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Disruption (adoption)

Disruption is ending an adoption. While technically an adoption is disrupted only when it is abandoned by the adopting parent or parents before it is legally completed (an adoption that is reversed after that point is instead referred to in the law as having been dissolved), in practice the term is used for all adoptions that are ended (more recently, among families disrupting, the euphemism "re-homing" has become current). It is usually initiated by the parents via a court petition, much like a divorce, to which it is analogous.

While rarely discussed in public, even within the adoption community, the practice has become far more widespread in recent years, especially among those parents who have adopted from Eastern European countries, particularly Russia and Romania, where some children have suffered far more from their institutionalization than their parents were led to believe.

Reasons for disruption
Despite the intense and careful screening that most who wish to adopt children must go through, sometimes the adoption does not succeed. The child may have developmental or psychological issues that the parents cannot handle, had not been informed of prior to the adoption, or both. Or the parents may have had unrealistic expectations of the child, and they just may not get along. The adoptive parents themselves may have psychological or family issues themselves that led them down the path to adopt. These adoptive parents adopt thinking that the new child in their life will somehow enhance their life.

Aftermath of disruption
A child who is disrupted is usually put first into foster care, pending placement with a new family, unless they reach the age of 18 and legally become adults before this happens. In more and more recent disruptions, however, the disrupting adopters have been in direct contact with a family wishing to adopt and the child can be directly adopted by the new family.

Some adoption agencies and facilitators have even begun specializing in post-disruption placements.

If the child was placed privately, either through a lawyer or an adoption agency, that party is usually required by law to ensure a second placement of the child. However, that requirement is not always enforced, and many parents of Eastern European adoptees in particular have found their agencies to be of no help in finding a new home for their children.

Some don't find state social-services agencies to be much help either, since they're already so overwhelmed and they would have to pay child support. Authorities believe that an underground, possibly illegal, network has arisen in the U.S. over the past decade to help these parents disrupt their adoptions. Some of the people in this have taken in large numbers of children at the same time and have sometimes been arrested for child abuse and neglect.

Attitudes toward disruption
Few parents who have disrupted adoptions have been willing to talk about the process, since it carries a strong social stigma. It is seen by many as essentially legally sanctioned abandonment, especially since there is no corresponding legal procedure available for biological parents who find their children beyond their ability to handle, apart from giving their children up for adoption.

Those who do disrupt and discuss it describe the experience as, unsurprisingly, extremely painful, almost like a death in the family, and shameful but ultimately worth it for both the parent and the child. This resolution, however, usually cannot be reached without undergoing extensive counseling and therapy.

High-profile disruptions
One of the rare public accounts of a disruption took place in 2000 when the CBS News program 48 Hours told the story of Jesse and Crystal Money, an Atlanta-area couple who ultimately decided to disrupt the adoption of their nine-year-old Russian-born daughter and return her to the orphanage in Moscow she had previously lived in. The girl had severe reactive attachment disorder and the family feared for their physical safety due to her increasing violence. Since the girl had not acquired U.S. citizenship, her treatment options for that were more limited than they might have been for a domestically-born child.

An Indonesian boy adopted by an Irish man, Joe Dowse, and his Azerbaijani wife, Lala. Tristan Dowse was abandoned at the Indonesian orphanage from where he had been obtained and adopted, when, according to the Dowses, the adoption "hadn't worked out." At that stage, his adoption had been recognised by the Irish Adoption Board and he had been granted Irish citizenship. He could only speak English. In 2005, investigative journalist Ann McElhinney and Irish Production Company Esras Films reunited the young boy with his natural mother, Suryani. The resulting documentary “The Search for Tristan's Mum” was broadcast by Irish television station RTÉ. In 2006, an Irish court ordered the Dowses to pay an immediate lump sum of €20,000 to Tristan, maintenance of €350 per month until he is 18 years of age, and a further lump sum of €25,000 when he reaches the age of 18. In addition, Tristan would remain an Irish citizen and enjoy all the rights to the Dowses’ estate. Tristan’s adoption was struck off the Register of Foreign Adoptions held by the Irish Adoption Board and Suryani was appointed his sole legal guardian.

In 2010, seven-year-old Artyom Savelyev/Justin Hansen's adoptive mother, Torry Ann Hansen, sent him back to Moscow alone with a note explaining why she no longer wanted him. After this incident, Russian Children's Ombudsman, Pavel Astakhov, said: "We must, as much as possible, keep our children in our country" and urged for more restrictions on international adoptions in Russia. The Chairwoman of the Russian parliamentary committee on family and children, Yelena Mizulina, pointed out that 30,000 children were sent back to institutions by their Russian adoptive, foster, or guardianship families in the last three years. She added: "Specialists call such a boom in returns a humanitarian catastrophe."

In 2020, it emerged that YouTubers Myka and James Stauffer had decided to "rehome" their child, Huxley, who was adopted by the couple from China in 2017. The Ohio-based couple had made popular videos on YouTube featuring their son which attracted millions of views. 27 of these videos were related to their "adoption journey", with one video titled "Huxley's EMOTIONAL Adoption VIDEO!! GOTCHA DAY China Adoption" having been viewed more than 5.5 million times. The couple was aware the child has mental disabilities before the adoption but had decided to proceed after "God softened [their] hearts". After medical professionals determined these disabilities specifically include autism and a brain cyst, the couple proceeded with rehoming when allegedly told "he needed a different fit".

Statistics
Since no records are kept or required to be kept of how many disruptions occur beyond those filed in court, which are confidential, there is no way to be sure how many are occurring. Anecdotal evidence, however, has suggested that while they may have decreased as a whole through 1997 (when the Adoption and Safe Families Act was passed), for adoptions of Eastern-European born children they may well have increased, and thus the rate may have stabilized.

A U.S. Department of Health and Human Services review of what was known as of 2004 suggests that overall, 10-25% of adoptions are disrupted or dissolved, and that the rate tends to rise with the age of the child at adoption. It admitted that much data remains to be collected before any clear policies to prevent disruptions can be formulated and implemented.

A similar review in 2002 by the British Department for Education and Skills, done to lobby for changes in data collection procedures, also reported the lack of any centrally collected data

title: Disruption (adoption)


text:
Darrell L. Bock

Darrell L. Bock (born December 8, 1953) is an American evangelical New Testament scholar. He is executive director of Cultural Engagement at The Hendricks Center and Senior Research Professor of New Testament studies at Dallas Theological Seminary (DTS) in Dallas, Texas, United States. Bock received his PhD from Scotland's University of Aberdeen. His supervisor was I. Howard Marshall. Harold Hoehner was an influence in his NT development, as were Martin Hengel and Otto Betz as he was a Humboldt scholar at Tübingen University multiple years.

His works include the monograph "Blasphemy and Exaltation" in the collection Judaism and the Final Examination of Jesus, and volumes on Luke in both the Baker Exegetical Commentary on the New Testament and the IVP New Testament Commentary Series. Bock is a past president of the Evangelical Theological Society, and he is a member of the board of trustees of Wheaton College (Illinois). He has served as a corresponding editor for Christianity Today, and he has published articles in the Los Angeles Times and The Dallas Morning News.

Bock is known for his work concerning The Da Vinci Code by Dan Brown. In a response to the theological implications of the novel, Bock wrote Breaking the Da Vinci Code, his best-selling work to date. The book challenges the historicity of various extra-biblical ideas expressed in The Da Vinci Code, most notably the supposed marriage of Jesus to Mary Magdalene. He also has written many pieces for Beliefnet and Christianity Today. Bock also wrote The Missing Gospels, which argues for the existence and legitimate primacy of early Christian orthodoxy over non-canonical gospels and beliefs.

On May 17, 2006, immediately before the film The Da Vinci Code opened, Bock appeared on the TV show Nightline, talking about his book and about the movie. Bock has debated agnostic biblical scholar Bart D. Ehrman on whether certain epistles in the New Testament have been forged.

In 2012, Darrell Bock became the executive director of cultural engagement at the Hendricks Center at DTS. He is also a host of The Table Podcast, Dallas Theological Seminary's weekly cultural engagement show. The other hosts of the podcast are Mikel Del Rosario, Bill Hendricks, and Kymberli Cook.

For several years he has been a Guest Lecturer at the Bible Institute of South Africa's Winter School in Cape Town, as well as at numerous other institutions globally.

Books

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Chapters

Articles

As the Director of Cultural Engagement at the Hendricks Center, Bock co-authored series on cultural engagement topics called "The Table Briefing" with Mikel Del Rosario which appeared in each issue of Bibliotheca Sacra from 2012 to 2022.

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

title: Darrell L. Bock


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Robb Hanrahan

Robert John Hanrahan (April 11, 1962 – July 1, 2022) was an American television journalist who previously worked as a newscaster for WHP-TV, the CBS affiliate in Harrisburg, Pennsylvania. He announced his retirement on February 7, 2021, after a six-month recovery from a massive heart attack.

Career
Prior to joining WHP, he had spent time at WFOR-TV, a CBS owned-and-operated station in Miami, Florida, where he co-anchored newscasts alongside Maggie Rodriguez for four years.

Between 1996 and 2003, Hanrahan was an anchor at WABC-TV in New York City. He joined the station as a co-anchor for its morning and midday Eyewitness News broadcast, where he worked alongside Nancy Loo. By the end of 1997, Hanrahan was promoted and replaced Greg Hurst as co-anchor on WABC's 5:00 pm newscast alongside Roz Abrams and stayed there for the next several years. During this time, he was part of a second overhaul of the morning newscast; he and Lori Stokes were named to replace Loo and David Ushery as morning anchors, although Hanrahan did not participate in the noon newscast this time. Toward the end of his time at WABC, the station was undergoing another shakeup in its lineups and he was replaced by Diana Williams on the early evening newscasts. Hanrahan moved to anchoring solely on weekends until his contract expired.

Hanrahan was at WSVN-TV in Miami before joining WABC. Before Miami, he worked at Harrisburg's WHTM-TV, and started his news career at KODE-TV in Joplin, Missouri.

Personal life and death
He was married to his wife Stacey. Hanrahan died on July 1, 2022, at the age of 60.

His wife is a licensed mariner who holds a United States Coast Guard fifty-ton Master/Mate (captain's) License.

title: Robb Hanrahan


text: Category:Credit management

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text: Category:Student strikes

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Alfred Henry Maurer

Alfred Henry Maurer (April 21, 1868 – August 4, 1932) was an American modernist painter. He exhibited his work in avant-garde circles internationally and in New York City during the early twentieth century. Highly respected today, his work met with little critical or commercial success in his lifetime, and he died, a suicide, at the age of sixty-four.

Early life and education

Maurer was born in New York City. He was the son of German-born Louis Maurer, a lithographer with a pronounced disdain for modern art. At age sixteen, Maurer had to quit school to work at his father's lithographic firm. In 1897, after studying with the sculptor John Quincy Adams Ward and painter William Merritt Chase, Maurer left for Paris, where he stayed the next four years, joining a circle of American and French artists.

Career
Finding the instruction at the Academie Julian too limited, he spent most of his time copying in the Louvre. His self-portrait from that time expresses the 'youthful optimism" of that period of his life. At the time, Maurer worked in a conventional but self-assured realist style.

Maurer's An Arrangement, which was compared to the work of Whistler in its color sense and fluid handling of paint, made his reputation in the American art world. Comparisons were made to Chase and Sargent. The painting received first prize at the 1901 Carnegie International Exhibition, whose jurors included Thomas Eakins and Winslow Homer. It was an honor that promised a bright future, and Maurer hoped it would convince his demanding and skeptical father that he could, in fact, paint. Other awards received by Maurer included the Inness Jr. Prize of the Salmagundi Club in 1900 and a bronze medal at the Pan-American Exposition at Buffalo, New York in 1901. In 1905, he won the third medal at the Liege (Belgium) Exposition and a gold medal at the International Exposition in Munich. A successful future beckoned.

Yet, at age thirty-six, in Paris, deviating from what everyone (including himself, at times) called "acceptable" painting styles, Maurer changed his methods sharply and from that point on painted only in a cubist and fauvist manner. His break from realism and new commitment to modernism, fostered by exposure to the art collected by his friends Gertrude and Leo Stein, subsequently cost him his international reputation and any hope of paternal regard. He had a two-man exhibition with John Marin in New York City at Alfred Stieglitz's 291 gallery, and four of his paintings were included in the legendary Armory Show of 1913. He acquired esteem in avant-garde circles. He did not, however, find the popular following he needed to make a living.

Leaving Paris on the eve of World War I, he returned to his father's house only to be denied support. It was the beginning, as art critic Robert Hughes wrote, of "a banishment to a hell of Oedipal conflict." For the next seventeen, increasingly depressed years, Maurer painted in a garret in his father's house on the West Side of Manhattan and gained only limited critical acclaim. He was friends with respected avant-garde American artists like Arthur Dove, Marsden Hartley, and John Marin, almost all of whom were better known than he was. He participated in prestigious exhibitions, such as "The Forum Exhibition of Modern American Painters" in 1916, a New York show which featured seventeen of the most significant native modernists of the time. He also exhibited regularly at the New York-based Society of Independent Artists and was elected their director in 1919. In 1924, the New York dealer Erhard Weyhe bought the contents of Maurer's studio and represented the artist for the remainder of his career. The death of his mother in 1917, however, intensified his gradual withdrawal from the world.

The artist Jerome Myers wrote poignantly of him in his autobiography, Artist In Manhattan:

"Alfred Maurer, whom I knew casually, had a pleasant personality. After his early talent had brought him a prize at the Carnegie Institute, he went to Paris, where he stayed for years ... There was no doubt that he was happy in his Parisian atmosphere. Like many other young Americans there, he was attracted by the life of the boulevards, the cares, the daily affinity with brother artists with whom he was then studying the problem of color ... His father, Louis Maurer, was an old-time artist, who had worked on the Currier & Ives lithographs. When I met him at an exhibition of the Independents at the Grand Central Palace, he was a quiet-mannered man, whom I took to be about seventy-five years old. Later I learned that he was then already ninety-five ... Speaking of his son, Alfred, he evidently could not sympathize with—or, as he said, understand—the ultra-violets and ultra-blues of that phase of Alfred's work. He seemed so proud of what his son had done, but so grieved at what he was then doing.

For some reason, Alfred was subsequently forced to return to New York, leaving behind in Paris his beloved boulevards and the friends of his heart. The idea and the style of his work seemed to change; he turned to the painting of elongated women, after the pattern of Modigliani. Then Louis Maurer, seemingly outraged by his son's work, did an extraordinary thing. He gave an exhibition of his own paintings at the age of one hundred years, a record for all time. Between this unique rejuvenescence of his remarkable father, with the implied reproof against his own art, and the suffering due to ill health, the pit yawned and the unhappy Alfred Maurer left the scene of his sorrows a suicide, his gallant heart broken."

About his approach to painting after abandoning realism, Maurer commented, "My main concern in painting is the beautiful arrangement of color values -- that is, harmonized masses of pigment, more or less pure. For this reason, it is impossible to present an exact transcription of nature....It is necessary for art to differ from nature....Perhaps art should be an intensification of nature; at least it should express an inherent feeling which cannot be obtained from nature except through a process of association....The artist must be free to paint his effects.  Nature must not bind him."

As the art historian Sheldon Reich observed, had Maurer been a European or remained in Europe in 1914, he would probably be discussed today in the same terms applied to Vlaminck or Derain. Instead, he became a citizen of a country with very limited interest in bold artistic experimentation and took his place as part of that "tragic fraternity of artists who during their lifetimes have suffered the tortures of neglect." He enjoys a marginal status in most American art history textbooks. It is also extremely difficult to encounter Maurer's paintings in public collections as most of his work is still privately owned.

Maurer took his own life by hanging several weeks after his father's death at the age of 100. He was interred at Green-Wood Cemetery in Brooklyn, New York. Alfred Stieglitz wanted to arrange a posthumous exhibition of his work at his gallery, An American Place, but was unable to do so. Five years after Maurer's death, the art critic Henry McBride, reviewing a show of his work at the Hudson Walker Gallery in New York, wrote: "He lived exclusively for his art and in sharp contrast to most painters of today who never lift a paint brush to canvas without thought of the box office results....he had the courage of his principles."

Maurer's works are included in the collections of the Barnes Foundation, Philadelphia, Pennsylvania; the Brooklyn Museum, New York; the Carnegie Museum of Art, Pittsburgh, Pennsylvania; the Art Institute of Chicago, Illinois; the Crystal Bridges Museum of American Art, Bentonville, Arkansas; the Metropolitan Museum of Art, New York; the Philadelphia Museum of Art, Pennsylvania; the Phillips Collection, Washington, D.C.; the Reynolda House Museum of American Art, Winston-Salem, North Carolina; the Smithsonian American Art Museum, Washington, D.C.; the Weisman Art Museum, University of Minnesota, Minneapolis; and the Whitney Museum of American Art, New York, among others.

title: Alfred Henry Maurer


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My name is Chris McKinstry.

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Talk:Machairodontinae

Extra "Facts"
There are a lot of bits from this article that don't seem to be adding to the knowledge behind it. Somebody clearly added them in because they're passionate on the subject, and they don't read very professionally.

Example: "At first glance, fossils tell you what and animal ate and how tall it was at the shoulder, but to the trained eye and to a mind able to put the pieces of a puzzle together, they can reveal much more. Fossils are the remnants of a living animal and are usually bones which are the bones are the template for a vertebrate in large part. By using the bones and understanding how the living animal's life affects the development, shape, and damages to bones within the creature, a great deal can be learned, much more than just how big it was."

Most people understand what fossils are. Information like this should be concise and not placed here, it should be on the Fossil article.

The first paragraph of Machairodontinae is mostly irrelevant and appears to be a small rant about paleontology in general. There are other areas. Someone needs to read through this article and delete a quarter of it. --Guest

Miracinonyx
Someone added a line to the article, claiming that Miracinonyx belongs to Machairodontinae. This is not correct!
 * The abstract of Ross Barnett's DNA study in External links prompted the addition of a remark based on Barnett's updated family tree for the ancient cats. For perfect consistency, perhaps the Barnett reference in Current Biology reference should be cut too. --Wetman 04:50, 19 August 2005 (UTC)

Merge with Saber-toothed cat?
No, unless all the other lineages of sabercats get their own articles. And then we would need an umbrella article, perhaps "Saber-toothed cat".--Curtis Clark 23:36, 4 September 2005 (UTC)

 * OK... clearly I misunderstood when I made the merger suggestion. The intro to this article implies that Machairodonts and saber-tooths are the same thing. The saber-toothed cat article suggests this too. But are some saber-tooths not Machairodonts? The Singing Badger 23:39, 4 September 2005 (UTC)

 * Digging through the part on "evolutionary tree", I find Borhyaenidae, Hyaenodontidae, and Nimravidae in addition to the felids. The convergent evolution is striking, and as you point out, not all machaerodontines have saber-teeth.--Curtis Clark 03:20, 5 September 2005 (UTC)

Lots of changes
I edited this section extensively because i felt it there was a lot more to discuss. I included the section on convergent evolution because the saber-toothed cat page does not go over in any extent comparison between the major groups, so i tried to make a point not to redefine what is on that page, but compare the other groups to machairodonts in terms of morphology. i was planning on developing the pages for the other groups in the same mannor (the barbourofelids page having a comparison of barbourofelid morphology to all other saber-tooth groups, etc.). Should these be left out and all the comparison information be located only on the saber-tooth page with a link on the pages of the specific groups' to there? --Coluberssymbol (talk) 01:03, 3 July 2011 (UTC)
 * can i get some feedback on this?--Coluberssymbol (talk) 21:02, 1 October 2011 (UTC)
 * The section is good, but maybe it goes too much into detail with the images? Those could probably be moved to the saber tooth article, but the text seems alright. FunkMonk (talk) 21:05, 1 October 2011 (UTC)
 * I'd think that comparison between the different groups belongs best at the sabre-tooth article, which should (ideally) give an over-view of all the groups and the differences and similarities between them. A brief summary here would be fine with a link to the main article for detail. I don't see any need for the images of non-machairodontines here - unless, perhaps there were an image that showed the two side by side, with differences annotated, or something like that (I know we don't have such an image, but if we did, that would be the sort of thing that would seem reasonable to me). Anaxial (talk) 21:59, 1 October 2011 (UTC)
 * Such an image could be made, of course. FunkMonk (talk) 22:41, 1 October 2011 (UTC)
 * I agree that this section should go the saber-toothed cat article, instead of here. Also, did you organize the "five instances" by chronology or phylogeny?  If it was chronological, the thylacosmilids (Miocene) should come after Machaeroides (Eocene). Tennesseellum (talk) 17:03, 22 October 2011 (UTC)

Citations need expansion, article seems over-developed

 * 1) I just ran a Citation bot that filled in a few DOI's for articles, but most of the references from 18 to 52 are incomplete, which makes it more difficult to assess the timeliness or veracity of the source (the links to About.com articles, blogs, and other un-scientific sources are especially suspect).
 * 2) This article is awfully detailed, and can very likely be simplified in several ways. Several studies are unnecessarily described in depth (see Smilodon and the La Brea tar pits and its huge table), or main points of articles are belabored (see The face of Miller's machairodont, further extended with 3 photographs tangentially related at best. Several passages seem to have little or nothing to do with the animals involved, such as the paragraph on lions hunting in Botswana. Other sections provide too much detail in examples, such as the mention of kestrels in Sexual characteristic.  From the sheer depth of information and the way in which it's presented (especially with leading statements like "One of the biggest questions about this predator's biology remains unanswered: how did the living and real animal use those teeth?"), one gets the sense of original research and synthesis, as if this was a lengthy (albeit well-researched and composed) term paper or essay, rather than an encyclopedic article, which is what Wikipedia is all about. I'm not saying anything in this article is necessarily false or wrong, but the length and detail actually detract from the actual information regarding Machairodontines. --Animalparty-- (talk) 23:04, 18 November 2013 (UTC)

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Machairodont Classification
I am curious to know if the name Pontosmilus should be deleted from the list of genera and the family tree. The name redirects to the article Paramachairodus, is apparently synonymous with the latter genus, and creates confusion regarding machairodont family ties. --Saberrex-Strongheart-- (talk) 17:08, 17 November 2017 (UTC)
 * WP:BOLD Lythronaxargestes (talk | contribs) 02:50, 19 November 2017 (UTC)

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text:
Black & Blue (Backstreet Boys album)

{{Infobox album }} }} | name       = Black & Blue | type       = studio | single1    = Shape of My Heart | single1date = October 3, 2000 | single2    = The Call | single2date = February 6, 2001 | single3    = More than That | single3date = May 29, 2001 }} }}
 * name      = Black & Blue
 * type      = studio
 * artist    = Backstreet Boys
 * cover     = Backstreet Boys - Black & Blue album cover.png
 * caption   =
 * alt       = The cover is split into two different sides; the left side is colored black, while the right side is colored blue. The words Black & Blue are imprinted horizontally on the center of the cover, while on another version of the cover, the band name is printed vertically on the left side.
 * released  = November 21, 2000
 * recorded  = July 1 – September 2000
 * venue     =
 * studio    = {{flatlist|
 * Cheiron & Polar {(Stockholm, Sweden)
 * Darkchild (Pleasantville, New Jersey)
 * Parc (Orlando, Florida)
 * Brandon's Way (Los Angeles, California)
 * genre     =
 * Pop
 * dance-pop
 * teen pop
 * R&B
 * length    = 47:53
 * label     = Jive
 * producer  = {{flat list|
 * Timmy Allen
 * Babyface
 * Larry "Rock" Campbell
 * Franciz & LePont
 * Rodney Jerkins
 * David Kreuger
 * Kristian Lundin
 * Per Magnusson
 * Max Martin
 * Rami Yacoub
 * prev_title = For the Fans
 * prev_year = 2000
 * next_title = The Hits - Chapter One
 * next_year = 2001
 * misc      = {{Singles

Black & Blue is the fourth studio album (third in the United States) by American boy band Backstreet Boys. It was released on November 21, 2000, by Jive Records. The album recorded the best international sales in a week for an album in history by selling over 5 million copies globally in its first week of sales. In the United States, Black & Blue sold 1.5 million copies in its first week of release, making the Backstreet Boys the first group in Soundscan history to have million-plus first-week sales with back-to-back albums. It sold over 15 million copies worldwide.

The first single from the album was "Shape of My Heart," followed by "The Call," and "More than That." The band members wrote two songs and co-wrote five songs on this album, a departure from previous albums, showcasing less of their own songwriting. To promote the album, the band embarked on the "Black & Blue World Tour" in 2001.

Background
The album was recorded from July 1, 2000 to September 2000. In August 2000, the band gave fans their first glimpse of the album, including the track "It's True" on a series of CDs made available through Burger King. Backstreet Boys member AJ McLean stated that it would incorporate genres of rock, R&B, hip-hop, and country. He also revealed that Nick Carter and Kevin Richardson would be playing on the drums and piano respectively.

Title and lyrical content
According to Entertainment Weekly editor David Browne, the album title is a nod to their two musical sides: Black (as in the R&B inflections of their upbeat tracks) and Blue (their inclination toward mushy crooning). It also represented Lou Pearlman's abuse and bruises. Browne wrote that "The Call" (a dance-pop song) "tells how to cheat on your mate by telling her your cell phone battery's low!, but it also has the blowsy feel of a rejected show tune". Rolling Stone's Barry Walters called it "the album's most frenzied cut". The second track "Shape of My Heart" was described by Browne as a "predictable ballad", while AllMusic's editor Stephen Thomas Erlewine wrote that "the song flows as gracefully as 'I Want It That Way', prove that the Backstreet Boys do teen pop ballads better than anyone." The third track "Get Another Boyfriend" uses "drama-crazed harmonies" and was described by Walters as "the album's most frenzied cut". Erlewine wrote that the track is a "dead ringer for 'It's Gonna Be Me' crossed with 'Baby One More Time'". Walters wrote that "not even R&B kingpin Rodney "Darkchild" Jerkins can erase the Scandinavian sparkle from the fourth track "Shining Star".

Walters wrote the sixth track, "The Answer to Our Life," which "bounces along on a perky melody inspired by their Swedish mentors." The seventh track, "Everyone," celebrates themselves and the power of their audience. Browne wrote that the song is "a clunky foot stomper, which continues the self-congratulatory tradition of their earlier 'We've Got It Goin' On' and 'Larger than Life.'" The eighth track, the ballad "More than That", was praised by critics. Entertainment Weekly praised "the graceful way their voices blend on the chorus," while Rolling Stone praised "the symphonic splendor of the track." The ninth track, "Time," was written by the band members. Browne called it "piffle," while Walters said that it "could've sprung from any substandard Nashville jingle meister." The tenth track, "Not for Me," received positive reviews. Browne praised "the spunky way they vault into the track." Browne wrote that "Time" & the 11th track "Yes I Will" appeared to be vying in a contest for "Next Big Wedding Song," but still acknowledged "the suave manner in which they engage in their trademark vocal swapping track" on the latter song. The 12th track, "It's True," is another ballad in the same vein as the others, while the last track, "How Did I Fall in Love with You," is sung by Howie D and Brian Littrell while the rest of the group does background.

Critical reception
Upon its release, Black & Blue received generally favorable reviews from music critics, with an aggregate score of 61/100 from Metacritic.

Stephen Thomas Erlewine opined that "what gives Black & Blue character is that it's clear that the Backstreets want to remain kings of their world. So, the ballads are smoother than ever, and their dance numbers hit harder, all in an attempt to keep their throne." Billboard staff wrote that "Beyond ballads, Black & Blue crackles with funk-inflected uptempo ditties that are notable for their rough edges." Barry Walters of Rolling Stone stated that "the Boys still harmonize as well as the faceless background singers who prop up lesser pop puppets." Q wrote that "The sound has changed little, and the level of emoting none. Still, thunderous grooves such as 'Everyone' and 'Shining Star' continue to be virtually irresistible, while the quieter moments, including the hit single 'Shape of My Heart' will wow the ladies and the more sensitive gents for a while yet." CDNow labeled it "unquestionably the most seamless boy band release of the year."

David Browne wrote for Entertainment Weekly that "Black & Blue merely maintains a holding pattern, recycling their past and doing little to establish a firm future." Rebecca Dien-Johns of Yahoo! Music wrote, "Unfortunately, over a third of the songs on this album are ballads, and most of them are fillers at that." Natalie Nichols of Los Angeles Times compared the album to a pinball machine and said that "listening to these 13 songs is a bit like pinging around inside one of those old-fashioned amusement devices. Giant grinding beats slam you from pole to pole, there are lots of flashy effects, the environment is completely artificial, and once the ball is launched, you can see exactly where it's going." Robert Christgau gave the album a "dud" rating in his Consumer Guide.

Commercial performance
Black & Blue debuted at number one in the US Billboard 200 after selling 1.6 million copies in its first week at retail in the US. The feat made them the first act in history to achieve sales of more than a million copies in the first week with back-to-back releases. The album held the number-one spot in its second week, selling an additional 689,000 copies. On December 18, 2000, the album was certified eight times platinum by the Recording Industry Association of America for shipments of over eight million copies in the United States. As of March 2015, the album sold 5,936,000 copies in the US according to Nielsen Music. It also sold 992,000 units at the BMG Music Club as of February 2003.

Internationally, the album recorded the best sales in a week for an album in history by selling over 5 million copies in its first week of sales.

Track listing
Notes
 * undefined signifies a remixer
 * undefined signifies an additional producer

Personnel
Credits for Black & Blue adapted from AllMusic and album's liner notes.

Backstreet Boys
 * Nick Carter
 * Howie Dorough
 * Brian Littrell
 * AJ McLean
 * Kevin Richardson

Additional personnel

 * Jamie Allen – assistant engineer (tracks 5, 8, 11, 13)
 * Timmy Allen – arrangements (track 13)
 * John Amatiello – assistant engineer (track 1), Pro Tools engineer (tracks 1-3), XBS optical vocal enhancer engineer (track 2)
 * Alan Armitage – engineer (tracks 5, 11, 13)
 * Keith Armstrong – assistant engineer (track 4)
 * Babyface – keyboards, drum programming, guitar, and background vocals (track 9)
 * Adam Barber – engineer (tracks 5, 8, 13)
 * Tony Battaglia – acoustic guitars (track 5)
 * Kyle Bess – assistant mixing engineer (track 9)
 * Stefan Boman – vocal engineer (track 2)
 * Paul Boutin – engineer (track 9)
 * Randy Bowland – guitar (track 11)
 * Jimmy Bralower – additional drum programming (track 5)
 * Bob Brown – engineer (track 4)
 * Larry "Rock" Campbell – instrumentation (track 11)
 * Tom Coyne – mastering
 * Toby Dearborn – assistant engineer (tracks 4, 5, 13), assistant vocal engineer (track 7)
 * Howie Dorough – additional vocal and musical arrangements (track 13)
 * Nathan East – bass (track 9)
 * Dona Kay Flint – string contractor (tracks 5, 13)
 * Paul Foley – engineer (track 4)
 * Fraciz – mixing (track 8)
 * Nick Gamma – art direction
 * Jon Gass – mixing (track 9)
 * Johan Gunnarsson – engineer, assistant mix engineer, and strings engineer (track 8)
 * Mick Guzauski – mixing (track 13)
 * Chris Haggerty – digital editing
 * Charles L. Infante – set design
 * Henrik Janson – guitar (track 1), string arrangements and conducting (track 8)
 * Ulf Janson – string arrangements and conducting (track 8)
 * Rodney Jerkins – instrumentation (track 4)
 * John Katalenic – orchestration (track 5), piano and string arrangements (track 13)
 * David Krueger – engineer (tracks 6, 12), keyboards and programming (track 6), arrangements and additional programming (track 12)
 * L.A. East Studio String Orchestra – orchestra (tracks 5, 13)
 * LePont – mixing (track 8)
 * Thomas Lindberg – bass (tracks 2, 6, 7)
 * Bernard Löhr – mixing (tracks 6, 12)
 * Gustave Lund – percussion (track 6)
 * Kristian Lundin – engineer and mixing (tracks 7, 10)
 * Per Magnusson – engineer, keyboards, and programming (tracks 6, 12); arrangements (track 12)
 * Max Martin – engineer and mixing (tracks 1-3), guitars (track 2), instrumentation (track 3)
 * Charles McCrorey – assistant mix engineer (track 11)
 * Scott McMahon – hair stylist, make-up
 * Jackie Murphy – art direction
 * Mads Nilsen – mixing (track 8)
 * Björn Norén – assistant strings engineer (track 8)
 * Esbjörn Öhrwall – guitars (tracks 2, 6, 7, 12)
 * Paul Oliveira – assistant mix engineer (track 5)
 * Flip Osman – Pro Tools editing and assistant mix engineer (track 4)
 * Edward Quesada – assistant engineer (track 9)
 * Rami – engineer and mixing (tracks 1-3), instrumentation (track 3)
 * Chris Resig – photography
 * Veit Renn – arrangements (track 13), string arrangements (track 5)
 * Rachel Zoe Rosenzweig – stylist
 * Kyle Scholler – assistant engineer (tracks 5, 13)
 * Jake Schulze – engineer and mixing (track 10)
 * Dexter Simmons – mixing (track 4)
 * Ivy Skoff – production coordinator (track 9)
 * George Spatta – engineer (tracks 5, 11, 13)
 * Stockholm Session Strings – strings (tracks 1, 8)
 * Shane Stoneback – assistant engineer and assistant mix engineer (track 11)
 * Peter Svensson – guitars (track 2)
 * Leeza Taylor – photography
 * Michael Thompson – guitar (track 9)
 * Randy Thornton – conductor (tracks 5, 13)
 * Chris Trevett – engineer (track 11), mixing (tracks 5, 11)
 * Michael Tucker – vocal engineer (track 7)
 * Clayton Wariner – second string engineer (tracks 5, 13)
 * Dirk Woodruff – string engineer (tracks 5, 13)
 * Marcelo Zolessi – assistant engineer (tracks 5, 13)

title: Black & Blue (Backstreet Boys album)


text:
Talk:List of people from Edmonton

Suburbs
I have edited the line "* Grant Fuhr - hockey player - born in Spruce Grove, Alberta, which is now part of Edmonton" to say that Spruce Grove is an Edmonton suburb. It is not officially a part of the city and many there (and in nearby Stony Plain) are opposed to amalgamation with Edmonton. 199.185.130.83 (talk) 19:28, 25 June 2006 (UTC)

The sportsman list is very messy. For example, it elaborates next to Grant Fuhr that he is from a suburb, but not for Iginla, Pisani, Commodore, Whitney, Lupul, etc. - consistency please. It also specifies that Justin Pogge is an "AHL hockey player" (which is redundant as it translates to American Hockey League hockey player) whereas the rest are just listed as "ice hockey player". 68.151.125.216 (talk) 22:18, 20 May 2010 (UTC)

Sports
No. Pro Wrestling is sports-entertainment. And Benoit is perhaps the most athletic of all on the current WWE roster. He defnetly belongs underr athletes. I am proposing we move Rochelle Loewen however as she was in WWE for all of a month and never once wrestled. She is more famous for being in Playboy. So I suggest we put her under models. 68.149.186.10 (talk) 04:52, 16 October 2006 (UTC)

wayne gretzky is not an edmontonian, so im deleting his name from this list -- Zapacna (talk) 17:25, 18 August 2005 (UTC)

I am moving Chris Benoit to actors. Pro Wrestling is not a sport, but an act. 70.65.21.64 (talk) 21:11, 14 August 2006 (UTC)

We should probably add the infamous curling team of Randy Ferbey, David Nedohin, et. al Joezasada (talk) 21:19, 12 September 2006 (UTC)

Hmmm - I'd say Wayne Gretzky became famous while living in Edmonton and so would be notable and eligible for the list. Edmonton named a road after him. 142.229.136.225 20:57, 5 December 2006 (UTC)

Ted Byfield
I was going to add Ted Byfield but on reflection I'm not sure that he actually lived in Edmonton for long, although his major media business - Alberta Report/Western Report - was certainly based there. Anyone know? Barnabypage (talk) 22:05, 10 December 2010 (UTC)

Pittsie Ryan?
Pittsie Ryan? The Edmonton newsboy who set out, in 1913, to walk around the world, for a prize of $30,000 donated by the combined newspapers of Edmonton...? Anybody? 121.44.221.96 (talk) —Preceding undated comment added 11:17, 11 September 2015 (UTC)

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Revanta

Revanta or Raivata (Sanskrit: रेवन्त, lit. "brilliant") is a minor Hindu deity. According to the Rig-Veda, Revanta is the youngest son of the sun-god Surya, and his wife Saranyu.

Revanta is chief of the Guhyakas, supernatural beings – like the Yakshas – who are believed to live as forest dwellers in the Himalayas.

Images and sculptures of Revanta often show him as a huntsman on a horse, with a bow and arrow. The worship of Revanta was especially common in medieval Eastern India (Bihar and Bengal) with many archaeological finds indicating the existence of a cult dedicated to him that began in the 6th century A.D.

Legends
The tale of Revanta's birth is narrated in scriptures like the Vishnu Purana and the Markandeya Purana. Once, Sanjna (Saranyu), the daughter of celestial architect Vishvakarma and wife of Surya, unable to take the fervour of the Sun-god, repaired to the forests to engage in devout austerities in the form of a mare. She placed her shadow Chhaya, who looked just like Sanjna in her position as Surya's wife. When Surya realised that Chhaya was not the real Sanjna, he searched for Sanjna and finally found her in the forests of Uttar Kuru. There, Surya approached Sanjna disguised as a horse. Their union produced the twin-Ashvins and Revanta. In the Kurma Purana, the Linga Purana , the Agni Purana and the Matsya Purana, the mother of Revanta is named Ratri (Rajni), another wife of Surya. While in another chapter of the Markandeya Purana, he is son of Chhaya and his brothers are the Saturn-god Shani, Tapati and Savarni Manu.

The Markandeya Purana further adds he was assigned the duty as chief of Guhyakas by Surya and to protect mortals "amid the terrors of forests and other lonely places, of great conflagration, of enemies and robbers." Sometimes, Revanta is depicted as combating robbers in reliefs.

Another tale from the Devi Bhagavata Purana has a passing reference to Revanta. Once when Revanta – riding on the seven headed horse Uchaishravas – went to Vishnu's abode, Vishnu's wife Lakshmi was mesmerized with the horse and ignored a question asked by Vishnu. Thus, she was cursed by her husband to become a mare.

Iconography
The Markandeya Purana describes Revanta as "holding a sword and bow, clad in an armour, riding on horseback, and carrying arrows and a quiver". The Kalika Purana describes him carrying a sword in right hand and a whip in his left, seated on a white horse. Thus he is called Haya-Vahana, one who rides a horse. Varahamihira describes him as accompanied by attendants for hunting.

In sculpture, Revanta is often depicted with the Guhyakas, whose chief he is, in scenes of hunting. Apart from the attributes described in texts like the sword, bow; he sometimes also carries a cup of wine in his hand. Revanta is often depicted wearing long boots reaching up to the calves, unlike other Hindu divinities – except Surya – who are depicted barefoot. Revanta is depicted seated on a horse and accompanied by a hunting dog. Revanta's attendants are depicted with various hunting weapons like lances and swords. Some of them are shown blowing a conch or beaming drums or holding an umbrella over the head of their lord, the umbrella being the symbol of royalty. Also, some of them are depicted as flying or holding wine or water jars. Sometimes, an attendant carries a dead boar in his shoulder or the dog chasing a boar.

Worship
Revanta was worshipped as guardian deity of warriors and horses, protector from the dangers of forests and the patron god of hunting. The worship of Revanta is closely associated with Saura, the sect of Surya. Often, scriptures like the Vishnudharmottara Purana and the Kalika Purana recommend worship of Revanta alongside Surya or according to the rituals of Sun worship. The Shabha-kalpa-druma records Revanta's worship after Surya's, in the Hindu month of Ashvin by warriors. Nakula, the fourth Pandava, is believed to have written the Ashavashastram on horses. He suggests worship of Raivata to protect horses from ghosts.

The worship of Revanta was popular in the early-medieval period, particularly in Rajasthan. Revanta is mostly depicted in Vaishnava and Surya temples. There is a stone inscription that talks about a temple to Revanta, as the principal deity, in Vikranapur (modern Kotgaph, Madhya Pradesh) built by the Kalachuri king Ratnadeva II.

title: Revanta


text:
Auschwitz Cross

The Auschwitz Cross (Krzyż Oświęcimski), instituted on 14 March 1985, was a Polish decoration awarded to honour survivors of Nazi German concentration camps, including Auschwitz (Auschwitz is a German name for the Polish town Oświęcim, where the camps were built by Nazi Germans).

It was awarded generally to Poles, but it was possible to award it to foreigners in special cases. It could be awarded posthumously. It ceased to be awarded in 1999. An exception was made in the case of Greta Ferušić, who was awarded it in February 2004.

Description
The award is a silver Greek cross with wide arms, 42×42 mm. The obverse shows barbed wire and camp poles; the year 1939 on the left, and 1945 on the right arm. In the center there is a red enameled triangle with the letter P, as worn by Polish nationals imprisoned in the camps. The reverse bears the inscription "PRL / WIĘŹNIOM / HITLEROWSKICH / OBOZÓW KONCENTRACYJNYCH" (People's Republic of Poland to prisoners of Nazi concentration camps).

title: Auschwitz Cross


text:
Arne Ragnar Enge

Arne Ragnar Enge was a Brazilian doctor, journalist, athlete and physical education teacher.

Born in the city of Campinas to a family of Scandinavian immigrants, Enge was Secretary-General of Grupo Folha—Brazil's biggest newspaper—for more than a decade. He also founded the University of São Paulo's Physical Education School and for more than 50 years was one of the most respected pediatricians in the country.

Enge was also an important athlete in Brazil, having been awarded several titles in swimming, and trained Maria Lenk, Brazil's greatest swimmer, in her early career.

title: Arne Ragnar Enge


text:
Talk:Moody Awori

Untitled
I removed the following from the article because I couldn't find on-line sources to back them up:

"Defended the perpetrators of Anglo Leasing (also known as Anglo Fleecing). Widely thought to have been paid off by the kamani family to the tune of US$1M."

Best I could do was the newspaper (Kenyan Sunday Standard) link I've included. If anyone can provide sources? (4.42 etc was me - thought I was logged on)

--Cje 17:26, 18 August 2005 (UTC) Jkaranikataka 04:47, 18 September 2007 (UTC)
 * the material on angloleasing is still speculation and never been proven. unless one has concrete evidence proven in a court of law.

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title: Talk:Moody Awori


text:
User talk:Cyrius Hunter Reborn

This is your last warning. The next time you vandalize a page you will be blocked from editing Wikipedia. ∞ Who ? ¿ ? 17:26, 18 August 2005 (UTC)

title: User talk:Cyrius Hunter Reborn


text:
Little Cigars (film)

Little Cigars is a film released in 1973 by American International Pictures and was directed by Chris Christenberry.

The film was also released in the United States as The Little Cigars Mob.

Plot
A gang of dwarves team up with a gangster's mistress, played by Angel Tompkins, to go on a crime spree.

Cast

 * Angel Tompkins - Cleo
 * Billy Curtis - Slick Bender
 * Jerry Maren - Cadillac
 * Frank Delfino - Monty
 * Felix Silla - Frankie
 * Emory Souza - Hugo
 * Joe De Santis - Travers
 * Jon Cedar - Faust
 * Philip Kenneally - Ganz
 * Barbara Rhoades - Helen
 * Todd Susman - Buzz
 * Michael Pataki - Garage Mechanic

title: Little Cigars (film)


text:
Talk:Squarepusher

Untitled
Nice bit about the philosophy... you made Squarepusher's article sensible.

IDM
All Squarepusher's main music genres are pretty well stated in the article. I think the IDM thing is just because he is on Warp Records rather than because he is IDM. Squarepusher's notable for his fast drum and bass, bass guitar, and jazz influence, rather than Autechre who are notable for being IDM. If you read squarepusher's flux article, there's a refutation of IDM's methodology in there, even though he doesnt mention it by name. cheers. Joyrex

I do believe Squarepusher is a great example of IDM. I think IDM should be listed as a genre.--Sonjaaa 07:57, 25 October 2005 (UTC)

why?

it already says:

He specialises in the electronic music genres of drum and bass, musique concrete (sampled digitally rather than by tape), and acid, albeit with a significant jazz influence. the perfect description! all specific musical genre names! squarepusher doesn't specialise in IDM. he totally rejects the work of autechre,kid 606 etc. There is a strong connection to Aphex Twin, and that is mentioned in the article. thanks. Joyrex.

I think with all those other genres mentioned, IDM would be best left out. - Ultravisitor 00:31, 26 October 2005 (UTC) I agree but the wording was wrong so I moved music concrete out. He is significantly influenced by music concrete, just listen to some of his post 2001 works. There is a cult of these stupid 3 letters and its pissing me off. I got harrassed on last.fm with some idiots begging me to tag idm. He kept saying "SAVE IDM". Just lol to that crap. Morons —Preceding unsigned comment added by Gyrogladie (talk • contribs) 06:43, 23 March 2009 (UTC)

he he

Peace & b wild! ;-) aphex_SQUAREPUSHER_twin

 * someone keeps readding this fanboy watmm/idm list genre name... great..
 * idm is not really appropriate here at all. nice genre name for your messageboard though...

 * Squarepusher is a drum and bass legend so I strongly agree with this but Id just like to add that you shouldnt put down people as fanboys as its offensive

 * Squarepusher is IDM ffs.. Just because Do you know squarepusher and Go Plastic are DnB doesn't mean that Ultravisitor isn't IDM, the guy has released music in a lot of different genres, IDM being one of them.. You can't go "Oh, that looks like enough genres for one artist" and then wonder why people keep editing in "IDM" because HE RELEASED AN IDM ALBUM OR TWO.. it's not fucking rocket science. He's certainly more god damn IDM than he is "funk" "jazz" or "musique concrete", which is only represented in his slap bass work for the first one and for the last two only really in "Music has rotted one note".
 * Thats just your opinion. Visitoccurd (talk) 13:02, 2 February 2009 (UTC)
 * IDM is the american interpretation of British Electronic Music though, when you're saying IDM what you mean is electronic music. IDM is junk fanboy rubbish, not encyclopaedic, and Squarepusher is not IDM, he's drum and bass. americans don't get it. british who hang on american forums dont get it either. press interviews mention electronic music, drum and bass, jazz, etc, therefore that's what goes in the article, not your american opinion from your american forum you hang out on. oh btw, "drill n' bass" is another joke name created by americans. it's *drum and bass*, as stated in all professional squarepusher interviews in the press. what americans say on american web forums counts for nothing on wikipedia. forum speak = totally worthless.
 * Would you care for me to point out a few articles citing Squarepusher as IDM, IDM is not a made up joke genre like Drill n Bass.. it's legitimate, it's stuck.. i'm not American and the term IDM was invented by the British (Aphex Twin and others from Warp forums.. remember the label that Squarepusher releases most of his work on?). Squarepusher has IDM listed as one of his genres on his myspace, Squarepusher is listed as IDM on Bleep, Squarepusher's top tag on Last.fm is IDM, Squarepusher is one of the first artists mentioned when the term "IDM" is thrown out there, Squarepusher's music shares similiar attributes to other IDM artists. The logic of "Squarepusher is Drum N Bass and therefore cannot be IDM" is patheticly hilarious considering the fact that someone had the tenacity to call Squarepusher "funk" and nobody has edited that shameful little blip out.. Slap bass =/= funk. —Preceding unsigned comment added by 60.241.133.201 (talk) 14:24, 21 December 2008 (UTC)
 * "the term IDM was invented by the British (Aphex Twin and others from Warp forums" That's a complete lie. Aphex Twin has never called himself IDM and has gone on record as saying he hates the term because it implies "all other music types are stupid". Now if Squarepusher called himself IDM on myspace that's much more telling, however his profile doesn't say that currently and since you're making up stuff about other things I'm gonna assume you made that one up too. 70.67.123.123 (talk) 06:27, 6 April 2020 (UTC)

IDM is legitimate in America and on websites such as forum.watmm.com (but actually the webmaster has recently censored IDM because it is not legitimate). IDM is a controversial fan community term that isn't even a real genre. "IDM" was spread by the IDM list, which is American, in about 1993. Warp forums existed about 10 years ago and was nothing to do with inventing the name IDM. I checked on Bleep and there's no mention of IDM with Squarepusher that's easy to find, so where did you see that? Bleep is just a shop run by online geeks though, so even if it was there, it's not exactly encyclopaedic what a computer geek who runs a shop wrote. In Britain the term is "electronic music" and that's what you'll see written in 95% of quality articles on Aphex Twin, Squarepusher, and the like. American articles add IDM which is wrong. The article right now contains a beautiful description of Squarepusher's musical style which summarises all the interviews and articles on Squarepusher that are out there. Squarepusher is British so the article should not colour too much with American points of view. Though I don't really care, but IDM is purely wrong online fanboy crap though. This is an encyclopaedia. "He specialises in the electronic music genres of drum and bass, musique concrète, and acid, with a significant jazz influence." is perfect as is. —Preceding unsigned comment added by 92.0.226.203 (talk) 08:56, 26 December 2008 (UTC)
 * "Bleep is just a shop run by online geeks though, so even if it was there, it's not exactly encyclopaedic what a computer geek who runs a shop wrote." Oh really? That must be why Bleep and Warpmart are one in the same now. dil (talk) 15:22, 3 February 2009 (UTC)

IDM = online-fan american culture. pretty much worthless. Squarepusher is English. Squarepusher's music and genres are already really well described. Shame if the Americans spread there crazy fan ideas like it's fact when they made that shit up themselves —Preceding unsigned comment added by 82.3.18.150 (talk) 19:02, 26 December 2008 (UTC)

IDM is fucking fake as fuck. WATMM sucks. Stop making fake genres like 'IDM'. pathetic

Squarepusher's musical stylings are sloppily described in this article imo.. This "it's perfect don't touch it we're british" attitude is getting on my nerves. I've been arguing for the inclusion of IDM but let's scrap that for a second. For a start, throughout the article Squarepusher is constantly alluded to as Musique Concrete, a particular musical movement which he had nothing to do with and aside from that he shares very little stylistically in common with except for his use of tapes in his work.. Musique concrete was notable because it ignored the conventions of music, Squarepusher's music adheres to basic musical laws like melody and rhythm which were discarded in musique concrete, imo the genre has just been name dropped to make him sound like he's sophisticated and unique for using sampling, we might as well start calling every electronic producer under the sun musique concrete, his relevance to the genre is very shallow indeed (Tapes, loops and samples =/= Musique concrete) which brings me to my next point.. funk, what the hell is funk doing in his genre list? Squarepusher plays a slap bass, this is the only quality his music has in common with funk at any point in his discography. Do I even need to argue this? Tell me if you're too stubborn to agree and i'll try to make a point about it. Acid is much more relevant but it should really be linked in the genre list on the right side of the page if it's going to be included in the opening description to keep it consistent.. At the very least I would suggest that if we aren't going to slot IDM into the list we should remove Musique concrete and funk because they are sure as hell less relevant to Squarepusher's sound than IDM. The argument that Squarepusher is British and therefore shouldn't be classed as IDM is not only strangely nationalistic but pretty self-defeating since IDM is a term used originally by Americans (but now globally, like it or not) to describe certain British electronic musicians, if IDM couldn't be used to describe British music by some kind of unseen natural law that prevents the cross contamination of culture the term wouldn't exist in the first place. IDM was made up by Americans on a message board and has since become an established genre, I don't see how this invalidates it's application here. It's not like every other musical genre name was farted out by angels at the dawn of time. EDIT: adding one more thing, IDM is a genre on Squarepusher (Yes, the proud, proud, british, pure blood Squarpusher)'s OFFICIAL myspace.. this is the only source we should need to add it. —Preceding unsigned comment added by 60.241.133.201 (talk) 15:19, 22 March 2009 (UTC) In Holland we dont say IDM as it is not endorsed by Squarepusher or Aphex Twin. IDM is an fraud by the Americans at WATMM and the IDM list. — Preceding unsigned comment added by 212.238.64.75 (talk) 09:39, 4 March 2012 (UTC)

IDM is more a musical scene than a genre in my opinion. I agree IDM shouldn't be on Squarepusher's genres list, but the article should say something relatign him to IDM.Ptikobj (talk) 18:37, 30 October 2009 (UTC) fake genre Gyrogladie (talk) 09:50, 29 November 2009 (UTC)

It is a fake genre that has nothing to do with Squarepusher. It was made in America by Autechre fanboys. Squarepusher is blatantly jazz/drum and bass gone haywire. — Preceding unsigned comment added by 60.183.34.71 (talk) 09:38, 29 August 2012 (UTC)

IDM was a massive fraud perpetuated on the public by an American gang at the Hyper Real website and IDM list. There are American websites that have graffiti scribbled their American garbage ideology onto British electronic music. IDM was denigrated and attacked by Aphex Twin, Mike P, and Luke Vibert. But some trolls have gone through the main article removing references and quotes from Aphex Twin's friends regarding this false genre name. Clearly, the trolls have used Wikipedia in order to promote this fan created genre name. It is associated with websites such as WATMM and XLTRONIC nowadays. Anyone with the slightest bit of decency should do the right thing and keep IDM out of the Aphex Twin article. What a fraud on the public! — Preceding unsigned comment added by MoideredByDaUkGuv (talk • contribs) 08:06, 20 February 2015 (UTC)

Discography Incorrect/Incomplete
I'm too tired to take care of it right now, but I do believe that the discography listed here has incorrect dates next to it (didn't Budakan come out in 2001?) and is missing several selections. I'll be back but if someone is watching this page please correct me if I'm wrong. Accipio Mitis Frux 04:42, 2 May 2006 (UTC)

 * Nope. According to Warp's website, the official release date for Budakhan Mindphone was 1 March 1999. dil 00:57, 8 July 2006 (UTC)

Is there a reason Big Loada isn't included in the Discography? --Syd Heresy 23:00, 21 December 2006 (UTC)

 * It's in there; just listed as an EP. Shoejartalk/edits

 * He's probably thinking of the US reprint which included 1 and a half eps as bonus tracks to bring it up to full album length. That's technically a compilation though (like a greatest hits album would be, or a "2 albums in 1" purchase). — Preceding unsigned comment added by 70.67.123.123 (talk) 06:33, 6 April 2020 (UTC)

Philosophy
Philosphy... I dunno that I like the integration of this Jenkenson guy into the talk of sq's theories. Especially without delving into them a bit deaper. Is that article referenced specific to squarepushers philosophy? Cause if it's not, then there are people far more qualified to speak on this issue, Jean Baudrilliard, Machiavelli, etc... Perhaps there should be a link to the wiki entry on them... Ixtli 00:30, 12 May 2006 (UTC)
 * "This Jenkenson (sic) guy" is Tom Jenkinson aka Squarepusher, not just some random person theorizing. —Slicing (talk) 19:37, 12 May 2006 (UTC)

 * Hmm indeed. My mistake, thanks =) Ixtli 03:39, 13 May 2006 (UTC)

The first sentence of the second paragraph in the philosopy section is not actually a complete sentence. I would clean it up but I am unsure of the meaning. Could someone familiar with the article fix it?

"expert-level bass guitarist"
This is abit unencyclopedic but its probably true =) -- - K a s h  Talk 00:24, 19 May 2006 (UTC)

definitely true :) -User:lsdan

Supposed original research
So what, exactly, is the 'original research' in the Philosophy section? That discussion is taken from an article/interview in Flux Magazine (no online source available). —Slicing (talk) 21:14, 28 May 2006 (UTC)

I don't know about original research but that paragraph has a wholly inappropriate tone for it's context. The article would be all the better if it was removed. —Andybak
 * It needs revision more than deletion. Make it more appropriate instead of deleting it.

 * Hi, I have added an online source for the interview, which the philosophy section "paraphrases". Of course, it does so quite brazenly, without much variation of what was actually said (seems more appropriate to either summarise it better or just quote it verbatim). But yes, I agree, the tone is quite awkward. 80.177.20.202 22:36, 10 July 2006 (UTC)

Date of Birth
Any ideas? Triangle e 16:18, 21 June 2006 (UTC)

I don't know a whole lot about Mr Jenkinson, but I know Bridgeport isn't in Dorset. I suspect he was born in Bridport. —Preceding unsigned comment added by 78.86.152.112 (talk) 23:49, 13 November 2008 (UTC)

Asperger Syndrome Claim
I removed the wholey unsubstatianted sentence "It is known that Jenkinson has Aspergers syndrome and this may explain why he spends alot of time producing music." from the article. This is complete BS. I've seen no evidence nor any mention anywhere of Tom having Asperger Syndrome. Provide solid evidence/references or do NOT add it back. There are already too many "self-diagnosed" AS people on the Internet all too eager to claim person x or y has AS. Jgw 02:22, 3 July 2006 (UTC)

Although that sentence does sound like speculation, google 'Savant' with 'Tom Jenkinson' where several interviews by magazines and other media-oriented sites have dubbed him as 'idiot savant', assuming Tom is likely to read those interviews and must approve them he is quite content at being labelled a Savant. Although it may be possible that Tom has some kind of High-functioning Autism instead of Aspergers Syndrome. You can remove it for now, I believe there has been a psychology peer-reviewed journal which studied systematic and emotional music spectrums and concluded that those into IDM and other abstract electronica tended to be more likely to have computer science, engineering, mathematical occupations and were largely male. It's possible that Tom has a more developed male brain. --213.106.102.178 11:47, 8 July 2006 (UTC)

That's great and all, but conditions such as Asperger Syndrome and Savant-ism aren't labels. They're specific sets of conditions. Regardless of how he may or may not wish to be labeled, there is no evidence to support such diagnosis. If we did that, just about every shy, Slashdot-using geek would label themselves as being affected by Asperger Syndrome. More likely != common or frequent Jgw 23:30, 13 July 2006 (UTC)

That savant stuff is just a knock on effect of Aphex Twin's press bullshit existing.

Just for the record Aspergers syndrome and the above quoted "high functioning autism" are the same thing

3tmx

 * It's B-S. The man is a genius, no doubt, but there's no hint of autism in the man.

He doesn't have autism or aspergers. As said before, its probably just some marketing, or journalists making it up, same as the stuff about his father being a jazz drummer i've seen in other articles. 213.48.1.32 06:42, 25 April 2007 (UTC)

Alive in Japan
Can the Alive in Japan cd be added to the main pages list of releases somehow? I came on specifically looking for it and had to click on all the albums to find it. Not that I'm too lazy to click a mouse but it'd be nice for it to be on the main list somewhere.Kansaikiwi 11:57, 14 July 2006 (UTC)

 * I added it in a fashion that should be acceptable but I can think of quite a few multi-disc releases that are, at least in the mind of the artist, separate album simply packaged together e.g. Muslimgauze's Box of Silk and Dogs and Fatah Guerilla, the deluxe edition of Broken Social Scene's self-titled release, The Beatles' Let it Be...Naked. While personally I think it's valuable information I'm just not sure if it's commonly accepted in this context. dil 15:38, 14 July 2006 (UTC)

Oh! Oh!
no on braindance compilation but on The Braindance of Coincidence! compilation and out in 2001!!! he he...

Big Loada is an EP!!!!! with warp out in 1997 but with nothing records in 1998... he he...

Peace & B Wild! ;-) Aphex_Squarepusher_Twin aphex_SQUAREPUSHER_twin

2006 Exciton Exclusive digital single #3: released October 2. ---> not the september 28!!! lol

Peace & b wild! ;-) aphex_SQUAREPUSHER_twin

Circlewave's edit
Is this the real Tom Jenkinson? -- Shoejartalk/edits UTC: 01:41, 09 Nov 06 (+11 ≈ 12:44, 09)

I did find this article, "Collaborating with the Machines" which holds the same ideas as this mysterious "CircleWave" (I believe him to be SquarePusher, but that's what I think subjectively). Just a little note in hopes of bringing back the subject of Tom Jenkinson's Philosophy. --ShadowSlave 21:33, 7 January 2008 (UTC) —Preceding unsigned comment added by ShadowSlave (talk • contribs)

Compilation Appearances
Would his track ("Tommib") featured on the Lost in Translation soundtrack count for that section? --75.2.46.60 04:20, 5 February 2007 (UTC)

Education
Tom Jenkinson studied Fine Art at Chelsea College of Art and Design, he is listed under Notable Alumni on the wiki page. I think this should be added as his background in Art is quite interesting. —The preceding unsigned comment was added by 84.51.154.65 (talk) 22:53, 4 March 2007 (UTC).

I think he also studied phonic arts, or something similar, although i may be confused with one of his brothers. I tried a google on the chelsea thing, but could only find the wiki page, which is not a good enough reference. 213.48.1.32

 * After stringing a quick search with Squarepusher+Chelsea College of Art and Design via Google, I found numerous sources supporting this. http://www.google.com/search?client=safari&rls=en&q=squarepusher%2Bchelsea+college+of+art+and+design&ie=UTF-8&oe=UTF-8 Entangle (talk) 16:26, 26 September 2008 (UTC)

Other tracks
During some googling, found these listed, not sure if they are on any of the albums/eps listed, could anyone who knows the back catalogue better than me try and see if these should be added?

Tom Jenkinson	Bubble and Squeak	Worm Interface	1996 Tom Jenkinson / Dunderhead	Dragon Disc 2	Worm Interface	1996 Squarepusher and Richard Thomas	I am Carnal	Lo Recordings	1999 Squarepusher	Crot	Rumble 1	1995

213.48.1.32 06:42, 25 April 2007 (UTC)

 * Can confirm all of them. Bubble and Squeak is 2 tracks ("Bubble" and "Squeak"). Dragon Disc 2 is a split ep with Dunderhead, it has 2 Squarpusher songs on side 2. So far as I know both of those were released just before Feed Me Weird Things however I'm not totally sure. I Am Carnal is a Richard Thomas single where the first track is just Richard Thomas and tracks 2+3 are Squarepusher remixing 2 Richard Thomas songs. Crot is from 1994 (the printing through a proper record label was 1995 but the first white label version of the album was 1994). Also Crot has no band name or album name written on it at all, and is usually referred to as a Tom Jenkinson album (based on the ordering info I assume). No idea if Crot or Stereotype came first. — Preceding unsigned comment added by 70.67.123.123 (talk) 07:04, 6 April 2020 (UTC)

Musique Concrete
I cant be bothered to quote the articles now, but saying that "'He specialises in the electronic music genres of [...] musique concrete (sampled digitally rather than by tape)" is really inappropriate. He has stated in interviews recently that he is using tape a lot, especially for the "musique concrete" stuff. I can't understand why anyone would have the idea that his "musique concrete" stuff is done digitally. He does use a digital sampler, and that is an obvious fact, but most likely it is for sequencing breaks and such. It would be better i think to mention he uses tape AND digital equipment or simply to omit the parenthesis according to which he does "musique concrete" only through digital means. Ultimately it is pretty much impossible to confirm which tracks were done only on analog or digital equipment, so unless one can quote a source, I think this should be removed or clarified. -edit: I've removed it myself seeing as no one else was doing it.

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Merge Chaos A.D. (artist)
There really isn't too much to add to Chaos A.D. (artist), and it will generally be beneficial to merge it here. + m t  05:04, 12 August 2007 (UTC)
 * It's a good idea. --Susume-eat 04:41, 13 August 2007 (UTC)

 * Agree. With only one album and one 12" for a discography, it hardly seems noteworthy enough to have it's own page. dil 12:25, 14 August 2007 (UTC)

I agree too, and that made four of us with no descent, the discography from that page is already here, and the only other text was the following.

Chaos A.D. is the harsh and satirical acid house project of Thomas Jenkinson (aka. Squarepusher). The music is generally noisier and by many standards weirder than Jenkinson's other work.

'harsh and satirical' and 'noisier and by many standards weirder' both seem to be pretty POV, so unless we can get some kind of source to back that up, i don't think it should be included here.

I have been bold and emptied that page and made it redirect here.

Champion sound remix 19:23, 14 August 2007 (UTC)

Squarepusher doing a collaboration with Brian Eno and Herbie Hancock
I've heard this is the case, need to find a cite first.--h i s  s p a c e   r e s e a r c h 23:51, 25 August 2007 (UTC)
 * I don't know if this passes as a reliable source, and Wikipedia is not the place for rumours...--h i s  s p a c e   r e s e a r c h 09:57, 26 August 2007 (UTC)

'Squarepusher and Richard Thomas - I Am Carnal, And I Know That You Approve' missing from the discography
here's the first hit I got for it when googling the name: http://www.discogs.com/release/68006 the album is from 1999, and squarepusher is on all the tracks except for the title track —Preceding unsigned comment added by 24.68.230.60 (talk) 02:14, 20 October 2008 (UTC)

Only two needed citations.
I was able to verify that only two statements are actually unverified. What do you think, should we let go of the banners? Let me know, either here or my talk page. Lighthead...KILLS!! 05:46, 31 July 2012 (UTC)

 * Disregard. One citation I couldn't verify may have been the straw that broke the camel's back. Keep the banners. Lighthead...KILLS!! 07:11, 31 July 2012 (UTC)

Jazz fusion
Does anybody who knows both about Squarepusher and the genre jazz fusion know if Squarepusher is a member of that sub-genre? I personally don't know too much about jazz fusion. From what I see there on that page it doesn't look like it. I personally thought that jazz fusion was just jazz fused into any other genre. But, evidently it is not. I'd appreciate people's thoughts. Also, I assume that the person who added that as one of his genres assumed that as well. Just a side note. Lighthead...KILLS!! 03:52, 4 August 2012 (UTC)

Hello Everything
Everything I can find refers to Hello Everything as a studio album, not an EP. I'm gonna change it unless someone objects. I'll try to find a relevant citation. Even the "Careers" section doesn't mention anything about it being an EP. It is also referred to as a studio album in Hello Everything. Pariah24 (talk) 01:42, 10 September 2014 (UTC)

External links modified
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User:Agriffina

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