text:
More Than Human

More Than Human is a 1953 science fiction novel by American writer Theodore Sturgeon. It is a revision and expansion of his 1952  novella Baby Is Three, which is bracketed by two additional parts written for the novel ("The Fabulous Idiot" and "Morality"). It won the 1954 International Fantasy Award, which was also given to works in science fiction. It was additionally nominated in 2004 for a "Retro Hugo" award for the year 1954. Science fiction critic and editor David Pringle included it in his book Science Fiction: The 100 Best Novels.

Simon & Schuster published a graphic novel version of More Than Human in 1978, titled Heavy Metal Presents Theodore Sturgeon's More Than Human. It was illustrated by Alex Niño and scripted by Doug Moench.

Plot introduction
The novel concerns the coming together of six extraordinary people with strange powers who are able to "blesh" (a portmanteau of "blend" and "mesh") their abilities together. In this way, they are able to act as one organism. They progress toward a mature gestalt consciousness, called the homo gestalt, the next step in human evolution.

Plot summary
The first part of the novel, The Fabulous Idiot, narrates the birth of the gestalt. In the beginning, we are introduced to the world of Lone, referred to as the "Idiot", a 25-year-old male with a telepathic ability who lives on the street. He knows he can make people do what he wants them to, but has never experienced real human connection. One day he encounters Evelyn Kew, an innocent woman completely sheltered in an isolated house by her domineering father. She is the first person he has mentally and physically connected with. Evelyn's father finds out about the relationship and kills Evelyn and himself. During this incident Lone barely escapes a beating from the father; bleeding and nearly dead, he is found and then adopted by the Prodds, a poor farming couple, and lives with them for about seven years. When Mrs. Prodd becomes pregnant, the couple is about to ask Lone to leave, but he makes his departure appear to be his own idea. Lone builds a shelter in the forest and is soon joined by three runaway children: Janie, an eight-year-old with a telekinetic gift, and the twins Bonnie and Beanie, who cannot speak but possess the ability to teleport. Lone returns to the farm to find Mrs. Prodd has died after giving birth to a "Mongoloid" baby. Altering Prodd's memories so that he thinks his wife is on a trip and they never had a child, Lone adopts the baby, who has a phenomenal mental capacity and thinks almost like a computer. Together, Lone, Janie, the twins and Baby form what will be later called the homo gestalt. Prodd's old truck is always getting stuck in the mud, and when Lone asks Baby for a solution, Baby helps Lone build an anti-gravity generator. He installs it in Prodd's truck, only to find that Prodd has left for Pennsylvania.

The second part of the novel is Baby is Three, which occurs several years after The Fabulous Idiot. Gerry Thompson, a street urchin who has grown up in abusive institutions, is possibly sociopathic. He consults a psychiatrist, trying to piece his memory back together. Gerry ran away from the institution and was taken in by Lone. They lived in a refurbished cave until they found the abandoned Kew house. Lone was killed in an accident and Gerry subsequently became the leader of the gestalt. After his death, Lone instructed the children to seek out Evelyn's sister, Alicia. In her urban house, they were educated and fed under her care. Soon, however, Gerry learned that domestication and normalization had weakened their gestalt. He killed Alicia, and the group returned to living alone in the woods. If anything, Gerry's telepathic abilities are stronger than Lone's. His amnesia was caused by Alicia's having accidentally transmitted her memories to his mind when they first met, triggered by her strong emotional reaction to hearing the words "Baby is three". He learned about her entire life, including her past relationship with Lone, in a split second. After being helped by the psychiatrist, Gerry erases the man's memory of him.

The third and concluding part of the novel is Morality. Again, it occurs several years after the previous part. Lt. Hip (Hippocrates) Barrows is a gifted engineer who worked for the US Air Force until the incident which led to his incarceration, first in an insane asylum, then in jail. Janie, now an adult, befriends him and helps him regain his health. He slowly remembers what had happened. He discovered some odd effects on an anti-aircraft range. Practice shells fired in a certain area were all duds. Barrows does magnetic tests and finally discovers the anti-gravity machine, still on the rusted-out old truck on the nearby farm. Gerry knows of Hip's investigation and poses as a common soldier assisting Hip. When they find the truck, Gerry launches the anti-grav into space to stop Hip from retrieving it. He then mentally attacks Hip to make him look insane, driving him to a mental breakdown and amnesia. Gerry does this because Baby informed him of the consequences (if the anti-grav was discovered, it would lead either to a terrible war or to the complete collapse of the world economy) and that such a major thing will surely be traced back. Aided by Janie, Hip regains his memory, and they go to the isolated Kew house where the gestalt is now living again. Gerry attempts to attack Hip again. Instead, he finds Hip prepared for this moment, imagining in his mind a code of morality. This prompts Hip to merge as the last part of the gestalt, its conscience. As a result of this completion, the gestalt is telepathically greeted by and welcomed into the pre-existing community of other gestalts around the world. At the conclusion Gerry:

He saw himself as an atom and his gestalt as a molecule. He saw these others as a cell among cells, and he saw in the whole the design of what, with joy, humanity would become.

He felt a rising, choking sense of worship, and recognized it for what it has always been for mankind―self-respect.

Reception
New York Times reviewer Villiers Gerson placed the novel among its year's best, praising it for "a poetic, moving prose and a deeply examined raison d'etre." Groff Conklin described More Than Human as "a masterpiece of invention... written in an unmannered prose that still has a poetic, panchromatic individuality." Boucher and McComas praised it for "its crystal-clear prose, its intense human warmth and its depth of psychological probing" as well as its "adroit plotting and ceaseless surge of action," finding it "one of the most impressive proofs yet of the possibility of science fiction as a part of mainstream literature." P. Schuyler Miller praised the novel as among the year's best, saying that Sturgeon "has Bradbury's poetry and style without ever running thin." Writing in the Hartford Courant, reviewer R. W. Wallace praised More Than Human, saying "In its psychological wisdom and its deep humanity this novel is one of the finest achievements of science fiction." In his "Books" column for F&SF, Damon Knight selected Sturgeon's novel as one of the 10 best sf books of the 1950s.

Writing in 1975, R. D. Mullen declared that in More Than Human, "[Sturgeon] had a theme well suited to his talents and inclinations, [and] the result is a book that pretty well avoids the mawkishness that mars most of his work. This book is not a masterpiece, but it comes pretty close." Aldiss and Wingrove found that the novel "transcends its own terms and becomes Sturgeon's greatest statement of one of his obsessive themes, loneliness and how to cure it." In 2012, the novel was included in the Library of America two-volume boxed set American Science Fiction: Nine Classic Novels of the 1950s, edited by Gary K. Wolfe.

title: More Than Human


text:
Talk:The Wailing Wailers

Availability
Is this album out of print? It's impossible to find in its original form... —Preceding unsigned comment added by 24.118.171.91 (talk) 07:30, 14 January 2009 (UTC)

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

title: Talk:The Wailing Wailers


text: Talk:The Best of the Wailers

title: Talk:The Best of the Wailers


text:
Talk:Soul Rebels

CD Cover
For God's sake! Surely there is a better image for this page than this cheap, cheesey 1990s CD reissue?? —Preceding unsigned comment added by 83.100.133.26 (talk • contribs)

 * Well, I've been Googling for an hour, and I still have no idea what the original sleeve looks like. discogs.com shows a vinyl copy on the Upsetter label with the gun-chick sleeve, but surely the original would read The Wailers and not Bob Marley and The Wailers ?84.198.246.199 (talk) 05:36, 18 February 2010 (UTC)

The CD Cover CLEARLY says "BOB MARLEY And the wailers", then WHY THE HELL does the article say "...an album by the wailers", instead of "...an album by bob marley and the wailers"??????

title: Talk:Soul Rebels


text:
Talk:Soul Revolution Part II

Just Wailers?
Only The Wailers is mentioned to be the artist, yet the cover says Bob Marley & The Wailers? Is the cover wrong or what? 85.217.15.47 (talk) 03:27, 30 August 2010 (UTC)
 * No, it's not wrong. The Wailers were called Bob Marley & The Wailers from 1974, when Peter Tosh & Bunny Wailer left the band. This cover is probably form a reissue.Lennart97 (talk) 11:39, 25 June 2012 (UTC)
 * There is a lack of clear information on this, but what information there is available show that the listing was Bob Marley and the Wailers, same as on Soul Rebels which was released before it. Catch A Fire and Burnin' we know were originally released as just the Wailers, but they appear to be the only ones, as their first album was listed as by the Wailing Waliers. They had also released singles as the Rude Boys. Unless we have reliable sources saying otherwise then we can't ignore the clear evidence that this was released as by Bob Marley and the Wailers.  SilkTork  ✔Tea time  17:14, 21 January 2017 (UTC)
 * There is clear evidence if one chooses to research. The original releases of all their music prior to 1974 as stated by Lennart97, were by the Wailers. Only the later reissues of those albums, including Catch A Fire were accredited to BMW. Bunny and Peter never have allowed it to be called BMW.  They were all equal.  Once they left then it became BMW.
 * So no, it is not by BMW!
 * The album by the Wailing Wailers was not actually their album but instead a compilation of their Studio 1 work chosen by Dodd. At that time, artists and producers were really only thinking of releasing singles. It was not until the time of Soul Revolution that the Wailers chose to do albums 114.23.201.89 (talk) 11:09, 7 June 2024 (UTC)

Album name
This album, both the original and the Dub version (second disk) seem to be called Soul Revolution Part II. Do Wikipedians even bother to check their information against Discogs (which is easy enough) or proper discographies? It seems like somebody decided it makes more sense for the first disk to be called Soul Revolution, and the second Part II and is therefore rewriting history to match that. — Preceding unsigned comment added by 2600:1700:FDF0:9ED0:947D:30C7:9C11:E56A (talk) 16:55, 9 December 2020 (UTC)

 * Name has now been fixed. SilkTork (talk) 15:33, 20 December 2021 (UTC)

title: Talk:Soul Revolution Part II


text:
User talk:Dejavood0o

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! - Hephaestos|§ 03:38, 22 August 2005 (UTC)
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Please stop. If you continue to vandalize pages, as you did to Cocaine (song), you will be blocked from editing Wikipedia. Joyous | Talk 03:31, 18 February 2006 (UTC)

Image Tagging Image:Alexjudge.jpg
Thanks for uploading Image:Alexjudge.jpg. I notice the 'image' page currently doesn't specify who created the content, so the copyright status is unclear. If you have not created this media yourself then there needs to be an argument why we have the right to use the media on Wikipedia (see copyright tagging below). If you have not created the media yourself then it needs to be specified where it was found, i.e., in most cases link to the website where it was taken from, and the terms of use for content from that page.

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If you have uploaded other media, consider checking that you have specified their source and copyright tagged them, too. You can find a list of 'image' pages you have edited by clicking on the "my contributions" link (it is located at the very top of any Wikipedia page when you are logged in), and then selecting "Image" from the dropdown box. Note that any unsourced and untagged images will be deleted one week after they have been uploaded, as described on criteria for speedy deletion. If you have any questions please ask them at the Image legality questions page. Thank you. Sherool (talk) 20:45, 1 April 2006 (UTC)

title: User talk:Dejavood0o


text: Talk:Soul Revolution Part II Dub

title: Talk:Soul Revolution Part II Dub


text:
Sissieretta Jones

Matilda Sissieretta Joyner Jones (January 5, 1868 or 1869 – June 24, 1933) was an American soprano. She sometimes was called "The Black Patti" in reference to Italian opera singer Adelina Patti. Jones' repertoire included grand opera, light opera, and popular music. Trained at the Providence Academy of Music and the New England Conservatory of Music, Jones made her New York City debut in 1888 at Steinway Hall, and four years later she performed at the White House for President Benjamin Harrison. She sang for four consecutive presidents and the British royal family,  and was met with international success. Besides the United States and the West Indies, Jones toured in South America, Australia, India, southern Africa, and Europe.

The highest-paid African American performer of her time, later in her career she founded the Black Patti Troubadours (later renamed the Black Patti Musical Comedy Company), a musical and acrobatic act made up of 40 jugglers, comedians, dancers and a chorus of 40 trained singers. She remained the star of the Famous Troubadours for around two decades while they established their popularity in the principal cities of the United States and Canada, Jones retired from performing in 1915. In 2013, she was inducted into the Rhode Island Music Hall of Fame.

Early life
Matilda Sissieretta Joyner was born on January 5, 1868 or 1869, in a house on Bart Street in Portsmouth, Virginia, United States, to Jeremiah Malachi Joyner, an African Methodist Episcopal minister and Henrietta Beale, a singer in a church choir and washerwoman. Her father had formerly been enslaved, but was educated and literate. She was the oldest of three children, although her siblings died when they were young. Matilda Joyner was nicknamed as Sissy or Tilly by her family and friends, and began singing around the house at a young age. When she was six years old, her family moved to Providence, Rhode Island, where she began singing at an early age in her father's Pond Street Baptist Church. She attended Meeting Street and Thayer Schools.

In 1883, Joyner began the formal study of music at the Providence Academy of Music. She studied with Ada Baroness Lacombe. In the late 1880s, Jones was accepted at the New England Conservatory of Music in Boston, studying under Flora Batson of the Bergen Star Company. She also studied at the Boston Conservatory.

Debut and breakthrough concerts
On October 29, 1885, Jones gave a solo performance in Providence as an opening act to a production of Shakespeares's Richard III staged by John A. Arneaux's theatre troupe. In 1887, she performed at Boston's Music Hall before an audience of 5,000. Jones made her New York City debut on April 5, 1888, at Steinway Hall. During a performance at Wallack's Theater in New York, Jones came to the attention of Adelina Patti's manager, who recommended that Jones tour the West Indies with the Fisk Jubilee Singers. Jones made successful tours of the Caribbean in 1888 and 1892. Around this time one critic at the theatrical journal the New York Clipper dubbed her "the Black Patti" after Adelina Patti, an epithet that Jones disliked, preferring Madame Jones. She later told a reporter that the name "rather annoys me... I am afraid people will think I consider myself the equal to Patti herself. I assure you I don't think so, but I have a voice and I am striving to win the favor of the public by honest merit and hard work."

In February 1892, Jones performed at the White House for President Benjamin Harrison. She sang for four consecutive presidents—Harrison, Grover Cleveland, William McKinley, and Theodore Roosevelt—and the British royal family. For three of her White House performances, Jones had to enter the building through the back. She was finally allowed to enter through the front door for the Roosevelt performance.

Jones performed at the Grand Negro Jubilee at New York's Madison Square Garden in April 1892 before an audience of 75,000. She sang the song "Swanee River" and selections from Verdi's La traviata. She was so popular that she was invited to perform at the Pittsburgh Exposition (1892) and the World's Columbian Exposition in Chicago (1893). At the Chicago performance, the venue was packed an hour before she was set to perform, and she received an ovation after singing "Ocean, Thou Mighty Monster".

In June 1892, Jones became the first African American to sing at the Music Hall in New York (renamed Carnegie Hall the following year). Among the selections in her program were Gounod's "Ave Maria" and Verdi's "Sempre libera" from La traviata. The New York Echo wrote of her performance at the Music Hall: "If Mme Jones is not the equal of Adelina Patti, she at least can come nearer it than anything the American public has heard. Her notes are as clear as a mockingbird's and her annunciation [sic] perfect."

Expanded venues and international success
On June 8, 1892, Jones' venue options expanded, and she entered a contract with the possibility of a two-year extension, for $150 per week (plus expenses) with Major James B. Pond, who had meaningful affiliations to many authors and musicians and also managed artists such as Mark Twain and Henry Ward Beecher, and her fees began to rise. She received $2,000 for a week-long appearance at the Pittsburgh Exposition, noted for being the highest fee ever paid to a black artist in the United States. By comparison, Adelina Patti was paid $4,000 a night.

In 1893, Jones met composer Antonín Dvořák. On January 23, 1894, Dvořák included Jones as a featured soloist during his benefit concert for the New York Herald's Free Clothing Fund at the Madison Square Garden Concert Hall. In addition to singing an arrangement of Rossini's Stabat Mater with the "colored male choir of St. Philip's church", Jones performed Dvořák's arrangement of Foster's "Old Folks at Home". By 1895, she had become the "most well known and highly paid" performer of African American heritage of her time.

Jones was met with international success. Besides the US and the West Indies, Jones toured in South America, Australia, India, and southern Africa. During a European tour in 1895 and 1896, Jones performed in London, Paris, Berlin, Cologne, Munich, Milan, and Saint Petersburg. She noted in her letters that she encountered less racial prejudice in Europe, and that performers' skin color was irrelevant to their reception by audiences. By 1896, she also had become frustrated with racism limiting her venues in the United States, particularly when the Metropolitan Opera, which considered her for a lead role, rescinded that opportunity because of her race.

Black Patti Troubadours
In 1896, Jones returned to Providence to care for her mother, who had become ill. Jones found that access to most American classical concert halls was limited by racism. She formed the Black Patti Troubadours (later renamed the Black Patti Musical Comedy Company), a musical and acrobatic act made up of 40 jugglers, comedians, dancers and a chorus of 40 trained singers. The Black Patti Troubadours reveled in vernacular music and dance. The revue paired Jones with rising vaudeville composers Bob Cole and Billy Johnson. The show consisted of a musical skit, followed by a series of short songs and acrobatic performances. During the final third of each show, Jones performed arias and operatic excerpts, although "low" comedy, song and dance were also showcased in what was originally a "free-for-all" variety production with no pretense of a coherent story line. The Indianapolis Freeman reviewed the "Black Patti Troubadours" with the following: "The rendition which she and the entire company give of this reportorial opera selection is said to be incomparably grand. Not only is the solo singing of the highest order, but the choruses are rendered with a spirit and musical finish which never fail to excite genuine enthusiasm." As the show grew more organized by the early 1900s, she had added scenery and costumes to her opera excerpts, and there were definite plots and musical comedy where she appeared in the storyline.

The revue provided Jones with a comfortable income, reportedly in excess of $20,000 per year. She led the company with reassurance of a forty-week season that would give her a sustainable income, guaranteed lodging in a well-appointed and stylish Pullman car, and the ability to sing opera and operetta excerpts in the final section of the show. She was the highest-paid African American performer of her time, remaining the star of the Famous Troubadours for around two decades while they toured each season and established their popularity in the principal cities of the United States and Canada. The company Troubadours made an important statement about the capabilities of black performers to its predominantly white audiences, showing that there were diverse artist genres and styles besides minstrelsy. Their eventual fame and international tours collected many audiences, and several members of the troupe, such as Bert Williams, had significant careers in their own right. In April 1908, at the Avenue Theatre in Louisville, Kentucky, where segregated seating was still prevalent, her rendition of "My Old Kentucky Home" was well-received by a primarily white audience, resulting in "the first time that a colored performer received a bouquet at the theatre in [the city of St. Louis]." The troupe also performed many times in the new theaters with black owners such as the Howard in Washington, D.C. Shows for the troupe included A Trip to Africa (1909 and 1910), In the Jungles (1911 and 1912), Captain Jaspar (1912 and 1913) and Lucky Sam from Alabam (1914 and 1915). She did not participate fully in the 1913–1914 season due to illness, and the following year the company disbanded. Her final two performances were at the Grand Theater in Chicago and the Lafayette Theater in New York City in October 1915, promising her audiences that she would return. Jones retired from performing in 1915.

Legacy
W.C. Handy edited a songbook in 1944 which included a song about her; the book is called Unsung Americans Sung. In the 1967 book Black Magic by Milton Meltzer and Langston Hughes, she was described as a "stunning woman with a beautiful voice". Jones was also written about in Olio (2016), a poetry collection by Tyehimba Jess that won the 2017 Pulitzer Prize for Poetry.

As of 2003, several dresses from her early stage career were maintained by the Rhode Island Heritage Society. As of 2013, the Rhode Island Black Heritage Society was seeking funds to restore a performance dress worn by Jones in the 1890s, after the yellow silk and embroidered gown deteriorated. Her restored wedding gown at the time was on display at the John Brown House Museum in Providence. A biography of Jones by Maureen Lee, titled Sissieretta Jones: The Greatest Singer of her Race, was published in May 2012. The research for the book was partly based on a scrapbook of Jones which was on display at Howard University. At the same time, a plaque honoring Jones was erected near the location of Jones' home on the East Side of Providence.

In 2013 Jones was inducted into the Rhode Island Music Hall of Fame.

In 2018, The New York Times published a belated obituary for her.

Before her death in 2019, the great American soprano Jessye Norman was "in the planning stages for Call Her By Her Name!, a multi-media tribute" to Jones.

Personal life
In 1883, she married David Richard Jones, a news dealer and hotel bellman, when she was 14 years old. He served as her first manager. She filed for divorce in 1898, citing his drunkenness and lack of support. She divorced him in 1899 for his misuse of their money and gambling. In 1915, her mother fell ill, so Jones retired from performing and moved back to Rhode Island to take care of her. She devoted the remainder of her life to her church and to caring for her mother, also taking in homeless children and caring for her two adopted children. She lived off her holdings for a number of years, but was eventually forced to sell most of her property to survive, including most of her medals and jewels and three of her four houses. In her final years, the president of the local NAACP chapter helped pay her taxes and water bill, and provided her family with coal and wood. Jones died in poverty on June 24, 1933, from cancer at the Rhode Island Hospital in Providence, Rhode Island. She did not have the money to pay for a gravestone upon her death, and is buried in her hometown at Grace Church Cemetery. In 2018, money was raised to finally place a headstone on her grave; the headstone was erected in June of that year.

title: Sissieretta Jones


text:
Talk:African Herbsman

Assessment comment
Substituted at 06:48, 29 April 2016 (UTC)

title: Talk:African Herbsman


text:
User talk:Laughter's no sin!

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! - Hephaestos|§ 08:39, 22 August 2005 (UTC)
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title: User talk:Laughter's no sin!


text:
Talk:Rasta Revolution

Fair use rationale for Image:RastaRevolution.jpg
Image:RastaRevolution.jpg is being used on this article. I notice the image page specifies that the image is being used under fair use but there is no explanation or rationale as to why its use in this Wikipedia article constitutes fair use. In addition to the boilerplate fair use template, you must also write out on the image description page a specific explanation or rationale for why using this image in each article is consistent with fair use.

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Which is it! Is Rasta Revolution a Studio Album or a Compilation Album
The Bob Marley and The Wailers discography page lists it as a Studio Album but on the Bob Marley Template it is listed under Compilations.

In the very beginning of the Rasta Revolution article it states "Rasta Revolution is a compilation album...", but to the right of that, under the picture in the box/table, it is written "Studio album by Bob Marley & The Wailers", Eg.

Rasta Revolution

(Picture: Album's Cover Art)

Studio album by Bob Marley & The Wailers Panyé El Skat-é-board-ér King-o (talk) 15:15, 15 July 2009 (UTC)

title: Talk:Rasta Revolution


text: User talk:216.239.68.60

title: User talk:216.239.68.60


text:
Talk:Rastaman Vibration

VINCENT FORD
Vincent Ford was not a 'Childhood' friend of Bob's but an older semi tutorial figure in Bob's life. He gave him a place to stay when Bob was homeless. 109.151.168.130 (talk) 16:01, 31 March 2015 (UTC)

External links modified
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title: Talk:Rastaman Vibration


text:
Talk:Kaya (album)

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title: Talk:Kaya (album)


text:
Talk:Chances Are (album)

Fair use rationale for Image:ChancesAreAlbum.jpg
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title: Talk:Chances Are (album)


text:
Talk:Confrontation (Bob Marley and the Wailers album)

Haile Selassie's Flag
The album design seems to be based on Selassie's Personal standard - does anyone know if this is so, and would it be worth including? 131.251.0.7 16:07, 5 March 2007 (UTC)


text:
Talk:Legend (Bob Marley and the Wailers album)

Original tracklist
"It contains all ten of Marley's Top 40 hit singles in the UK up to the time,[4] plus three songs from the early configuration of the Wailers with Peter Tosh and Bunny Livingston in "Stir It Up," "I Shot the Sheriff," and "Get Up, Stand Up," along with the closing song from the album Uprising, "Redemption Song." So, is that 14 tracks on the original album? Stephenjh (talk) 08:30, 28 November 2012 (UTC)

Merger proposal
Feel free to comment at Talk:Legend (disambiguation).--TonyTheTiger (T / C / WP:FOUR / WP:CHICAGO / WP:WAWARD) 02:42, 18 August 2014 (UTC)

External links modified
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text:
Glyoxysome

Glyoxysomes are specialized peroxisomes found in plants (particularly in the fat storage tissues of germinating seeds) and also in filamentous fungi. Seeds that contain fats and oils include corn, soybean, sunflower, peanut and pumpkin. As in all peroxisomes, in glyoxysomes the fatty acids are oxidized to acetyl-CoA by peroxisomal β-oxidation enzymes. When the fatty acids are oxidized hydrogen peroxide (H2O2) is produced as oxygen (O2) is consumed. Thus the seeds need oxygen to germinate. Besides peroxisomal functions, glyoxysomes possess additionally the key enzymes of the glyoxylate cycle (isocitrate lyase and malate synthase) which accomplish the glyoxylate cycle bypass.

Thus, glyoxysomes (as all peroxisomes) contain enzymes that initiate the breakdown of fatty acids and additionally possess the enzymes to produce intermediate products for the synthesis of sugars by gluconeogenesis. The seedling uses these sugars synthesized from fats until it is mature enough to produce them by photosynthesis.

Plant peroxisomes also participate in photorespiration and nitrogen metabolism in root nodules.

title: Glyoxysome


text:
Bartolomé de Torres Naharro

Bartolomé de Torres Naharro (c. 1485, Torre de Miguel Sesmero, Extremadura – c. 1530) was a Spanish dramatist and Leonese language writer of Jewish converso descent.

Life
After some years of soldiering and of captivity in Algiers, Torres Naharro took holy orders, settled in Rome about 1511, and there devoted himself chiefly to writing plays. Though he alludes to the future pope, Clement VII, as his protector, he left Rome to enter the household of Fabrizio Colonna at Naples as a chaplain where his works were printed under the title of Propaladia (1517). He is conjectured to have returned to his native place, and to have died there shortly after 1529.

His Diálogo del nacimiento is written in unavowed, though obvious, imitation of other Leonese language writers as Juan del Encina, but in his subsequent plays he shows a much larger conception of dramatic possibilities. He classifies his pieces as comedias á noticia and comedias á fantasía; the former, of which the Soldatesca and Tinellaria are examples, present in dramatic form incidents within his personal experience; the latter, which include such plays as Serafina, Himenea, Calamita and Aquilana, present imaginary episodes with adroitness and persuasiveness.

According to an evaluation in the 1911 Encyclopædia Britannica: "Torres Naharro is much less dexterous in stagecraft than many inferior successors, his humour is rude and boisterous and his diction is unequal; but to a varied knowledge of human nature he adds knowledge of dramatic effect, and his rapid dialogue, his fearless realism and vivacious fancy prepared the way for the romantic drama in Spain."

Only one complete copy of the Propaladia is known to exist. This book was stolen from the Royal Danish Library in the seventies and was not seen again until it turned up at an auction at Christie's in 2003 where relatives of the original thief tried to sell it.

title: Bartolomé de Torres Naharro


text:
Talk:Talkin' Blues

Fair use rationale for Image:MarleyTalkinBlues.jpg
Image:MarleyTalkinBlues.jpg is being used on this article. I notice the image page specifies that the image is being used under fair use but there is no explanation or rationale as to why its use in this Wikipedia article constitutes fair use. In addition to the boilerplate fair use template, you must also write out on the image description page a specific explanation or rationale for why using this image in each article is consistent with fair use.

Please go to the image description page and edit it to include a fair use rationale. Using one of the templates at Fair use rationale guideline is an easy way to insure that your image is in compliance with Wikipedia policy, but remember that you must complete the template. Do not simply insert a blank template on an image page.

If there is other other fair use media, consider checking that you have specified the fair use rationale on the other images used on this page. Note that any fair use images uploaded after 4 May, 2006, and lacking such an explanation will be deleted one week after they have been uploaded, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you.BetacommandBot 04:56, 6 June 2007 (UTC)

Live album?
I have a copy of this album and it is not Live at all. It has a few tracks of Bob Marley talkin' to somebody. I believe it should be changed, in fact it used to say it is a Compilation Album (which is pretty much right in my opinion) but got changed apparently.

Elchafa (talk) 04:20, 6 September 2010 (UTC)

title: Talk:Talkin' Blues


text:
Tiger Town

Tiger Town is a 1983 American made-for-television sports drama film and is the first television film produced for the Disney Channel. It was awarded a CableACE Award in 1984 for Best Dramatic Film. The film stars Roy Scheider as Billy Young, an aging baseball player for the Detroit Tigers, and Justin Henry as Alex, a young fan who believes in him. Tiger Town originally aired October 9, 1983 on the Disney Channel.

The film was written and directed by Detroit native Alan Shapiro and executive produced by Susan B. Landau. It was subsequently aired on ABC's Disney Sunday Movie, and had a limited theatrical release in the Detroit area in June 1984, which (coincidentally) was during Tigers’ best season in franchise history.

Most of the film was shot on location at Tiger Stadium and in the city of Detroit. One notable goof in the film shows Alex racing his bicycle across a bridge over the Detroit River on the way to the stadium. The bridge is the one leading from the Detroit mainland to Belle Isle Park, an island park where there is no residential area.

Plot
Alex (Henry) and his father (Ron McLarty) are devoted Detroit Tigers fans, even now as they are struggling. Alex's favorite player is aging star Billy Young (Scheider), who is having a sub-par season, which is also his last. His only remaining wish is to play in the World Series before retiring.

Alex's father dies unexpectedly, but not before he tells Alex that he should always believe. Consequently, Alex decides to visit every Tiger home game. Every time Young comes to the plate, Alex closes his eyes and wishes hard, and Young ends up hitting a home run. Thanks to Young's rejuvenated play, the Tigers start winning again.

But there is a price. Alex, who now believes that if he doesn't go to the games, the team will lose (explaining the Tigers' pitiful road trips); finds himself the subject of ridicule by classmates, since he often sneaks out of school early to watch the Tigers play. Nevertheless, thanks to Billy Young, the Tigers claw their way back into the pennant race. The final game of the season, against the Baltimore Orioles, would decide the pennant.

Alex has his ticket and school lets out early so kids can watch the game, but as Alex leaves school, he is detained by a gang of bullies who take his ticket and his money. Only when Alex gets his principal's attention is he released and forced to run all the way to Tiger Stadium. Bribing a little girl for her bike and hanging onto the back of a city bus gets Alex to the stadium in time for the ninth inning, where Young is up and the Tigers are trailing. Young makes contact with the ball just as Alex gets to the front of the stadium aisle, and Young ends up clearing the bases, giving the Tigers the American League East title and securing a chance to play in the American League Championship Series, thus one step closer to Young's wish to play in the World Series.

In real life, the Tigers would win the World Series the very next year (1984).

Cameos
Several Detroit broadcasters and celebrities appear as themselves in the movie. Tigers manager Sparky Anderson appears frequently in the movie. Mary Wilson, a former Supreme, sings the national anthem before the final game. Also appearing are Ernie Harwell, the legendary play-by-play radio voice of the Tigers; Detroit sportscaster Ray Lane, as Ernie's partner; and then-WDIV sportscaster Al Ackerman — who would help coin the rally cry “Bless You Boys” for the 1984 season.

Harwell and Lane were paired in the radio booth calling games on WJR radio from 1967 to 1972.

Ackerman was a sports anchor for Detroit's WXYZ-TV and WDIV-TV in the 1970s and 1980s.

title: Tiger Town


text: Talk:Songs of Freedom

title: Talk:Songs of Freedom


text: Talk:Live at the Roxy (Bob Marley and the Wailers album)


text:
Hale and Pace

Hale and Pace were an English comedy double-act that performed in clubs and on radio and television in the United Kingdom in the 1980s and 1990s. The duo was made up of Gareth Hale and Norman Pace, with the Hale and Pace television show running for ten years and 66 episodes, from 1988 to 1998.

Early career
Gareth Hale (born 15 January 1953) and Norman Pace (born 17 February 1953) met at Avery Hill teacher-training college in Eltham, South-East London. After five years in education, they moved to entertainment in the late 1970s. They performed mostly in the Tramshed in Woolwich, London for seven years. This developed into sketch-writing, with a show entitled Don't Stop Now - It's Fundation. Before appearing on TV, they did a series of radio shows for Radio 4 based on their show at the Tramshed. Their early TV breaks came on The Entertainers (1984) and Pushing Up Daisies (1984), and they went on to appear in the Channel 4 sketch show Coming Next (1985) and Saturday Gang (1986). They also appeared in The Young Ones three times, in the episodes "Flood", "Nasty" and "Time".

London Weekend Television show
After a one-off special for London Weekend Television at Christmas 1986, they were given a full series in 1988. The first series won the Silver Rose of Montreux, as well as the Press prize. Their ITV series ran for a decade, with most of the programmes going out around 10 pm on a Sunday. The show is a mixture of sketches and stand-up. The series was also notable for its amount of musical numbers with every episode featuring at least one original song performed by Hale and/or Pace.

Their most famous comic creations are the stone-faced bouncers The Two Rons (not to be confused with The Two Ronnies), who are also known as The Management and for using the phrase 'I do do wrong, Ron, I do do wrong' in their stilted conversations in a reference to the song "Da Doo Ron Ron" by The Crystals. The Two Rons' studio sketches either take place on some dimly-lit stairs next to the bouncers' venue or above Hale and Pace, where they have been keeping an eye on proceedings. In later series, The Two Rons are filmed on-location with Ron & Ron's Gardening Tips having the duo dispense thuggish wisdom about plants and flowers.

Hale and Pace are also famous for their ever-smiling and colourfully-dressed children's TV presenters Billy (Hale) and Johnny (Pace), and rockers Jed and Dave. Billy and Johnny started off in a number of sketches spoofing the kind of television programming which helps pre-schoolers learn, with Ainsley Harriott appearing in a number of the sketches as their co-presenter Willy.

Most sketches includes both Hale and Pace, though the black and white sketches featuring 1960s Beat Generation-era poet Groovy Wordbender are performed by Gareth Hale, whilst series one has a running gag featuring Norman Pace as a vet and a cow.

A number of their TV sketches caused controversy, especially the one in which they pretended to have microwaved a cat.

A number of writers worked on the series over the ten series, with a high number of writing duos contributing ideas for sketches including Carson & Tomlinson (script advisors Sean Carson and David Tomlinson), Nice & Smith and Hale & Pace themselves.

In March 2022, the series was acquired by That's TV for its comedy line-up which also included repeats of The Mrs Merton Show and Monty Python's Flying Circus.

Spin-offs
Hale & Pace's characters "The Two Rons – also known as The Management" also had a spin-off series of their own called The Management which included a number of their regular cast in permanent positions and ran for a total of 6 episodes. This series was also released on video but strangely only 4 out of the 6 episodes. They also made several specials, such as the 1996 Showcase Hale & Pace Down Under from Australia and April Fools' Day.

Guest stars
In early series, Hale and Pace would feature little known performers such as Ainsley Harriott, Annette Badland and Caroline Quentin, who would become successful in their own right later in the 1990s, but would not have any famous for the time stars in the series. Once Hale and Pace became more well known, more widely known stars appeared in their shows, with the snooker players Steve Davis and Jimmy White playing foil to the two cabbies in one episode.

DVD box sets
All 10 series are now released on DVD, available in region 4 from Australia (No special features or extras, simple DVD transfer)
 * Series 1 & 2 Alternative?
 * Series 3 & 4 Alternative?
 * Series 5 & 6
 * Series 7 & 8
 * Series 9 & 10

The show is rated M in Australia and R16 in New Zealand for its sexual references.

The complete first series doubled with the 1986 Christmas Special was released in a 2 disc DVD set in the UK on 12 March 2012 by Network. It was classified "12" by the BBFC.

"The Stonk"
In 1991 Hale & Pace were part of a charity supergroup, who released a single in aid of Comic Relief. Credited to Hale & Pace and the Stonkers, the record, called "The Stonk", was based on a fictitious dance craze and was co-written by the two comedians along with Joe Griffiths. The single was produced by Queen guitarist Brian May, who was also featured on the track and had his name printed on the front cover. Other musicians performing on the single, besides Brian May playing keyboards and guitar, were Nick Lowe, David Gilmour and Tony Iommi on guitar, with Neil Murray on bass guitar. Cozy Powell, Roger Taylor and Rowan Atkinson – appearing as his character Mr. Bean – performed on drums. Joe Griffiths and Mike Moran contributed on keyboard.

Comedians Steve Punt, Hugh Dennis, Rob Newman and David Baddiel appear in the video.

A UK number-one single for one week in March 1991, it was the UK's 22nd-best-selling single of the year. "The Stonk" was released as a joint-single with a track written and performed by the comedian Victoria Wood. Entitled "The Smile Song", the song was credited on the front of the single cover and listed as track 2 on the seven-inch and CD single (rather than B-side). However, the UK singles chart compilers (now the Official Charts Company) did not credit her with having a number one hit, in a situation similar to the fate of Big Audio Dynamite II's "Rush", the AA-side of preceding number one, "Should I Stay or Should I Go" by The Clash.

Other appearances
As well as their 1991 single "The Stonk", the duo also appeared as their characters "The Two Rons" in a firework safety campaign run around Guy Fawkes Night, in public information films that were run for several years from the late 1980 to early 1990s, in slots often directly after Children's BBC, but also occasionally during ITV commercial breaks. "Da Doo Ron Ron", which their characters' catchphrase "I do, Ron, Ron" was a reference to, was coincidentally used in a rewritten form on the subject of firework safety in one of the PIFs.

Hale and Pace continued their charity work with a 1992 stint as spokespersons for the National Egg Awareness Campaign. They moved across to the BBC in 1997 and starred in the three-part series, Jobs for the Boys, a non-comedic show in which they took on a variety of employment challenges. One of these challenges was to write the UK entry for the Eurovision Song Contest. They were advised/mentored by Rick Wakeman, Bruce Welch (from The Shadows - UK entry 1975), Lynsey de Paul (UK entry 1977), Pearl Carr & Teddy Johnson (UK entry 1959), Cheryl Baker (from Bucks Fizz - UK entry 1981), Lee Sheriden and Nicky Stevens (from Brotherhood of Man - UK entry 1976), Björn Again, former Eurovision presenter Katie Boyle, Johnny Logan, Katrina Leskanich (from Katrina and the Waves - UK entry 1997), songwriter Don Black (lyricist), and radio presenter Ken Bruce.

The duo also appeared, briefly, as shop-keepers Harvey and Len, in Part One of the 1989 Doctor Who story Survival. This gave them the distinction of appearing in what turned out to be the last ever story in the show's original 1963–89 run.

Their dramatisation of the Dalziel and Pascoe detectives for ITV in 1994 did not lead to success, and the BBC later attempted the serialisations with more success, with Warren Clarke and Colin Buchanan in the title roles.

In 1998, Hale and Pace could be seen in a BBC One programme called Oddbods, with the shows written by the duo in association with Richard Parker. Two episodes were aired.

A hybrid variety/comedy/quiz/people-show h&p@bbc was launched in 1999 under the watch of the BBC's Head of Entertainment Paul Jackson who had worked with the duo prior to his appointment. h&p@bbc was a 40-minute show, a mix of comedy, celebrity quizzes and audience participation. It was initially scheduled for Wednesday nights after the Nine o'Clock News. The h&p@bbc show was criticised by The Independent's Brian Viner as being a throwback to low-budget quiz shows of the 1980s, and he considered the show's games to be a "derivative mish-mash".

Hale and Pace appeared working in a shoe shop in episode two of The Armando Iannucci Shows (2001). They appeared in the Christmas Special of the Gervais and Merchant show Extras, broadcast in December 2007. They appeared in several episodes of the 2018 season of Benidorm, playing a pair of financial fraud investigation officers.

Reception
The first episode of Hale and Pace's ITV television series won the 1989 Golden Rose of Montreux award.

Television critic Victor Lewis-Smith once described the duo by saying "Gareth Hale is the unfunny one with the moustache and Norman Pace is the unfunny one without the moustache".

title: Hale and Pace


text:
Talk:Suffern, New York

Same spot
I was in the same spot that you were when you took this picture did you clime that huge hill to follow to the end of the pipe line. did you follow the trail on your left or did you go right and went on that huge rock? what you read this E-mail me back Irishkid1988@aol.com — Preceding unsigned comment added by 205.188.116.132 (talk) 03:43, 22 August 2005 (UTC)

Joke alert
Why does this article not mention "Suffern succotash"? — Preceding unsigned comment added by 69.39.172.77 (talk) 05:21, 14 February 2006 (UTC)

"Village"!?
Is Suffern - pop. ~11,000 - a "village"? I know "towns" which have a population of less than 50 inhabitants. // Jens Persson (213.67.64.22 19:01, 12 April 2007 (UTC))

 * Might be a little late, but the word "village" means something special in New York (namely it's a specific subdivision of a town), see: http://en.wikipedia.org/wiki/Administrative_divisions_of_New_York#Village —Preceding unsigned comment added by Aoleson (talk • contribs) 18:52, 29 February 2008 (UTC)

Transportation
I added the section about Transportation in the article about Suffern because the article did not have the transportation section. NHRHS2010 Talk  02:11, 30 August 2007 (UTC)

Suffern Family
I think more effort should be made to identify the members of the Suffern family named Edward?? I, II, III? They have to have some kind of clearification, I would bet some of these are the same person. —Preceding unsigned comment added by Garkeith (talk • contribs) 14:39, 26 December 2008 (UTC)

 * John and Mary Suffern's tenth child (out of eleven) was Edward, born April 7th, 1790. He became a judge. He also was a large landowner.  There is a family painting, the "Six Mile" painting that shows his large white home up the hill from where his father's house was. It is said that he said when he sat on his front porch, "All land I see is mine extending six miles into Bergen County, NY.  His land include the Ramapo Pass through which he granted right-of-way to the Erie Railroad. Union Hill, now a quarry, was in his side yard. His nephew, son of his sister Elizabeth and her husband, distant cousin John S. Suffern was also Edward Suffern born January 23, 1810.  This Edward graduated from RPI in 1835 as the first graduate engineer in the world per Ripley's.  Carolyn Suffern 204.111.137.2 (talk) 12:33, 14 April 2022 (UTC)

Does anyone know more about this Nicholas Suffern? If he does in fact exist, I find it odd that he's listed here, since the article states that he is a resident of "Awesomeville" (I'm not sure what state that's in) and not Suffern. Also, I'm not sure the term "epic ninja" is very encyclopedic. What about his ninja career was epic? Countmippipopolous (talk) 03:44, 30 May 2010 (UTC)

Descended hrom Huguenot's????
"The Village of Suffern was founded in 1796. John Suffern, first Rockland County judge, 1798–1806, settled near the base of the Ramapo Mountains in 1773, and called the place New Antrim, after his home in County Antrim, Ireland, where his Huguenot ancestors had settled circa 1585."

How long does one have to live in Ireland before one is Irish? I see this trend in Wiki articles all the time regarding persons of Irish Ancestry ("of Anglo-Irish", "descended from Huguenot's", "Scotch-Irish"). If someone's home is County Antrim and he names his village "New Antrim" I think we can say he is Irish. "Native American's" are the descendants of Asians who crossed the land bridge at the Berring Straight, should we preface every article regarding Native Americans with "descended from Asians"? We don't divide German American's into Prussina Lutherans and Bravarian Catholics, why do we continue to do this with the Irish. I would remind writers that the Patriotic Ballad "A Nation Once Again" was written by Protestant Thomas Davis, there were few people more Irish than he. — Preceding unsigned comment added by 69.112.241.169 (talk) 10:23, 11 January 2012 (UTC)

 * To me, the word "Huguenot" describes the ancestors in 1585 when they moved to Ireland, not after they'd been living there for some time. It doesn't mean that they weren't Irish years later. Chrisrus (talk) 20:33, 12 January 2012 (UTC)

My Huguenot ancestor Trophime deSuffren fled France probably with the revocation of the Edict of Nantes. Family records indicate he first went to London but settled in County Antrim, Ireland where generations lived for many years before John Suffern emigrated to America in 1763. Trophime was one of three brothers of the noble deSuffren family. The family name was changed in Ireland. Carolyn Suffern — Preceding unsigned comment added by 204.111.137.2 (talk) 12:25, 14 April 2022 (UTC)

Suffern along NHT
In the History section, there is a reference to the top page of a page set devoted to the Washington-Rachambeau National Historic Trail (NHT); however, I've not been able to find on that or historical versions of the page reference to Suffern. However, there is a document at https://www.nps.gov/waro/learn/news/upload/NY.pdf which mentions "Suffern, Avon Park, Lafayette Avenue and Washington Avenue" as a site "of historical significance to the story of the NHT". To date, I've not determined what the nature of that historical significance is. I think that if that can be determined, would be essential to add such to the article. --User:Ceyockey ( talk to me ) 00:15, 22 December 2017 (UTC)

 * The "historical significance" is that in 1781, French General Rochambeau made encampment in Suffern with 5,000 soldiers who were spread out in the areas mentioned above. His tent was pitched near the bridge on Lafayette Avenue down the hill from Avon Park, although he stayed at John Suffen's home.  The NPS has erected a wayside panel near the gazebo that honors Suffern's inclusion in the Washington-Rochambeau Revolutionary Route National Historic Trail.  Carolyn Suffern 204.111.137.2 (talk) 12:39, 14 April 2022 (UTC)

title: Talk:Suffern, New York


text: Talk:06:21:03:11 Up Evil

title: Talk:06:21:03:11 Up Evil


text: Talk:15 Años (Menudo album)

title: Talk:15 Años (Menudo album)


text:
Talk:1967: The First Three Singles

Paintbox
The Paintbox article is about computer software... does there exist any article about the song Paintbox? 83.145.61.135 07:45, 20 September 2006 (UTC)

I think...
...it would be nice to know is this album released on CD. Is it? --212.213.216.210 18:44, 2 August 2007 (UTC)
 * Yes it was released on Cd but now its very hard to come by - Ummagumma23 14:28 18 August 2007 (UTC)

title: Talk:1967: The First Three Singles


text:
Neverness

Neverness is a science fiction novel by American writer David Zindell, published in 1988. The related novelette "Shanidar" won the Writers of the Future contest in 1985.

Neverness concerns a far-future world where interstellar travel is controlled by a group of mathematicians called pilots, because of their abilities to do the calculations needed for space travel, and posthuman or AI computer brains called "gods" rule much of the galaxy. It follows the deeds of Mallory Ringess, a young pilot, as he travels through the universe and discovers secrets and strangeness. He encounters a god, lives as a Neanderthal caveman, and eventually discovers that the lord of the pilots' order is thousands of years old and immortal, and that enlightened aliens have hidden profound secrets in humanity's genes. Zindell has said that it was partly based on Le Morte d'Arthur, with the pilots as "knights zipping around the universe in search of the Holy Grail".

Mark Spencer praised the book for its unusual approach to showing an unfamiliar world, and the complexity of its story. The novel won the Gigamesh Award for best novel in 1991, and Zindell was nominated for the Astounding Award for Best New Writer in 1986. Gene Wolfe described Zindell as "one of the finest talents to appear since Kim Stanley Robinson and William Gibson — perhaps the finest", and David Barrett described its style as "poetic prose that is a joy to read".

title: Neverness


text:
Talk:When Incubus Attacks Volume 1

Fair use rationale for Image:WhenIncubusAttacksVolume1.jpg
Image:WhenIncubusAttacksVolume1.jpg is being used on this article. I notice the image page specifies that the image is being used under fair use but there is no explanation or rationale as to why its use in this Wikipedia article constitutes fair use. In addition to the boilerplate fair use template, you must also write out on the image description page a specific explanation or rationale for why using this image in each article is consistent with fair use.

Please go to the image description page and edit it to include a fair use rationale. Using one of the templates at Fair use rationale guideline is an easy way to insure that your image is in compliance with Wikipedia policy, but remember that you must complete the template. Do not simply insert a blank template on an image page.

If there is other fair use media, consider checking that you have specified the fair use rationale on the other images used on this page. Note that any fair use images uploaded after 4 May, 2006, and lacking such an explanation will be deleted one week after they have been uploaded, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you.

BetacommandBot 05:21, 14 July 2007 (UTC)

title: Talk:When Incubus Attacks Volume 1


text: Talk:200 More Miles: Live Performances 1985–1994


text:
Peerage of Britain and Ireland by date

From the early Middle Ages until early modern times, the nobility was the true basis of power for the English crown. The peerage was where the king would turn for military, judicial and administrative purposes, and the ruler who ignored his nobility, like Edward II, did so at great risk to his position. The peerage can perhaps best be compared to the cabinets of modern-day Prime Ministers or Presidents, though their power and responsibilities were much wider. The emergence of Parliament did not seriously erode the power of the nobility until, at the earliest, the 17th century.

Below can be found lists of the Peerage of England and Ireland during selected years of the Middle Ages. Though this approach naturally will exclude certain important individuals, the lists still work as snap-shots of the elite of the nation at regular intervals during the Middle Ages.

Up until 1340, when the first dukedom was created (1337), the lists only include Earls. From 1390 Marquessates are also included (1385), and from 1450 Viscountcies (1446).

title: Peerage of Britain and Ireland by date


text:
WKLT

WKLT 97.5 Kalkaska (Traverse City), WBCM 93.5 Boyne City (Petoskey) and WRGZ 96.7 Rogers City (Alpena) are classic rock-leaning mainstream rock stations simulcasting as "KLT The Rock Station". The stations serve all of northern lower Michigan from Traverse City to Alpena.

History
The station was started by Roy Henderson in April 1979 at 97.7, in Kalkaska, Michigan, playing a CHR/Top 40 format as "Kilt 98". Due to its limited signal, the station found it difficult to compete with the high-powered WJML-FM and WKHQ, and so in 1981 the station changed format to automated country as "Country 98".

The station added an AM station at 1420 in 1982, which simulcasted the FM's format. The AM station, WKLT, was a 500-watt daytimer.

In 1982, WKLT became the Grand Traverse region's first AOR station, when Roy Henderson moved to Texas full-time, selling WKLT to a Pepsi-Cola distribution company based in North Dakota. The new AOR format was the first of its kind in northern Michigan and gave listeners an alternative to the Top 40 fare played on WJML and WKHQ. It was during this period that WKLT would be known to its listeners as "98 Rock".

In 1991, WKLT moved to 97.5, boosting power to 32,000 watts and the company purchased WJML in Petoskey (which by that time had shifted to an adult contemporary format in response to competition from WKHQ and WKPK). The company spun off WJML/1110 to local broadcaster Rick Stone (who eventually sold the station to John Yob) and WKLT to the Kalkaska School system, which has since shut the station down for good. WJML-FM 98.9 became WKLZ and Double Rock KLT was born. During the 29 years the stations simulcast, they could be heard as far north as Sault Ste Marie, Ontario, Canada, as far west as Manistique, and as far south as Lake City.

Throughout the 1990s, the station, and Northern Broadcast, were managed by Richard Dills of Grand Rapids. Dills, former General Manager of WKLQ-FM modeled WKLT after WKLQ even going so far as to copy the KLQ logo for KLT. In 2005, Charlie Ferguson took over the GM position at Northern Broadcast after a long stint in Minot, North Dakota, Northern Radio's home city. The Double Rock slogan was changed to "The Rock Station" reflecting the long history of the station. With the change, listeners have noted that the station has become more heavily gold-based than before but that they still plays some currents as well.

Mid-day personality and Program Director Terri Ray has become a Northern Michigan icon. She came to KLT in January 1984. She hosts the highly rated noon time request show "Lunch at the Leetsville Cafe" for 3 plus decades. Terri Ray is also the host of a local music feature called "KLT's Garage" that airs on Sunday nights at 9.

In August 2008, a construction permit was granted for FM translator W281AY 104.1 Alpena.

On February 24, 2020, WKLT switched simulcasters from WKLZ-FM (sold to Educational Media Foundation, eventually switching to EMF's Air1 contemporary Christian format) to WBCM 93.5 FM Boyne City (switched from a simulcast with country-formatted WTCM 103.5 FM Traverse City). In April 2020, sister station WRGZ began simulcasting WKLT's classic rock format after 13 years of simulcasting WATZ's country format.

Previous logo
(WKLT's logo under previous simulcast with WKLZ 98.9)

title: WKLT


text:
The Boys on the Bus

The Boys on the Bus (1973) is author Timothy Crouse's seminal non-fiction book detailing life on the road for reporters covering the 1972 United States presidential election.

The book was one of the first treatises on pack journalism ever to be published, following in the footsteps of Gay Talese's 1969 "fly on the wall" look into the New York Times called The Kingdom and the Power.

The Boys on the Bus evolved out of several articles Crouse had written for Rolling Stone. When released, the book became a best-seller and is still in print today, often being used as a standard text in many university journalism courses.

Several very recognizable reporters, whose bylines could be seen into the 21st century, are at turns critiqued, lampooned and glorified in the book, including R.W. "Johnny" Apple, Robert Novak, Walter Mears, Haynes Johnson, David Broder, Hunter S. Thompson, Thomas Oliphant, Curtis Wilkie, Carl Leubsdorf, and Jules Witcover, not to mention the politicians they were covering:  Richard Nixon and George McGovern. Later editions of the book contain a foreword by Thompson.

title: The Boys on the Bus


text:
Talk:21 at 33

"White Lady White Powder" also released as a single
Released as a single in France, 1980. rateyourmusic.com/release/single/elton-john/white-lady-white-powder-white-man-danger/ Fp cassini (talk) 16:42, 22 April 2017 (UTC)

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live performances
"John has not played any of the material in concert since touring in 1980, with the exception of "Little Jeannie", "White Lady White Powder" and "Sartorial Eloquence". In other words, 3 of the 9 tracks: 1/3 of the tracks. This should be reworded or the paragraph dropped completely. ◦◦derekbd ◦  ◦my talk◦◦  12:14, 20 March 2019 (UTC)

title: Talk:21 at 33


text: Talk:24 Hour Roadside Resistance

title: Talk:24 Hour Roadside Resistance


text: Talk:2×4 (Einstürzende Neubauten album)

title: Talk:2×4 (Einstürzende Neubauten album)


text:
Talk:Elvis: 2nd to None

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Introduction incorrectly states "2nd to None" list #1 songs not on "Elvis 30 #1"
This album contains no songs that were in either Billboard Hot 100 in the US and Record Retailer (now Music Week) in the UK. Songs like "I Forgot to Remember to Forget" were number one only in the Billboard Country charts, which is not official. — Preceding unsigned comment added by Dkf12 (talk • contribs) 20:37, 6 April 2020 (UTC)

title: Talk:Elvis: 2nd to None


text:
Talk:30 Seconds to Mars (album)

Cover
Any details on the kid that models on the album cover? Xephyrwing 17:24, 18 May 2006 (UTC)
 * What about him? Do you want to know like his real name? Or what's his significance?  —Preceding unsigned comment added by 70.52.209.8 (talk) 22:40, 10 November 2008 (UTC)

In popular culture
Edge of the Earth was used in a Need for Speed trailer  —Preceding unsigned comment added by 87.6.178.109 (talk) 10:33, 24 June 2010 (UTC)

Space rock?
After reading some of the reviews, seems to be enough evidence for the inclusion of Space rock in the Genres: "Influenced by artists as diverse as Pink Floyd [...] self-titled debut is a highly ambitious space-themed concept album [...] Hollywood star Jared Leto's soaring vocals and sci-fi lyrics" - allmusic; "actor Jared Leto’s space-metal band, 30 Seconds to Mars, isn’t just a half-assed vanity project [...] eponymous debut that sounds like Tool on the dark side of the moon [...] 30STM manage a high-minded space opera of epic scope befitting prog-rock prototypes Rush" - Blender; "Something that sounds straight from space itself [...] 30 seconds has been hailed as the next Pink Floyd and has been compared to David Bowie’s Ziggy Stardust [...] an interesting fusion of nu-metal, techno, new wave, synthetics, and hints of popish undertone." - D1 Music; "He has written all the songs and music and has also taken care of the Synthesizer, Bass, Guitar, Programming, and Vocals on the album [...] Musically 30 seconds to Mars has something new to add to the world with their space influenced modern rock [...]The progressive "Edge of the world" is another good example." - Melodic.net; "Leto's delivery of his earnest, sci-fi-tinged lyrics gets monotonous over the course of the album" - Metacritic/Q review

In my opinion, a lot to back the inclusion of the genre (amongst others) with other reviews also comparing the album to Tool, Pink Floyd, etc. as well as the mention of Progressive rock/metal. HrZ (talk) 16:27, 27 November 2010 (UTC)
 * I agree with you. Every track on this album is an example of space rock.--Paint Old Street Black (talk) 15:16, 15 December 2010 (UTC)

Maynard James Keenan
I've been wondering this for a while, what is the source that states Maynard provided background vocals on Fallen? I have a copy of the album and the only mention of Maynard in the linear notes is in the thank you section. =\ HrZ (talk) 14:15, 19 October 2013 (UTC)

AllMusic review
I'm working on the article and I was looking for professional review sources. I found out that AllMusic published a review of this album at the time of its release. The review was written by Jason D. Taylor, who gave the album a rating of 4.5/5 stars. Sadly, I didn't find a direct archive web page to the AllMusic site, but I found something here, here, and here. Then, in 2005, the review disappeared as the archives of Metacritic prove, and they changed its rating from 4.5 to 2. Therefore, according to WP:ALBUM/SOURCES, this rating could not be used on Wikipedia. Around 2012, a text review was added, written by Jon O'Brien. The rating didn't change, but the review gives a positive impression. Now, it doesn't seem that the current review with its rating meets WP:ALBUM/SOURCES. I think we could use the first review with its rating or the current review with a 'positive' or 'favorable' rating. Do you have any suggestion? Thanks for any advice.--Earthh (talk) 15:00, 17 May 2014 (UTC)

Progressive rock or progressive metal?
The two genres are both well sourced. I first added prog rock, since prog metal is one of its subgenres, but an IP is replacing it with prog metal. Could someone help me to solve this situation? Thanks, --Earthh (talk) 08:08, 9 June 2014 (UTC)

 * Why not just list them both if they are well sourced then? There's nothing prohibiting the use of both the parent genre and subgenre in infoboxes, after all. 97.83.67.162 (talk) 12:57, 9 June 2014 (UTC)

Copyright problem removed
Prior content in this article duplicated one or more previously published sources. The material was copied from: http://web.archive.org/web/20021022102543/http://www.muchmusic.com/music/artists/bio.asp?artist=443. Copied or closely paraphrased material has been rewritten or removed and must not be restored, unless it is duly released under a compatible license. (For more information, please see "using copyrighted works from others" if you are not the copyright holder of this material, or "donating copyrighted materials" if you are.) For legal reasons, we cannot accept copyrighted text or images borrowed from other web sites or published material; such additions will be deleted. Contributors may use copyrighted publications as a source of information, and according to fair use may copy sentences and phrases, provided they are included in quotation marks and referenced properly. The material may also be rewritten, but only if it does not infringe on the copyright of the original or plagiarize from that source. Therefore such paraphrased portions must provide their source. Please see our guideline on non-free text for how to properly implement limited quotations of copyrighted text. Wikipedia takes copyright violations very seriously, and persistent violators will be blocked from editing. While we appreciate contributions, we must require all contributors to understand and comply with these policies. Thank you. —  MusikAnimal talk 04:01, 3 November 2014 (UTC)

alternative metal and sort out edge of the earth genre
http://rateyourmusic.com/release/album/30_seconds_to_mars/30_seconds_to_mars/

this album clearly has alternative metal so add it. also edge of the earth needs genres added to it, progressive metal and alternative metal specifically. thanks Realpunkmusic (talk) 18:57, 7 August 2015 (UTC)

 * Rateyourmusic is not a reliable source. Binksternet (talk) 20:15, 7 August 2015 (UTC)

what about these: http://www.amazon.com/s?rh=n%3A67208%2Cp_lbr_music_artists_browse-bin%3AThirty+Seconds+To+Mars http://www.spirit-of-metal.com/album-groupe-30_Seconds_To_Mars-nom_album-30_Seconds_to_Mars-l-en.html http://www.timeslive.co.za/entertainment/music/2013/05/29/30-seconds-to-mars-new-album-is-expression-without-burden-jared-leto "Their self-titled debut album boasted alternative rock, alternative metal" Realpunkmusic (talk) 20:34, 7 August 2015 (UTC)

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title: Talk:30 Seconds to Mars (album)


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Talk:3D (TLC album)

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title: Talk:3D (TLC album)


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Talk:5 More Songs from the Stitches

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title: Talk:5 More Songs from the Stitches


text:
Jarabe de Palo

Jarabe de Palo (literally "Wooden Stick Syrup" or, by virtue of the Spanish expression "dar un jarabe de palo", i.e. a "hell of a beating") was a Spanish rock band founded in 1996. The group was led by singer, songwriter and guitarist Pau Donés, whose death in 2020 caused the band to break up.

Foundation and beginnings
The band was founded in 1996 in Barcelona, Spain, and has always had singer-songwriter Pau Donés as vocalist and lead guitarist.

Going independent
In 2008, the band announced they were going to leave their record company and go independent, founding their own record label Tronco Records. They changed their name to "Jarabedepalo" because their former record label had the rights to the name.

In 2009 they released, Orquesta Reciclando (Recycling Orchestra), in which they recorded new versions of their old songs, and one new song. ¿Y Ahora que Hacemos? (Now What Are We Going to Do?), was released in 2011 and Somos (We Are) in 2014.

Dissolution
On 9 June 2020, Donés died near Barcelona after a five-year period of colon cancer, causing the band split up shortly after.

Awards and collaborations
The group has received Premios de la Música, Premio Ondas, and Grammy nominations. They have collaborated with La Vieja Trova Santiaguera, Antonio Vega, Vico C, and Celia Cruz (for the soundtrack of El milagro de P. Tinto). Donés has also composed tracks for Ricky Martin and starred in a music video with Alanis Morissette. They also collaborated with Italian musicians Jovanotti, Niccolò Fabi, Modà and Ermal Meta.

Discography

 * 1996 - La Flaca
 * 1998 - Depende
 * 2001 - De Vuelta y Vuelta
 * 2003 - Bonito
 * 2004 - 1m² (Un Metro Cuadrado)
 * 2005 - ''Samba Pa' Ti - Un Tributo a Brasil
 * 2007 - Adelantando
 * 2009 - Orquesta Reciclando
 * 2011 - ¿Y ahora que hacemos?
 * 2014 - Somos
 * 2015 - TOUR AMERICANO
 * 2017 - 50 PALOS
 * 2020 - TRAGAS O ESCUPES

Current

 * David Muñoz - guitar
 * Jordi Vericat - bass, background vocals
 * Alex Tenas - drums
 * Jaime Burgos - keyboards, piano
 * Jimmy Jenks Jimenez - sax

Former

 * Pau Donés - vocals, guitar (died 2020)
 * Jordi Mena - guitar
 * Dani Forcada - percussion
 * Joan Gené - bass
 * Marià Roch - bass
 * Toni-Chupi Saigi - keyboards
 * Quino Béjar - percussion
 * Toni Saigi - keyboards
 * Kyke Serrano - keyboards
 * Dani Baraldes - guitar
 * Jordi Busquets - guitar
 * Carmen Niño - bass
 * Riki Frouchtman - guitar

title: Jarabe de Palo


text:
Talk:Jump Start (comic strip)

Jump Start or Jump Start (comic)?
Why is this at Jump Start (comic) and not just Jump Start? - furrykef (Talk at me) 22:57, 31 October 2005 (UTC)

Propose disambig. page
What about jump starting a car? Stovetopcookies 22:23, 27 October 2006 (UTC)

== References 1. and 2. aren't there anymore (Comics.com is no more) and the External links: Jump Start on United Media has moved66.41.127.47 (talk) 04:30, 29 June 2011 (UTC) ==

66.41.127.47 (talk) 04:30, 29 June 2011 (UTC)

Change from Jump Start to JumpStart?
I'm a little new to editing Wikipedia pages, so please bear with me. It appears that the name of this comic may have morphed from Jump Start (two words) to JumpStart (one word). I can't verify which is correct nor do I know if I should go ahead and change it on the wikipedia page. Suggestions?

PS: I'm not sure why it's saying that I have a conflict of interest. I don't. I just don't want to mess things up.
 * It seems sources are using two words: . Stickee (talk) 23:02, 20 August 2015 (UTC)
 * The syndicate's offer page and the official online home  both like JumpStart - in fact searching for "Jump Start" on the latter returns no result.  Usage even by the syndicate is somewhat inconsistent, however.

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title: Talk:Jump Start (comic strip)


text:
Talk:666 (Aphrodite's Child album)

Title
"The album was ostensibly an adaptation of Biblical passages from the book of the same name" ??? — Preceding unsigned comment added by 88.140.138.123 (talk) 13:51, 26 January 2015 (UTC)

Added lots of new info, comments?
I just added lots of info about 666, however I'm pretty new to updating wikipedia, so feedback & more introduction to the wikipedia culture is welcome.

I added a bit to the intro, corrections to the track list, and a Review section clearly ID'd as "someone's opinion". Do we have an identified way to label a section as "review" and "opinion", or do we just "work it out"? My section does have I believe a lot of info about 666 that can be considered accurate, not just opinion.

My KUDOs to Kazvorpal who started this up and continues to care about it. IMO this is one of the greatest musical albums ever issue, even though obviously it's not for all.

 * The "review" should be rewritten. It is not suitable for an encyclopedia. Why not mention the fact that Vangelis clearly owned a Mellotron? JFW | T@lk  00:33, 14 October 2005 (UTC)

I added material and edited the linked page on Aphrodite's Child, and will edit this page when I have time. - Happydog

Minor edit to tracklisting
Did 3 minor changes to song titles:

The Four Horsemen

The Lamb

Hic and Nunc

These now match with my copy of the album and see, for example, allmusic.com tracklisting

Also added album side panel - my first one so couldn't do everything I wanted - for example I wasn't sure how to upload a cover image.

OK Now uploaded cover image - I'll wait and see if it's allowed (I just scanned my own CD cover - is this OK, copyright-wise?)

 * Yes, that falls under fair use. I changed the licensing tag to the image accordingly. Garion96 (talk) 16:21, 1 April 2006 (UTC)

—This unsigned comment was added by OAP boba (talk • contribs). 16:17, 1 April 2006 OAP boba

 * I also checked with allmusic. The say Hic et Nunch though. But the backcover of my cd indeed also says Hic Et Nunc. So that must be the right one. Garion96 (talk) 15:31, 1 April 2006 (UTC)

 * I'm looking at my CD right now and it definitely says HIC AND NUNC. My CD is Vertigo 838 430-2OAP boba 15:44, 1 April 2006 (UTC).

 * Sorry, typo in my last message. Allmusic says Hic Et Nunc. My cd says hic AND nunc. So the change seems to be correct. Garion96 (talk) 16:17, 1 April 2006 (UTC)

For info, my copy of the vinyl LP (Vertigo 6286 688 and 689) lists the track in question as "Hic Et Nunc". (81.174.241.81 (talk) 11:55, 22 May 2008 (UTC)).

Is it a rock opera?
Is this album a rock opera - and if so, should it appear in the list of rock operas? All the elements point to yes. —The preceding unsigned comment was added by Domogled (talk • contribs) 12:05, 9 December 2006 (UTC).
 * I don't really think it is. Rock opera currently says "...largely defined by the intent and self-definition of the work by its creator. ... the rock opera tells a coherent (if sometimes sketchy) story, often with first-person lyrics sung by characters, ...".
 * While it's definitely a concept album, there isn't really a story as such. The lyrics aren't generally first-person. And I haven't heard of any of the creators describing it as a rock opera. So I'd expect to see more reasoning before it could be classified as one. --David Edgar 11:34, 11 December 2006 (UTC)

No mention of shawm or bagpipes
There is some kind of reed instrument used on the album. I can't make out if it is a shawm or bagpipes, but there is no mention of it in the list of personnel. 62.235.226.168 (talk) 14:23, 29 December 2013 (UTC)

Release date
The release date seems to be unclear for this recording. The fact box states the release date as June 1970, but also states that it was recorded in the period "Late 1970 – Early 1971", which suggests that the release year cannot be 1970. Further down in the same box, in the "Chronology section", the year is given as 1972. I also checked with allmusic.com which gives the release year as 1971. However, other sites, e.g. give 1972 as the release year. I guess that 1970 must be a mistake, but does anybody have a reliable source for the release date, at least the year? --KYN (talk) 17:19, 26 October 2014 (UTC)

The release year date is indicated as February 1972, in a source that is very difficult to refute, from Mike Gormley in a signed publicity letter dated May 9, 1972 through Mercury/Phillips stating the album "was originally released in February. That letter was included in the original US version of the LP, Vertigo #VEL 2-500 - John T. Buck 19:38, 25 December 2016 (EST) — Preceding unsigned comment added by John.T.Buck (talk • contribs)

Assessment comment
Substituted at 06:11, 29 April 2016 (UTC)

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Talk:7 (Madness album)

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Talk:A Giant Alien Force More Violent & Sick Than Anything You Can Imagine

Fair use rationale for Image:SnaresGiantAlien.jpg
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Please go to the image description page and edit it to include a fair use rationale. Using one of the templates at Fair use rationale guideline is an easy way to insure that your image is in compliance with Wikipedia policy, but remember that you must complete the template. Do not simply insert a blank template on an image page.

If there is other other fair use media, consider checking that you have specified the fair use rationale on the other images used on this page. Note that any fair use images uploaded after 4 May, 2006, and lacking such an explanation will be deleted one week after they have been uploaded, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you.BetacommandBot 05:22, 6 June 2007 (UTC)

External links modified
Hello fellow Wikipedians,

I have just modified 2 one external links on A Giant Alien Force More Violent & Sick Than Anything You Can Imagine. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
 * Added archive https://web.archive.org/web/20070314084412/http://www.cyclicdefrost.com:80/review.php?review=198&q=3 to http://www.cyclicdefrost.com/review.php?review=198&q=3
 * Added archive https://web.archive.org/web/20080408131410/http://www.pitchforkmedia.com:80/article/record_review/22946/Venetian_Snares_A_Giant_Alien_Force_More_Violent_and_Sick_Than_Anyth to http://pitchforkmedia.com/article/record_review/22946/Venetian_Snares_A_Giant_Alien_Force_More_Violent_and_Sick_Than_Anyth

When you have finished reviewing my changes, please set the checked parameter below to true or failed to let others know (documentation at ).

Cheers.— InternetArchiveBot  (Report bug) 15:30, 1 October 2016 (UTC)