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Gillig

Gillig (formerly Gillig Brothers) is an American designer and manufacturer of buses. The company headquarters, along with its manufacturing operations, is located in Livermore, California (in the East Bay region of the San Francisco Bay Area). By volume, Gillig is the second-largest transit bus manufacturer in North America (behind New Flyer). As of 2013, Gillig had an approximate 31 percent market share of the combined United States and Canadian heavy-duty transit bus manufacturing industry, based on the number of equivalent unit deliveries.

While currently a manufacturer of transit buses, from the 1930s to the 1990s, Gillig was a manufacturer of school buses. Alongside the now-defunct Crown Coach, the company was one of the largest manufacturers of school buses on the West Coast of the United States. Gillig had been located in Hayward, California, for more than 80 years before moving to Livermore in 2017. The company was founded in San Francisco, by the Gillig brothers.

1890–1930
The oldest surviving bus manufacturer in North America, Gillig was founded in 1890 as Jacob Gillig, trained in carriage building and upholstering, opened his own carriage shop in San Francisco. In 1896, his son Leo Gillig entered the business as a shop foreman, becoming a full partner in the business in 1900. The shop was destroyed as part of the 1906 San Francisco earthquake, but the Gilligs rebuilt the shop on a separate property; Chester Gillig joined the business as a bookkeeper. In 1907, Jacob Gillig died at the age of 54.

Following the earthquake, the company reopened as the Leo Gillig Automobile Works, which manufactured custom-built vehicle bodies. In 1914, two major achievements would happen to the company. After building a three-story factory, Leo and Chester Gillig re-organized the company as Gillig Brothers, its name for the next half-century. One of the first bodies built inside the new factory was one for a motor bus, though production would not shift entirely to buses for another two decades.

During the 1910s, most cars in the United States were open touring cars; at the time, fully enclosed sedan bodies were expensive. To offer improvement over the minimal weather protection, Gillig developed an add-on hardtop, patenting its own version in 1919.

The increase of closed car production in the 1920s would render the "Gillig Top" largely obsolete by 1925. While other hardtop manufacturers went out of business, Gillig survived largely on its body production, which became its primary source of revenue. In the late 1920s, the company would briefly produce pleasure boats and produce a prototype of a heavy truck; the latter would never enter production.

1930–1950
Following the start of the Great Depression, Gillig Brothers began to look for a steady source of revenue to ensure its survival. Although the company had produced buses sporadically since 1914, in 1932, Gillig designed its first school bus body, a configuration it would produce for most of the next 60 years. In 1935, the company designed its first ambulance body; it also became the West Coast distributor of Superior Coach Company, a manufacturer of school buses and professional cars. In 1937, Gillig introduced its first flat-front (transit-style) school bus.

By 1938, demand for school buses had surpassed the capacity of the San Francisco facility, leading Gillig Brothers to move to Hayward, California, on the eastern side of San Francisco Bay.

In 1940, as a response to the Crown Supercoach, the first Gillig Transit Coach was introduced, as both a coach and school bus. The first mid-engine school bus, the Transit Coach wore an all-steel body and was powered by a Hall-Scott gasoline engine. During World War II, Gillig halted school bus production, instead producing trailer buses to transport workers in defense factories.

Following the end of the war, Gillig resumed production of the Transit Coach, introducing a rear-engine version in 1948. In 1950, the body of the Transit Coach was redesigned.

1950–1980
In 1953, Chester Gillig retired, following the death of Leo Gillig. The management structure of the family-run company was changed, with Stanley Marx (previously in charge of sales), assuming control of Gillig. In 1957, a major acquisition was made as Gillig purchased the Pacific bus division of Washington-based truck manufacturer Kenworth. At the time, Gillig controlled a 70% market share of Northern California over Crown Coach (based in Los Angeles), along with a similar share of Washington State, Oregon, and Nevada.

In 1959, the company introduced the first rear-engine school bus with a diesel engine: the Cummins C-Series Transit Coach. Although still offered with gasoline engines in various configurations, the C-Series Transit Coach accounted for over three-quarter of all Gillig sales within only five years. In 1967, Gillig would introduce the largest school bus ever produced: the tandem-axle DT16. Along with it corresponding Crown Coach competitor, the DT16 is the only 97-passenger school bus ever produced in the United States (during 1977, its capacity was reduced to 90).

In 1978, Stanley Marx retired from Gillig, and the firm was sold to Herrick-Pacific Steel, a Hayward-based steel manufacturer. Following the sale, the company was reorganized as Gillig Corporation, its present-day name. During the acquisition and reorganization, Gillig began construction on a 117,000 square foot facility in Hayward, the largest bus manufacturing plant in the western United States.

To diversify its product line, in the mid-1970s, Gillig began plans to enter the transit bus segment. Following the end of the "New Look" near-monopoly of GMC and Flxible, in mid-1976, Gillig entered a partnership with West German manufacturer Neoplan to build a series of European-styled transit buses. The 30-foot "Gillig-Neoplan" buses featured propane-fueled engines as an option; the partnership with Neoplan lasted until 1979.

1980–2000
As a more permanent follow-up to the Gillig-Neoplan, the Gillig Phantom entered production in 1980. The first dedicated transit bus produced by Gillig, the Phantom would be produced from 1980 to 2008. A State of California tax-free subsidy helped early sales. Later sales were buoyed by low bids on contracts, and by specializing in serving smaller transit agencies. This strategy proved successful, as the Phantom became one of the longest-lasting transit models. In 1989, Gillig would introduce the Gillig Spirit; similar to the Gillig-Neoplan, the Spirit was a shorter, medium-duty transit bus.

After over 40 years in production, the Transit Coach ended production in 1982. After a temporary hiatus from school bus production, Gillig returned with a Phantom school bus in 1986. While initially successful, the Phantom school bus would be discontinued in 1993 following poor sales (no examples were sold in 1991 or 1992).

In 1996, following an expansion of the Hayward facility, Gillig introduced the H2000LF, its first low-floor bus. In 1997, it entered full-scale production as the Gillig Advantage. Originally designed as a rental-car shuttle bus, the Low Floor became popular as a second transit bus product line alongside the standard-floor Phantom.

2000–present
During the 2000s, Gillig would make a number of advances with its vehicles, exploring the uses of alternative fuels and hybrid technologies in both the Low Floor and the Phantom. In 2005, the Low Floor became available in BRT and Trolley Replica body styles.

After 28 years of production, the final Gillig Phantom was produced in 2008; by the mid-2000s, high-floor buses had largely fallen out of favor with transit customers.

On August 1, 2008, Gillig became a Henry Crown company under CC Industries, Inc. CC Industries operated Gillig in the same location with the current management team.

In 2015, Gillig Corporation marked the 125th anniversary of its founding.

In May 2017, the company moved its factory from Hayward, California, to Livermore, another East Bay region city, after more than 80 years in Hayward. The move was precipitated by a need for more space, with production having outgrown the Hayward facility. The new Livermore facility, which comprises newly constructed buildings, includes a 600,000 ft2 main building and two smaller buildings, measuring 50,000 ft2 and 27,000 ft2. Gillig plans to retain at the Hayward site a 500,000 ft2 warehouse for the sale of parts, but plans to sell the remainder of the Hayward factory, which closed on May 19, 2017. At the time of the move, the company was predicting that around 850 workers would be employed at the Livermore complex.

On April 24, 2024 Gillig announced that they would be making Hydro-electric buses, in collaboration with BAE Systems and Ballard Power Systems.

Alternative fuels
In 1992, Gillig began producing an LNG fueled version of the Phantom as a lower emissions option, but discontinued it in 1998. The only remaining LNG Phantoms currently operate shuttle service at Los Angeles International Airport and Dallas/Fort Worth International Airport.

In 1996, Gillig introduced a diesel-electric hybrid powered Phantom, which they produced until 2006. The current models continue to be offered in a hybrid powered versions.

In September 2011, Gillig introduced an alternative fuel BRT model with CNG propulsion—their first CNG-powered bus produced and first production natural gas buses since 1998. Long Beach Transit purchased a pilot bus in 2011, and placed an order for 63 more in 2012.

Gillig and Cummins announced a partnership to develop a battery-electric bus using Cummins technology on October 9, 2017. On May 16, 2019, the two companies unveiled a new all-electric bus. The bus uses the Gillig Low Floor platform and is equipped with a traction motor with a peak power and torque of 350 kW and 3500 Nm; it is expected to have a range of approximately 150 mi, based on battery capacity (444 kW-hr) and consumption (2.3 kW-hr/mi). The first bus was scheduled to be delivered to Big Blue Bus (serving Santa Monica, California) in May 2020, but it was inaugurated into service on August 19, 2019.

Trolleybuses
Although Gillig has never built a complete electric trolleybus, the company has supplied body-chassis shells for others to later equip as trolleybuses.

Between 2001 and 2002, Gillig supplied 100 Phantom body-chassis shells to King County Metro Transit. Gillig shipped these Phantom buses in fairly complete form, including interior fittings such as seats—lacking only propulsion equipment including trolleypoles. Meanwhile, the Seattle transit agency removed the propulsion system (GE traction motor, Randtronics chopper control, and electronic card cage) from its old fleet of 1979-built AM General trolley coaches which the Gillig vehicles were purchased to replace, and shipped them to Alstom for refurbishment. After Alstom refurbished the propulsion system, Metro installed the equipment into the new Gillig Phantom bodies, along with Kiepe pneumatically operated fiberglass trolley poles.

Between 2014 and 2020, Kiepe partnered with Gillig to produce new dual-mode trolleybuses for the Greater Dayton Regional Transit Authority. Gillig shipped four BRTPlus body-chassis shells to Kiepe to build prototype coaches, two of which function as battery electric buses while away from electrical wires and two of which use a diesel generator. Two of these prototypes were equipped with diesel-powered generators to power the traction motors off-wire (similar to a hybrid bus) and two use batteries for off-wire operations. After successful testing, Dayton ordered 41 production battery-electric trolleys from Kiepe and Gillig, and they were delivered in 2019–2020.

VIN
Gillig uses the following vehicle identification number (VIN) scheme:

title: Gillig


text:
Rodger Penzabene

Rodger L. Penzabene (1945 – December 31, 1967) was an American songwriter for the Motown label. Among his most notable compositions as a lyricist are "Take Me in Your Arms and Love Me" by Gladys Knight & the Pips; "The End of Our Road" by Gladys Knight & the Pips and Marvin Gaye; and a trilogy of hits for The Temptations: "You're My Everything", "I Wish It Would Rain", and "I Could Never Love Another (After Loving You)".

Penzabene was of Sicilian and Irish descent. He attended Mumford High School in Detroit, Michigan. He was a childhood friend and neighbor of Cornelius Grant, with whom he wrote "You're My Everything". After Grant became musical director for the Temptations, Penzabene continued to contribute songs for the group, as well as The Isley Brothers and other Motown groups.

The mournful songs "I Wish It Would Rain" and "I Could Never Love Another" reportedly drew from Penzabene's real-life pain and suffering. Otis Williams wrote that: "We liked Roger [sic] a lot. He was young, nice-looking, but kind of quiet and reserved, and very humble. The inspiration for these great songs was his unhappy personal life."

On New Year's Eve 1967, a week after the release of "I Wish It Would Rain", Penzabene committed suicide by gunshot at the age of 22.

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

title: Rodger Penzabene


text:
Morris, Manitoba

Morris is a small town in the Pembina Valley region of Manitoba, Canada, located 51 km south of Winnipeg and 42 km north of Emerson. Morris is home to 1,885 people (2016). Named after Alexander Morris, the second Lieutenant Governor of Manitoba.

Highway 75, which turns into Interstate 29, is the major highway which runs from Winnipeg to Missouri. Morris is the only town in which Highway 75 is called "Main Street". The town of Morris is mostly surrounded by the Rural Municipality of Morris, except for a relatively small eastern border with the northwest corner of the Rural Municipality of Montcalm, across the Red River of the North.

Morris is host to the annual Manitoba Stampede and Exhibition.

History
The town has a very long history involving floods and fur trade companies. Fur traders started to settle in the Morris area in the late 18th century because of its strategic location along the Red River. By 1801, there were two fur-trading stations at the settlement, the North West Company and the XY Company. Barges came up and down the Red River, and the Red River ox carts that travelled between Fort Garry and the Pembina Settlement went right through Morris, and offered many opportunities for trade. (See Red River Trails)

By 1874, the ox carts began to carry settlers to the areas around the Scratching River (now the Morris River) and the population began to grow. The town of Morris was named after Alexander Morris, the second Lieutenant Governor of Manitoba, and was officially incorporated in 1883.

Morris is one of 18 communities in the Red River Valley of Manitoba surrounded by a ring dike. The first ring dike was built to protect the town from the 1966 Red River Flood, by the Canadian Army Engineers, the Mennonite Disaster Service and local volunteers. A permanent dike protected Morris during the 1997 Red River flood.

Geography
The town of Morris lies in the middle of the Red River Valley. The shallow valley spreads for many kilometres to the east and west, but only rises a few metres at most. The land is remarkably flat. Repeated flooding in the past has left the valley floor covered in rich river silt. The fine black soils are some of the best-producing agricultural soils in the world. The Red River Valley is part of the remnants of the prehistoric Lake Agassiz, which was once much larger than Lake Superior, which is the biggest of the five Great Lakes.

Demographics
In the 2021 Census of Population conducted by Statistics Canada, Morris had a population of 1,975 living in 826 of its 868 total private dwellings, a change of NaN% from its 2016 population of 1,885. With a land area of 5.91 km2, it had a population density of in 2021.

In 2016, the median age was 38.8, slightly higher than the provincial average of 38.2.

Economy
The economy of Morris is based on agriculture. The town of Morris is a major service provider to the surrounding agricultural community. Currently, businesses and manufacturers in Morris produce and supply a variety of goods to both national and international markets.

Manitoba Stampede and Exhibition
The town of Morris holds a variety of annual events, which brings many visitors to the community each year. Each July, the Valley Agricultural Society hosts the Manitoba Stampede and Exhibition, known as the Big "M". For four days, thousands of spectators and participants from across North America come to watch the competition. One of the largest dairy shows in the province, light and heavy horse shows, school work and home-craft competitions, commercial and craft displays, Loule's famous petting zoo, midway rides, free family entertainment, indoor cabaret Friday and Saturday evening featuring top country bands, community church service and the kids' pedal tractorpull on Sunday. The Manitoba Stampede and Exhibition is the largest professional rodeo east of Calgary, Alberta. The Valley Agricultural Society, formed in 1895, was originally established as an agriculture fair. This fair was combined with a professional rodeo in 1964 to become an annual event.

Sports
Morris is the home of the Pembina Valley Twisters of the MMJHL having joined in 2001

The Morris Mavericks a high school hockey team in the Zone IV hockey league has enjoyed success winning multiple Zone IV championships and Provincial championships

Transportation
Morris is located along PTH 75, which is the main route for Manitobans to get into the United States. Morris is also served by PTH 23, running east and west, providing access to much of southern Manitoba.

Morris is also served by two railroad companies. The first is the Canadian National Railway whose line runs north-south from Winnipeg to the Canadian-U.S. border. The second is the Canadian Pacific that has a branch which currently ends (it was formerly a line all of the way to the US border at Gretna) in Altona. The Southern Manitoba Railway which ran west from Morris for 80 miles was torn up in 2008, due to non-use.

Notable people

 * Sandra Birdsell, writer
 * William Clubb, politician
 * Paul P. Enns, theologian
 * George Minaker, politician
 * A. James Reimer, theologian
 * Harry Shewman, politician

title: Morris, Manitoba


text:
User talk:24.147.97.230/RfC Robert McClenon

RFC Robert McClenon
Editors here should also be aware of this [] concerning this abusive editors of this page. Please visit and add your input to cross the 2 users needed to validate.24.147.97.230 15:15, 21 August 2005 (UTC)


text:
Pete Price

Peter Lloyd Price (born 25 January 1946) is a British radio presenter best known for his work in Liverpool. He hosted the Sunday night talk radio show Pete Price: Unzipped, which was broadcast across Liverpool sister stations Radio City and Radio City Talk. The show aired live from 10pm to 2am and followed an open forum format. He also had a weeknight phone-in, Late Night City, which aired live between 10 pm and 2 am from Monday to Thursday and was simulcast on Radio City Talk and Radio City 2. In 2017, he announced that he was cutting back his show from five nights a week to just Sunday night. From 2017 to 2020, he hosted Pete Price's Sunday Best from 10 pm to 1 am every Sunday, where his weekly phone-in guest was Paul McCartney's stepmother Angie, who lives in Los Angeles and provided Hollywood gossip. Price now broadcasts on Liverpool Live Radio every Sunday night at 10 pm till 1 am.

As a comedian, Price was a winner on the ITV talent show New Faces. He is also an author, patron, and artist for Claire House Children's Hospice and a columnist for the Liverpool Echo. He is openly gay, which is often the subject of prank calls to his radio show, as is the fact that he is dyslexic and has trouble reading text messages or emails on air. To complement his radio show, he also gives out a personal phone number for listeners to talk to him in confidence.

Early life
Peter Lloyd Price was born in Wrexham on 25 January 1946. He was adopted at approximately three months old, in April 1946, by Hilda Sandra Price and David William Lloyd. He was raised in West Kirby, Cheshire. He was notably closer to his mother than his father, who repeatedly was violent towards Price's mother. When he was 12, he came to terms with his homosexuality, but his doctor told him he would "grow out of it". Two years later, he went back to the same doctor, only to be prescribed Valium. A combination of his homosexuality, problems with school, and problems in his social life put him into a state of despair; at the age of 14, he attempted to overdose on child-strength aspirin, only to wake up the next morning.

At the age of 15, Price was working as a hairdresser at the weekend while studying cookery at Birkenhead Technical College. He began working for a wealthy local family, catering for their dinner parties, and became a close family friend. He soon got a professional catering job, a summer at the Cavendish Hotel in Eastbourne and went on to manage a Fullers Tea Shop in Worthing. He was sent to an institution in Chester to receive aversion therapy when he came out to his mother at the age of 18. He left after one day after being exposed to people being "treated" using electrodes. A few days later, he recognised one of the psychiatrists from the institution in a gay bar. In 1993, after stories had emerged of others being treated this way in hospitals, he decided to go public with his story to encourage more people to come forward.

Radio career
After several years as the cook on a cruise ship, he became a disc jockey for BBC Radio Merseyside at the age of twenty-one. Shortly after, Price made his first appearance on the comedy scene at Liverpool's 'The Shakespeare', working at various venues which include The Palladium and the QE2. In the 1980s, he became a presenter on his former station's rival, 194 Radio City, and has remained so in its various incarnations since. He continues to star in pantomimes in Liverpool and Merseyside, as well as working for national newspapers including The Independent and The Times. As a broadcaster he has worked with national BBC Radio 1 and Radio City for over 20 years, and continued to host his late night talk show on Radio City Talk until March 2020. The programme was also carried by sister station Greatest Hits Radio Liverpool.

In April 2009, Price was made an 'Honorary Scouser' by the Lord Mayor of Liverpool.

Current shows
Price's recent shows were originally broadcast on Magic Radio, until it garnered mass attention following controversies with callers on air. The show was broadcast over Radio City 96.7 and City Talk 105.9 on Sun-Thurs nights. This was until July 2014 when City started to join up with the rest of the Bauer Media stations late night show with Kate Lawler.

Price presented a live phone-in programme which was broadcast on Radio City Talk. Guests have included Dennis the Chemist, and Pheobe, an alleged psychic and Angel Card reader. The programme was one of the most popular night-time talk shows in the UK, with one show recently attracting 19,000 attempted calls.

In May 2020, following the announcement of Radio City Talk's planned closure, it was also confirmed that Price would lose his weekly phone-in programme. Price reacted by saying he was "devastated" by the news.

Notable incidents
Pete was praised for abandoning his midweek show on one occasion in February 2004 to go to the aid of a 13-year-old caller who was threatening to kill himself.

In January 2006, Pete's show on sister station Magic 1548 hit the headlines in Liverpool when a regular caller known as "Terry" stopped responding live on air during a debate. After Merseyside Police refused to check on the man's safety, Pete again abandoned the show (music was played after he left the St. John's Beacon studios) to travel to the man's home. Unfortunately, as he arrived, Pete saw an ambulance outside the house. Concerned listeners had already gained entry into the man's home and found that he had died from a suspected heart attack. Soon after this, the Monday-Thursday show left Magic 1548 and was moved to Radio City 96.7's late night phone-in.

Also in September 2007, an extract from his autobiography was published in the Liverpool Echo, which revealed that Price had abused cocaine, although he "handed himself in" to the police shortly after through shame.

In October 2007, it was reported by the Liverpool Echo that Price had received a "homophobic" death threat via text live on air. The sender was arrested shortly afterwards when police were contacted immediately after the receipt of the threatening text. They also reported that "on another occasion, a man tried to break into Radio City's headquarters, because he had become convinced Price had tried to kill John Lennon"

In January 2008 Pete tried to find his natural father by using the networking skills of an imprisoned Sicilian Mafia boss Bernardo Provenzano in the hope that "The Don" can help him trace his dad. His biological mother, upon restoring contact with him, gave him a photograph of his biological father: a Sicilian prisoner of war held near Warrington. Pete himself said that the Mafia "must have the best information network in the world".

Writer
In September 2007, Price released an autobiography (co-written by Adrian Butler), Pete Price: Namedropper topped Liverpool best seller charts within its first few days of sale, and was serialised in the Liverpool Echo.

He often jokes about releasing a second autobiography entitled The Bitch is Back. This autobiography, to be published on the day of his death, he says, would contain a list of all the men he has slept with.

title: Pete Price


text:
Rhinegraves

Rhinegraves are a form of breeches which were popular from the early 1660s until the mid-1670s in Western Europe. They were very full petticoat breeches gathered at or above the knee. They were worn under petticoat breeches or under an overskirt which was decorated with ribbon loops around the waist and around the knee. Where the knee was gathered, a large frill of lace and stocking tops added further decoration.

During the 1670s as the longer coat and long waistcoat became popular, these very full breeches became less full and by the late 1670s and early 1680s they were replaced by more tight fitting breeches with the stockings worn over them.

title: Rhinegraves


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Talk:Marcus O'Sullivan

Untitled
I know this is missing a lot of information, so if any of you out there know more about this, please submit a more complete entry.

Here's some things to consider adding to this bio:

The 3 world indoor 1500 meter championships won by O'Sullivan were in 1987 (Indianapolis), 1989 (Budapest), and 1993 (Toronto). In his victories in 1987 and 1989, he set course records. He was 4th in 1991 (Seville).

He qualified for 4 Olympic games for Ireland: 1984, 1988, 1992, and 1996, at both 800 meters and 1500 meters. He reached the 1500 meter finals at the 1988 Seoul Olympics.

He set an indoor 1500 meters world record of 3:35.4 on February 10, 1989.

His PB for the mile, set indoors in 1987, is 3:50.96, and his PB for 1500 meters is 3:33.65, set in 1992.

O'Sullivan, along with Ray Flynn, Eamonn Coghlan, and Frank O'Mara (all of Ireland) established the still standing world record in the 4 x mile relay, when they combined in Dublin on August 17, 1985 to run 15:49.08.

In addition to his ties to American record holder Bob Kennedy, O'Sullivan has made a name for himself as a coach of elite professional runners such as former world-record holder Sydney Maree, Canadian indoor world silver medalist Carmen Douma-Hussar, and New Zealander Adrian Blincoe.

title: Talk:Marcus O'Sullivan


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Ally Sloper's Half Holiday

Ally Sloper's Half Holiday was a British comics magazine, first published on 3 May 1884. It is regarded to be the first comic strip magazine to feature a recurring character. Star Ally Sloper, a blustery, lazy schemer often found "sloping" through alleys to avoid his landlord and other creditors, had debuted in 1867 in the satirical magazine Judy – created by writer and fledgling artist Charles Henry Ross and inked and later fully illustrated by his French wife Émilie de Tessier under the pseudonym "Marie Duval" (or "Marie Du Val"; sources differ).

The "half holiday" referred to in the title was the practice in Victorian Britain of allowing the workers home at lunchtime on a Saturday, a practice that also established the kick-off times of football matches.

Publication history
The black-and-white weekly comic paper Ally Sloper's Half Holiday, typically of eight tabloid pages and priced one penny, was first published on 3 May 1884, a short time after Ross had sold the rights to the character to Gilbert Dalziel, an engraver and the publisher of Judy. Initially launching the paper with proprietor W. J. Sinkins, Dalziel was soon in full control, publishing it from "The Sloperies", 99 Shoe Lane, EC. Alongside the strips featuring Sloper, the magazine also featured prose stories and cartoons and strips of other characters.

Sales of the magazine have been estimated as being as high as 350,000, the magazine describing itself as "the largest selling paper in the world". The paper found a mixed audience: aimed at adults, it captured both a loyal working class, male base, as well as attracting a cult following amongst the middle class of the time.

Although the weekly initially ceased publication on 9 September 1916, after 1,679 issues, it was later revived between 5 November 1922 and 14 April 1923, and again from 1948 to 1949, each attempt failing to capture the imagination of the British public as the original once had.

In 2001, a copy of the first issue of Ally Sloper's Half Holiday fetched £3,600 at an English auction house.

Contributors
William Giles Baxter took over art duties for the Sloper character with issue 13.

William Fletcher Thomas became the artist on the Ally Sloper strips following Baxter's death in 1888.

James Gibbins contributed his expertise in the field of handwriting, a skill he put forward to the police at the time of the Jack the Ripper murders, offering to analyse items thought to be authored by the Ripper.

Thomas Burke contributed stories.

During 1908 C. H. Chapman illustrated the Ally Sloper character. Chapman was better known as the artist that drew Billy Bunter from 1911 until The Magnet folded in 1940. He continued to illustrate Billy Bunter in books through the 1950s.

Influence
Ally Sloper's Half Holiday is widely cited as being the first comic book or magazine to feature a regular character, and is also often cited as the first comic as well. It helped establish the financial viability of the medium and codified the British form to an extent visible many years later in publications such as Viz.

Alan Class' Ally Sloper magazine
Alan Class Comics published four issues of Ally Sloper magazine in 1976–1977. Edited by comics historian Denis Gifford, Ally Sloper demonstrated great affection for old British comics, comic strips, and artists. With the cover tagline, "First British comic hero 1867, First British comic magazine 1976," Ally Sloper contained an eclectic mix of strips and articles. Some were in the style of British comic strips from the early 20th century, while others were created by classic artists such as Frank Hampson's "Dawn O'Dare" and Frank Bellamy, who provided Swade, a three-page black-and-white wordless western story, for issue #1 (his last work, as he died before completing the second strip). Also featured were newer British artists such as Kevin O'Neill (issue #2) and Hunt Emerson (issue #4). Although the Alley Sloper comic magazine was critically acclaimed by the fan press, it suffered from poor distribution and insufficient public interest, and the title disappeared from the market after only four issues.

title: Ally Sloper's Half Holiday


text:
Talk:List of Indiana locations by per capita income

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text: User talk:69.128.104.121

title: User talk:69.128.104.121


text: User:Remmelt

title: User:Remmelt


text:
Anne Lindbergh

Anne Spencer Lindbergh (October 2, 1940 – December 10, 1993) was an American writer, primarily of children's novels. She was the daughter of aviators/authors Charles Lindbergh and Anne Morrow Lindbergh.

Biography
Anne Lindbergh was raised in Darien, Connecticut. After studying at Radcliffe College for three years, she moved to Paris to continue her education, studying at the Sorbonne. She met and married a fellow student there, Julien Feydy, who later became a political scientist and university professor. They later divorced.

She later married Jerzy Sapieyevski, a composer and conductor she met in Europe and with whom she moved to Washington. They also divorced. She was married to Noel Perrin, American essayist and a professor at Dartmouth College, at the time of her death. They lived together in Thetford Center, Vermont.

Anne Lindbergh wrote numerous books, most of them for children.

Anne Lindbergh died of cancer in 1993 at her home in Thetford Center, Vermont, at the age of 53.

Personal
Anne Lindbergh's eldest brother, Charles Augustus Lindbergh Jr., the first of six children born to Charles and Anne Lindbergh, died in 1932 in a famous kidnapping — what many termed at the time "the crime of the century". Anne's other Lindbergh siblings are aquanaut Jon Lindbergh (1932–2021), Land Morrow Lindbergh (born 1937), conservationist Scott Lindbergh (born 1942), and Reeve Lindbergh (born 1945).

Honors, awards, distinctions
Anne Lindbergh was the recipient of numerous honors for her work, including an award from the International Reading Association.

Books
This list includes all known titles at WorldCat.
 * Osprey Island, illustrated by Maggie Kaufman Smith (1974), as by Anne Lindbergh Feydy,
 * The People in Pineapple Place (1982)
 * Nobody's Orphan (1983)
 * Bailey's Window (1984)
 * The Worry Week (1985)
 * The Hunky-Dory Dairy (1986)
 * Next Time, Take Care, illus. Susan Hoguet (1987), picture book
 * The Shadow on the Dial (1987)
 * The Prisoner of Pineapple Place (1988), sequel to The People
 * Tidy Lady, illus. Susan Hoguet (1989), picture book
 * Three Lives to Live (1992)
 * Travel Far, Pay No Fare (1992)
 * Nick of Time (1994), posthumous publication
 * Local Vertical: Poems (2000)
 * The Inside Story on Henry Alcebiades Highfllie (2004), stories privately printed by David R. Godine

title: Anne Lindbergh


text:
Talk:Indiana Department of Correction

Address list
Here is an old address list http://www.in.gov/idoa/files/addressing_guide.pdf WhisperToMe (talk) 06:32, 27 August 2010 (UTC)

title: Talk:Indiana Department of Correction


text:
User:4shizzal

Hey this is 4shizzal, some of y'all know me as Scott Free. Happy lovely (always wanted to say that). I specialize in (obsessed with) African history. If you're researching anything on pre-colonial Africa on here, i've probably contributed to it. My biggest interest is the Mali Empire. I think it is one of the most overlooked empires in history and of great importance. I've also done a fair amount of net research on the dynamics of the Atlantic Slave Trade. I've produced a lot of statistics (who was selling, who was buying and how many were dying). Holla at ya boi if you have any useful info or just for questions. One luv to everyone at WIKI keepin the info FREE.

--Scott Free 16:36, 31 July 2006 (UTC)

I am mainly devoted to compiling info on the Mandé civilization. I am a Black American with hereditary ties to these great people, which has boosted my zeal for researching them. Last year I discovered via African Ancestry DNA testing that my maternal heritage stretches back to the Mendé (a branch of the Mandé of Sierra Leone). It was amazing to find that I came from the same people I had been researching for the past five years! Also, my paternal heritage is shared with the Igbo people of Nigeria (don't know which dialect, but probably northern or central) and also the Mbundu of Angola. I've been told the Mbundu match is likely just due to sharing fragments of DNA contributed to those populations during the Bantu Migration. In all likelyhood, my ancestors were taken directly from northern and central Igboland to Louisiana via French slave vessels.

What I'm Working on Right NOW

 * Kongo-Portuguese War of 1622
 * Battle of Mbanda Kasi

Recently Completed

 * Battle of Mbumbi

Library
Here is a list of my private library on African and African-American history. It's forever increasing. I put this list here for folks looking for good data on hard to find subjects.

 * 1. "Africa: a short history" by Robert O. Collins (Markus Wiener Publishers, 2006)
 * 2. "Introduction To African Civilizations" by John G. Jackson (Citadel, 2001)
 * 3. "Peoples and Empires of West Africa: West Africa in History 1000-1800" by G.T. Stride & C. Ifeka (Nelson, 1986)
 * 4. "Slavery and African Ethnicities in the Americas: Restoring the Links" by Gwendolyn Midlo Hall (University of North Carolina Press, 2005)
 * 5. "Exchanging Our Country Marks" by Michael A. Gomez (University of North Carolina Press, 1998)
 * 6. "Africa and Africans in the Formation of the Atlantic World, 1400-1680" by John K. Thornton (Cambridge University Press, 1998)
 * 7. "Warfare in Atlantic Africa, 1500-1800" by John K. Thornton (Taylor and Francis, 2005)
 * 8. "African Arms and Armour" by Christopher Spring (British Museum Press, 1993)
 * 9. "Warfare and Diplomacy in Pre-colonial West Africa" by Robert S. Smith (University of Wisconsin Press, 1989)
 * 10. "AFRICAN KNIGHTS: The Armies of Sokoto, Bornu and Bagirmi in the 19th Century" by Conrad Cairns (Foundry, 2006)
 * 11. "SUNDIATA: An Epic of Old Mali" by D.T Niane (Longman, 1995)
 * 12. "Amazons of Black Sparta: The Women Warriors of Dahomey" by Stanley B. Alpern (Hurst & Co Ltd, 2001)
 * 13. "Fall of the Asante Empire: The Hundred Year War for Africa's Gold Coast" by Robert. B. Edgerton (Free Press, 1995)
 * 14. "The Kongolese Saint Anthony: Dona Beatriz Kimpa Vita and the Antonian Movement, 1684-1706" by John K. Thornton (Cambridge University Press, 1998)
 * 15. "Blacks in Antiquity" by Frank M. Snowden (Belknap Press, 1971)
 * 16. "Medieval Africa, 1250-1800" by Roland Oliver (Cambridge University Press, 2001)
 * 17. "Black Africans in Renaissance Europe" by T. F. Earle and K. J. P. Lowe (University of Oxford, 2005)
 * 18. "Central Africans, Atlantic Creoles, and the Foundaton of the Americas, 1585-1660" by Linda M. Heywood and John K. Thornton (Cambridge University Press, 2007)
 * 19. "Forged In Battle: The Civil War Alliance of Black Soldiers and White Officers" by Joseph T. Glatthaar (Free Press, 1990)
 * 20. "Africa In History: Themes and Outlines, Revised and Expanded Edition" by Basil Davidson (Phoenix Press, 2003)
 * 21. "Great Zulu Battles 1838-1906" by Ian Knight (Castle Books Press, 2003)
 * 22. "History of Slavery" by Susanne Everett (Chartwell Books, Inc., 2006)
 * 23. "Equiano, the African: Biography of a Self-Made Man" by Vincent Carretta (Penguin Booka, 2005)
 * 24. "Monsieur De Saint-George; Virtuoso, Swordsman, Revolutionary: A Legendary Life Rediscovered" by Alain Guede (Picador, 2003)
 * 25. "African States and Rulers: An Encyclopedia of Native, Colonial and Independnt States and Rulers Past and Present" by John Stewart (McFarland, 1989)
 * 26. "Timbuktu: The Sahara's Fabled City of Gold" by Marq De Villiers & Sheila Hirtle (Walker, 2007)
 * 27. "History of Africa" by Kevin Shillington (St. Martin's Press, 1995)
 * 28. "Historical Atlas of the Ancient World: 4,000,000 BC - 500 BC" by John Haywood (Barnes & Noble, 2000)
 * 29. "Historical Atlas of the Classical World: 500 BC - AD 600" by John Haywood (Barnes & Noble, 2002)
 * 30. "Historical Atlas of the Medieval World: AD 600 - 1492" by John Haywood (Barnes & Noble, 2002)
 * 31. "Historical Atlas of the Early Modern World: 1492 - 1783" by John Haywood (Barnes & Noble, 2002)
 * 32. "Historical Atlas of the 19th Century World: 1783 - 1914" by John Haywood (Barnes & Noble, 2002)
 * 33. "Historical Atlas of the 20th Century World: 1900 - 1999" by John Haywood (MetroBooks, 2001)

Africa At A Glance
I've decided to use my page as a crash course in African history for anyone that's interested. The biggest problem with African history is that most Africans don't have written language of their own. That doesn't mean they're stupid, however; it simply means they are very different from the rest of the world. From what I've garnered, literature wasn't really necessary for them so it was never invested in. Another startling difference between Africa and Eurasia is the value of land (or lack thereof). Africa is huge so land has little value. Things grow well so agricultural advancements weren't sought (like the plough for instance). Populations are dispersed into clumps around valuable tracts of land creating densly populated cities with complex systems of government tending toward strikingly republican types of rule. Very few absolute monarchs or leaders prior to Cold War. Slavery was big business since labor was more scarce than land. Chattel slavery was pretty much unheard of, but certain civilizations could be quite brutal. Africa was more or less a decent place to live prior to the 16th and 17th century. This was changed by the destruction of the big African Empires and the arrival of Europeans with their insatiable appetite for cheap labor. Both of these instances led to political instability that has never been fully resolved. The troubles of Africa continued as more African leaders fed into this irresistable chance at power and wealth. Between 1502 and 1853, some 20 million Africans died as a result of the Trans-Atlantic Slave Trade. By 1900, Europeans had the knowledge and firepower to conquer most of Africa. World War II pretty much killed Europe's hold on Africa and by 1975 about every colony was independent. Africa reemerged under a series of dictators and idealist who squandered their resources, slaughtered thousands and repressed the population. Africa's still going through its growing pains, and HIV/AIDs isn't making it any easier (thanks a lot Belgium). That's Africa in a nutshell. Below is a timeline of Africa based off of the wiki article on African History. I took the liberty of adding some dates to paint a clearer picture.

 * Stone Age Africa 150,000 years ago (Modern Humans Arrive) - 600 B.C. (Nubia begins spreading Iron technology)
 * Iron Age Africa 600 B.C. (Nubia begins spreading Iron technology) - 1600 (End of the great empires)
 * Transition Age Africa 1600 (End of the great empires) - NOW.

African Monuments
Here are some African structures/monuments of note. People always talk of going to Europe or Asia to see historical sites while Africa is largely slept on. Well, you don't know what you don't know. Take a look and hit me up if you have any other suggestions. I'm always adding stuff.

 * Great Pyramid of Giza completed in 2560 B.C.
 * Abu Simbel built in 1284 B.C.
 * Yeha Ruins built around 800 B.C.
 * King Ezana's Stele built around 330 A.D.
 * Great Mosque of Djenné first built around 1200 A.D.
 * Bete Giyorgis Church built around 1200 A.D.
 * Sankore Madrasah first built in 1300 A.D.
 * Djinguereber Mosque built in 1327 A.D.
 * Ruins of Great Zimbabwe completed by 1400 A.D.
 * Sidi Yahya Mosque built in 1440 A.D.
 * Tomb of Askia built in 1538 A.D.
 * Fasil Ghebbi built in 1630s A.D.

Great Africans in History
Here's a list of some very interesting men and women in African history. I count many of them in my list of heroes.

Men

 * Mansa Sogolon Djata
 * Askia Mohammad I
 * MweneKongo Pedro II of Kongo
 * Mai Idris Alooma
 * Negus Yohannes IV of Ethiopia

Women

 * Kandake Amanirenas
 * Queen Gudit
 * Princess Yennenga
 * Gimbiya Amina
 * Ngola a Kiluanje Nzinga Mbande

African Military History
Below is an index of battles waged by African states. This list will grow as I get more organized and familiar with Wiki's current articles. I'm very interested in expanding info on lesser known wars such as the conflicts involving the Kingdom of Kongo and those of the Ethiopian Empire

African Wars

 * Abyssinian–Adal War (1529 - 1543)
 * Battle of Shimbra Kure (March 1529)
 * Battle of Antukyah (1531)
 * Battle of Amba Sel (October 28, 1531)
 * First Siege of Amba Geshen (November, 1531)
 * Second Siege of Amba Geshen (1533)
 * Sack of Amba Geshen (January, 1540)
 * Battle of Sahart (1541)
 * Battle of Baçente (February 2, 1542)
 * Battle of Jarte (April 16, 1542)
 * Battle of Wofla (August 8, 1542)
 * Battle of Wayna Daga (February 21, 1543)

 * War of Ndongo Succession (1624 - 1656)
 * Battle of Ngolomene a Keta (1644)
 * Battle of Kavanga (January, 1646)
 * Battle of Kombi (October 29, 1647)

 * Kongo Civil War (1665 - 1709)
 * Battle of Kitombo (October 18, 1670)
 * Battle of Säo Salvador (February 15, 1709)

 * Ashanti-Akim-Akwapim War (1814 - 1816)

 * Anglo-Zulu War (1879)
 * Battle of Isandlwana (January 22, 1879)
 * Siege of Rorke's Drift (January 22-23, 1879)
 * Battle of Intombe (March 12, 1879
 * Battle of Hlobane (March 28, 1879
 * Battle of Kambula (March 29, 1879
 * Battle of Gingindlovu (April 2, 1879
 * Battle of Ulundi (July 4, 1879

 * First Mandingo War (1883 - 1886)

 * First Franco-Dahomean War (1890)

 * Second Franco-Dahomean War (1892 - 1894)

 * Second Mandingo War (1894 - 1895)

 * First Italo–Ethiopian War (1895 - 1896)

 * Third Mandingo War (1898)

African Battles

 * First Battle of Dongola (642)
 * Second Battle of Dongola (652)
 * Battle of Garni-Kiyala (1507)
 * Battle of Mbanza Kongo (1509)
 * Battle of Tondibi (March 13, 1591)
 * Battle of Jenné (April 26, 1599)
 * Battle of Mbumbi (1622)
 * Battle of Mbwila (October 29, 1665)
 * Battle of Katole (September 4, 1681)
 * Battle of Feyiase (1701)
 * Battle of the Dindar River (1738)
 * Battle of Atakpamé (1764)
 * Battle of Tsuntua (1804)
 * Battle of Noukouma (March 21, 1818)
 * Battle of Segou (March 10, 1861)
 * Battle of Kansala (May 13, 1867)
 * Battle of Dekheule (1869)
 * Battle of Woyowayanko (April 2, 1882)
 * First Battle of Jenné (February 24, 1891)
 * Second Battle of Jenné (April 11-April 12, 1893)
 * Battle of Poredaka (1896)

African Empires
When the average western reader thinks of empire, they don't usually think of Africa. Well, they should. I've done a lot of research on African Empires. Hell, I was the guy that started the article. Below are a list of all the African Empires according to chronology. There are 34 here, but not all are native African empires (Ptolemaic and Fatimid for instance). Not all are "Black" African empires (Almoravid and Almohad are native Berber states). But they are all empires.

 * Egyptian Empire (1570 BC - 1070 BC)
 * Kushite Empire (780 BC - 656 BC)
 * Carthaginian Empire (575 BC - 146 BC)
 * Ptolemaic Empire (305 BC - 30 BC)
 * Aksumite Empire (50 - 937)
 * Makuria 340s AD to 1312 AD
 * Kanem Empire (700 - 1376)
 * Wagadou Empire (750 - 1076)
 * Fatimid Caliphate (910 - 1171)
 * Almoravid Caliphate (1061 - 1147)
 * Almohad Caliphate (1121 - 1269)
 * Mali Empire (1235 - 1610)
 * Mamluk Sultanate (1250 - 1517)
 * Ethiopian Empire (1137 - 1974)
 * Songhai Empire (1340 - 1591)
 * Jolof Empire (1360 - 1549)
 * Bornu Empire (1396 - 1893)
 * Oyo Empire (1400 - 1835)
 * Adal Sultanate (1415 - 1555)
 * Benin Empire (1440 - 1897)
 * Sennar Sultanate (1502 - 1821)
 * Kaabu Empire (1537 - 1867)
 * Luba Empire (1585 - 1885)
 * Lunda Empire (1660 - 1887)
 * Aro Confederacy (1690 - 1902)
 * Asante Union (1701 - 1894)
 * Kong Empire (1710 - 1894)
 * Bamana Empire (1712 - 1861)
 * Sokoto Caliphate (1804 - 1903)
 * Liberian Republic (1847 - 1980)
 * Toucouleur Empire (1861 -1890)
 * Wassoulou Empire (1878 - 1898)

African Kingdoms
Beyond the great expires in African history, there are a plethora of kingdoms throughout the continent's history.

 * Old Kingdom Egypt 3150 BC to 2134 BC
 * Middle Kingdom Egypt 2040 BC to 1640 BC
 * Damot 800 BC to 400s BC
 * Numidia 202 BC to 46 BC
 * Nobatia 350 AD to 600 AD
 * Alodia 600 AD to 1504 AD
 * Takrur Kingdom 800 to 1280s
 * Hausa Kingdoms 998 to 1808
 * Mapungubwe Kingdom 1075 to 1220
 * Tengkodogo Kingdom 1120 to 1894
 * Marinid Sultanate 1215 to 1465
 * Zimbabwe Kingdom 1220 to 1450
 * Nri Kingdom 1225 to 1911
 * Mankessim Kingdom 1252 to 1873
 * Yatenga Kingdom 1333 to 1895
 * Bamum Kingdom 1394 to 1884
 * Kongo Kingdom 1395 to 1857
 * Wagadougou Kingdom 1441 to 1895
 * Mutapa Kingdom 1430 to 1760
 * Butua Kingdom 1450 to 1660
 * Gyaaman Kingdom 1450 to 1895
 * Kingdom of Fez 1472 - 1554
 * Saalum Kingdom 1493 to 1850
 * Mandara Kingdom before 1500s to 1902
 * Kingdom of Koya 1505 to 1896
 * Denanke Kingdom 1514 to 1776
 * Kingdom of Baguirmi 1522 to 1897
 * Cayor Kingdom 1549 to 1868
 * Kingdom of Loango 1550 to 1885
 * Kingdom of Ndongo 1556 to 1629
 * Dendi Kingdom 1591 to 1901
 * Anziku Kingdom before 1600s to 1880
 * Sultanate of Darfur 1603-1874
 * Kasanje Kingdom 1620 to 1911
 * Kuba Kingdom 1625 to 1900
 * Matamba Kingdom 1631 to 1744
 * Ouaddai Kingdom 1635 to 1912
 * Kingdom of Dahomey 1650 to 1894
 * Igala Kingdom 1650 to 1901
 * Kenedougou Kingdom 1650 to 1898
 * Khasso Kingdom 1681 to 1880
 * Orungu Kingdom before 1700s to 1927
 * Futa Djallon Kingdom 1725 to 1896
 * Kaarta Kingdom 1753 to 1854
 * Futa Toro Kingdom 1776 to 1891
 * Merina Kingdom 1791 to 1896
 * Zulu Kingdom 1817 to 1879

title: User:4shizzal


text:
Soulsearcher

Soulsearcher was a studio project based in England, created by record producer Marc Pomeroy.

Biography
In 1999, Pomeroy scored a No. 8 hit on the UK Singles Chart and a No. 20 Billboard Hot Dance/Club Play hit with "Can't Get Enough", featuring American singer-songwriter Thea Austin on vocals. The track was co-written by Austin and sampled the No. 1 Dance hit from 1979, "Let's Lovedance Tonight" by Gary's Gang. The track later featured in Grand Theft Auto: The Ballad of Gay Tony on the fictional in-game radio station Vladivostok FM.

They also released a single in 1999 titled "Do It to Me Again", which reached No. 32 on the UK Singles Chart.

In 2003, Soulsearcher returned to the club charts with "Feelin' Love", featuring vocals from Donna Allen.

title: Soulsearcher


text:
Talk:On the Banks of the Wabash, Far Away

A suggestion
Hi. Nice article! A couple of things jumped out at me, though, that could maybe be improved. Maybe the Rufus Wainright version that there's the sample for should be mentioned in Adaptations for coherence within the article. Then, I'd recommend moving the Rufus Wainright sample down to the Adaptations section. At the very least, the Harry MacDonough version should be before the Wainright version for chronological reasons (a historical version before a recent one).

Sincerely, Moisejp (talk) 03:20, 1 January 2012 (UTC)

Recordings
I moved the following here. There are no sources, but could be added back once sourcing is found:

Joan Morris and William Bolcom have recorded the song twice: once, in 1974, on their debut album, After the Ball, and again, on their 1989 live concert album, Let's Do It.

Molly Watson and Eugene Cline recorded the song on their album, Bird in a Gilded Cage.

A rock arrangement by a band called Dessau appears on a CD titled Coolidge 50: Bands from Each State Performing Their State Song.

Pianist/singer Tom Bopp has recorded the song on his CD, Parlor Piano.

citation page number corrections
I noticed in reviewing the content that some of the citation page numbers provided in reference to Clayton Henderson's book weren't accurate. I corrected the citation page number when I could locate the reference from his book. There were a couple of instances where I couldn't identify a correct page number, at least not from the content presented, so I've left those alone. Is there something specific I should do to identify the particular page citations that need to be corrected? The citation could be referencing other source material; they don't appear to have come from Henderson's biography of Dresser.Rosalina523 (talk) 20:20, 12 February 2013 (UTC)
 * Something that tends to happen when an article is heavily copy-editted during the FA review process is that citations tend to migrate away from the point they belong, and sometimes the copyeditting results in unintentional material changes to the article. When I come across points like that, and I can't easily figure out the original text or source, IMO, its best to just remove the sentence or piece from the article altogether to maintain its integrity. Especially on a featured article. I have not been keeping up all the articles I worked on very well the last couple years, so I certainly encourage you to err on the side of caution and just remove things that you think may be out of order if you can't find a way to correct it. :) —Charles Edward (Talk 17:00, 15 August 2013 (UTC)

External links modified (January 2018)
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26 bars claim
I can't seem to verify the claim that "Twenty-six bars" were copied in "Back Home Again in Indiana". I don't see that number mentioned in the references.

There are 3 sources cited in the paragraphs relevant to the "Back Home Again" dispute.

 * Henderson's book- page 246 is cited, but doesn't seem to be at all related to "Back Home Again". The only pages of Henderson's book mentioning the song or James Hanley seem to be pages 322-24, which don't say anything about the how many bars were copied and/or given permission to copy.

 * Loving's book doesn't appear to talk about "Back Home Again" either. (Loving 117 only covers the controversy between Paul and his brother).

 * The archived Indiana Historical Society page mentions that Hanley and Macdonald supposedly got permisssion to copy 2 bars. So that's where the two bar number comes from. But it doesn't say anything about 26 bars being copied.

The "twenty-six bars" figure was introduced in this revision.

This edit didn't add any new references, but the lyric examples it added appear to be taken from Henderson 322. But again I find no mention in Henderon of the number of bars copied. And as mentioned before, I don't find anything about it in the other sources used in that section. Not sure where the number 26 came from, perhaps original research or another unreferenced source?

2601:249:1880:9390:7D7A:1B7:AECE:4EB8 (talk) 20:37, 17 September 2023 (UTC)


text: Talk:Indiana State Awards

title: Talk:Indiana State Awards


text:
Talk:Saint Mary's College (Indiana)

WP:Women's History Assessment Commentary
The article was assessed Start-class, for deficiencies in references and tone or style. The article needs more references, and at present, the tone of an advertisement brochure, rather than an encyclopedia entry. Boneyard90 (talk) 10:57, 19 November 2012 (UTC)

Invitation to Women in Red's Role Models editathon on Women's Colleges
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External links modified
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E. Michael Jones listed at Redirects for discussion
An editor has asked for a discussion to address the redirect E. Michael Jones. Please participate in the redirect discussion if you wish to do so. signed,Rosguill talk 18:32, 4 July 2019 (UTC)

 * A notable professor?
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 * "In The Bacchae, as brilliantly explicated by E. Michael Jones, Euripides showed exactly how unsafe sex is when disconnected from the moral order. When Dionysus visits Thebes, he entices King Penthius to view secretly the women dancing naked on the mountainside in Dionysian revelries. Because Penthius succumbs to his desire to see 'their wild obscenities', the political order is toppled, and the queen mother, Agave, one of the bacchants, ends up with the severed head of her son Penthius in her lap — an eerie premonition of abortion."
 * Tobias Epos (talk) 16:45, 6 July 2019 (UTC) 00:47, 8 July 2019 (UTC) 17:06, 8 July 2019 (UTC) 10:33, 9 July 2019 (UTC) 12:43, 9 July 2019 (UTC) 21:44, 10 July 2019 (UTC) 01:10, 11 July 2019 (UTC) 03:57, 12 July 2019 (UTC) 04:43, 12 July 2019 (UTC) 06:29, 12 July 2019 (UTC)
 * Hi Tobias, what precisely do you wish to accomplish by curating a list of sources here? This is not the place to plead your case for E. Michael Jones. This is where we discuss improving the article on the college. Thanks. Elizium23 (talk) 04:53, 12 July 2019 (UTC)
 * It may help to find better references. Thank you. Tobias Epos (talk) 06:29, 12 July 2019 (UTC)
 * References for St. Mary's College? This article is not about Jones, it is about the college; your references are for Jones. Elizium23 (talk) 06:34, 12 July 2019 (UTC)
 * Sorry, this escaped my notice. Thank you for your reminder. Tobias Epos (talk) 19:34, 12 July 2019 (UTC)

title: Talk:Saint Mary's College (Indiana)


text:
Humanity and Paper Balloons

Humanity and Paper Balloons (人情紙風船) is a 1937 Japanese jidaigeki film directed by Sadao Yamanaka. It was Yamanaka's last film before his death.

Plot
The film is set in feudal Japan during the 18th century, an era known as the Edo period. It depicts the struggles and schemes of Matajuro Unno, a rōnin, or masterless samurai, and his neighbor Shinza, a hairdresser.

The story begins in a slum where poor families perform menial jobs. Shinza, though a hairdresser by trade, actually makes his living by running illicit gambling rooms and pawning his belongings. Unno, who lives with his wife next door, is the son of Matabei Unno, a great samurai. Since his father's death, Unno has struggled to find work and hopes that Mouri, his father's former master, will hire him after reading a letter from his father. Mouri avoids Unno and finds excuses not to read his father's letter. Nevertheless, Unno seeks out Mouri every day and follows him wherever he goes. Mouri tries to get rid of Unno by sending a gang of men to intimidate him and telling his gate guards to keep him out.

Unno's wife waits for news that Mouri has hired Unno, but every day he tells her that "he'll meet Mr. Mouri tomorrow." With her husband out of work, she supports him by making kamifusen (Japanese paper balloons). Unno avoids telling her that Mouri keeps rejecting him and starts drinking to forget his humiliation. Despite his worsening situation, however, he keeps his dignity by not accepting gifts, loans, or favors.

Shinza's story runs in parallel with Unno's, albeit more dramatically. Shinza often gets beaten up by local pawn shop owner Shiroko Ya's gang for money he owes and for secretly organizing gambling games in their territory. Shinza fearlessly disregards their threats, angering the gang and their leader, Genshichi Yatagoro. Shinza loses all of his money when the gang chases him out of a secret gambling den, so he boldly goes to Shiroko's shop to pawn his hairdressing equipment. Upon reaching Shiroko's place unannounced, he finds Shiroko's daughter Okoma and his clerk Chushichi in the midst of a romantic moment. This discovery makes an impression, because Okoma's father and Mouri have already arranged for Okoma to marry the son of a rich old samurai against her will. Chushichi refuses to offer Shinza anything for his hairdressing tools, and Shinza makes up his mind up to avenge himself.

While this is happening, Unno's wife decides to visit her sister's family. Before leaving, she reminds Unno not to drink too much sake, since he had only recently recovered from an illness. He promises her that he will not drink.

When Okoma goes out with Chushichi to a festival, Shinza kidnaps her to punish Yatagoro. After learning that Okoma has not come home, Shiroko sends Yatagoro and his gang to pay Shinza quietly with a ransom to preserve the girl's reputation before the wedding. Shinza convinces his neighbor Unno to hide Okoma in his room when Yatagoro and his men search for her. When Yatagoro offers only a small ransom payment, Shinza refuses and tries to humiliate Yatagoro by telling him to shave his head and apologize for treating him so badly. Furious, Yatagoro leaves and sends one of his men to inform Shiroko that Shinza will not let Okoma go. Shinza's landlord, seeing an opportunity to make some money (because neither Shinza nor the other tenants pay the rent very often), goes to Shiroko and negotiates the release of the girl for ten times more money than Yatagoro had initially offered. Although Shinza insists that he does not really care about the ransom, the landlord forces him to accept his share of the money. When Okoma leaves her hiding place in Unno's room to board a palanquin sent by her father, everyone in the neighborhood feels disappointed to see that Unno had participated in a shameful scheme unworthy of a samurai. When Okoma comes home, Chushichi promises that they will run away together.

Shinza celebrates his victory over Yatagoro and Shiroko by treating all the men from his neighborhood to sake at the local bar. He pressures the hesitant Unno into joining the party. Unno's wife comes back from her sister's just in time to see her husband breaking his promise and heading to the bar. Though unwilling to drink at first, Unno feels so elated after learning that Okoma's kidnapping damaged Mouri's reputation that he happily drinks with Shinza. As Unno's wife approaches her home, she overhears the neighborhood women criticizing Unno for getting involved in the kidnapping. She realizes that her husband has broken not only his promise to her, but also his samurai code of honor, and the neighbors have lost all respect for him. Yatagoro and his men arrive at the bar and summon Shinza to leave the party and walk over to a nearby bridge. Shinza knows that he is no match for Yatagoro in a fight, but accepts his fate calmly and bravely.

Unno comes back home drunk. When confronted by his wife, he lies to her again, promising that he gave the letter to Mouri and that he must now wait for the turmoil of the kidnapping to subside. After he passes out on the floor, she finds his father's letter still in his pocket and finally knows for certain that Mouri has mistreated and insulted her husband all along. As a last resort to save their honor, she takes out a tantō (short sword) and kills her husband and then commits seppuku. The neighbors find their bodies the next day, but suicides happen in the slum so often that they see no meaning in their demise.

The film ends with a little boy running to tell the landlord about the deaths and dropping a kamifusen into a drainage gutter full of running water. Floating in the current, the paper balloon recedes into the distance.

Cast

 * Chojuro Kawarazaki as Unno Matajuro, a samurai
 * Kanemon Nakamura as Shinza, the hairdresser
 * Shizue Yamagishi
 * Noboru Kiritachi
 * Tsuruzo Nakamura
 * Choemon Bando
 * Suzeko Suketakaya
 * Emitaro Ichikawa
 * Daisuke Katō

Production and release
Humanity and Paper Balloons was written by Shintarō Mimura, based on his play. It was the final film by director Sadao Yamanaka before his untimely death at 28, of whose films only three are extant.

The film was released in Japan on 25 August 1937. It was later released in the United States with English subtitles in August 1982.

Reception
At a time when films were coming under the purview of a nationalistic and militaristic government that was waging and justifying a war of expansion, Yamanaka's film debunking a national myth was not appreciated. Filmmakers were expected to use the past to glorify the actions of the present, and Yamanaka's samurai did not achieve this goal. The year of the film's release, Yamanaka was sent to the Chinese front, possibly as retribution for his antipatriotic sentiments, and died there in 1938.

In his book A hundred years of Japanese film, Donald Richie called Yamanaka "perhaps the finest" of the directors of the new jidaigeki, and Humanity and Paper Balloons his finest effort.

Jasper Sharp of Midnight Eye described the film as "a fascinating time capsule of a movie that not only reframes the feudal period in which it is set to present a harsh critique of the social and political conditions of the time it was made, but also demonstrates just how tight, coherent, and entertaining films from this period actually were." In 2012, Spanish film programmer Fran Gayo listed the film as one of the greatest films of all time.

title: Humanity and Paper Balloons


text:
User:Extraordinary Machine/Sandbox

Harmonium is the second album by American pop singer-pianist Vanessa Carlton, released by A&M Records in the United States on November 9 2004 (see 2004 in music). Carlton co-wrote some of the album with Stephan Jenkins, her boyfriend and the lead singer of Third Eye Blind, who produced the album. Harmonium debuted outside the top twenty on the U.S. Billboard 200, and sales fell considerably short of those of Carlton's debut album, Be Not Nobody (2002). Its only single in the U.S., "White Houses", was not a top forty hit; two other singles, "Private Radio" and "Who's to Say", were released only in Asia. The commercial failure of the album, which Carlton attributed to poor promotion, led to her departure from A&M Records in mid-2005. She toured through the U.S. during 2004 and 2005.

Content
Carlton said the album includes "darker themes" than those present on Be Not Nobody. She said she was past the "diary stage" of songwriting, in which "you're kind of mostly narcissistic and dealing with yourself", and that as one grows up they "start to absorb [the] environment in a different way"; she called the album a reflection of a "different" and "more womanly" perspective of the world, as opposed to the "innocent and girlish" quality of Be Not Nobody. However, she has said that although "things get a bit heavier as you get older", she still has a "lightness of youth" and is "able to be as girlie in ways that I should be." She referred to the album as "bittersweet" rather than "just bitter" and stressed the importance of the lyrics on Harmonium compared to those on Be Not Nobody, which she said was "definitely more about the music": "I want the lyric to resonate as much as the chord underneath it", she said. She said that instead of an album with "one-two punch songs", she wanted to make "a record that brings people in and want to listen to it again and every time you hear it you learn something new ... those are the kind of albums I love and that I'll listen to for years and I'll want to listen to every single song on it."

An October 2003 article in Rolling Stone magazine reported that "Private Radio" would likely be the album's lead single, and "San Francisco" the only love song. Carlton was quoted as saying "There's nothing piano recital-y about it. It's goth ... The Wicca in me has come out ... I've been able to kind of just merge the Wicca and the Eighties chick." This provoked a skeptical response from MetaFilter users, one of whom wrote "this girl needs to buy a clue." Carlton later wrote on her official internet messageboard that the article "didn't quite capture what I was trying to say ... my advice, ignore the press til you have the record."

 * "White Houses" describes a young woman losing her virginity; "I wanted to write a song that everyone could relate to, about situations that everyone faces".
 * "Annie" is a song Carlton wrote after she met a girl suffering from leukemia while on tour.
 * According to Carlton, "Private Radio" is "a jammin booty rockin' song" about insomnia. She had suffered from the condition for several years, but in October 2004 she said she "sleep[s] like a baby."
 * She said "She Floats" contains "creepy sounding strings" and is about "the kind of the euphoria that someone gets when they're tortured by being dead".
 * She has named "Who's to Say" as "one of the songs on the album I'm most proud of". She dedicated it to "anyone in a relationship that's unapproved of by their mother or government". She said she liked performing the song and that audiences at her shows connected with it.
 * She has named "Afterglow" as a favorite of hers on the album; it is about "letting go anchors of pain".

 * "Papa", a solo vocal-and-piano piece, is not about her own father but a "different kind of daddy".
 * The Fender Rhodes-driven "C'est la Vie" is an "angry" song and the only one on the album not to include the piano, and Carlton has said it is about the single time she was "dumped" and her inability to speak French; she said that to her the phrase "c'est la vie" meant "fuck it", and that it helped her overcome emotional pain during the breakup.
 * She wrote "San Francisco" in the city.
 * "Half a Week Before the Winter" is a Goth-influenced "dark song" that Carlton intended as a metaphor for Charles Darwin's theory and the concept of "survival of the fittest": "Those beautiful animals [ unicorns] again could be a symbol for so many things, they die and they shouldn't and I think it's also part my take on the music industry and how so many beautiful things that you do get eaten by the Vampires".
 * "The Wreckage", the album's closing hidden track, is about Carlton's boredom while driving and her desire to start car accidents.

She said "Morning Sting", a song that was dropped from the album, is about "emotions being so raw in the morning". She excluded from the album because although she felt it wasn't "crappy", she wanted Harmonium to contain a certain amount of songs. The album shares its name with a keyboard instrument, the harmonium, but Carlton said she "kind of adopted that word to fit my own definition"; she intended it as a portmanteau of the words "harmony" and "pandemonium" to define the approach to the recording of the album, which she described as "kind of an organized, chaotic approach where I wanted to maintain and preserve that wild abandon to creating."

Carlton considered working with Be Not Nobody producer and A&M Records president Ron Fair on the album but decided not to do so, although Fair is credited as the album's co-executive producer. She said that much of Fair's "own aesthetic and his own tastes" were present in the arrangements of the songs on Be Not Nobody, in contrast to Harmonium, where "the dominant taste and aesthetic is my own". She cited the influence of live performances on Harmonium, as opposed to the "studio gloss" present on Be Not Nobody, in creating a feeling that is "a little bit rougher around the edges and a bit more comfortable in a raw form"; according to her, "it's a record that allows everything on it to breathe. There's a lot of space on all of the tracks. You don't feel like there's a million things going on. It's really easy on the ears. It's very organic. There's nothing going on that shouldn't be going on. It's very simple in that sense." Ron Fair himself compared the two albums: "The first album was more formal. It was Vanessa Carlton in an elegant party dress. This is her in Birkenstocks and jeans". According to Carlton, because she had more knowledge of the process of recording an album and elements such as arrangements, she had more creative control over Harmonium than Be Not Nobody. She called the album "so much more sonically personal to me" and "my taste exactly. It's exactly how I would arrange everything, as opposed to someone coming in and just dressing up the songs that I wrote."

Recording
Carlton and Jenkins met and began a relationship in mid-2002, when she and rock band Third Eye Blind, of which Jenkins is lead singer, were on tour together. After seeing Carlton perform live, Jenkins entered her dressing room and expressed interest in producing her music, and according to Carlton they "decided very quickly, that we had the same vision for the album". By January 2003, Carlton had written ten songs that she intended to include on the album. "You record more, you write more. I never put a stop to my writing process", she said. Recording of the album was originally scheduled to begin with producer Daniel Lanois after the conclusion of Carlton's 2003 European concert tour, which ended in February, and she wanted Jason Falkner and Nigel Godrich to co-produce the album; she said she believed collaborators would enable her to introduce into her music "tastes and sensibilities" to which she wouldn't normally be open. She originally envisioned the album as a "solo girl" version of The Beatles' Sgt. Pepper's Lonely Hearts Club Band. "It's going to involve choruses and flutes and trumpets, and it's just real", she said. She also mentioned her desire "to establish my place with an album that's undeniably me".

Carlton began recording the album in June 2003 at Morningwood Studios (owned by Jenkins) in San Francisco, before moving to filmmaker George Lucas's Skywalker Ranch in Marin County, California. During recording, Carlton cited Jeff Buckley, PJ Harvey as additional influences on the album: "Sonically I'd like to use the same approach ... If you're going to hear strings, you're going to hear them squeak", she explained. She experimented with sounds reminiscent of the music of The Cure. Before recording began, Carlton and Jenkins conducted a series of "A-B-ing" tests to compare analog tape with Pro Tools (digital). Because they could not tell the difference, they used a mixing board that Carlton said was "similar to what a lot of the old [Led] Zeppelin tracks were mixed on, so basically we were able to get a very warm, easy-to-listen-to mix where it didn't come across as 'icy' sounding". Several instruments were tracked using analog tape, but Pro Tools was used for most of them. According to Carlton, Jenkins was "generous" with his knowledge as a producer and taught Carlton about the recording studio, helping her to "realize the way the song is enveloped is sometimes more important than the song in some ways." Carlton wrote each song with arrangements in mind and played it on the piano for Jenkins, who joined in on drums, and they began devising the arrangements. Carlton wrote some of the songs with arrangements in mind. Recording was completed at The Record Plant in Los Angeles because, as Carlton put it, "When you're in the middle of a bunch of cows, the pace of things tends to slow down." The album, which took a year to record, was mixed at Olympic Studio in London, at Waystation Studio in Beverly Hills, California, and at South Beach Studios in Miami Beach, Florida by mixers including Mark "Spike" Stent and Tom Lord Alge. According to Carlton, her label "wasn't very happy" about the decisions she made during the making of the album.

Interscope Records chairman Jimmy Iovine suggested that Carlton co-write with Jenkins after Carlton played the album's first five songs for him. Carlton said she felt trepidation about collaborating with Jenkins and that there were "moments when things got intense" between them, but because they had similar intentions for the album and Jenkins "deferred" to and was "sensitive" to her style of piano-playing and the direction in which she wanted to take the album, she "trusted him completely" and called it "a cool collaboration". Carlton credited Jenkins with helping her to withstand and protect herself from pressures the record label, who wanted to influence the recording process, placed on her. Jenkins also played instruments and performed programming and mixing work on the album, and he recorded backing vocals with Carlton on several songs, including "She Floats", in which their vocals were edited to make it sound as if a forty-member choir was singing.

"White Houses" was the first song Carlton and Jenkins wrote together, and Lindsey Buckingham of the band Fleetwood Mac played acoustic guitar on the track after Jenkins met Buckingham, who was recording in the same building (The Record Plant, Los Angeles), and invited him to listen to the song. Carlton said, "he just came in, played this great riff, recorded it and then he left. It all happened very fast, and turned out amazing". Several other guest musicians worked on the album. Pharrell Williams of the production duo The Neptunes, who were working with Good Charlotte, contributed backing vocals to "Who's to Say". Two of the three drummers on the album were Abe Laboriel Jr., who played on Be Not Nobody, and Bryan "Brain" Mantia ("She Floats"), formerly of the band Primus. Third Eye Blind guitarists Tony Fredianelli ("San Francisco") and Arion Salazar also appear, as does former Red Hot Chili Peppers member Jesse Tobias. Carlton said she wanted to record a duet with Fleetwood Mac lead singer Stevie Nicks but never got the chance. She said "there was nothing calculated about the collaborations [on the album], nothing corporate".

A documentary, Pleased to Meet You, highlighted the process of recording the album and is included on an enhanced CD. Carlton said she thought it would "shed a lot of light the direction that I am going in and where I come from", mentioning that its working title was Pleased to Meet You: Vanessa Carlton, the New American Goth.

Critical reception
Billboard said "The album is full of beautiful, classical-leaning piano riffs and features more heartfelt lyrics than [Be Not Nobody]".

Chart performance and promotion
According to Ron Fair, a key element in the promotion of the album was radio airplay for "White Houses", which was released to radio in late August 2004. Its airplay slowly increased afterwards, and it did not enter the U.S. Billboard Hot 100 until October, peaking at eighty-six in early November. MTV censored, and later banned, the single's music video because of a lyric in the song that referred to sexual intercourse. "I think it's hypocritical", Carlton said of the situation. "All that is on MTV is sex. They are selling it all the time with sexy hip-hop videos with girls in their bras and panties doing their booty dance. But an eloquent statement about it from a female point of view...". Fair noted that the approach taken to marketing Carlton was different from those for other pop singers: "Lindsey [sic] Lohan and Hilary Duff and Ashlee Simpson are prominent media and television stars, and their music is an extension of their overall image. Vanessa is a singer/songwriter in the classic sense", and cited the significance of the success of "A Thousand Miles" (2002), Carlton's debut single, in determining how to promote the album. Chris Richards, a Borders Group music buyer, said, "When you look at an artist like that, who had an initial huge hit, the follow-up is a challenge. The new album retains the same qualities of the first. She is one of the pure-hearted girls, very squeaky clean and parent-approved". MTV News wrote, "No longer grouped with Avril Lavigne and Michelle Branch as part of a crop of young female singer/songwriters who play their own instruments, Carlton's new challenge is trying to balance her artistic credibility with a fanbase built upon TRL appeal." Carlton described herself as alternative to the "very popular" hip hop music and "really mainstream pop artists", such as Jessica Simpson and her sister, Ashlee.

Harmonium debuted at number thirty-three on the U.S. Billboard 200 with 36,000 copies sold in its first week, before falling out of the top forty in its second. By the end of 2004 it had sold less than 108,000 copies in the U.S., and it remained on the chart for just seven non-consecutive weeks. According to Nielsen SoundScan in February 2006, the album had sold 179,000 copies, an amount that compared unfavorably with the platinum sales of Carlton's debut album Be Not Nobody, which reached the top five in the U.S. Explaining Carlton's "predictable plunge" with Harmonium, the New York Daily News indicated the release date was partially responsible for the album's underperformance, while emphasising the low radio play for "White Houses": "Every holiday season, some acts wind up with nothing but a lump of coal ... more importantly, radio found no hits on Carlton's sophomore CD". Slant magazine, also attributing the album's low sales to the failure of "White Houses", alleged a lack of promotion by A&M Records: "Whether ["White Houses"] wasn't promoted adequately or audiences just didn't connect with the more mature, narrative style of the song, the label decided to let the album languish on store shelves with little support".

In early October Carlton opened for alternative rock band The Calling on their short tour of Brazil, and a performance she recorded for Sessions@AOL was aired over the internet. Later that month Carlton travelled to Japan to promote the album there, where "White Houses" failed to chart. Harmonium was released on October 21 and peaked at number fifty-two on the Oricon album chart, where Be Not Nobody had reached the top twenty; it stayed on the chart for six weeks and sold under 19,100 copies. Harmonium received more publicity in Taiwan, where MTV and Channel V aired Pleased to Meet You frequently, and MTV named Carlton its "Artist of the Month" for November. "Private Radio" reached the top ten in that month, surpassing the success of "White Houses", and Harmonium debuted at number ten on the albums chart the same week. "Who's to Say" began receiving radio airplay in Southeast Asia in mid-October and, in 2005, was released as the second single in Indonesia, where it failed to reach the top forty ("White Houses" had peaked just outside the top twenty).

To support the album Carlton embarked on a North American concert tour, which began on October 21 in Minneapolis, Minnesota and concluded on November 21 in Portland, Oregon; her opening act was pop rock band Low Millions. She said the tour would be "just me and the piano" and "totally stripped down, like an in-your-living room-type of feeling, that type of intimacy." A second tour, with Cary Brothers and Ari Hest as support acts for many of the shows, ran from March 9 (in Atlanta, Georgia) to April 30 (in Plattsburgh, New York). She recorded a cover of the Kai Winding song "Time Is on My Side" (1963) for a Time Warner digital video recorders commercial, which also served as promotion for Harmonium and received heavy rotation on U.S. television during early 2005. The newspaper Metroland wrote, "we tend to think time is most definitely not on her side — how else to explain the near-universal apathy to the release of her second album, Harmonium?" Harmonium was not re-issued to include the song. Carlton was quoted in a March 2005 interview with Fly Magazine as saying it was "difficult" for someone like her, a singer-songwriter who played the piano, to "reach a lot of people", but that "depending on what happens with the second single, I think it will do really well. I hope the record goes gold and all those things."

In April and May 2005 songs from Harmonium were featured on the WB teen soap operas Charmed and One Tree Hill. During this period Carlton participated in an exclusive performance with Ryan Cabrera, and in May she posted to her fans on her official website. She said that because "shortsighted (nonmusical bastards)" at her label "do not see how great the album would do if it was promoted", there would be no second single released in the U.S. "[I] worked my ass off promoting [H]armonium in the ways that [I] could control, but you can't sell records to someone in the middle of [I]ndiana without a little help", she wrote. By the following month, Carlton had separated from A&M Records. Some weeks before the announcement, PopMatters magazine wrote, "One has to wonder how long it will be before we hear the inevitable "the industry ate me up" stories from Vanessa Carlton. Perhaps when this record fails to outsell her debut and A&M drops her?"

During summer 2005, Carlton supported rock singer Stevie Nicks on her Gold Dust U.S. tour. Nicks said, "I just think she's a special one and I'm glad to be able to put her in front of a lot of people ... My audiences are so excellent and so caring and loving, and I want her (Carlton) to feel that ... The music business is in such bad shape. Those artists don't get nurtured ... I really respect her (Carlton). I'll be damned if I'll let her go by the wayside. She is one of the great ones. She won't quit." In October Carlton embarked on solo dates in the U.S., including one at Dartmouth College, where The Dartmouth wrote that Carlton "sought sympathy not only as the girl suffering in her song but also as the artist disappointed with her apparent lack of popularity." Carlton rejoined Nicks on her ten-date tour of Australia and New Zealand in February and March 2006.

Carlton said she was "kind of suffering" from the lack of promotion the label gave to the album because of her non-conformist attitude, but she felt she "definitely made the right decision in terms of kind of gaining the kind of attention from press and the credibility that you want to maintain throughout your career so that you can have fans that will follow you for years and years. That's really important to me."

Track listing

 * Standard edition
 * 1) "White Houses" (Carlton, Jenkins) – 3:45
 * 2) "Who's to Say" (Carlton, Jenkins) – 4:51
 * 3) "Annie" (Carlton, Jenkins) – 4:48
 * 4) "San Francisco" (Carlton) – 4:12
 * 5) "Afterglow" (Carlton) – 3:56
 * 6) "Private Radio" (Carlton, Jenkins) – 2:59
 * 7) "Half a Week Before the Winter" (Carlton) – 3:27
 * 8) "C'est la Vie" (Carlton) – 2:34
 * 9) "Papa" (Carlton) – 2:39
 * 10) "She Floats" (Carlton) – 5:15
 * 11) "The Wreckage" (Carlton) – 2:17 (hidden track)

 * Bonus track (Japan)
 * 11. "Where the Streets Have No Name" (Bono, U2) – 5:37

 * DVD (Japan)
 * 1) Pleased to Meet You – 24:42
 * 2) "White Houses" dance rehearsal – 3:34
 * 3) Duet – 1:24
 * 4) Extended footage – 8:19

Credits and personnel

 * Vanessa Carlton – backing/background vocals (tracks 1–4, 8); piano (tracks 1–7, 9–11); keyboards (tracks 3 and 7); Fender Rhodes (track 8); choir (track 10)
 * Stephan Jenkins – backing/background vocals (tracks 1–4, 8); percussion (tracks 1–2, 5); organ, electric guitar (track 4); programming, keyboards (track 6); drums (tracks 7–8, 10); mixing (tracks 9–10); choir (track 10)
 * Mark "Spike" Stent (Olympic Studio, London) – mixing (tracks 1–2, 6)
 * Arion Salazar – bass (tracks 1–6, 8, 10); electric guitar (tracks 1–2, 6)
 * Lindsey Buckingham – acoustic guitar (track 1)
 * Jesse Tobias – electric guitar (tracks 1, 4–6); additional electric guitar (track 2); guitars (track 3); mandolin (track 5); guitar (track 10)
 * Abe Laboriel Jr. – drums (tracks 1–6)
 * Ron Fair – strings arranger and conductor (tracks 1–2, 4–6, 10)
 * Pharrell Williams – background vocals (track 2)
 * Louis Conte – percussion (track 2)
 * Dave Way (Waystation Studio, Beverly Hills, California) – mixing (track 4)
 * Lior Goldenberg – mixing assistant (track 4)
 * Tony Fredianelli – electric guitar (track 4)
 * Tom Lord Alge (South Beach Studios, Miami Beach, Florida) – mixing (tracks 5 and 7)
 * Fernio Hernandez – mixing assistant (tracks 5 and 7)
 * Sean Beresford – programming (track 6); mixing (track 11)
 * Jerry Hey – trumpet (track 7)
 * Gayle Levant – harp (track 7)
 * Jason Carmer – mixing (track 8)
 * Jun Ishizeki – mixing (tracks 9–10)
 * Brain – drums (track 10)
 * Endre Granat, Bruce Dukov, Natalie Leggett, Charlie Bisharat, Jackie Brand, Julie Gigante, Robin Olson, Mario DeLeon, Alan Grunfeld, Josefina Vergara, Roberto Cani, Phillip Levy, Songa Lee, Sara Parkins, Lily Ho Chen, Sid Page, Tammy Hatwan, Armen Garabedian, Sarah Thornblade, Berj Garabedian, Anatoly Rosinsky, Eun-Mee Ahn, Tiffany Hue, Joel Derouin, Franklyn D'Antonio – violin
 * Brian Dembow, Simon Oswell, Vicki Miskolczy, Marlow Fisher, Sam Formicola, Danny Seidenberg, Matt Funes, Roland Kato, Kazi Pitelka – viola
 * Steve Erdody, David Low, Cecilia Tsan, Larry Corbett, Suzie Katayama, Armen Ksajikian – cello
 * Nico Abondolo, Mike Valerio, Oscar Hidalgo – additional bass
 * Gerry Rotella – flute
 * Tom Boyd – oboe
 * Emily Bernstein – clarinet

 * Producer: Stephan Jenkins
 * Executive producers: Vanessa Carlton, Ron Fair
 * Engineer: Sean Beresford
 * Additional engineering: Jun Ishizeki, Lior Goldenberg, Tony Espinoza
 * Strings recording: Frank Wolf, Tal Herzberg
 * A&R: Ron Fair
 * Assistant engineers: Judy Kirschner, Dann Thompson (Skywalker Sound); Jun Ishizeki (The Record Plant); Scott Brannan (Mourningwood Studio)
 * Art direction: Vanessa Carlton, Drew FitzGerald
 * Illustrations: Drew FitzGerald
 * Font designer: Vanessa Carlton
 * Hair: Sarra 'Na
 * Makeup: Heather Currie
 * Styling: Arianna Tunney and Alyssa Leal
 * Photography: Sheryl Nields
 * Management: Arthur Spivak, Stuart Sobol and Deborah Klein
 * Legal representation: Tim Mandelbaum

title: User:Extraordinary Machine/Sandbox


text: User:Assus

title: User:Assus


text:
Talk:White River State Park

Merger
I agree that it should be merged with the Canal page. Eric 01:22, 18 March 2007 (UTC)

title: Talk:White River State Park


text:
The Siren (song)

"The Siren" is the fourth and last single of Finnish symphonic metal band Nightwish's fifth studio album Once. The song was recorded with the London Session Orchestra and includes many exotic instruments, for example an electric violin and a sitar; it also has very few lines. Vocals are by Tarja Turunen and Marko Hietala.

"Symphony of Destruction", a live cover included on the single, was originally performed by Megadeth on their album Countdown to Extinction.

The song was also performed with the second frontwoman, Anette Olzon, and on 19 September 2009, at the Hartwall Areena, the band was supported by violinist Pekka Kuusisto.

Spinefarm Records

 * 1) The Siren (edited)
 * 2) The Siren (album version)
 * 3) The Siren (live)
 * 4) Kuolema tekee taiteilijan (live)

Nuclear Blast Records

 * 1) The Siren (edited)
 * 2) The Siren (album version)
 * 3) The Siren (live)
 * 4) Symphony of Destruction (live)
 * 5) Kuolema Tekee Taiteilijan (live)

Nems Enterprises
Bonus tracks:
 * 1) The Siren (edited)
 * 2) The Siren
 * 3) The Siren (live)
 * 1) Creek Mary' s Blood (orch. istr. score)
 * 2) Symphony of Destruction (live)

Chart performance
The Siren reached th 59th place in the Swiss charts, 51st in the German charts, 30th in Swedish the charts, third in the Finnish charts and fifteenth in the Danish charts.

title: The Siren (song)


text:
User talk:24.147.97.230/RfC Gamiel

RFC Gamaliel
Editors here should also be aware of this [] concerning this abusive editors of this page. Please visit and add your input to cross the 2 users needed to validate24.147.97.230 15:15, 21 August 2005 (UTC)

 * I note with amusement that you have again solicited support from Rex071404. The last time you did so, I told you on this talk page that Rex is serving a six-month ban for his relentless POV warring, use of an IP account to try to pretend to be more than one person, and general disruptiveness.  The lesson is here is that it would frequently be beneficial all around if you would actually read what other people write, instead of just assuming that everyone who disagrees with you is part of a "wolf pack".  By the way, your "contribution" list shows that your latest activity is to try to solicit comments from several established Wikipedians, presumably those whom you believe have shown sufficient right-wing bias in their editing.  The next time you go prospecting for friends in this fashion, you can skip 216.153.214.94; that account was Rex's sockpuppet and has also been blocked. JamesMLane 21:19, 21 August 2005 (UTC)

title: User talk:24.147.97.230/RfC Gamiel