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Wikipedia talk:WikiProject Clinical medicine/Collaboration

The sections on articles being created or completed & for peer-review had been moved to archive page. Separately there has been an active discussion in Wp_talk:MCOTW#Collaboration_on_articles about having an intermediate step of articles in progress for which the collabortaion by others was sought and so I have merged the old and new proposal on the page. This is meant to be separate from the WP:MCOTW topic that everyone jointly nominates and then works on for a specific week. David Ruben 00:55, 19 August 2005 (UTC)
 * Good job, Dr. Ruben. I definitely agree that these belong on separate pages and not just stiing at the top of the talk page. I still have some concerns, which is why I never really participated in this earlier. One, is it really necessary to list what we're currently working on, especially if we're not asking for outside help yet? I feel like this is just taking up space at the top. This is the kind of thing one puts on his user page, or perhaps at the bottom we could have a list of participants in a table where they could update their current projects. I also would like to see a peer review more article-based, not person-based. This is for several reasons. One, I think the current method is more prone to stagnation. Many of us are physicians or medical students, and we find ourselves busier at some times. Who knows if some of these people are still contributing, or how long these entries have been around? It also makes it harder to watch for new entries, especially if you only check Wikipedia a few times a week. I also think it makes us more "closed"—if I were not already involved with these WikiProjects, and I had written an article related to medicine, I might hesitate to list it here since I didn't already have a heading. There is no mechanism for removal unless the nominator removes it. Don't get me wrong—this is a great idea, and it will probably promote cohesion among the group. But I think it the way it is designed it is prone to stagnation and clutter. It needs a mechanism for flow (like in the WP:MCOTW, entries that aren't receiving attention are removed). Or perhaps this can be used in its current manner and I should go ahead and create Medical peer review similar to Peer review. What do you think? — Knowledge Seeker দ 21:47, August 20, 2005 (UTC)
 * On further reflection, perhaps this page should stay largely the way it is, with announcements of what we are working on and so on. I think my idea of how peer review should function would be better suited for a separate page. One more thing: I think this page should be renamed, because its similarity to WP:MCOTW could be confusing. Perhaps Mr.Bip's idea of "Medical article workshop"? I am not certain. — Knowledge Seeker দ 22:05, August 20, 2005 (UTC)

 * Thank you Knowledge Seeker, good points raised.
 * I agree adding ones own heading is off-puting to new members, but adds to cohesion. It does duplicate the adding of ones name to the list of members on the main page of the project. However it is easier to edit ones own description if headings are used rather than lists. Tables are nice, but marking-up columns still confuse me and would be easily messed up other people.
 * Alternatively, is there anyway to have a template that has 'article name' and 'date of editing page' that the members could use to indicate their work-in-progress? The time-stamp would then allow people at (say monthly) intervals to prune down the entries.
 * Requests for page collaboration and peer-review, I think should be on the same page. 'Collaberation' asks just those with a similar special interest to help out, whilst 'peer-review' invites everyone to look at the article for style, comprehensibility and breadth. I tend agree merit in the proposal to entirely drop the 'articles we are working on' bit.
 * I agree renaming seems required. "Medical article workshop" is self-explanatory and would cover for both request collaboration and peer-review. The 'colaboration' bit should be renamed 'Request co-working' or something similar.
 * In essence, you have convinced me: Rename subpage to "Medical article workshop" with just two lists (dropping the initial list of pages being individualy worked upon) of pages for which help sought ("Help sought" or "Request co-working") and the second list being "Request peer-review" David Rubentalk 02:37, 22 August 2005 (UTC)

Again thank you Knowledge Seeker, I've thought more about your points, and so I propose: A solution might be to change the current structure from '  ==Individual's name== / *Page discussion  ' to just a simple list of '  *Page discussion ~  '. The use of signatures (' ~ ') is then both easier for everyone to use, and has the advantage that the entry is clearly date-stamped. However this would loose the multiple sub-sections and the ability to edit just ones own bit.
 * 1) Change name from  'WikiProject Clinical medicine/Collaboration'  as too similar to  'Medicine Collaboration of the Week'  ?  "Medical article workshop", seems better to me.
 * 2) Get rid the the initial section on articles being worked upon (for which others should allow the individual to work-up) ?
 * 3) Off-puting, to those new to wikipedia, to have to add their name as a heading to the lists, before describing articles they might wish joint working with others on.
 * 4) Many of individual's entries have not been recently updated.

Please everyone, comment below .... - David Ruben 20:24, 23 August 2005 (UTC)

 * Good job taking the initiative here, Dr. Ruben. Your suggestions sound good to me. Regarding the last one: what about using headers like, like we do on WP:MCOTW? That helps keep things organized. They could even be generate by a template too like on MCOTW, and we could set a (loose) rule of when to remove items. Perhaps: new items go on the top; remove an item if there is no discussion for at least two weeks? And of course if you decide you do want to keep the section on what we're working on individually, I'd stick it at the bottom—and we'd need some way of pruning stale listings. Like I think I mentioned before, I think the key to making this work is to ensure it's dynamic; stagnation will kill it. — Knowledge Seeker দ 01:43, August 24, 2005 (UTC)

Old requests
Shouldn't we remove older requests. There are requests from 2004. :) NCursework 20:11, 21 July 2006 (UTC)

Lost
I'm kinda lost here... Can someone put a message at the top what the consensus for this discussion was? How are collaborations organised?--Steven Fruitsmaak | Talk 09:58, 2 August 2006 (UTC)

 * Look, this discussion is older than 1 year. We should create a new system. I'll remove requests older than 2 months. I'll let you know when I'm ready... NCurse [[Image:Edu science.png|22px]]work 10:28, 2 August 2006 (UTC)

 * Done. Archive is ready. I'll refresh this page regularly... NCurse [[Image:Edu science.png|22px]]work 15:40, 7 August 2006 (UTC)

seeking input on Vardenafil
Hello, I'm not sure if this is the right place to ask. Another editor advised me to ask this project, but I don't know if this is the right talk page.

I asked on the Talk:Vardenafil page whether a single study comparing it to sildenafil and tadalafil in the treatment of pulmonary hypertension should be mentioned in the article. The study is mentioned in US Respiratory Disease 2006, authored by Manu Jain and Anna P. Lam. The article is available here, and a longer versino for subscribers is available here. According to the article, this one study found that vardenafil did not cause "a significant reduction in the pulmonary to systemic vascular resistance ratio."

Do you think it's worth mentioning this one study in the Vardenafil article, or do you think it should be omitted, pending further studies? Thank you. -- Kyok o  19:52, 10 April 2007 (UTC)


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The Jedi Hunter

The Jedi Hunter is a fan film that made its debut on the internet on August 30, 2002, created by fans of the Star Wars franchise. It is a spoof of Star Wars and The Crocodile Hunter, with Boba Fett sliding into the Steve Irwin role, hunting Jedi along with his wife "Terri Fett".

While the film primarily spoofs the Star Wars universe in the format of a Crocodile Hunter special, there are several other notable targets, including swipes at Army of Darkness, "Crocodile" Dundee, Star Trek, Shaft, The Princess Bride, and Aliens. The film starts with a quick series of faux channel changes, opening with a cameo appearance by Crazy Watto and continuing with Star Wars versions of Cheers and The Six Million Dollar Man.

The film bears the odd credit "Special Thanks to Peter Mayhew for giving us the inspiration – that's right, blame the Wookiee!" According to Star Wars Insider, this credit is due to a missed dinner engagement with the Star Wars actor, which led the filmmakers to amuse themselves while waiting for him, eventually hitting upon the idea that became this film. They good-naturedly credit his not appearing at dinner with kick-starting the film.

The film has played at many film festivals, and proven popular with Star Wars fans, winning several awards, including Best Visual Effects at the 2003 Dahlonega International Film Festival, and the Audience Choice Award in the Lucasfilm-sponsored 2003 Official Star Wars Fan Film Awards. In August 2010, Time magazine listed it as one of the Top 10 Star Wars fanfilms.

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

title: The Jedi Hunter


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Doreen Gentzler

Doreen Gentzler (born September 24, 1957) is an American retired television news anchor. She anchored the news at 6 p.m. and 11 p.m. on WRC-TV in Washington, D.C.

Early life
Gentzler was raised in the Dominion Hills neighborhood of Arlington, Virginia. Her mother, Rita O'Flinn, worked as a secretary for the federal government while her father, Ferris Gentzler, was an executive with an insurance company. Her family moved to Mount Pleasant, South Carolina when she was 11 years old. Her family came back to the area when she left for college at the University of Georgia.

Gentzler is a 1979 graduate of the Henry W. Grady College of Journalism and Mass Communication, University of Georgia.

Career
Gentzler began her career as the host of Georgia Public Broadcasting's weeknight show The Lawmakers, broadcast during sessions of the Georgia State Legislature, around 1979.

Gentzler first worked at Cleveland, Ohio's NBC affiliate WKYC-TV. There she anchored the 6pm and 11pm newscasts. From 1979 to 1983, she co-anchored the 6pm and 11pm newscasts at WSOC-TV, the ABC affiliate in Charlotte, North Carolina. Next she worked at Philadelphia's WCAU-TV, which was then a CBS affiliate, on the crime beat.

Gentzler joined at NBC4 in 1989, after the departure of Dave Marash. She co-anchored the weekday 6 p.m. and 11 p.m. editions of News4 on WRC-TV (NBC4) in Washington, D.C., and was also the station's health reporter. Her reports have taken her around the world, including the Persian Gulf, Bosnia and Ecuador. Her health reports could usually be seen on News4 at 5 p.m., and other station newscasts. She was the on-air spokesperson for the station's successful NBC4 Health and Fitness Expo, held each January at the Washington Convention Center. She has also made appearances as herself on NBC shows The Event and The Blacklist.

Gentzler anchored WRC's 6pm news alongside veteran anchor Jim Vance for 28 years – a partnership that lasted until Vance's death in July 2017.

On October 28, 2022, she announced her retirement on the 6 p.m. news. Her last newscast was on November 23, 2022.

Personal life
Gentzler is married to Bill Miller, a former reporter and editor at The Washington Post, who specialized in law enforcement coverage. They have two children: son Chris (b. 1991) and daughter Carson (b. 1994). Gentzler lives in Chevy Chase, Maryland.

title: Doreen Gentzler


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User:PeteinBrum

/SSAC

title: User:PeteinBrum


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Talk:Inhibitory postsynaptic current

This
This article is badly written and not very informative.

 * An IPSC is a fairly common acronym with a relatively simple definition; however, if you read much in neurobiology you may notice that it is often not defined in the texts themselves. So, originally the article was written simply to provide an elementary explanation of the idea and how it applies to the basic regime of neurobiology (and the corresponding neurochem therein).  I am not too sure what more can be said, other than lengthy examples of IPSC\EPSC pathways.  I can put some of these up if you think that will make it more informative (or please feel free to if you feel qualified).  Maybe the language can be altered to be more general in the opening paragraph?  I don't necessarily understand what is difficult to understand, and/or what type of "informative" you are hoping to establish?  Suggestions are many times more useful than content-free criticism.   Clearly this article could use expansion, and any help with improving the article is, of course, always appreciated. 128.62.97.227 20:05, 19 August 2005 (UTC)

Shouldn't this article merged with Inhibitory postsynaptic potential? To my understanding, current will generate potential, and they are almost one-to-one in this case. Memming 13:43, 2 November 2006 (UTC)

title: Talk:Inhibitory postsynaptic current


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Přemyslid dynasty

The Přemyslid dynasty or House of Přemysl (Přemyslovci, Premysliden, Przemyślidzi) was a Bohemian royal dynasty that reigned in the Duchy of Bohemia and later Kingdom of Bohemia and Margraviate of Moravia (9th century–1306), as well as in parts of Poland (including Silesia), Hungary and Austria.

Origin and growth of the Přemyslid dynasty
The dynasty's origin dates back to the 9th century, when the Přemyslids ruled a tiny territory around Prague, populated by a tribe of the Western Slavs. Their name comes from the mythical ancestor figure of Přemysl the Ploughman. Gradually they expanded, conquering much of the region of Bohemia, located in the Bohemian basin where it was not threatened by the expansion of the Frankish Empire. The first historically-documented Přemyslid duke was Bořivoj I (867). DNA testing on the remains of his son, Spytihněv I, reveal the family's Y-haplogroup to be R1b, second most common haplogroup in Czech republic.

In the following century, the Přemyslids also ruled over Silesia and founded the city of Wroclaw (Czech: Vratislav; German: Breslau), derived from the name of a Bohemian duke, Vratislaus I, father of Saint Wenceslaus. Under the reign of Prince Boleslaus I the Cruel (935) and his son Boleslaus II the Pious (972), the Přemyslids ruled territory stretching to today's Belarus.

The dynasty controlled vital trade routes during this time. The Bohemian lands and Prague were an important center of trade where merchants from all of Europe settled, including many Jews, as recalled in 965 by the Hispano-Jewish merchant and traveller Ibrahim ibn Ya'qub. He wrote, "Prague is a city from the stone, the richest of all states north of the Alps." After their rise to prominence, however, struggles within the family set in motion a decline in power and, in 1002, the Polish duke Boleslaus the Brave occupied Prague. Boleslaus III, son of Boleslaus II, escaped from Bohemia; decades of confusion and anarchy ensued.

The decline ended in the reign of Prince Bretislaus I, grandson of Boleslaus II. He in turn looted Poland, including the cities of Kraków and Gniezno (1038), where he obtained the relics of St. Adalbert. He sought the establishment of the Prague archbishopric and a royal title. His son and successor Vratislaus II became the first King of Bohemia in 1085.

Vratislaus' son Soběslav I destroyed the Imperial army of King Lothar III in the Battle of Chlumec in 1126. This allowed a further strengthening of Bohemia, culminating during the reign of Vratislav's grandson, King Vladislaus II (1158). Vladislav II founded many monasteries and built the first stone bridge across the Vltava river, one of the earliest in Central and Northern Europe. Once again, internal struggles started the decline of the Přemyslids. Many leaders from the dynasty alternated on the Bohemian throne, leading to their eventual bankruptcy. Finally, on his ascension to the throne, Ottokar I began a series of changes that brought Bohemia out of crisis, and began a period of success that lasted for nearly 220 years.

At the height of its power

Ottokar I became the third King of Bohemia in the year 1198 but was the first King of Bohemia to acquire a hereditary royal title. This began significant growth of the Přemyslids' dynastic power. There was also a large urban and crafts development in Bohemia.

In the second half of the 13th century, the Přemyslids were one of the most powerful dynasties in Central Europe. King Přemysl Ottokar II, son of Wenceslas I, earned the nickname "Iron and Golden King" because of his military power and wealth. After several victorious wars with the Hungarian Kingdom, he acquired Austria, Styria, Carinthia and Carniola, extending Bohemian territory to the Adriatic Sea.

King Ottokar II aspired to the crown of the Holy Roman Empire. His ambitions started the conflict with the House of Habsburg, which had been composed of little-known counts, and suited the interests of German noble houses better than the mighty King Ottokar. The Habsburg representative, Rudolf, was elected as King of the Romans. In the Battle of Marchfeld (1278), Ottokar clashed with the Imperial and Hungarian armies, only to be killed. The Habsburgs then acquired Austria and retained it until the 20th century.

Ottokar's son King Wenceslaus II was just seven when he came to the throne of Bohemia. Over time, thanks to deft diplomacy, he gained the Polish crown for himself and the crown of Hungary for his son. Wenceslas II brought together a vast empire stretching from the Baltic Sea to the Danube River and established numerous cities, among them Plzeň in 1295. Bohemia became a wealthy nation during his reign thanks to a large vein of silver at Kutná Hora. He introduced the silver Prague groschen, which was an important unit of currency in Europe for centuries, and planned to build the first university in Central Europe.

The power and wealth of the Kingdom of Bohemia gave rise to great respect, but also to the hostility of other European royal families. The dynasty began to collapse following the untimely death of Wenceslaus II (1305), and the assassination of his only son, Wenceslaus III in 1306, which ended their rule.

On the distaff side, however, the dynasty continued, and in 1355, Bohemian king Charles IV, the grandson of Wenceslaus II, was crowned Holy Roman Emperor in Rome.

Legendary rulers
The name of the dynasty, according to Cosmas in his Chronica Boemorum (1119), comes from its legendary founder, Přemysl, husband of duchess Libuše.

 * Přemysl and Libuše
 * Nezamysl
 * Mnata
 * Vojen
 * Vnislav
 * Křesomysl
 * Neklan
 * Hostivít

Dukes of Bohemia
The first historical Přemyslid was Duke Bořivoj I, baptised in 874 by Saint Methodius. In 895, Bohemia gained independence from Great Moravia. Between 1003 and 1004, Bohemia was controlled by Boleslaus the Brave, Duke of Poland from the Piast dynasty, grandson of Boleslaus I the Cruel.

In 1085, Duke Vratislaus II, and, in 1158, Duke Vladislaus II, were crowned King of Bohemia as a personal award from the Holy Roman Emperor. The title, however, was not hereditary.

 * Bořivoj I (c. 870–889)
 * Spytihněv I (895–915)
 * Vratislaus I (915–921)
 * Wenceslaus I (St. Wenceslaus) (921–935)
 * Boleslaus I the Cruel (935–972)
 * Boleslaus II the Pious (972–999)
 * Boleslaus III the Red-haired (999–1002)
 * Vladivoj (1002–1003)
 * Boleslaus IV (1003–1004)
 * Jaromír (1004–1012)
 * Ulrich (1012–1033)
 * Jaromír (1033–1034)
 * Ulrich (1034)
 * Bretislaus I (1035–1055)
 * Spytihněv II (1055–1061)
 * Vratislaus II (1061–1092), king (1085–1092) as Vratislaus I.
 * Conrad I of Brno (1092)
 * Bretislaus II (1092–1100)
 * Bořivoj II (1101–1107)
 * Svatopluk (1107–1109)
 * Vladislaus I (1109–1117)
 * Bořivoj II (1117–1120)
 * Vladislaus I (1120–1125)
 * Soběslav I (1125–1140)
 * Vladislaus II (1140–1172), king (1158–1172) as Vladislaus I
 * Frederick (1172–1173)
 * Soběslav II (1173–1178)
 * Frederick (1178–1189)
 * Conrad II Otto (1189–1191)
 * Wenceslaus II (1191–1192)
 * Ottokar I (1192–1193)
 * Henry Bretislaus (1193–1197)
 * Vladislaus Henry (1197)
 * Ottokar I (1197–1198)

Kings of Bohemia
Bohemia was the only princedom in the Holy Roman Empire which was raised to the status of kingdom prior to the Napoleonic wars. The reason for this was strength: as soon as Bohemia overcame its civil strife, the Bohemian duke became the principal ally for any candidate for the Imperial throne. The emperor could thus use Bohemian forces to punish any rebels who were Bohemian neighbours simply by raiding their lands. This is evinced by the Holy Roman Emperor Henry IV naming Prince Vratislaus II of Bohemia the first king of Bohemia, Vratislaus I, in 1085. He was raised to this prominent position not long after his father Bretislaus pacified Bohemia after years of civil conflict. The kingship was disputed whenever Bohemian internal conflict increased. It was fixed, however, after the position of the emperor in Germany weakened.

In 1198, Duke Ottokar I again gained the title of King of Bohemia as an ally of Philip of Swabia. This title was reconfirmed by Otto IV, Holy Roman Emperor and later on in Frederick II, Holy Roman Emperor's Golden Bull of Sicily (1212).

 * Ottokar I (Czech Přemysl Otakar I.) (1198–1230)
 * Wenceslaus I (Czech Václav I.) (1230–1253)
 * Ottokar II (Czech Přemysl Otakar II.) (1253–1278)
 * Wenceslaus II (Czech Václav II.) (1278–1305)
 * Wenceslaus III (Czech Václav III.) (1305–1306)

Kings of Bohemia, Poland and Hungary, rulers of Austria
In 1269-1276, King Ottokar II of Bohemia was the first in history to rule the lands of today's Austria together (except for Tyrol and Salzburg). He also founded the Hofburg Palace in Vienna.

In 1300, King Wenceslaus II was crowned King of Poland. Prior to this, he held the title "High Duke of Poland (Duke of Kraków)" since 1291 and became its overlord upon the death of Przemysł II of Poland in 1296.

 * Wenceslaus II (1300–1305)
 * Wenceslaus III (1305–1306), also King of Hungary (1301–1305) as Vencel

The royal line ended in 1306 with the death of King Wenceslaus III. The Bohemian throne went to the Luxembourgs, and the Polish throne returned to the Piasts.

Dukes of Opava, Krnov, Ratibor and Münsterberg
In 1269, Nicholas, bastard son of King Ottokar II who was legitimized by Pope Alexander IV in 1260, became Duke of Opava. In 1337, his son Nicholas II inherited the Duchy of Ratibor. His four sons divided the Duchy of Opava (the Duchy of Ratibor was inherited only by the eldest, John). Thus started the partition of a once-unified land between the descendants of Nicholas II. In 1443, William, Duke of Opava gained the Duchy of Münsterberg, which was held by Přemyslids until 1456. This line of Opavian Přemyslids ended in 1521, with the death of Valentine, Duke of Ratibor.

Family tree

Bořivoj I. + Saint Ludmila
 * Spytihněv I
 * Vratislav I
 * Saint Václav I
 * Boleslav I the Cruel
 * Boleslav II the Pious
 * Boleslav III the Red-haired
 * Jaromír the Eunuch
 * Václav the Infantdead
 * Oldřich
 * Břetislav I Achilles (Duke of Bohemia and Moravia, earlier Duke of Moravia - Bretislian)
 * Spytihněv II
 * Vratislav II
 * Břetislav II
 * Judith of Bohemia, mother of Boleslaus III of Poland
 * Bořivoj II
 * Vladislav I
 * Vladislav II
 * Bedřich
 * Ottokar I
 * Wenceslas I
 * Ottokar II the Golden and Iron
 * Wenceslas II
 * Wenceslas III d. 1306 as last male member of the royal Přemyslid dynasty
 * Anne of Bohemia (1290–1313)
 * Elisabeth of Bohemia (1292–1330) last member of the royal Přemyslid dynasty
 * Nicholas I of Opavia started line of Dukes of Opava; died out in 1521
 * Vladislaus II of Moravia (Ottonian)
 * Queen Dagmar of Denmark, mother of Valdemar the Young
 * Vladislav III Henry
 * Henry
 * Břetislav III Henry (Henry Bretislav)
 * Soběslav I
 * Soběslav II. the Peasant
 * Wenceslas II
 * Bishop Jaromír
 * Konrád I of Brno and Znojmo (Conradian)
 * Konrád of Brno (Conradian, earlier Duke of Moravia)
 * Litolt of Znojmo (Conradian, earlier Duke of Moravia)
 * Oldřich of Brno (Conradian, Duke of Moravia, part of Brno)
 * Konrád of Znojmo (Conradian, earlier Duke of Moravia)
 * Konrád II Ota of Brno and Znojmo (Conradian)
 * Otto of Olomouc
 * Otto II the Black
 * Svatopluk
 * Abbess Mlada
 * Dobrava m. Mieszko I of Poland, ancestors of piast line in Poland, which includes Boleslaw III above
 * Strachkvas Christian

Family tree of Elisabeth of Bohemia and Jagiellonians and Habsburgs

 * Charles IV, Holy Roman Emperor and king of Bohemia
 * Wenceslaus, King of the Romans and king of Bohemia
 * Sigismund, Holy Roman Emperor King of Hungary and Bohemia
 * Elisabeth of Luxemburg Queen of Hungary, Germany and Bohemia
 * Ladislaus the Posthumous King of Hungary and Bohemia, Archduke of Austria
 * Elisabeth of Austria Queen of Poland
 * King Vladislas II of Bohemia and Hungary
 * King Louis II of Hungary and of Bohemia
 * Princess and Queen Anna of Bohemia and Hungary + Ferdinand I, Holy Roman Emperor and King of Hungary and Bohemia
 * Maxmilian II
 * Rudolph II
 * Matthias
 * Charles of Steiermark
 * Ferdinand II
 * Ferdinand III
 * Ferdinand IV
 * Leopold I
 * Joseph I
 * Marie Amalia + Charles III of Bavaria
 * Charles II
 * Maria Theresa
 * Joseph II
 * Leopold II
 * Francis I
 * Ferdinand V
 * Francis Charles
 * Francis II Joseph
 * Emperor Maxmilian
 * Charles Louis
 * Francis Ferdinand d'Este
 * Otto
 * Charles IV
 * Otto von Habsburg
 * Karl von Habsburg
 * John of Zgorzelec
 * Elisabeth, Duchess of Luxembourg
 * John Henry
 * Emperor Jost of Moravia

title: Přemyslid dynasty


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Kato Vermio

Kato Vermio (Κάτω Βέρμιο, before 1926: Κάτω Σέλι - Kato Seli, Selia de Jos or just Selia ) is, primarily, an Aromanian (Vlach) Greek village and a community of the Veria municipality. Since the 2001 local government reform it is part of the municipality of Veria, of which is a municipal district. The 2021 census recorded 268 residents in the village. The altitude of the village is 1400-1550 meters, making it, probably, the highest populated village in Greece. There are about 1250 households in the village. The community of Kato Vermio-Seli covers an area of 38.915 km2.

Geography
Seli is located at a distance of 20 km from Veria and 90 km from Thessaloniki, in Imathia, Central Macedonia. The altitude of the village is about 1400 meters, making it, probably, the highest populated village in Greece.

Climate
Seli has a humid continental climate (Dfb). Summers consist of mild to warm days with cool nights. Winters are very cold by Greek standards and snowy. The climate of Seli is somewhat moderated by the Mediterranean Sea, making extreme minimum and maximum temperatures rare.

Tourism
Seli is a winter sports resort located in the Vermion Mountains of northern Greece. There are many restored and newly built vacation homes, mountain cottages and chalets in the village, and the climate consists of cool summers and snowy winters. Most of the residents are native Greek-speaking Vlachs. The village has many inns & hotels and a few cafe-bars and restaurants or tavernas. During the summer months the population rises to 3000 people.

The ski lift in Seli village was the first one built in the entire country in 1934, making Seli the oldest ski resort in Greece.

Notable people

 * Cola Nicea (1886–?), Aromanian armatole during the Macedonian Struggle

title: Kato Vermio


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Talk:Baron Zemo

Reformed?
Some of the issues I have seen portrays Zemo as having had reformed (after he had been placed in his new body). Is this the case, or was it a ruse not significant enough to mention?

It's not a simple question to answer. Zemo currently considers himself a hero but he is willing to lie, cheat, betray and kill to further his goals. I wouldn't say he is either a hero or villain right now. He tries to do the right thing as he sees it but part of his motivation to do that is to annoy the heroes. Also his perception of right and wrong is skewed.

Mark Evanier
Has Zemo really used the alias Mark Evanier ?

Aha - "(The Avengers and the Thunderbolts novel) - Gruber was approached by Mark Evanier, a Hollywood executive who apparently wished to add Gruber's information to a documentary on Heinrich Zemo. Gruber refused to pass on any information on Zemo, at which point Evanier began asking information regarding the parties who had purchased Heinrich's technology through him. When Gruber again refused, Evanier grabbed him and injected him with some sort of truth serum. At the same time, Evanier deactivated his image inducer, revealing the horribly scarred visage of Helmut Zemo. " - http://www.marvunapp.com/Appendix/gruberfr.htm

Shouldn't the novel be mentioned ? -- Beardo 04:47, 13 September 2006 (UTC)

Birthplace
I believe it has been established in several sources (comics and the Official Handbook) that Helmut Zemo (and the entire family) are from real-life Leipzig. Should the article be modified to include that? MCalamari 05:39, 29 November 2006 (UTC)

Zemo family
I was wondering if there would be a page exploring the Zemo family tree? The 4 part limited series Zemo: Born Better is supposed to explore most (if not all) of the 13 barons in the Zemo lineage. I think the series comes out on Valentine's day. --ksofen666 05 February 2007.

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

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BetacommandBot 02:55, 1 October 2007 (UTC)

12th or 13th?
The caption under the main image of Zemo lists him as Heinrich, the 13th Zemo. He is then listed in his description as the 12th. I don't personally know which is correct, but it would be nice if someone would correct this problem.FallenSon (talk) 14:50, 6 February 2008 (UTC)

Fair use rationale for Image:Avengers277.png
Image:Avengers277.png 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 lacking such an explanation can be deleted one week after being tagged, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you.

BetacommandBot (talk) 19:01, 13 February 2008 (UTC)

Trivia
Although the trivia section was rightly removed, I'm pasting it here in case anyone can properly add any of it back into the article at any point.

 * The identity of Baron Zemo was briefly held by an impostor named Franz Gruber. Gruber had once been Heinrich Zemo's pilot.

 * Heinrich and his technology were responsible for the powers given to Wonder Man and Power Man.

 * Helmut was responsible for the creation of Vermin, Nocturne, Devil Slayer, the current Swordsman and various protoids.

 * Helmut funded the second Secret Empire, the terrorist organization that turned fellow Thunderbolt Charlie Burlingame into Charcoal.

 * Heinrich killed the original Citizen V and most of the members of the original V-Battalion. Heinrich was once believed to have killed Captain America's sidekick Bucky.

 * Helmut killed Blackout, Andrea von Strucker, Captain Marvel (Genis-Vell), and supposedly the Grandmaster.

 * Helmut and his wife Heike kidnapped several children (allegedly from abusive homes) and tried to indoctrinate them into their ways. The children became known as the Kinder. Not all of these children were of Aryan descent. At least one was black.

 * Heinrich was originally referred to as Dr. Zemo. He did not become Baron Zemo until Daredevil annual #1 (1967) which was well after his death in Avengers #6 (1964).

 * Helmut wasn't given his first name until Captain America #293 (1984).

 * It wasn't revealed until Thunderbolts #1 that Helmut was the 13th baron in his family's lineage.

 * Helmut has had his fair shares of deaths and resurrections. He has survived falling into a boiling vat of Adhesive X, being disemboweled by Vermin, given a stroke by Mother Superior, fallen into an active volcano, fallen off the roof of Avengers mansion, and even being beheaded by the Scourge of the Underworld.

Video Game Appearances
Not a big editor of Wikipedia, but if someone more capable thought it was worth an addition -- Baron Zemo appears in the Captain America pinball table for Pinball FX 2 on the XBox 360/ Marvel Pinball on the Playstation 3. He is voiced, but I can't figure out exactly by whom.

24.224.214.171 (talk) 16:59, 28 July 2011 (UTC)

Daniel Brühl as Zemo
It's listed on the casting call for Civil War, and many news outlets are now running with it (google "Daniel Brühl Zemo" to see for yourself). Out of curiosity, who was it that decided that the official casting call is not a "reliable source"? It's been put up twice (once by me) and someone reverted it saying it's not a reliable source. If an official statement from the corporation isn't enough, then what is? --DarthBinky (talk) 16:04, 12 February 2015 (UTC)
 * I assume you're talking about moviecastingcall.org. According the website's own description it is a blog run by someone named Alan Baltes. Per WP:SPS, self-published media such as blogs are not acceptable for use as sources. We cannot assume it is official because he says it is.--TriiipleThreat (talk) 16:24, 12 February 2015 (UTC)

Fair enough, I suppose. Aight, we'll just have to wait until something more official comes along. I was not aware that it was just some guy reposting the casting calls on his own blog. --DarthBinky (talk) 16:32, 12 February 2015 (UTC)

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File:VaderPosterSmall.jpg

Darth Vader's Psychic Hotline movie poster

title: File:VaderPosterSmall.jpg


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Wikipedia:Articles for deletion/Salad Finger Theories

 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. Redwolf24 04:18, 24 August 2005 (UTC)

Salad Finger Theories
This page is mostly copied and pasted from Salad Fingers. The author asks that it's a work in progress and to please leave the page as it is. Actually this is inappropriate; in-progress pages could be created as user sub-pages if absolutely needed, but works-in-progress that are a total mess should not be article pages yet. In the meantime, this page should be deleted. Secondly, the concept of an article on the themes of a 6-episode Flash cartoon does not need a separate article and the content, if any is developed, should be merged into Salad Fingers. Tempshill 00:28, 19 August 2005 (UTC)
 * Merge any new material into Salad Fingers, perhaps in a new cat., and zap this page. Boxclocke 00:38, 19 August 2005 (UTC)
 * Just went back and re-read the page. Changing this to a delete vote. Hope that's all good and well. Boxclocke 03:54, 19 August 2005 (UTC)
 * Delete. At least in my opinion, Wikipedia is not the place for articles that show isolated theories. It's not the place for personal conclusions. It's an encyclopedia. I don't think this should stay here.--Kaonashi 01:18, 19 August 2005 (UTC)
 * Merge into Salad Fingers. It would make an excellent section, but the whole Salad Fingers universe IMO does not warrant any more space than the one wikipedia page. --Billpg 09:24, 19 August 2005 (UTC)
 * Abstain. I'd like to see how the current discussion concludes first. I withdraw my vote, if I can. --Billpg 22:15, 23 August 2005 (UTC)

 * Merge with Salad Fingers and clean-up content. Showing the main themes of a work can only enhance the article, although any actual debate (i.e. content which is not obvious or concrete) should be moved to the Talk Page of the Salad Fingers article itself.
 * Merge. Tim Rhymeless (Er...let's shimmy) 03:26, 24 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 an undeletion request). No further edits should be made to this page.


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Marcel Barbeau

Marcel Barbeau, (February 18, 1925 – January 2, 2016) was a Canadian painter, sculptor, graphic and performance artist who used different forms of abstraction and art techniques and technology to express himself.

Career
Born in Montreal, he studied with Paul-Émile Borduas at l'École du Meuble in Montreal and later shared a studio with classmate Jean-Paul Riopelle. At the Ecole Barbeau associated with other students of Borduas. Together, they formed a group which became known as the Automatistes. Barbeau, like the others, was specially interested in psychoanalysis and the use of the unconscious and this interest influenced his work from 1946 to 1957. With them, he signed the Refus Global in 1948 because he and the other signatories wanted to be free of formal structures - a movement which extended far beyond painting.

When Riopelle and Borduas left Montreal for Paris and New York respectively and the other signatories formed the Plasticians, he began to investigate his own form of abstraction. He exhibited small ink non-objective paintings in NYC (1952) and also exhibited in Montreal, Ottawa and Quebec City. In 1957 he returned to drawing from live models and experimented with calligraphy, then focused on drawing and collage which continued to be his main interest until 1961. From 1964 to 1968 he researched Op Art and film techniques. He lived in Paris from 1962-1964 where he next exhibited his work. He then moved to NYC where he lived and worked for the next four years (1964-1968), exhibiting his work and in Montreal showing his work at Galerie du Siècle while taking part in group shows in both cities. In 1969, the Winnipeg Art Gallery in collaboration with the Musée d'art contemporain de Montréal, held a retrospective exhibition of his work.

As a painter and sculptor, Barbeau addressed most of the fields in the visual arts. As a multidisciplinary artist, he tried to change the plastic language by transgressing disciplinary boundaries. His collages became paintings (1959-1963 and 1986-2005), art prints (1969) and sculptures (1984-1988). His drawings of poems, made of words and letters, sometimes have borrowed their medium and relief from painting (1957). His sculptures resemble drawings thrown in space (1971-1977) or look like small shelters, almost architectural (1985-1992). His performances, real stagings of the act of creation, materialized through paintings, drawings and, under his directive with the complicity of photographers or film directors, through photographs, films and videos, giving some permanence to otherwise ephemeral artistic gestures (1972-1980).

Curiosity led Barbeau to study the main contemporary artistic trends originating from other disciplinary fields. His interest in those art forms encouraged him to draw on their structures in order to find some convergences, connivances, anchor points or to confirm aesthetic intuitions. He used poetry, music, dance and architecture to renew his art, as for example, his phonic calligraphies (1957-1960) inspired by his friend Claude Gauvreau's poetry or his interdisciplinary events from the seventies and the eighties. He even created works that fall under these disciplines such as his phonic chants from the mid-eighties, which appear in the portrait film by Manon Barbeau entitled "Barbeau, Libre comme l’art"; his dance-action paintings from the seventies; the choreography he created for the opening dance part of his exhibit at Domaine Cataraqui (1999). Despite its diversity and profusion, his work reveals a unity. Economy of means and aesthetic perfection was of great concern for him.

In 2010, Barbeau said in an interview about his work: "'When I paint I never look for an emotion. But the forms in the painting will get together and nearly make love; the forms want to live together.'"

Public collections
Barbeau is represented in well over fifty public and corporate collections including the National Gallery of Canada; the Art Gallery of Ontario; and the Stedelijk Museum, Amsterdam.

Honours

 * 1972 Canada Council’s Victor Martyn Lynch-Staunton Award
 * 1995 Officer of the Order of Canada
 * 1998 Barbeau`s work is used as a stamp by Canada Post as a part of the collection on the Automatistes
 * 2003 member, Royal Canadian Academy of Arts
 * 2013 Governor General's Awards in Visual and Media Arts
 * 2013 Paul-Émile Borduas Award, prix du Québec
 * 2015 Ordre National of Québec

Legacy
Barbeau`s fonds is available at the Archives de l’UQAM - Fonds Marcel Barbeau (University of Quebec Archives), Montreal, QC and the Archives nationale du Québec- Archives de l’audio visuel (Quebec National Archives, audio-visual Archives), Quebec City, QC

title: Marcel Barbeau


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D. I. Go Pop

D. I. Go Pop is the second studio album by English post-rock band Disco Inferno, released on 28 February 1994. After forming as a post-punk band in 1989, the band subsequently worked towards an innovative production approach that incorporated found sound elements through extensive use of digital samplers. The band released several critically acclaimed EPs in this vein from 1992–93, and recorded D. I. Go Pop concurrently with some of those preceding EPs, working with producer Charlie McIntosh. The album cover, designed by Fuel and featuring photography by David Spero, has been described as "one of the most indelible album cover images in the '90s."

The album was released by Rough Trade Records in the United Kingdom and by Bar/None Records in the United States. It did not chart and was mostly overlooked on release, bar some positive reviews. However, it has since gone on to be considered an innovative and influential album and a key release in the history of post-rock. Numerous bands have cited it as an influence. It has been featured in several lists of the greatest albums of the 1990s and of all time. The album was remastered and re-released by One Little Indian Records in March 2004, bringing the album renewed attention from both critics and music buyers.

Background
Disco Inferno formed in 1989 in Essex by teenagers Ian Crause (guitars and vocals), Paul Willmott (bass), Daniel Gish (keyboards) and Rob Whatley (drums), although Gish soon quit the band to join Bark Psychosis, leaving Disco Inferno to become a trio. They were initially a post-punk band heavily influenced by bands such as Joy Division and Wire, releasing their first album Open Doors, Closed Windows (1991) alongside the "Entertainment"/"Arc in Round" single, also from 1991, and 1992's Science EP, all of which were compiled onto the compilation In Debt (1992). However, Crause soon became infatuated with the unique sounds of bands My Bloody Valentine and the Young Gods, as well as the Bomb Squad's revolutionary production and sampling on the music of Public Enemy, and with the release of the Summer's Last Sound EP, released later on in 1992, the band's musical style shifted towards sample-based electronic sounds. The band "hit upon a seemingly simple but ultimately world-opening idea" with the EP: to write their instruments through samplers, and unlike their contemporaries who only sampled elements of music, film dialogue or other media, Disco Inferno "engaged with the whole world", using their set up to record additional sounds as well, ranging from running water, the wind, whistling birds, boots, car crashes and angry voices. Crause had purchased a Roland S-750 sampler with his savings and started programming towards the band's sound for six months. In a 2011 interview, Wilmott recalled of the era: "'We had recorded the Science EP, got some slightly better press, but were still playing to the bar staff most nights in any venue that would let us play. We were frustrated, ambitious and wanted to make an impression. Bands that we liked were using samplers and there seemed to be no reason apart from the financial that we shouldn't look to use them. We were listening to Blue Lines, Loveless, Adventures Beyond the Ultraworld; open to possibilities. We were conscious of the clone indie kid and wanted to be anything but tribal. We had been together just over three years and collectively were getting nowhere; it became a shit or bust moment. At least we would die trying. I always thought that the thing that made DI distinctive post-In Debt was the complete lack of pretence in our approach.'"

Summer's Last Sound was praised for its uncompromising, innovative and experimental sound, and the group expanded the approach with their subsequent EPs A Rock to Cling To (July 1993) and The Last Dance (November 1993), both of which were released on Rough Trade Records after their previous label Cheree closed. According to Andy Kellman of AllMusic, the new label "saved the band's life, as the members believed that they were too challenging for anyone else to understand or care for." Kellman commented that, "disorienting, confusing, and highly schizophrenic, the challenging releases were in direct contrast to the prevailing Britpop scene of the time," taking "A.R. Kane's futurist pop a couple steps further and secured a devout and small following that found solace in their wildly imaginative, peerless nature." The band became characterized as one of the first post-rock bands.

Recording
The band began work on their second studio album concurrently with some of the band's later EPs in 1993. However, despite the critical success of the band's EPs, the band had not been commercially successful. A journalist at The Quietus recalled that "the sparse tiny-numbered disconnection of DI's audience, the rarity of finding anyone else who understood just how great they were, became disheartening," despite the praises of the band written by David Stubbs, Taylor Parkes, Lucy Cage, Jon Selzer and Simon Price in the British music press. Crause recalled, "I remember our manager once telling us we had enough good reviews to wallpaper our houses with but we needed to pay our bills. It did start to become apparent in the last year or so that the reviews, especially in Melody Maker, counted for absolutely nothing in sales terms, which I belatedly came to realise were the be all and end all of being in a band if we needed to survive."

As such, the band recorded D. I. Go Pop under Crause's increasing tension, working with producer Charlie McIntosh, seeking to continue the evolution of the band's sample-based sound. Although the time between writing and recording was usually very short for the band, not leaving "much time to fully evolve each cycle," the writing and recording of D. I. Go Pop was the longest time that the band had spent outside a studio concentrating on a spread of songs. Wilmott recalled in 2011 that he finds it difficult when he hears "about Ian's issues throughout this period, as they are usually horribly remembered and pay little or no attention to his own behaviour which can at best be described as erratic."

Tracks from the album had been worked on in conjunction with songs from the earlier-released EPs. Some of the album's tracks were worked on by the band at the same time as "Summer's Last Sound" and "Love Stepping Out", the two songs from the Summer's Last Sound EP in 1992, their first sample-based release. Crause recalled that "Summer's Last Sound" and those particular D. I. Go Pop songs "sounded much more exciting" than "Love Stepping Out". Ned Raggett of The Quietus noted that the band's following EP, A Rock to Cling To, was recorded at the same time as the songs that would eventually form D. I. Go Pop. Wilmott recalled that the title track of A Rock to Cling To was "very much a part of the D. I. Go Pop sessions" and was originally intended to appear on the album. Crause and Wilmott had also both read The Timelords' "how to have a number one single" book The Manual, which "bizarrely" had an effect on the way that they approached this batch of songs, and the title Go Pop reflected that.

Music
D. I. Go Pop furthers the band's sample-based innovative sound, and is often said to be the band's most uncommercial and least "pop" album, bringing irony to the album title. Adrien Begrand of PopMatters said that, after the innovative post-rock sound established on the EPs, "the band was quickly moving toward something big, and it would all come to a head on [D. I. Go Pop]". According to Scott Plangehoff of Pitchfork, the album is "the most challenging and least 'pop' full-length in the band's catalog," adding that it "retains the arpeggios and fractured melodicism of their then-recent singles, and adds increasing layers of disorienting samples and paranoia." He commented that "D. I. Go Pop is an album of contradictions: Prescient, uneasy ballads like 'Even the Sea Sides Against Us' and 'A Whole Wide World Ahead' recoil from the potential cruelty of human nature but are tethered by an aching off-kilter beauty." Critics have described D. I. Go Pop as a post-rock and experimental rock album.

Ned Raggett of The Quietus said the album was an album of "urban sound with seaside and seasonal reveries that aren't quite that, a burst of activity that could also be a last gasp." Writing for AllMusic, he said that "pop hooks existed on the record, but only in the most spare, hard-to-find of forms; otherwise, Disco Inferno was out to create an album to challenge as many listeners as possible without fully embracing a noise approach." Begrand said that "one would expect that the end result would wind up being nothing more than a chaotic, noisy, haphazard, cut-and-paste attempt at musical assemblage, and yeah, there is a fair bit of cacophony on this album, but like My Bloody Valentine’s timeless classic Loveless, underneath the din is an album of such startling beauty, and even more surprising structure, that once you notice it, it seems like a huge revelation."

Raggett also commented that Rob Whatley was "transformed" from being "just" a drummer to "someone also playing percussive samples and other sounds", which "took the man/machine focus of a figure like Stephen Morris and ratcheted it up into a different realm," whilst Crause was described as writing "angry" lyrics for the album. Crause, "an admitted misanthrope," often delivered a "very bleak, Morrissey-esque worldview" in his lyrics on the band's early singles, and Begrand noted that "although you do hear bits and pieces of a similar sentiment on this album (“Chameleon skin/Is what you need to be in/When nothing's as it appears/Why should you be?”), his vocals are buried so deeply in the mix, it's impossible to tell just exactly what he's singing most of the time." The plaintive, melancholy "Even the Sea Sides Against Us", one of the more instantly accessible songs on the album, revisits the more post-punk sound of their earlier material, as Crause's lyrics "sound as charmingly morose as ever ("We're waiting for a future to come and sweep us away")." Scott Plagenhoef of Pitchfork said that "on much of the album, Crause's bitterness and aggression seems trapped in a swirl of larger sounds, his voice and fears struggling to be heard or comprehended above the dins of abstract noise and the weight of the world around him."

Composition
According to Raggett, opening song "In Sharky Water" begins with water sounds, a basic bass and a drum's low pulse, before leading into "the drowsy swing of the band followed by the most abstract aggression anyone had ever come up with since Wire on 154." "New Clothes for the New World" features Crause's "distorted and fragmented" vocals playing against "ragged" church bell samples and a jaunty whistle. Raggett noted his voice and lyrics project "the electronic paranoia which Radiohead polished up very well for OK Computer, but he's all the much more intense, crackling with a nervous energy and lingering horror for what will be just around the corner." "Starbound: All Burnt Out & Nowhere to Go" features "camera clicks" and a looping, "squiggly 'everybody everybody' chant" alongside "deliberate guitar pluckings". "A Crash at Every Speed" features a "guitar grind" playing "amidst the trebly chaos of keyboards, cars, glass shards [and] planes."

"Even the Sea Sides Against Us" "floats on an acoustic guitar bed endlessly looping around a series of wave sounds and odd keyboard touches, and so forth." Raggett noted how the song "turns to the profoundly, coldly, electrically beautiful, soft strum-like sounds, high twinkles, an unexpected balm even as Crause pitilessly notes 'You don't expect to be seen, you don't expect to be heard.'" "Next Year" features "plaintive" vocals performing as "an odd voice of hope amidst wheezing, clattering sounds and crunch." Raggett said that "A Whole Wide World Ahead" conjures up "the acoustic guitar/rain combination in newer, stranger ways, odd unexpected rhythms, [with] Crause noting, 'There's not enough shelter from all the madness around' as the melancholy flow gets more desperate and lost." The album finishes with "Footprints in Snow", which "sparkles and twinkles" and was the described as the album's only moment "of hope". Andrew Unterberger of Stylus Magazine called it one of the "loveliest songs of D.I.’s career." The song ends with a found sound tape recording of a landlady of a Stratford, London pub asking the band to turn the volume down, taken from one of the band's early concerts.

Album cover
The album cover was the second sleeve designed by design agency Fuel, following on from The Last Dance EP and being continued by the Second Language EP, and as with the EPs, it features a landscape photograph by David Spero with the Disco Inferno radar logo superimposed. Fuel were originally contacted by the band's manager Mike Collins, who had seen their work through a piece about them in The Sunday Times, and thought their aesthetic matched that of the band. Crause recalled that, "at first, [Fuel] used to call us in and have a chat about some ideas they'd had, but after a couple of releases we were so headfucked by their covers that we just let them do exactly what they wanted. I have always thought we had some of the best record sleeves of the 90s. In that period, Fuel are about the only people I'm aware of who equaled those extraordinary Factory and 4AD sleeves from the 70s and 80s." Fuel desired to design a bold logo for the band to give them a strong identity from the start, with the original symbol dating back to the 1930s and having a "simultaneous clarity and ambiguity that complimented their sound."

For all three releases, they worked with photographer David Spero, whose landscape photographs were described as "quite unusual for a record sleeve at the time; they were beautiful images of nothingness. The direction of the logo changed with each sleeve to suit the image and echo the idea of sound traveling in different directions. Both the music and art had an ambiguity about them; the band had taken a step into a creative unknown, and the covers reflected this." Andrew Swainson, who had designed the pre-Last Dance album sleeves, said although he "was gutted at the time" that the band had switched sleeve designers for The Last Dance, he still bought D. I. Go Pop. Adrien Begrand of PopMatters said the album cover become better known than the album itself in North America, saying "if you lived in North America, far away from a good record store, the only thing you would know about Disco Inferno’s album D. I. Go Pop would be its distinctive cover art. That photograph of a pastoral English setting, bluntly obscured by a white circle in the center, with three arcs extending outward, looking like monstrous sound waves emitting from the middle of a lake, was one of the most indelible album cover images in the '90s, yet so few people actually heard the music inside."

Release
D. I. Go Pop was released on 28 February 1994 on Rough Trade Records in the United Kingdom as a CD and LP and Bar/None Records shortly afterwards in the United States as only a CD. The LP edition featured a sticker of the band's logo on the cover bearing the album title and band name to identify it from the front. No singles were released to promote the album, and it charted in neither country, but the good press of the band in the UK nonetheless increased interest in the band, and in the United States, the album still found an audience despite its near-total lack of promotion. Neil Kulkarni of The Quietus said that "weirdly for such an elementally British band, DI have long been of almost mythical status in the US. My old Maker/Metal Hammer mucker Jon Selzer recalls wearing a rare orange DI shirt to Washington DC and being stopped every five minutes by someone insistent on telling him how much DI meant to them." The album title shares its name with the second song on the band's 1993 EP The Last Dance.

One Little Indian Records remastered and re-released D. I. Go Pop and the band's following album Technicolour on CD on 9 March 2004 in the UK and 20 April 2004 in the US, coinciding with the tenth anniversary of D. I. Go Pop. In the US, this re-release was part of One Little Indian's "Crossing the Pond" series of remastered editions of British albums that were never released domestically in the United States. PopMatters said that "a full decade after D. I. Go Pop's initial release, it's the perfect opportunity for people to discover one of rock's most innovative, tragically overlooked bands, and might I add, it's about bloody time." Pitchfork considered the remasters of the two albums to be "the jewels in the crown of One Little Indian's 'Crossing the Pond' reissue campaign" alongside A.R. Kane's 69 (1988) and i (1989).

D. I. Go Pop was reissued on vinyl for the first time since its original release by One Little Indian Records on 1 December 2017.

Critical reception
The album was mostly overlooked at the time of release by music critics. Adrien Begrand of PopMatters said the album "didn't get heaps of press" in either the UK or North America. However, he did note that "if you read British music magazines around 1994, there was a good chance you probably came across a small article or two about a young band called Disco Inferno. You'd read quotes about how their album was unlike anything anybody had done before, how utterly incredible it was." An early review came from David Landgren of the online magazine Consumable in November 1994, who rated the album eight out of ten, saying "this is altogether a brilliantly executed album, a lonely outpost on the darker reaches of rock'n'roll. Once again, this shows just how innovative the English can be when in comes to rock music. This deserves to be in the collection of anyone who prides themselves on owning a diverse and well-rounded range of music."

Spanish magazine Rockdelux ranked the album at number 22 in their "Albums of the Year" list at the end of 1994, but Begrand recalled that "the album was completely shut out when the major publications made their year-end lists" in the UK or North America. In January 1995, it caught the attention of American magazine Alternative Press, who reviewed the album very favourably, saying "this uncheerful British trio are forging challenging music that threatens to break free of rock's shackles. This frigid, melancholy music bristles with a contrary adventurousness. Amazing stuff that will sadly hit too few ears."

The album has gone on to receive increasing attention and critical acclaim, especially after the release of its 2004 remastered edition which Andrew Unterberger of Stylus Magazine said led to the album being "formally embraced by, in some cases, the critics who neglected it the first time around." Ned Raggett, in a review for AllMusic, rated the album four-and-a-half stars out of five, saying that "Go Pop resembles no other album so much as Wire's 154 for the modern day--very English, encompassing a variety of styles and approaches, seemingly totally cryptic yet more touching to the mind, body and soul than anyone might have expected," and concluding that, "probably one of the only bands truly worthy of the term 'post-rock,' Disco Inferno is heading in a direction that no previous band has fully embraced."

Reviewing the album for PopMatters, Adrien Begrand was very positive. He said that although the band's sample-based EPs are just as essential, "it's the band's irreverent genius and the meticulous arrangements on D. I. Go Pop that stick in your mind the longest" and commented that "unlike that grouchy landlady [featured at the end of the album], you'll be wanting to turn this music up, not down." In the May 2005 issue of Spin, Andrew Beaujon, reviewing Joy Division's Unknown Pleasures, told readers to "also try" D. I. Go Pop, describing it as "English goofballs [finding] beauty in frustration, futility and a computer lab's worth of obsolete machines losing their shit." David James of Optimistic Underground said in 2009 that he "won't try to describe the sounds [on the album] other than, generally speaking, they were far ahead of their time in the use of sampling, presaging everything from Matmos to The Books to Animal Collective's later albums," calling it a "truly worthy yet well-hidden gem." Will Hermes of Rolling Stone said the album was a "shot heard 'round the corner, if that: a lost masterpiece of evocative blur channeling Joy Division's melodic gloom through My Bloody Valentine's blissful noise-swarms, with sample loops outgunning the guitars."

Tiny Mix Tapes were also very positive, saying "Disco Inferno simply wanted to shine on us the light of a fundamentally strange hue, a new context in which to enjoy pop music forms. This won't decimate society and crush your religion. It will tweak your eardrums, and may just plant a knowing grin on your face." Scott Plagenhoef of Pitchfork rated the album 9.3/10, saying "D. I. Go Pop retains the arpeggios and fractured melodicism of their then-recent singles, and adds increasing layers of disorienting samples and paranoia" and said it was "nearly as urgent and key" as the band's sample-based EPs. In 2011, Eye Plug noted that Pitchfork's review resulted in a swell of activity across internet message boards, and "appears to have left a continued wake of interest." Andrew Unterberger of Stylus Magazine, although a fan of the album, found it imperfect without the inclusion of several of the songs from the prior EPs, and chose the album for a "Playing God" feature for the magazine in which he picked a definitive, personalised track list for the album.

Aftermath and legacy
Disco Inferno released two more EPs later on in 1994: Second Language, which became "Single of the Week" in Melody Maker, and It's a Kid World, whilst they recorded their third and final album Technicolour shortly afterwards following the theft of the band's samplers, but the band ultimately split up, leaving Technicolour unreleased until mid-1996. Wilmott said that he found the band's dissolution to be frustrating, since they were "finally getting some recognition" when they split, recalling that "the last gig that we had played was our biggest, headlining at The Purcell Room which was also featured as a Mixing It session on Radio 3." Technicolour moved the band towards a slightly more accessible and pop-influenced sound than D. I. Go Pop, although it still retained the band's trademark experimental sound. It was well received by music critics but not as well as D. I. Go Pop.

Despite the underground status of D. I. Go Pop, it has gone on to become considered by critics and musicians to be a groundbreaking and innovative release and an important post-rock album. Bands such as The Avalanches, Deerhunter, Animal Collective and MGMT have acknowledged the band and the album as a big influence, with MGMT's Ben Goldwasser rhapsodizing that they "still sound like the future." However, the album's unique approach is said to have been seldom replicated, with PopMatters stating in 2005 that "as current artists like Manitoba and Four Tet have the technology to assemble albums much more easily these days, the painstaking lengths that Disco Inferno went to perfect their sound in those pre-folktronica days is only occasionally duplicated today." David James said that "this batch of tunes was far ahead of its time in the use of sampling, presaging everything from the cut-and-paste electronica of Matmos to Animal Collective’s pop breakthrough Merriweather Post Pavilion." Johnny Mugwamp of Fact considers the album to be "absolute fucking bedlam" and "the most important album of the 1990s."

Writing for The Quietus in 2014, Ned Raggett said that "to me D. I. Go Pop is itself still fresh. And it IS fresh, a knotted twisted agglomeration of approaches from the time when post rock as a term made a certain sense, the idea that a kind of form had been perfected, so why not explode it?" He opined that Radiohead's 1997 album OK Computer was "a far more glossy take on what D. I. Go Pop was trying to articulate, far more glossy and far less specific, far more comfortable. And I do speak as a Radiohead fan," adding that "time itself points out other comparisons to me – one friend described what Disco Inferno were doing here and elsewhere as being 'a digital This Heat', looking back to an earlier set of UK prophets without honour; another explicitly made a connection to the maniacal vivisections of sound by Australian legends Severed Heads, who Crause later spoke about hearing well after the fact – sometimes the connections are out there, but implied rather than direct. A similar sense of seeing a limit then wondering, 'Why stop?' Destructive or self-destructive in some cases, but when talking about art rather than dissipation, a very understandable impulse." Commenting on the album's relevance in 2014, he said:

"'Good god were Disco Inferno an angry, frustrated band. Some of that dark energy eventually became interpersonal, ended the group after the increasingly bad hands fate and life dealt them, but so much of it was the thrill of getting something off their chests, looking around at where they were at, the country they were in and the structures they had to deal with, and mentally blowing it the hell up. But not chaotically, not in the sense of uncontrolled roar and sprawl. Disco Inferno instead focused it all, layered it, delivered it sometimes cryptically, sometimes immediately and in painfully direct ways. Never sloganeering as such, never rabble rousing, more the voice that captures how things can make you punch a wall at just how stupidly moronically unfair it all is, but exacerbated by people theoretically speaking for all who can’t even be bothered with any sense of lip service, or are clearly too blind to realise what they say. D. I. Go Pop came out of Thatcher's wake; any wonder that it sounds just as aggrieved now in the full churn of Cameron and Clegg's clusterfuck of a shotgun marriage?'"

D. I. Go Pop is often considered to be the best of the band's works alongside the sample-based EPs, which were later gathered together for release as The 5 EPs in 2011. Nonetheless, in a 2011 interview with The Quietus, Crause said "I like the fact there seems to be no consensus about what our best recordings are. Some people like D. I. Go Pop most, some the EPs and some Technicolour. All will say they have proof of why X is the best as opposed to the others. I like that and I have no favourite."

Accolades
In 1999, music journalist Ned Raggett ranked the album at number 5 on his list of "The Top 136 or So Albums of the Nineties" for Freaky Trigger. In 2000, Rockdelux ranked the album at number 101 in their list of "The 150 Best Albums from the 90s," and in 2014, they ranked it at number 235 on their list of "The 300 Best Albums from 1984–2014." In 2011, music critic Neil Kulkarni named it "the 2nd greatest British LP of the 90s" in an article about the band for The Quietus. In 2015, Fast 'n' Bulbous ranked the album at number 182 in their list of "The 1000 Best Albums of All Time." Javier Blánquez and Omar Morena included the album in a list of 16 significant "encounters between electronica and pop music" between 1989–2002 in their 2002 book Loops, a History of Electronic Music. The Vinyl Factory included the album in its 2015 list "Storm Static Sleep: The Evolution of Post-Rock in 12 Records," saying "D. I. Go Pop was a protest against those utopian, vacuum-sealed bubbles of radio pop, in which only real instruments and complimentary harmonies were permitted to thrive. This is the sound of music fighting against the flux of the real world. [...] If there’s any justice, it’s only a matter of time before D. I. Go Pop acquires the widespread recognition it deserves." Treble included the album in its 2013 list of "10 Essential Post-Rock Albums," saying that, "heavily incorporating samples amid dense and dreamy melodies, D. I. Go Pop is intoxicating in its artful irreverence."

Personnel

 * Ian Crause – vocals, guitar, sampling
 * Paul Wilmott – bass guitar
 * Rob Whatley – drums, sampling
 * Eugene Desmond Silk – post-script on "Footprints in Snow"
 * Charlie McIntosh – production
 * Fuel – design
 * David Spero – photography

title: D. I. Go Pop


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Tom Trebelhorn

Thomas Lynn Trebelhorn (born January 27, 1948) is an American former manager in Major League Baseball for the Milwaukee Brewers (1986–91) and Chicago Cubs (1994). He was the manager of the Class A Salem-Keizer Volcanoes from 2008 to 2012.

Personal life
Trebelhorn was born in Portland, Oregon. Trebelhorn was married since 2000 to former Summerfest director and Milwaukee mainstay Bo Black, until her death on July 24, 2020.

Playing career
Trebelhorn was drafted in the sixth round of the 1970 Major League Baseball draft by the Bend Rainbows, a newly formed short-season Class A team independently owned by the Hawaii Islanders, a AAA club that was itself affiliated with the California Angels. He spent five years as a minor league catcher and infielder for the Islanders (and by extension their affiliates the Angels and, later, San Diego Padres) and Oakland Athletics organizations.

Overview
After his playing career ended, he served in several managerial and coaching stints in the minor league organizations of the Oakland Athletics, Cleveland Indians, and Pittsburgh Pirates before being named as the first base coach of the Milwaukee Brewers in 1984. In 1975 and 1976, he managed the Boise A's in the Oakland Athletics' Minor League Organization, and it was during this stint (1976) that he was instrumental in teaching future Hall of Famer Rickey Henderson the intricacies of base stealing, based on remarks made by Henderson at his induction ceremony to the 'Hall' on July 27, 2009.

He was named manager of the Brewers' top farm team, the Vancouver Canadians of the Pacific Coast League, in 1985, whom he guided to the league title. The following year saw him back in the majors as the club's third base coach. He was awarded the Brewers' managerial position after the retirement of George Bamberger with nine games remaining in the 1986 season. In the previous four seasons before Trebelhorn, the Brewers had finished fifth or worse each time, doing so by margins of at least eleven games.

Milwaukee started off 1987 with a bang, winning thirteen games in a row; by the time April ended, they were 18–3. May would prove a disaster, signified by a twelve game losing streak (May 3 to May 19), which resulted in them being 24–21 at the end of May, the only month where the Brewers had a losing record in. While the Brewers played consistent ball the rest of the season, they never threatened to close on top of the American League East, and they finished seven games behind for a third place finish. However, it proved a great improvement over recent seasons which garnered him Manager of the Year awards from Baseball America and Sports Illustrated; he finished second in the voting for AL Manager of the Year. Trebelhorn led the 1988 Brewers to an 87–75 record; middling months in April, June, and July meant that the Brewers could not move past the hump in the division, despite the fact they finished in a tie for third place and missed the division crown by two games. The next season was another fourth-place finish for an 81–81 record, falling eight games short of the division. The 1990 season saw them plummet to sixth with a 74–88 record. In his final year with the team, the Brewers went 83–79 and finished fourth in the division by eight games. At the time he was fired, he had the most wins among Brewers managers with 422 before Phil Garner (his successor as manager) passed him, and Trebelhorn ranks fourth as of 2022.

Trebelhorn was named bench coach of the Chicago Cubs in 1992. He was a finalist for the San Francisco Giants managerial job in the winter of that year, being one of the final five candidates interviewed, but Dusty Baker was chosen for the position. He was promoted to manager of the Cubs to replace Jim Lefebvre on October 13, 1993 over bullpen coach Tony Muser by general manager Larry Himes; this was the eleventh Cubs manager hired in the past eleven years. Trebelhorn would have a brief tenure as manager with one noteworthy moment. Following a slow start in which the Cubs failed to win their first eight home games, Trebelhorn promised reporters that if the Cubs lost the next game, he'd answer questions from fans (the Cubs had never lost their first nine home games in a season up to that point). On April 29, 1994, when the Cubs did in fact lose their next game at home, he held court outside a fire station on Waveland Avenue and spoke to a mob of roughly 200 Cubs fans, starting by shouting "OK. Now what do you want to know?" The Cubs lost their next three home games before finally winning at home on May 4, breaking a mark of 0–12 at home to start the season, worst in Cubs history. The strike that occurred in August of that year stopped the team from doing worse than their record of 49–64 (.434), and he was fired on October 17 by new general manager Ed Lynch. He was replaced by Jim Riggleman.

Later that year, he returned to the minor leagues as the first manager of the Tri-City Posse of the newly formed Western Baseball League, directing the club to the league finals. Following this, he was hired to be the minor league coordinator of instruction for the Baltimore Orioles, his first front office position. He served in this role for three years, and afterwards as the Orioles' director of player development and director of organizational instruction for one year each.

In 2001, Trebelhorn was promoted to be the Orioles' third base coach. Midway through the 2005 season, he was transferred to the position of bench coach, taking over the role from Sam Perlozzo, who was named interim manager. In 2006, Trebelhorn returned to his former position of third base coach. For the 2007 season, he once again took over as the Orioles' bench coach. He was fired at the end of the 2007 season.

Return to minors
He took on the role of manager again in 2008 for the Class A Salem-Keizer Volcanoes, a position in which he served through the 2012 season.

In 2009, Trebelhorn was selected by the Italian national team to be a coach for the 2009 World Baseball Classic.

title: Tom Trebelhorn


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Category:Phalacrocoracidae

Phalacrocoracidae is a bird family including the cormorants and the shags.

title: Category:Phalacrocoracidae