
 * Clusia fluminensis Planch. & Triana
 * Clusia fockeana
 * Clusia frigida
 * Clusia fructiangusta
 * Clusia garciabarrigae
 * Clusia gardneri
 * Clusia grandiflora
 * Clusia gundlachii
 * Clusia hammeliana
 * Clusia haugtii
 * Clusia hilariana
 * Clusia hydrogera
 * Clusia hyleae
 * Clusia insignis
 * Clusia lanceolata
 * Clusia latipes
 * Clusia laurifolia
 * Clusia laxiflora
 * Clusia leprantha
 * Clusia lineata
 * Clusia longipetiolata
 * Clusia longistyla
 * Clusia loretensis
 * Clusia magnoliiflora
 * Clusia major
 * Clusia melchiorii
 * Clusia mexiensis
 * Clusia minor
 * Clusia minutiflora
 * Clusia nemorosa
 * Clusia nubium
 * Clusia octandra
 * Clusia orthoneura
 * Clusia osseocarpa
 * Clusia pallida
 * Clusia palmicida
 * Clusia panapanari
 * Clusia paralicola G.Mariz 1972
 * Clusia penduliflora
 * Clusia pernambucensis
 * Clusia platystigma
 * Clusia plurivalvis
 * Clusia polystigma
 * Clusia portlandiana
 * Clusia pseudomangle
 * Clusia pulcherrima
 * Clusia renggerioides
 * Clusia rigida
 * Clusia rosea – Scotch attorney, autograph tree, pitch-apple
 * Clusia schomburgkiana
 * Clusia sellowiana
 * Clusia skotaster
 * Clusia sphaerocarpa
 * Clusia spiritu-sanctensis
 * Clusia stenophylla
 * Clusia tarmensis
 * Clusia thurifera
 * Clusia triflora
 * Clusia trochiformis
 * Clusia uvitana
 * Clusia valerioi
 * Clusia venusta
 * Clusia viscida
 * Clusia weberbaueri
 * Clusia weddelliana

title: Clusia


text: Category:Fiat people

title: Category:Fiat people


text:
Alexander Scourby

Alexander Scourby (November 13, 1913 – February 22, 1985) was an American film, television, and voice actor and narrator known for his deep and resonant voice and Mid-Atlantic accent. He is best known for his film role as the ruthless mob boss Mike Lagana in Fritz Lang's The Big Heat (1953), and is also particularly well-remembered in the English-speaking world for his landmark recordings of the entire King James Version audio Bible, which have been released in numerous editions. He later recorded the entire Revised Standard Version of the Bible. Scourby was an accomplished narrator, including for 18 episodes of National Geographic Specials from 1966 to 1985 (almost twice as many as any of its other narrators). Scourby recorded 422 audiobooks for the blind, which he considered his most important work.

Early life
Alexander Scourby was born in Brooklyn, New York, on November 13, 1913, to Constantine Nicholas Scourby, a successful restaurateur, wholesale baker and sometime investor in independent motion-pictures, and Betsy Patsakos, a homemaker, both immigrants from Greece.

Reared in Brooklyn, Scourby was a member of a Boy Scout troop and later became a cadet with the 101st National Guard Cavalry Regiment. He attended public and private schools in Brooklyn, spending summer vacations in New Jersey, Upstate New York, and at a cousin's home in Massachusetts.

Dismissed from Polytechnic Prep School, he finished his secondary education at Brooklyn Manual Training High School which he described as "an ordinary high school that had an awful lot of shop." He was a co-editor of the school magazine and yearbook, and he envisioned a career in writing, though he later came to realize that writing was, for him, "absolutely the most painful thing in the world" and also that he "could never meet a deadline", whereas he found the reading aloud of plays easy and enjoyable. Encouraged by some of his teachers, he began to turn his attention to acting. He made his stage debut with the high school's dramatic society, as the juvenile in Augustin MacHugh's The Meanest Man in the World.

Early career
Upon graduation from high school in 1931, Scourby, not yet having abandoned the prospect of a writing career, entered West Virginia University at Morgantown to study journalism. During his first semester he joined the campus drama group and played a minor role in A.A. Milne's comedy Mr. Pim Passes By. In February 1932, as he was beginning his second semester, his father died, and he left the university to help run the family's pie bakery in Brooklyn.

A month after Scourby returned to Brooklyn, he was accepted as an apprentice at Eva Le Gallienne's Civic Repertory Theatre on 14th Street in downtown Manhattan. At the Civic Repertory he was taught dancing, speech, and make-up, and was given his first professional role, a walk-on in Liliom. In 1933, Scourby and other Civic Repertory apprentices joined to form the Apprentice Theatre, which presented plays at the New School for Social Research in New York City during the 1933–34 season. His first role on Broadway was that of the player king in Leslie Howard's production of Hamlet, which opened at the Imperial Theatre on November 10, 1936, and went on tour after thirty-nine performances. Returning to New York—and unemployment—in the spring of 1937, Scourby was introduced to the American Foundation for the Blind's Talking Book program by Wesley Addy, a member of the Hamlet cast and Scourby's roommate on the tour, who was regularly recording plays for the foundation.

After a successful audition in the spring of 1937, Scourby was cast in a small part in a recording of Antony and Cleopatra. During the following summer he was, again, the player king in a production of Hamlet in Dennis, Massachusetts, that featured Eva Le Gallienne. When he returned to audition for the American Foundation for the Blind later in the year he was told that the company of actors was "filled" but that he might record a novel if he wished. "That was the beginning of it," he recalled years later, adding, "The recordings for the blind are perhaps my greatest achievement. Most of the things I look back at in the theater were either insignificant parts in great plays or good parts in terrible plays. So it really doesn't amount to anything. Whereas I have recorded some great books. The greatest one being the Bible."

Scourby is credited as Hamlet's father the King (as spirit) on the 19 September 1936 CBS radio program Columbia Workshop directed by Orson Welles, and by the early 1940s he was playing running parts in five of the serial melodramas, popularly known as soap operas, including Against the Storm, in which he replaced Arnold Moss for two years. He narrated Andre Kostelanetz' musical show for a year, using the pseudonym Alexander Scott. At the request of sponsors, his voice was heard on many dramatic shows, including NBC's Sunday program The Eternal Light (with which he was to remain, despite heavy commitments elsewhere, through the 1950s). On The Adventures of Superman, his was the voice of the title character's father Jor-El in the one program devoted to the character's origins. During World War II, Scourby's broadcasts were beamed abroad in Greek and English for the Office of War Information. At the time, a writer in Variety (May 16, 1962) described the quality of Scourby's voice as "the kind of resonance closely associated by listeners with big time radio."

Theater and film work
Scourby kept his hand in the theater by doing summer stock and a wide variety of other seasonal productions. In Maurice Evans' production of Hamlet, which opened at the St. James Theatre in New York on October 12, 1938, and ran for ninety-six performances, Scourby played Rosencrantz. Later in the same season, he appeared with Evans in Henry IV, Part 1 as the Earl of Westmoreland. The following year, he toured with Evans in Richard II as one of the hirelings of the king. He returned to Broadway years later in late 1946, replacing Ruth Chatterton as the narrator in Ben Hecht's A Flag Is Born, a one-act, dramatic pageant in which Marlon Brando had one of his early stage roles. The play was produced by the American League for a Free Palestine, at the Alvin Theatre. On December 22, 1947, he opened with John Gielgud in Rodney Ackland's dramatization of Crime and Punishment at the National Theatre in New York. He was a co-founder of New Stages, a drama company that went into operation in a small theater on Bleecker Street in Greenwich Village during the 1947–48 season. During its two-year existence, the company presented works by such artists as Federico García Lorca (Blood Wedding), Edward Caulfield (Bruno and Sidney) and two plays by Jean-Paul Sartre.

In Sidney Kingsley's Detective Story, which opened at the Hudson Theatre on March 23, 1949, and ran for a year and eight months, Scourby played Tami Giacoppetti, the tough racketeer. Almost immediately after Detective Story closed, Scourby began rehearsing another Kingsley role on Broadway, that of Ivanoff, the old Bolshevik friend of Rubashov in Darkness at Noon, a dramatization of Arthur Koestler's novel. The play opened at the Alvin Theatre on January 13, 1951, with Claude Rains playing Rubashov, and ran for 163 performances. When the Theatre Guild revived George Bernard Shaw's Saint Joan later in the same year, with Uta Hagen in the title role, Scourby was cast as Peter Cauchon, the Bishop of Beauvais. The play was presented at the Cort Theatre from October 4, 1951, to February 2, 1952.

Scourby first appeared on screen opposite Glenn Ford in Affair in Trinidad (Columbia, 1952) and The Big Heat (Columbia, 1953). He appeared again with Glenn Ford in Ransom! (MGM, 1956), later to be remade with Mel Gibson and Gary Sinise. Scourby played Dr. Mikhail Andrassy in The Shaggy Dog (1959). "None of the pictures I've done have been really important or very good", Scourby later said, "with the exception—and it is debatable—of Giant (Warner Brothers, 1956)". In the film version of Edna Ferber's novel Scourby played Polo, the old Mexican ranch foreman. He later had roles in The Big Fisherman (Buena Vista, 1959), Seven Thieves (1960), Man on a String (1960), The Devil at 4 O'Clock (1961) and The Executioner (1970). During these extremely busy years, Scourby, who had been living with his wife and child in an apartment near Columbia University in New York City, bought a home in Beverly Hills, California. Calls for Scourby to work in New York, however, soon made the Beverly Hills residence as much a commutation point as a home.

Back on the New York stage, Scourby played Rakitin in Emlyn Williams' adaptation of Turgenev's A Month in the Country and Peter Cauchon in Siobhán McKenna's interpretation of Saint Joan, both presented at the Off-Broadway Phoenix Theatre in 1956. Again at the Phoenix, he played King Claudius in Hamlet in the spring of 1961, bringing to the role, as Howard Taubman noted in The New York Times (March 17, 1961), the appropriate "fret of fear and decay."

In 1963, Scourby was given the featured role of Gorotchenko, the Communist commissar who stalks a White Russian noble couple fleeing the Revolution, in Tovarich, a Broadway musical by Lee Pockriss and Anne Croswell, based on the comedy by Robert E. Sherwood and Jacques Deval. The musical opened at the Broadway Theatre on March 18, 1963, with Vivien Leigh and Jean-Pierre Aumont as Scourby's prey. "The signal tribute to Alexander Scourby...", critic Norman Nadel wrote in his review in the New York World-Telegram and Sun (April 2, 1963), "was the hearty hissing opening night as he strolled on stage. In polished villainy, he has no peer". Shortly after Tovarich closed, on November 9, 1963, after 264 performances, Scourby began rehearsals in Los Angeles for a Theatre Group presentation of Anton Chekhov's The Sea Gull, in which he starred with Jeanette Nolan for forty performances, beginning on January 10, 1964.

In the early 1950s, Scourby worked in television as both a narrator and actor. One of his continuing assignments was as narrator for NBC's Project 20 public affairs specials. He narrated a ninety-minute condensation of the television series, Victory at Sea, for Project 20 in 1954. Other Project 20 assignments were in regard to the atomic bomb, and three religious documentaries using great paintings to tell the Bible story: The Coming of Christ (at Christmas); He Is Risen (at Easter); and The Law and Prophets of the Old Testament. Audio from The Coming of Christ, with orchestrations by Robert Russell Bennett was released by Decca Records in 1960 to popular acclaim. He replaced Sean Connery as narrator of the television special The Incredible World of James Bond, originally broadcast by NBC in 1965. He narrated the 1965 United States Navy documentary Pacific Frontier.

As a television actor, Scourby had roles on Playhouse 90, Circle Theatre, and Studio One. He refused to tie himself down to a series, because, as he explained, "it's hard to do good things that way." He took occasional parts in westerns such as Wanted: Dead or Alive, Bonanza, and The Rifleman, as well as Mr. Novak, Daniel Boone, The Asphalt Jungle, The Man from U.N.C.L.E., The Defenders, and other set-format dramatic shows. Most of the filmed shows were produced in California. In 1972, he joined his wife, Lori March, on The Secret Storm, on which he played the second Dr. Ian Northcoate (March played his wife, Valerie Lake Ames Northcoate), until that show was cancelled in 1974. He later played Nigel Fargate on All My Children In the Twilight Zone episode, "The Last Flight", he played General Harper.

In character as James Bond, Scourby narrated the controversial television re-edit of the 1969 Bond film On Her Majesty's Secret Service broadcast by ABC in two parts in February 1976.

Audio recordings
Scourby read 422 books for the Talking Books program of the American Foundation for the Blind, including Homer's Iliad, Tolstoy's War and Peace, Joyce's Ulysses, Faulkner's The Sound and the Fury. Scourby considered Talking Books his most important work. He also made recordings for Spoken Arts and Listening Library.

At an unknown date Scourby also recorded the audio tapes for The Once and Future King by T.H. White.

Scourby narrated the documentary LP recording First Man on the Moon.

King James Bible
Scourby was the first person to record the King James Bible issued on long-play records in the 1950s. He originally narrated the Old and New Testament for the American Foundation for the Blind. The project required more than four years before it was completed in 1953. The original goal was to produce a clean, clear recording for visually impaired listeners. The American Bible Society distributed the recordings as The Talking Bible, a set of 169 LP records with a running time of 84.5 hours.

Poetry recordings
Scourby made recordings of British and American poetry, including A Golden Treasury of Poetry, an LP recorded for the children's label Golden Records. It featured readings of such poems as Paul Revere's Ride, Gunga Din, The Highwayman, The Owl and the Pussycat, and Annabel Lee, and commentary written by Louis Untermeyer.

Personal life
Scourby and Lori von Eltz were married on May 12, 1943. Von Eltz was the daughter of motion-picture actor Theodor von Eltz, and was well known as the actress Lori March. The couple had a daughter, Alexandra, born on March 27, 1944.

Scourby had no political affiliation nor any specific religious affiliations, though he was baptized in the Greek Orthodox tradition and his marriage to von Eltz occurred in an Episcopal chapel.

Scourby died of a heart attack on February 22, 1985, in Newtown, Connecticut, aged 71. His widow died in 2013, aged 90.

Filmography

 * With These Hands (1950) – Doctor (uncredited)
 * Affair in Trinidad (1952) – Max Fabian
 * Because of You (1952) – Dr. Breen
 * The Redhead from Wyoming (1953) – Reece Duncan
 * The Glory Brigade (1953) – Lieutenant Niklas
 * The Big Heat (1953) – Mike Lagana
 * Sign of the Pagan (1954) – Chrysaphius
 * The Silver Chalice (1954) – Luke
 * Ransom! (1956) – Dr. Paul Y. Gorman
 * Giant (1956) – Old Polo
 * Me and the Colonel (1958) – Major Von Bergen
 * The Shaggy Dog (1959) – Dr. Mikhail Andrassy
 * The Big Fisherman (1959) – David Ben-Zadok
 * Alfred Hitchcock Presents (1960) (Season 6 Episode 10: "Sybilla") - Horace Meade
 * Seven Thieves (1960) – Raymond Le May
 * Man on a String (1960) – Colonel Vadja Kubelov
 * The Devil at 4 O'Clock (1961) – The Governor
 * Gendarme in New York (1965)
 * Ready on Arrival, the USS Independence in Vietnam (1966)
 * The Executioner (1970) – Professor Parker
 * Jesus (1979) – Luke (voice)
 * Strange But True (1981)
 * Merton (1984) – Narrator (voice)
 * The Stuff (1985) – Evans (final film role)

title: Alexander Scourby


text:
Yaroslav Popovych

Yaroslav Popovych (Ярослав Попович; born 4 January 1980) is a Ukrainian former professional cyclist, who rode professionally between 2002 and 2016.

The winner of the under-23 road race at the 2001 UCI Road World Championships, Popovych turned professional in 2002 with, where he performed particularly strongly in the Giro d'Italia, finishing third in 2003. Upon joining in 2005, his focus switched to the Tour de France, where he won the young riders' classification in 2005 and won stage 12 in 2006. When Discovery Channel folded at the end of 2007, Popovych moved to in 2008 and on to  in 2009. Popovych also raced for in 2010 and 2011. From 2012 until 2016 he rode with the UCI ProTour team.

Early years
Popovych was born in Drohobych, Ukrainian SSR, Soviet Union. He was considered one of the most promising cyclists while riding in junior and under-23 races after catching 35 victories in 2000 and 2001. He won the Under-23 Men's road race in the 2001 UCI Road World Championships after finishing second the previous year. He also won the Paris–Roubaix edition for under-23 riders and palio del recioto. The Ukrainian turned pro in 2002 by joining the Belgian team and delivered some strong showings, most notably in the Giro d'Italia where he finished third in 2003 and fifth in 2004, when he wore the pink jersey during three stages.

Discovery Channel Pro Cycling Team (2005–07)
He joined the in 2005 and he was considered as a possible successor to Lance Armstrong as team leader. In this same year, Popovych took one of his best victories by winning the Volta a Catalunya, which is an important race before the Tour de France. Along with the rest of the Discovery team, he won stage four team time trial in the Tour de France and showed his potential by winning the young rider classification, while helping Armstrong win his seventh Tour de France at the time.

In the 2006 Tour de France, Popovych was considered one of the Discovery Channel team's four leaders, along with José Azevedo, Paolo Savoldelli and George Hincapie. After failing to be among the best for the overall classification in the Pyrenees mountain stages, Popovych won stage 12 by repeatedly attacking his fellow break-away compatriots Alessandro Ballan, Óscar Freire and Christophe Le Mével. During 2006 season he also won stages at the Vuelta a Castilla y León and Tour de Georgia, where he finished third.

Popovych mainly worked as a domestique during 2007 season, aiding Alberto Contador to win Paris–Nice and the Tour de France. Early in the season, he won the fifth stage in Paris–Nice after attacking 33 km from the finishing line. He was considered as the team leader for the Giro d'Italia, but he withdrew in the twelfth stage after suffering two crashes in the race. In the Tour de France, he finished eighth while working for Discovery Channel team-mates Contador and Levi Leipheimer.

Silence–Lotto (2008)
In 2008, Popovych moved to squad after  announced that it would cease operations at the end of 2007.

Popovych was recruited as a domestique member of the Tour de France team primarily to support lead rider Cadel Evans, but had a rather disappointing year, with only a 3rd place in Paris–Nice to show for. At the end of the year, it was announced he would team up with his former Discovery manager Johan Bruyneel again in 2009, joining the new team.

Astana (2009)
In 2009, Popovych and Armstrong joined the Kazakh-based cycling squad, where many other former Discovery Channel riders and staff were also under contract. Popovych acted as a domestique for Contador in Paris–Nice, finishing 23rd himself.

On 15 October 2009 it was reported that Popovych would move to for the 2010 season.

Team RadioShack (2010)
In 2010 Popovych followed many former Astana riders to the newly created American based squad.

Doping allegations
In January 2011 Popovych was incriminated in the Floyd Landis doping allegations against the cycling team, after Sports Illustrated magazine reported that in November 2010 his property in Tuscany had been searched by Federal Officials who discovered drug testing documents, medical supplies and performance-enhancing drugs as well as evidence of links to controversial Italian physician Michele Ferrari. Later that day Popovych denied the allegations.

Major results

 * 2000
 * 1st Overall Tour de Nouvelle-Calédonie
 * 1st Gran Premio di Poggiana
 * 2nd Road race, UCI Under-23 Road World Championships
 * 2nd Giro del Belvedere
 * 2nd Coppa Città di Asti
 * 3rd Piccolo Giro di Lombardia
 * 10th Trofeo Alcide Degasperi

 * 2001
 * 1st Jersey rainbow.svg Road race, UCI Under-23 Road World Championships
 * 1st Trofeo Banca Popolare di Vicenza
 * 1st Giro del Belvedere
 * 1st Gran Premio Palio del Recioto
 * 1st Paris–Roubaix Espoirs
 * 2nd Overall Grand Prix Guillaume Tell
 * 2nd Gran Premio della Liberazione
 * 2nd Trofeo Alcide Degasperi
 * 4th GP Open Campania
 * 9th GP Città di Napoli

 * 2002
 * 1st Poreč Trophy II
 * 1st GP de Genève
 * 3rd Poreč Trophy III
 * 4th Overall Brixia Tour
 * 4th Gran Premio Fred Mengoni
 * 5th Poreč Trophy I
 * 6th Overall Tour de Wallonie
 * 9th Overall Tour de l'Avenir
 * 10th Tre Valli Varesine

 * 2003
 * 3rd Overall Giro d'Italia
 * 3rd Overall Tour de Wallonie
 * 5th Overall Settimana Internazionale di Coppi e Bartali
 * 6th Coppa Ugo Agostoni
 * 7th Overall Tour de Romandie
 * 7th Giro della Provincia di Lucca
 * 9th Overall Giro della Liguria
 * 10th Giro dell'Emilia

 * 2004
 * 1st Trofeo Androni Giocattoli
 * 5th Overall Giro d'Italia
 * Held Jersey pink.svg Maglia Rosa for Stages 13–16
 * 8th Overall Regio-Tour
 * 9th Overall Tour of Austria
 * 10th Firenze–Pistoia

 * 2005
 * 1st MaillotVolta.png Overall Volta a Catalunya
 * 4th LuK Challenge Chrono (with Paolo Savoldelli)
 * Tour de France
 * 1st Jersey white.svg Young rider classification
 * 1st Stage 4 (TTT)

 * 2006
 * 1st Stage 12 Tour de France
 * 1st Stage 2 (ITT) Vuelta a Castilla y León
 * 3rd Overall Tour de Georgia
 * 1st Stage 2
 * 4th GP Ouest–France

 * 2007
 * 1st Stage 5 Paris–Nice
 * 8th Overall Tour de France
 * Stage 9 Combativity award

 * 2008
 * 3rd Overall Paris–Nice

 * 2009
 * 1st Stage 4 (TTT) Tour de France

 * 2013
 * 9th Gent–Wevelgem

title: Yaroslav Popovych


text:
Stan Lundine

Stanley Nelson Lundine (born February 4, 1939) is an American politician from Jamestown, New York who served as the mayor of Jamestown, a United States representative, and the lieutenant governor of New York.

Life and career
Lundine graduated from Duke University in 1961 and from the New York University School of Law in 1964.

A Democrat, Lundine served as Mayor of Jamestown, New York from 1970 until 1976, when he was elected to the U.S. House of Representatives.

While mayor, Jamestown received national attention as a result of his Labor Management strategy. Jamestown, long the center of labor strife, became a model for labor/management co-operation. As a Congressman, Lundine brought his labor/management ideas to Washington, and was instrumental in developing legislation that created labor/management councils and employee stock ownership plans. He focused on finance, banking and economic development policy, and also served on the Science Committee. He was a subcommittee chairman on the House Banking Committee.

Lundine is the only Democrat to have represented the Western Southern Tier in Congress in the 20th century, and no other Democrats would do so until Democrats Brian Higgins and Eric Massa won both portions of the now-divided district in 2005 and 2009 respectively.

In 1986, Lundine declined to seek reelection to Congress. Instead, he ran for and was elected to be the Lieutenant Governor of New York, running alongside Mario Cuomo, who became governor in 1986. They were re-elected in 1990.

In 1994, Cuomo and Lundine were defeated for reelection by George Pataki and Betsy McCaughey Ross.

title: Stan Lundine


text:
Talk:International Linear Collider

Merge?
Certainly the articles should be merged. NLC was a particular group's proposal; now that the decision on technology has been finalized, all have agreed to call it the ILC. -- SCZenz 15:54, 17 July 2005 (UTC)

They certainly should be merged. However, it would be nice to keep the distinction between the old TESLA, the NLC and the GLC projects in the text. These merged into the ILC when the technology decision was made. 27/07/05

I agree. To keep the old NLC entry for historical reasons, while linking it to the successor project would seem the best course of action. --Kgf0 17:44, 19 September 2005 (UTC)

Merge completed
I ended up merging the articles. The old NLC and TESLA pages had minimal information, all of which I moved to ILC when it wasn't already there. Also, they were misleading in various ways, and were not being maintained as historical records. As such I think it's a lot easier to reference all the old projects from one article, and keep the weblinks about the seperate proposals for historical info. -- SCZenz 08:01, 27 September 2005 (UTC)

 * It's probably not correct to redirect the TESLA article to ILC since the TESLA collaboration still exists as collaboration for developing superconducting accelerator technology (not only for the ILC, but also for XFELs and proton accelrators. --80.171.1.232 00:18, 28 November 2005 (UTC)

 * I don't know that; the old article only referenced TESLA as the big new linac. Obviously I'd support TESLA being written as its own article, with a link to this one.  Or you could add a sentence to this article about what the TESLA collaboration still does on its own. -- SCZenz 00:29, 28 November 2005 (UTC)

ILC Conceptual design
Now if they can just decide to put it in the San Joaquin where there are federal lines WAPA going in a staright line, we'll be OK. Or just put it in Hawaii, LOL Actually in the conceptual design most controls were going to be controlled using RF. I was working on some vacuum stuff before I left. Scott 18:53, 4 October 2005 (UTC)

4th Concept
4th Concept can be found at http://www.iastate.edu/~nscentral/news/2007/apr/4th.shtml (Edurf@aol.com 18:53, 18 April 2007 (UTC)) User: edurf, anne, 13:51,18 April 2007
 * Or just go to http://www.4thconcept.org. --128.141.56.158 (talk) 20:56, 25 August 2010 (UTC)

Where is it?
Nowhere on this page (or on the ILC's website) does it say where the ILC is planned to be built. Anyone have a clue? Has it been decided yet? —Ryan McDaniel (talk) 13:40, 21 December 2007 (UTC)

Nope, it hasn't been decided, they will choose between Fermilab in Illinois, CERN, and somewhere in Japan. 131.215.172.102 (talk) 07:19, 6 April 2008 (UTC)

I thought it was going to be in India, exactly where I have yet to find out. I've been doing a lot of research into this project and the LHC recently so I should be able to find it somewhere. Lowri (talk) 14:17, 20 June 2008 (UTC)
 * It still hasn't been decided. -- SCZenz (talk) 15:54, 20 June 2008 (UTC)

 * Which gets to my point. The opening paragraph states "Research for CLIC is in progress to demonstrate the feasibility of some of the technologies in the year 2010 to allow a decision to fund the project afterwards. It seems unlikely that both CLIC and ILC machines will be built.[citation needed]"

 * HELLO, its 2012. Can someone update this sentence? Or at least rephrase it to make sense? Sunshine Warrior04 (talk) 07:39, 4 April 2012 (UTC)

'Largely considered cancelled'
A few mistakes had slipped into first paragraph, which is why the last sentence of it was deleted. The sentence on funding was deleted because both countries that, in the framework of larger budget cuts, had temporarily suspended funding for the ILC have put R&D for the project back on the agenda. The project is not considered cancelled -- please provide proof for this statement. ILC Comms (talk) 15:28, 4 November 2008 (UTC)

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title: Talk:International Linear Collider