text:
Fingering (sexual act)

Fingering is sexual stimulation of the vulva (including the clitoris) or vagina by using the fingers. Vaginal fingering is legally and medically called digital penetration or digital penetration of the vagina. The term "digital" takes its significance from the English word 'digit', which refers to a finger, thumb, or toe. Fingering may also include the use of fingers to stimulate the anus. When someone performs fingering on another person's vulva or vagina, it is a form of manual sex, and is analogous to a handjob (manual stimulation of the penis). It may be used for sexual arousal or foreplay, constitute an entire sexual encounter, or be used as non-penetrative sexual activity. Fingering performed on one's own vulva or vagina is a form of masturbation.

Practice
The main aspect of fingering, whether performed on oneself or performed on someone else, is manual stimulation of the vulva by rubbing with the fingers, insertion of the fingers into the vagina through its opening, or some combination.

Vulva
Parts of the vulva, especially the clitoris, are erogenous zones. Massage of the vulva, and in particular the clitoris, is the most common way for a woman to achieve an orgasm. Studies indicate that 70–80 percent of women require direct clitoral stimulation to achieve orgasm.

The clitoral glans or shaft may be massaged by one or more fingers, usually through the skin of the clitoral hood, using up-and-down, side-to-side, or circular motions. The rest of the vulva such as the labia are also stimulated by fingering. The fingers may caress the labia minora (the vulva's inner lips) via up-and-down/side-to-side movements as well or tug on the folds.

Vagina
While the vagina is not especially sensitive as a whole, its lower third (the area close to the entrance) has concentrations of nerve endings that can provide pleasurable sensations when stimulated during sexual activity.

Fingering the vagina is often performed to stimulate an area termed the G-spot. The G-spot is reportedly located roughly 5 cm up on the anterior wall of the vagina, forwards toward the navel. It is described as being recognized by its ridges and slightly rougher texture compared to the more cushion-like vaginal cavity walls around it. Fingering this spot, and in effect possibly stimulating the Skene's gland, is commonly cited as a method that may lead to female ejaculation.

Some women have cited the "come hither" approach as a significant catalyst to orgasm. This technique involves the middle finger, sometimes additionally the index or ring finger, making a hand gesture like "come here" with the palm facing upwards towards her pubic bone. Medical professionals suggest washing the hands before contact with the vagina, to ensure proper hygiene, especially when moving between different orifices.

Anus

Anal fingering may be pleasurable because of the large number of nerve endings in the anal area, and because of the added stimulation gained from stretching the anal sphincter muscles while inserting the finger. A personal lubricant is advisable to both increase the pleasurable sensation and aid insertion. Some people prefer to simply stimulate the outer ring of the anus, while others will follow this by inserting one or more fingers into the rectum.

Fingering one's own anus is an act of anal masturbation while fingering the anus of another person is a type of manual and anal sex. Partnered anal fingering can arouse the receiver, either as an act in itself or allowing them to relax their anus and prepare them for the insertion of a penis or any other sexual instrument.

Anal fingering is an effective way of stimulating the prostate in males  and can also stimulate the perineal sponge in women.

Safety and sexual assault
Consensual fingering is generally considered safe sex.

How digital penetration without consent is legally classified depends on the jurisdiction. For example, penetration of the vagina or anus with a finger without consent is rape in Australia, and forcible rape in many United States jurisdictions. In Scotland, the term rape is only used for penetration with a penis, whereas penetration with a finger can be "sexual assault by penetration".

Lesbian women often clip their nails in a particular fashion to allow for digital penetration, leading to recognition of shorter nails on the index and middle finger as a public LGBT symbol.

title: Fingering (sexual act)


text:
Josip Skoko

Josip Skoko (born 10 December 1975) is an Australian former professional footballer who played as a central midfielder for North Geelong Warriors, Hajduk Split, Genk, Gençlerbirliği, Wigan Athletic, Stoke City and Melbourne Heart. Skoko has been described as a central midfielder with "superb on-ball ability, inch perfect passing, and his ability to turn defence to attack in an instant." Skoko is currently the Director of Football at North Geelong Warriors FC.

Early career
Skoko was born in Mount Gambier, to a Croatian family. He played for Mt Gambier Croatia until he was 9 years old when he and his family moved to Geelong. Skoko played for North Geelong Warriors before moving to Croatian side Hajduk Split in 1995. After four years at Stadion Poljud he signed for Belgium club Genk. At Genk he was made captain and helped the team win the title in 2001–02. He joined Turkish club Gençlerbirliği in 2003 where he spent two years before moving to English football.

Wigan Athletic
Skoko joined Premier League club Wigan Athletic for €1 million at the beginning of the 2005–06 season, although he initially failed to maintain a regular place in the first team. On 7 January 2006 Skoko signed for Football League Championship side Stoke City on loan until the end of the 2005–06 season. He played nine times for Stoke and scored twice against Sheffield United and Crystal Palace.

In the 2006–07 season, Paul Jewell showed renewed faith in Skoko giving him an extended run in the side. The transfers of Jimmy Bullard and Graham Kavanagh to Fulham and Sunderland, respectively, in the summer of 2006 left a gap in Wigan's midfield and this led to him becoming a mainstay in the Wigan Athletic midfield, partnering Paul Scharner and Denny Landzaat. He signed a new contract deal keeping him at Wigan until 2008. However, at the end of the season it became clear that Skoko had played his last game for the club. The two main reasons were because he did not play enough games for Wigan to trigger a clause in his contract and also the impossibility of receiving a visa for his stay in England due to his international retirement with Australia. It was decided in May 2008 that Skoko's contract would not be renewed and he was subsequently released by Wigan.

Hajduk Split
Due to various work permit issues when playing in Europe, it took a longer than expected time for Skoko to put pen to paper with a club of his choice. However, on 21 July, and after several weeks of speculation, Skoko had finally signed a two-year deal with former club Hajduk. The decision, he said, took only minutes for the club and himself to agree terms. Skoko is relishing the chance to return to the side he made more than 100 appearances for between 1995 and 1999, with a club he describes as "a second home".

Melbourne Heart
Skoko's return home to Australia to play for A-League newcomers Melbourne Heart was confirmed by the club on 19 May 2010. The club signed the former Socceroo for one season as their inaugural Australian marquee player. He was also named as one of the initial members of the leadership group. In his second game for Melbourne Heart, he suffered a hamstring injury, which forced him out of the side for at least one month. In February 2012, Skoko came out of retirement to take part in the 2012 Hawaiian Island Invitational before retiring for good.

International career
Skoko was a member of the Australia senior team for ten years, from 1997 to 2007. He made his debut for Australia against Macedonia in 1997 and was a mainstay of the Socceroos side from then on, participating in two World Cup qualifying campaigns. He also represented his country at the Olympics in 2000.

In November 2005, Skoko came on as a substitute in Australia's playoff victory over Uruguay to qualify for the 2006 FIFA World Cup. He also captained a weakened Australian side against Bahrain in an Asian Cup qualifier in 2006.

On 25 May 2006, Skoko scored a cracking volley from 25m for Australia in a 1-0 friendly victory over Greece in front of 95,103 spectators at the Melbourne Cricket Ground, which he regards as "the most legendary moment of all time". He was selected in the squad for the 2006 World Cup in Germany but did not play in any of Australia's four games.

After being named in the Australian side for a friendly match against Argentina on 11 September 2007, Skoko stated that the game would be his home farewell from international football. Skoko ended his international career 51 minutes into the match in Melbourne when he was replaced by midfielder Carl Valeri.

Club

 * Source:

Honours
Genk
 * Belgian First Division: 2001–02
 * Belgian Cup: 1999–2000

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

title: Josip Skoko


text:
Talk:Emil Nobel

This is an unnecessary article that will never be more than a substub. Emil Nobel is mentioned in the article of his father, and he didn't do anything more remarkable than dying at a young age. I have previously turned this into a redirect to the father and intend to do it again. If the redirect is again reverted, I will list the page on VfD. Uppland 14:45, 27 August 2005 (UTC)

title: Talk:Emil Nobel


text:
Ooo Baby Baby

"Ooo Baby Baby" is a song written by Smokey Robinson and Pete Moore. It was a 1965 hit single by The Miracles for the Tamla (Motown) label.

The song has inspired numerous other cover versions by other artists over the years, including covers by Ella Fitzgerald, Todd Rundgren, The Escorts, The Five Stairsteps, Linda Ronstadt, and many others. The Miracles' original version of "Ooo Baby Baby" is listed as number 266 on Rolling Stone Magazine's list of "The 500 Greatest Songs of All Time".

Background
Written by Robinson and fellow Miracle Pete Moore and produced by Robinson, "Ooo Baby Baby" was a number 4 hit on the Billboard R&B singles chart and reached number 16 on the Billboard Hot 100.

A slow, remorseful number, "Ooo Baby Baby" features Miracles lead singer Smokey Robinson lamenting the fact that he cheated on his female lover, and begging for her to overlook his mistakes and please forgive him. The song's highly emotional feel is supported by the Miracles' tight background vocal harmonies, arranged by Miracles member and song co-author Pete Moore, and a lush orchestral string arrangement that accents The Funk Brothers band's instrumental track.

Cash Box described it as "a medium-paced, low-down, pop-r&b ode about an unfortunate gal whose singin' the blues since she lost her guy."

In 2004 Rolling Stone ranked the Miracles' original version of this song as #266 on their list of The 500 Greatest Songs of All Time. The song is one of the Miracles' most-covered tunes. On the 2006 Motown DVD The Miracles' Definitive Performances, Pete comments on the song's creation: "In the songs that Smokey and I wrote together, Smokey and Berry kinda left the background vocals to me. And this song "I'm on the Outside (Looking In)", which was one of The Imperials' bigger hits.... When I heard that song,  as far as the background (harmonies) were concerned and how (they were structured),  I wanted to get the same kind of feeling with Smokey's vocal. So I called Bobby, Ronnie, and Claudette over, and we did the backgrounds for it.  I kinda had that particular song in mind...so I wanted to get the same kind of feeling with 'Ooo Baby Baby'."

Influence
John Lennon was a huge fan of Smokey Robinson; he borrowed the "I'm Crying" part in this song for The Beatles' song "I Am the Walrus".

The Miracles

 * William "Smokey" Robinson – writer, producer, lead vocals
 * Pete Moore – writer, vocal arrangements, background vocals
 * Claudette Rogers Robinson – background vocals
 * Ronnie White – background vocals
 * Bobby Rogers – background vocals
 * Marv Tarplin – guitar

Other credits

 * Detroit Symphony Orchestra – strings
 * The Funk Brothers – other instruments, featuring Jack Ashford on vibraphone

Background
In 1978, Linda Ronstadt recorded a cover version of "Ooh Baby Baby" and included it on her double-platinum album Living in the USA. Her version of the single reached number 2 on the Contemporary chart and peaked at number 7 on the Billboard Hot 100 in 1979 (it also hit the R&B and Country singles charts). Her single, which opens with a saxophone solo by David Sanborn, was produced by Peter Asher and issued on Asylum Records. Ronstadt performed with Smokey Robinson both "The Tracks of My Tears" and "Ooh Baby Baby" on the Motown 25: Yesterday, Today, Forever special broadcast on May 16, 1983.

Other versions

 * The Five Stairsteps (1967)
 * Ella Fitzgerald (1969)
 * Blinky and Edwin Starr on Just We Two (1969)
 * The Fuzz on The Fuzz (1970)
 * San Francisco T.K.O.'s on Herm b/w Oh Baby, Baby (1972)
 * Honey Cone on Love, Peace & Soul as "O-O-O Baby Baby" (1972)
 * Todd Rundgren on A Wizard, a True Star, contained in the albums medley, as "Ooh Baby Baby". (1973)
 * Ralfi Pagan on  I Can See  (1975)
 * Gary Bartz on Music Is My Sanctuary (1977)
 * Shalamar on Uptown Festival (1977)
 * Aretha Franklin and Smokey Robinson performed the song on Soul Train on December 1, 1979.
 * Sylvester on Too Hot to Sleep (1981)
 * Zapp, titled "Ooh Baby Baby", on Zapp Vibe (1989), also released as a single
 * Hugh Masekela, Uptownship (1989)
 * Ray, Goodman & Brown, titled "Ooh Baby Baby", on Ray, Goodman & Brown Live (1992)
 * Janet Kay on For the Love of You  (1994)
 * Laura Nyro (recorded 1994/95) released on Angel in the Dark in 2001
 * Yoko Takahashi (1996)
 * LaToya London (2004) on American Idol during Motown Week
 * Musiq on Luvanmusiq (2007, bonus track)
 * Human Nature on Get Ready (2007) featuring Smokey Robinson.
 * Anoop Desai (2009) on American Idol during Motown Week
 * Marianne Faithfull featuring Antony Hegarty (2009) released on Easy Come, Easy Go
 * Seal, titled "Ooh Baby Baby," on Soul 2 (2011)
 * Teena Marie, bonus digital track on her posthumous album Beautiful (2013)
 * Jeff Beck and Johnny Depp on their collaborative album 18
 * Erich Cawalla on "The Great American Songbook" (2022)

title: Ooo Baby Baby


text:
Talk:Gioconda Belli

Noble prize
A previous version of this article stated that Belli has received the Nobel Prize in Literature, which as the linked article shows, is not true. 82.210.117.215 14:47, 27 August 2005 (UTC)

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

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

If there is other other fair use media, consider checking that you have specified the fair use rationale on the other images used on this page. Note that any fair use images uploaded after 4 May, 2006, and lacking such an explanation will be deleted one week after they have been uploaded, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you.BetacommandBot 04:36, 5 June 2007 (UTC)

100 most important poets ??
Quotation: "She was designated among the 100 most important poets during the 20th century " - there are two sources for this statement - but unfortunately the sources does not explain, WHO made this selection of 100 most important poets (United Nations?? - Literary critics? )  - so these are not good references. I doubt also that these sources are independend from another. The sentence should be deleted, until there is a better explanation. Plehn (talk) 15:00, 7 February 2010 (UTC)

title: Talk:Gioconda Belli


text:
User:JRM/Featured captions

We all know about Featured images. They're usually picked for their striking visuals. But what about the captions? Writing engaging captions that compliment the article without distracting from it is an art too. Here are some of the best captions I've seen—that's not to say they're beyond improvement, but they clearly stand out from the crowd.

title: User:JRM/Featured captions


text:
Merchants of the Steelyard

The Merchants of the Steelyard was the English name for the merchants of the Hanseatic League who first settled in London in 1250 at the Steelyard on the river-side, near Cosin Lane, now Ironbridge Wharf and established their London Kontor in 1320. Located just west of London Bridge near Upper Thames Street. Cannon Street station occupies the site now. It grew significantly over time into a walled community with its own warehouses, weighhouse, church, offices and houses, reflecting the importance and scale of the activity carried on. It is first referred to as the Steelyard (der Stahlhof) in 1422.

The land and buildings still remained the property of the Hanseatic League, and were subsequently let to merchants for business purposes. Destroyed in the Great Fire of 1666 they were rebuilt as warehouses, and were finally sold to the South-Eastern Railway Company in 1852 by the Hanseatic towns, Lübeck, Bremen, and Hamburg.

title: Merchants of the Steelyard


text:
Talk:Chris Helme

Untitled
Slapped the expand tag on there as well because I think this article can become something, but as it is, it's not enough to warrant something different than his band. I'll come back in a few days. Karmafist 14:48, 27 August 2005 (UTC)

External links modified
Hello fellow Wikipedians,

I have just modified one external link on Chris Helme. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
 * Added archive https://web.archive.org/web/20131006033546/http://www.cultfound.org/chrishelmeinterview1.html to http://www.cultfound.org/chrishelmeinterview1.html

When you have finished reviewing my changes, you may follow the instructions on the template below to fix any issues with the URLs.

Cheers.— InternetArchiveBot  (Report bug) 22:29, 5 August 2017 (UTC)

title: Talk:Chris Helme


text:
User:Tanet

Fan of wikipedia. Living peacefully in Ispra.

Travelling

 * Family tree

Patronym tanet
The Tanet name, which is a very unique Celtic origin, came from the rugged landscape of Wales. This Brythonic Celtic name is from the name Danet. This name is formed through the addition of the diminutive prefix -et to Dan, which is a pet form of the personal name Daniel. The initial D of the name was often sharpened to T, giving rise to the surname Tanet.

The name seems to be Celtic in origin, coming from the Brittonic *tanets (cf. Welsh tân) meaning "fire" and Old Breton tanet "aflame", possibly a reference to a beacon. (cf. Isle of Thanet)

Toponymic tanouët meaning oak grove, tann-eto in Common Brittonic. The name is derived from tannum (oak bark) used in the tanning of leather. Breton tannen "oak".

Spelling variations of this family name include: Tanat, Tannat, Tanet, Tanett, Tanatt, Tannatt and many more.

First found in Shropshire where they were anciently seated as Lords of the Manor of Abertanat.

The name 'Tanet' is corruption of the Celtic tan-arth "high fire", suggesting a lighthouse or beacon

Par ordonnance du 11 septembre 1822, une partie de la commune, comprenant le village de la Corderie, le faubourg de Kerveno, une partie du village de Crec'h-Tanet « le sommet enflammé  : krec'h (Kra, crec'h ou cnec'h)=haut, mont, côte, colline, montée, tertre, éminence et tan=feu» et du faubourg de Portz-an-Prat, a été incorporée à la commune de Lannion

The surname is also found in irish sept of Ó Tanaidhe (TANNY, TANNAY, TANNEY, TANNIE, TANEY) part of the Clan Drugain (Tanaide, Tanaidhe, Tanaí (TAWN-ee/TAHN ee) meaning slender, subtle)

 * Official facebook group
 * Crec'h-Tanet map
 * Brittany Region concentration of Tanets
 * tanet geographical spread
 * danet geographical spread
 * geopatronyme

title: User:Tanet


text:
Wikipedia:Articles for deletion/Eldest (Prior speculation)

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

The result of the debate was to delete the article. --Canderson7 16:56, September 5, 2005 (UTC)

Eldest (Prior speculation)
In the first place, Wikipedia is not a place for "speculation". This article seems to want to serve as an sort of archive of how the Eldest article looked a few days ago, before the book was released. Wikipedia already has a place for archived articles, and it's called "history". Coffee 14:49, 27 August 2005 (UTC)
 * Comment. If that is so, then why is Harry Potter and the Half-Blood Prince (prior speculation) not on vfd yet. --May the Force be with you! Shreshth91  ($ |-| r 3 $ |-| t |-|)  14:57, 27 August 2005 (UTC)
 * It was on VFD, twice. Honestly, I think it squeezed by the first time because the euphoria of the Harry Potter release made the masses of Harry Potter fans spring to the article's defense. The second one failed because it was too soon after the first. Coffee 15:06, 27 August 2005 (UTC)
 * Delete I agree Groeck 14:52, 27 August 2005 (UTC)
 * Delete. (The same with the Harry Potter article.) -Aranel (" Sarah ") 15:37, 27 August 2005 (UTC)
 * Merge to Eldest as a distinct section, there are recent edits and discussion on that talk page, I have left a message there, saying as much, pointing them here. Alf 21:10, 27 August 2005 (UTC)
 * Delete.   Paul Klenk 23:34, 27 August 2005 (UTC)
 * Delete per Coffee. I don't see the value of these "prior speculation" articles. --Metropolitan90 02:31, September 2, 2005 (UTC)

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


text:
Official Charts Company

The Official Charts Company (OCC or Official Charts; previously known as the Chart Information Network, CIN, and the Official UK Charts Company; legally known as the Official UK Charts Company Limited) is a British inter-professional organisation that compiles various official record charts in the United Kingdom, Ireland and France.

In the United Kingdom, its charts include ones for singles, albums and films, with the data compiled from a mixture of downloads, purchases (of physical media) and streaming. The OCC produces its charts by gathering and combining sales data from retailers through market researchers Kantar, and claims to cover 99% of the singles market and 95% of the album market, and aims to collect data from any retailer who sells more than 100 chart items per week.

The OCC is operated jointly by the British Phonographic Industry and the Entertainment Retailers Association (ERA) (formerly the British Association of Record Dealers (BARD)) and is incorporated as a private company limited by shares jointly owned by BPI and ERA. CIN took over as compilers of the official UK charts in 1990, and the company has continued in that role, as the OCC, since 1994. Before then, the charts were produced by a succession of market research companies, beginning with the British Market Research Bureau (BMRB) in 1969 and Gallup in 1983. Before the production of the "official" charts, various less comprehensive charts were produced, most notably by newspaper/magazine New Musical Express (NME) which began its chart in 1952. Some of these older charts (including NME's earliest singles charts) are now part of the official OCC canon.

European charts
In 2017, the OCC made a five-year deal with the Irish Recorded Music Association (IRMA) to compile the Irish Singles Chart, Irish Albums Chart and other Irish charts on behalf of IRMA.

In December 2020, the OCC announced it was taking over the contract from German company GfK, in compiling the French music charts for Syndicat National de l'Édition Phonographique (SNEP)/National Union of Phonographic Producers (SCPP) with the OCC taking over on 1 January 2021.

Chart synopsis
All of the OCC's charts are published weekly on Friday nights, and cover sales for the preceding week, Friday to Thursday. From 3 August 1969 until 5 July 2015, the chart week ran from Sunday to Saturday. In the United Kingdom, genre-specific charts include Official Dance Singles Chart Top 40, Official Hip Hop and R&B Singles Chart Top 40, Official Rock & Metal Singles Chart Top 40, Official Progressive Albums Chart Top 30 and the Asian Music Chart Top 40. It also produces charts such as the Official Independent Singles Chart Top 50, which tracks the progress of records (singles and albums) released on independent record labels or distributed by independent companies (not WMG/Sony/UMG) regardless of the genre/music released.

The Official Scottish Albums Chart Top 100 appears in listings on the Official Charts Company's site alongside its charts for the Republic of Ireland and Billboard's Top 20 singles and albums (with a link to the full Hot 100/albums 200 via billboard.com).

The Scottish chart is a listing reflecting how sales towards the UK Albums Chart are faring in Scotland. Until December 2020, the OCC published a Scottish singles chart on its website as well, though this chart may only be available via the UKChartsPlus newsletter. This subscription newsletter also includes the Official UK Top 100 Welsh Singles and Albums Charts, which serves the same purpose in Wales as the ones in Scotland, and the full UK Top 200 Albums chart.

The Official UK Top 200 Albums is just one of a number of 'industry only' charts not published for the general public, with others including UK Budget Album Chart (with any album including a low dealer price is excluded from the main album chart). Until the OCC changed its chart rules, and brought in criteria like the three-track rule (a maximum of three singles within the Top 100 by the same artist will be chart eligible), a Top 200 Singles chart was also published for people within the music industry.

The OCC also charts sales of DVDs and Blu-rays within the United Kingdom. While its music charts are now Friday to Thursday, its video charts remain Sunday to Saturday.

On 5 September 2008, the Official UK Charts Company rebranded itself as the Official Charts Company and introduced a new company logo. It later dropped the word 'Company' and became just "Official Charts".

From May 2012, a new chart was launched – the Official Streaming Chart. This counts audio streams from streaming services Spotify, Deezer, Blinkbox Music, Napster, amongst others. The chart is the first of its kind to rank streams from ad-funded and subscription services and the Official Streaming Chart Top 100 is now published weekly on the Official Charts website, and in music industry trade magazine Music Week.

In April 2015, the UK's first vinyl record chart of the modern era was launched by the Official Charts Company due to 'the huge surge of interest' in the sector. The chart was launched following the growth of the sector in the UK for the seventh year in a row.

In July 2015, Official Charts changed its chart methodology from traditional Sunday slot to the new Friday slot, effective on 10 July 2015 to coincide with the 'New Music Friday - Global Release Day' campaign set by IFPI which effective on 10 July 2015 as well.

Beginning in 2017, the Official Charts Company changed its methodology for calculating the Top 40, intending to more accurately reflect the rise in music streaming. Prior to January 2017, 100 streams counted as one 'sale' of a song. From January onward, the ratio became 150:1. Additionally, in June 2017, it was decided that after a record has spent at least 10 weeks on the chart, any track which has declined for three consecutive weeks will see its streams:sales ratio change from 150:1 to 300:1, in an attempt to accelerate their disappearance from the chart.

In mid-2019, the company also compiled the Asian Music Chart Top 40, alongside BritAsia TV. The chart highlights UK's biggest Asian songs of the week, based on sales and streams across a seven-day period.

In 2022, the success of Kate Bush's "Running Up That Hill" after its use in the fourth season of the Netflix series Stranger Things brought a challenge against the rules introduced in 2017. The rules were intended to prevent streaming of older songs potentially keeping them on the chart for years. This meant that Bush's song, which had been a Top 3 hit 37 years before, would have to obtain twice the streamings of Harry Styles' song "As It Was" to earn the same 'sales', despite easily being the most streamed and most downloaded song. The OCC granted a 'manual reset' in order to reflect the success of the revival of Bush's hit.

As well as genre-specific and music video charts, the OCC tracks purchases (DVDs/blu-rays) and downloads of television programmes, films and sports/fitness videos from a range of retailers and online sites.

The Chart Supervisory Committee
As the OCC is jointly operated by the BPI and the ERA, a Chart Supervisory Committee is in place with panel of representatives from both the record industry and from retailers. Five representatives from each sector are selected, with record companies represented by the major label corporations WMG, Sony Music and UMG alongside a couple of large independents, BMG Rights Management and PIAS Group. The Chart Supervisory Committee is the body which discusses and decides on any chart rule changes, whether it be changes to physical/digital formats or with the chart ratios ACR and SCR (Accelerated Chart Ratio and Standard Chart Ratio), with representatives meeting approximately four times a year.

title: Official Charts Company


text:
Wikipedia:Articles for deletion/Bernard J. Lunzer

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

The result of the debate was speedy deleted A7. - Mailer Diablo 05:49, 28 August 2005 (UTC)

Bernard J. Lunzer
nn vanity Groeck 14:50, 27 August 2005 (UTC)

Vanity Delete--Aranda56 21:38, 27 August 2005 (UTC)
 * Delete - nn Denni ☯ 22:55, 2005 August 27 (UTC)
 * Delete.  Paul Klenk 23:28, 27 August 2005 (UTC)
 * Delete Vanity. Amren (talk) 04:24, 28 August 2005 (UTC)
 * Gone. - Mailer Diablo 05:49, 28 August 2005 (UTC)

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


text:
User:Jeremy Butler

I've taught film and television studies at the University of Alabama since 1980 and been a visiting professor at the University of Arizona. I've been involved with college and Public radio since 1972 and currently host "All Things Acoustic" on Alabama Public Radio. On June 1, 2020, I retired from full-time teaching/scholarship and became a professor emeritus. User:FloridaArmy was kind enough to create a Wikipedia article about me on September 7, 2020.

I'm the author of The Sitcom (NY: Routledge, 2019), Television Style (NY: Routledge, 2010), Television: Visual Storytelling and Screen Culture, 5th edition (New York: Routledge, 2018; formerly titled, Television: Critical Methods and Applications) and the editor of Star Texts: Image and Performance in Film and Television (Detroit: Wayne State University Press, 1991).

My previous encyclopedia-writing experience was for the Encyclopedia of Television.

Online projects

 * JerCom Radio — site containing radio programs I've produced and hosted (specifically, All Things Acoustic and Progressions)
 * Radio programs on MixCloud
 * The 1970s in Black & White — a gallery of black & white photographs I shot in the 1970s—plus more recent work.
 * Crappy Software blog — "so much crappy software in the world..."
 * ScreenSite — a resource for film/TV students and teachers. Founded 1994.
 * ScreenLex — a pronunciation guide for film/TV students.
 * The Sitcom — the companion Website for the book, The Sitcom.
 * TVCrit.com — the companion Website for the book, Television: Visual Storytelling and Screen Culture, formerly titled Television: Critical Methods and Applications.
 * Television Style — the companion Website for the book, Television Style.
 * My official homepage
 * I've been participating in Wikipedia since 17:36, March 23, 2005 — starting out as JButler. I didn't like that account name, because of its funky capitalization (i.e., Jbutler and jbutler don't equal JButler on Wikipedia). When I realized you could create an account name with a space in it, I switched to Jeremy Butler (27 August 2005).
 * Under the deprecated account, "JButler," I made 135 edits. And as "Jeremy Butler," I have made 11,995 edits (as of July 4, 2024)for a total of 12130 edits. Xtools maintains an up-to-date edit count. I'm mostly interested in articles dealing with folk music and film and television studies.

Online projects graveyard

 * Shot Logger — a database of editing statistics, based on shot lengths. Deprecated 2024, although its data are still available.
 * Laugh Logger — a database of laughtrack statistics, based on the interval between laughs. Deprecated 2024, although its data are still available.
 * Screen-L — an email discussion group for film/TV studies. Founded Fri, 15 Mar 1991 19:42:11 CST. Deprecated 2024.
 * The Telecommunication and Film Department, the University of Alabama
 * ScreenTags — an archive for film/TV hashtags culled from Twitter.
 * The Internet Folk Radio List — a directory of hundreds of radio programs that feature folk, acoustic, singer-songwriter, and international music.

Things to remember when wikiing
Stuff I constantly have to look up.

Ongoing projects

 * List of ancestors
 * Suggestions of articles that need to be created or edited:
 * User:Jeremy Butler/Projects/Suggestions
 * Wikipedia books (deprecated)
 * User:Jeremy Butler/Books/tvcrit/01 Ebb and Flow
 * User:Jeremy Butler/Books/tvcrit/09 Style and Editing
 * User:Jeremy Butler/Books/tvcrit/14 Glossary
 * User:Jeremy Butler/Books/Discourse and Identity: Race
 * User:Jeremy Butler/Books/21st-Century Comedies Centered on Unmarried Women

title: User:Jeremy Butler


text:
Talk:Middle States Association of Colleges and Schools

User:Spinboy
What's with External link on Middle States Association of Colleges and Schools.

What's up this addition? Shows a motor cycle?

See History

Thanks

Scott 14:52:46, 2005-08-27 (UTC)

Differentiation needed
I added some explanatory text on how this differs from the Middle States Commission on Higher Education, namely that it doesn't accredit post-secondary schools with degree programs (per the US Dept. of Education), and my edit was undid. I'm going to restore it, since I believe that the information is necessary to distinguish the two organizations, and I referenced my source. A garbage person (talk) 18:35, 10 April 2018 (UTC)

post-secondary accreditation
, please identify where in this source it says that the MSA's accreditation of post-secondary schools is limited to those which do not confer degrees, or which offer technical programs. --Dr. Fleischman (talk) 06:11, 11 April 2018 (UTC)

, the phrasing is admittedly vague, and refers to "Middle States Commission on Secondary Schools" instead of "Middle States Association of Colleges and Schools". But it does say that the Department of Education only recognizes their accreditation for those two areas, so one can infer that it would be a waste of resources to offer accreditation that has no value and they would limit it to those areas. I can add the MSA-CESS standards of accreditation page, which includes secondary, elementary, and career/technical accreditations. There's also a page on school system accreditation, but it makes no mention of granting degrees of higher education.A garbage person (talk) 15:45, 12 April 2018 (UTC)
 * I'm sorry, I don't follow your logic. The Middle States Commission on Secondary Schools is not the same thing as the Middle States Association of Colleges and Schools. Are you saying "close enough?" --Dr. Fleischman (talk) 17:56, 12 April 2018 (UTC)
 * As far as I can tell, the Middle States Association of Colleges and Schools has two parts, the Commission on Secondary Schools and the Commission on Elementary Schools, also collectively known as MSA-CESS. If one part of a greater whole does something, I don't think it's reaching to say that the whole is also involved. Since the Middle States Commission on Higher Education is legally and operationally distinct from both the Middle States Association of Colleges and Schools and MSA-CESS, the fact that MSCHE accredits degree-granting programs has no conflict with saying that MSA doesn't. — Preceding unsigned comment added by A garbage person (talk • contribs) 20:50, 12 April 2018 (UTC)
 * There's a logical fallacy in there. If a part of the whole does something, then you can say the whole does it too. But that's not what this is about. If a part of the whole doesn't do something, that doesn't mean the whole doesn't do it either. That's because another part of the whole might do it. So just because MSA-CESS is limited in what types of post-secondary programs it can accredit, doesn't mean MSA is so limited. As I understand it the other part of MSA, namely the Middle States Commission on Higher Education, is specifically permitted to accredit degree-earning post-secondary programs. --Dr. Fleischman (talk) 02:13, 13 April 2018 (UTC)
 * MSCHE is not part of MSA; it's legally separate and has a specific agreement with MSA to continue using the "Middle States" name. I'm a higher ed scholar (who happens to work at a MSCHE-accredited university and is a little bit involved with the organization) so I don't specifically know anything else about MSA but I know that it's not one of the seven recognized regional accreditors of colleges and universities.  So while we may not be able to prove a negative ("MSA does not accredit colleges or universities") we can definitely prove the positive that it's not a recognized regional accreditor so I think this situation is quite clear. ElKevbo (talk) 02:30, 13 April 2018 (UTC)
 * And the source cited at the very beginning of this section explicitly says this anyway: "Scope of recognition: the accreditation of institutions with postsecondary, non-degree granting career and technology programs in Delaware, Maryland, New Jersey, New York, Pennsylvania, the Commonwealth of Puerto Rico, the District of Columbia, and the U.S. Virgin Islands to include the accreditation of postsecondary, non-degree granting institutions that offer all or part of their educational programs via distance education modalities." So where's the confusion??? ElKevbo (talk) 02:34, 13 April 2018 (UTC)
 * Not confusion, basic verification. The source is talking about the MSA-CESS, not the MSA. I have no doubt that your personal knowledge is correct, but we still need a reliable source that verifies the content. --Dr. Fleischman (talk) 03:02, 13 April 2018 (UTC)
 * The MSCHE website details how it was part of the MSA, but isn't any longer: "From its origins in 1919 through February 2013, the Commission was a unit of the Middle States Association of Colleges and Schools. Although now an independent corporation, the Commission maintains an ongoing relationship with the Middle States Association.". So MSCHE is not part of the MSA any longer; it just works with them. --A garbage person (talk) 16:08, 17 April 2018 (UTC)
 * I seem to remember from a MSCHE town hall or conference that the relationship focuses almost strictly on licensing the name "Middle States." The current MSCHE website says: "From 1919 through February 2013, MSCHE functioned as one of the three Commissions of the Middle States Association. However, on March 1, 2013, MSCHE was separately incorporated under Pennsylvania Commonwealth law as the Mid-Atlantic Region Commission on Higher Education, doing business as the Middle States Commission on Higher Education."  I think they have retained the name primarily to reduce confusion among institutions and other constituents because they used the name for so long (nearly a century) but otherwise have no substantive relationship with MSA-CESS or what remains of MSA . ElKevbo (talk) 19:17, 17 April 2018 (UTC)
 * Thank you, that's helpful. The verifiability problem still stands, however. The MSA is not the same thing as the MSA-CESS, so we can't use a source that says something about the MSA-CESS to say something about the MSA in general. --Dr. Fleischman (talk) 19:00, 17 April 2018 (UTC)
 * I don't think that there is a substantive MSA organization, not in an operational sense. There seems to have been a unified, functioning organization with that name at some point in the past but right now the only organizations that actually exist are MSCHE and MSA-CESS; the Department of Education's accreditation website supports this understanding.  If this article doesn't reflect that - and I don't think it does! - then this article needs to be rewritten.  It should probably be a somewhat short article with some history but the majority of the material should be left for the MSCHE and MSA-CESS articles since those are the contemporary accrediting organizations that currently exist and have ties to MSA.  ElKevbo (talk) 19:13, 17 April 2018 (UTC)

Potential move or refactoring of article

 * There's no MSA-CESS article. If the MSA now consists solely of MSA-CESS, then we should confirm that and then move the article, yes? --Dr. Fleischman (talk) 19:26, 17 April 2018 (UTC)
 * Very much agreed. --A garbage person (talk) 20:20, 17 April 2018 (UTC)
 * No, I think it's still worth having this article and including (a) historical information and (b) discussion of how the current organizations came about and links to them. But I agree that most or all of the content in the current version of this article should be moved to a new article about MSA-CESS. ElKevbo (talk) 20:53, 17 April 2018 (UTC)
 * Well I'm at a near-complete loss here. There's just a dearth of information about these organizations, their relationships, and whether something called the "Middle States Association of Colleges and Schools" even exists today. This source is good but only covers the organizational history through 2009. After that it gets murky. The MSA's website is just a stub. The MSCHE source ElKevbo found suggests MSCHE split off from the elementary and secondary school commissions and perhaps left the MSA in 2013. However these bylaws seem to suggest it's still part of the MSA. Although the bylaws were adopted in 2011, they include an update from 2014. --Dr. Fleischman (talk) 21:10, 17 April 2018 (UTC)
 * To add to the confusion, the Standards for Career and Technical Institutions from the MSA-CESS, published 2017, talks about the MSA as an overarching organization that includes the MSCHE! However, the Facebook page for the Middle States Association is explicitly only about the MSA-CESS, and it's regularly updated (last update was yesterday). This is also backed by the latest news post on the MSA-CESS site which explicitly refers to the MSA as another name for the MSA-CESS. (Also,, the MSA site being a stub--and the lack of talk about the MSA anywhere outside of the MSA-CESS--was what prompted my initial edit that kicked off this spiral.) --A garbage person (talk) 17:02, 18 April 2018 (UTC)

The sources you found published on msa-cess.org are as reliable as the one ElKevbo found on msche.org. I cannot interpret these as anything but a conflict among the sources. In light of this, I think we should keep the article where it is but reframe it to explain that at least until 2013 the MSA was comprised of three affiliated commissions, and to explain that there's a conflict among the sources about whether the MSCHE is still part of the MSA. Another approach we could take it treat all of these WP:ABOUTSELF sources as unreliable and simply omit everything about the history of the organization after 2009. However I think that would be doing readers a disservice. Thoughts? --Dr. Fleischman (talk) 17:17, 18 April 2018 (UTC)
 * Isn't there some kind of template for this situation? Maybe some branch of Template:Self-contradictory? --A garbage person (talk) 17:42, 18 April 2018 (UTC)
 * I recommend just sending the organizations an e-mail and asking if there are any publicly available documents that clear this up. ElKevbo (talk) 18:11, 18 April 2018 (UTC)
 * I personally prefer not to do that sort of research, but it's certainly an option. Are you volunteering? --Dr. Fleischman (talk) 18:16, 18 April 2018 (UTC)
 * A garbage person, this is matter of contradictory sources, not contradictory content. The solution in these cases is dictated by WP:NPV. Namely, if the sources are deemed reliable then we describe the dispute among them. --Dr. Fleischman (talk) 18:13, 18 April 2018 (UTC)
 * Dang it. Too bad there isn't a "these sources make no sense and we don't know why" button. --A garbage person (talk) 18:48, 18 April 2018 (UTC)

 * FWIW, the MSA's website was stubified at some point between December 2014 and May 2015. Before the stubification the "About" page said all three commissions were part of the MSA. --Dr. Fleischman (talk) 18:30, 18 April 2018 (UTC)

 * I found two helpful, independent reliable sources, though neither answers all of our questions:
 * nj.com: The MSCHE was a unit of the MSA in 2012.
 * Inside Higher Ed: At least as of 2010, the MSCHE and the MSA were engaged in a nasty turf war that involved an investigation by the ED and lots of lawyers. Regardless of how we refactor our article, this definitely merits at least a paragraph.

--Dr. Fleischman (talk) 20:35, 18 April 2018 (UTC)


text:
Pooh Richardson

Jerome "Pooh" Richardson Jr. (born May 14, 1966) is an American former basketball player who played 10 seasons in the National Basketball Association (NBA). He was selected in the first round of the 1989 NBA draft by the Minnesota Timberwolves, the first draft pick in franchise history. He would also play for the Indiana Pacers and Los Angeles Clippers during his 10-year NBA career from 1989 to 1999.

Richardson played college basketball for the UCLA Bruins from 1985 to 1989. A three-time first-team all-conference selection in the Pac-10 (now the Pac-12), he set school career records for assists and three-point field goal percentage.

His nickname came from his grandmother, who thought he resembled Winnie the Pooh.

Early life
Richardson grew up in Philadelphia, and played basketball in the Sonny Hill League. He was a McDonald's All-American while playing at Ben Franklin High School. He led Ben Franklin to the Public League championship in 1984. The Philadelphia Tribune called Richardson "a basketball legend in [Philadelphia]."

College
Recruited by head coach Walt Hazzard to play at the University of California, Los Angeles, Richardson was a four-year starter for the Bruins from 1985 through 1989. In his freshman year in 1985–86, he was honored as the Pac-10 Freshman of the Year as well as team's most valuable freshman player and outstanding defensive player. The following season, he was named first-team All-Pac-10. In his junior year, he was named the team's most valuable player (MVP) In Richardson's senior year in 1988–89, he was the team's MVP for the second consecutive year, first-team All-Pac-10 for the third year in a row, and the Bruins' outstanding defensive player for the second time in his career.

Richardson finished his career with UCLA records for most assists in a career (833), most assists in a season (236), and highest career three-point field goal percentage (46.4).

Professional playing career
The 6 ft point guard was taken by the Minnesota Timberwolves with the tenth overall pick of the 1989 NBA draft out of UCLA. He was their first ever draft choice and played with them for their first three seasons. During the 1992 offseason, he was traded along with Sam Mitchell to the Indiana Pacers in exchange for Chuck Person and Micheal Williams. In 1994, the Pacers dealt him to the Los Angeles Clippers along with Malik Sealy and 1994 draft pick Eric Piatkowski in exchange for Mark Jackson and the draft rights to Greg Minor.

After he retired from playing in the NBA, Richardson played a year in Milan at the request of Joe and Kobe Bryant, who were co-owners of the team.

Coaching career
Richardson became an Amateur Athletic Union (AAU) coach in Coachella Valley, California, where he purchased a home during his time with Minnesota. In 2017, he became an assistant coach at the College of the Desert.

title: Pooh Richardson


text:
Donald Duck in comics

Donald Duck, a cartoon character created by the Walt Disney Company, is today the star of dozens of comic-book and comic-strip stories published each month around the world. In many European countries, Donald is considered the lead character in Disney comics, more important and beloved than Mickey Mouse.

In America, the Donald Duck comic strip debuted on February 7, 1938, following a 1936-1937 trial run in the Silly Symphony Sunday page. The strip ran for more than 50 years, ending in 1995.

The Donald Duck comic book first appeared as part of Dell Comics' Four Color Comics one-shot series, beginning in 1942 (published as Four Color #9). It became an independent comic book with issue #26 in November 1952.

Donald Duck also has a prominent role in Walt Disney's Comics and Stories, the American flagship anthology comic first published in 1940. The most popular issues featured the Donald Duck 10-pagers written and drawn by Carl Barks, who began the run with issue #31 (April 1943).

Pre-cartoon namesake
The earliest print mention of a character called "Donald Duck" is in 1931 in the book The Adventures of Mickey Mouse, published by David McKay Company, Philadelphia. On the first text page, none of which are numbered, the third paragraph begins, "Mickey has many friends in the old barn and the barnyard, besides Minnie Mouse. They are Henry Horse and Carolyn Cow and Patricia Pig and Donald Duck..."

A duck with the same name made another early printed appearance in Mickey Mouse Annual #3 (published 1932; the annual for 1933), a 128-page British hardback. This book included the poem Mickey's 'Hoozoo': Witswitch, and Wotswot, which listed some of Mickey's barnyard animal friends: "Donald Duck and Clara Hen, Robert Rooster, Jenny Wren...". Mickey Mouse Annual #3 was drawn entirely by Wilfred Haughton.

Comic strip debut
The Donald introduced in the short film The Wise Little Hen made his printed debut in the June 1934 issue of Good Housekeeping magazine: a single-page ad depicted six comic images of Donald as part of the monthly Silly Symphony section. Later that year, Donald made his newspaper debut in the comic strip adaptation of that cartoon. It was released between September 16 and December 16, 1934, in the Silly Symphony Sunday pages by Ted Osborne and Al Taliaferro.

Starting February 10, 1935, Donald appeared in the Mickey Mouse comic strip by Ted Osborne and Floyd Gottfredson, in the story "Editor-in-Grief." In the story, Mickey hires Donald as a newsboy to sell Mickey's newspaper, the Daily War-Drum. The paper is involved in a battle with a criminal gang who try to keep Donald from selling the paper, which makes him furious and even more determined. Donald is there for the happy ending at Mickey's house on May 30, and then disappears from the strip for a while.

Featured character
A supporting character in Mickey's strip, Donald came to dominate the Silly Symphony strips between August 30, 1936, and December 12, 1937. At the time, Ted Osborne was credited as writer and Al Taliaferro as artist and inker. The duo turned Donald from a countryman to a city dweller. They also introduced the first members of the Duck family: Donald's identical triplet nephews Huey, Dewey, and Louie, who debuted on October 17, 1937. The triplets were sent to spend some time with him as guests while their father recovered at the hospital from their latest prank. Nevertheless, Donald ended up serving as their adoptive parent.

Comic book debut
At this time, the first Donald Duck stories originally created for a comic book made their appearance. In the United Kingdom, Odhams Press also created original stories with Donald Duck. "Donald and Donna", published in Mickey Mouse Weekly #67 (May 15, 1937), was the first Donald Duck adventure ever. The story was fifteen pages long and published in weekly episodes. The last appeared on August 21, 1937. All episodes were drawn by William A. Ward (artist).

Disney had also licensed the Italian publishing house Mondadori to create stories with the Disney characters as their stars. The first to star Donald, under his Italian name Paolino Paperino, was "Paolino Paperino e il mistero di Marte", written and drawn by Federico Pedrocchi for the new 1937 Disney comics magazine Donald Duck and Other Adventures (Paperino e altre avventure). The story was later reprinted in the United States as "The Secret of Mars" in Donald Duck #286.

In February 1940, Donald Duck made his first appearance as the main character on the cover of an American comic book in Dell Publishing's Four Color #4.

Developments under Taliaferro
Back in the USA, Donald finally became the star of his own newspaper comic strip. The Donald Duck daily strip started on February 2, 1938, and the Donald Duck Sunday page began December 10, 1939. Taliaferro drew both, this time co-operating with writer Bob Karp. He continued to work at the daily strip until October 10, 1968, and at the Sunday page until February 16, 1969.

Among other innovations, Taliaferro made several additions to Donald's supporting cast. Bolivar, Donald's pet St. Bernard first appeared in the strip on March 17, 1938, following his animated appearances in Alpine Climbers (July 25, 1936) and More Kittens (December 19, 1936). Donald's cousin Gus Goose made his first appearance on May 9, 1938, in a series of strips that promoted his upcoming debut short Donald's Cousin Gus (1939). Daisy Duck first appeared in the strip on November 4, 1940, following her first proper animated appearance in Mr. Duck Steps Out, first released on June 7, 1940. Donald's paternal grandmother, usually just called Grandma Duck, first appeared in a portrait on August 11, 1940, and in person on September 28, 1943. Taliaferro also reintroduced Donna Duck as a separate character from Daisy. This old flame of Donald rivaled Daisy for his affections between August 7, 1951 and August 18, 1951, before leaving him for another.

First treasure hunt
Donald had already been familiar to the American reading public through his newspaper comic strip by 1942. Then Disney licensed Western Publishing to create original comic book stories, with Disney characters as their stars. But the first American Donald Duck story originally created for a comic book was created by Studio-employed artists: Donald Duck Finds Pirate Gold, first published in October 1942. The story was written by Bob Karp, who based it on the storyboard of the unproduced Mickey Mouse short Morgan's Ghost by Harry Reeves and Homer Brightman. Karp gave Donald a starring role by removing Mickey and Goofy from the plot while also adding Donald's nephews. Then it was given to Carl Barks and Jack Hannah to illustrate.

The story places Donald and his nephews on a treasure hunt for the lost treasure of Henry Morgan, and it manages to combine elements of humor and adventure with dramatic moments and mystery rather well. Though it is one of his early drawings, Barks's attention to detail is already visible. The script asked for drawings of a Harbor and a sailing ship. Barks decided to use issues of National Geographic, which he collected, as reference sources. It was the first Donald story drawn by Barks for a comic book and the first to involve Donald in a treasure hunting expedition. Barks would later use the treasure-hunting theme in many of his own stories.

Developments under Barks
Until this point, the development of both the animated and the comic strip version of Donald was the result of a combined effort by a number of different creators, but the comic book version of Donald was mainly developed by Carl Barks beginning in 1943. The comic version had already diverged from the animated one in a number of ways. This same division between Mouse strips and Duck strips was generally followed in the comic books. Pete, however, remained his villain of choice for the first few years of his comic book work. Barks largely did away with Donald's animated persona as a loafing, lazy hothead whose main quality is his hardly understandable quacking. To make him suitable for a comic-book story, Barks redefined his personality and gave him articulated speech and shaded emotions. To give Donald a world to live in, Barks developed the city of Duckburg in the American state of Calisota. He was allowed to focus entirely on his own cast of Duckburg citizens, such as the richest duck in the world, Uncle Scrooge McDuck, lucky cousin Gladstone Gander, and peculiar inventor Gyro Gearloose. In the comics, Donald lives in a Duckburg house with Huey, Dewey, and Louie Duck.

Much of this scenario would resurface in the 1987 television series, DuckTales. In that cartoon, however, Donald works and lives as a sailor on an aircraft carrier, and Huey, Dewey and Louie live for a time with Uncle Scrooge.

Barks quit working at the Studio and found employment at Western Publishing with a starting pay of twelve dollars and fifty cents per page. He created his first Donald Duck ten-pager, The Victory Garden, which first published in April 1943; the basic script came from the studio, but Barks was asked to rewrite it in addition to drawing it. From then on, Barks both scripted and illustrated his stories, with few exceptions.

His production during that year seems to be at the pace he would follow for much of the following decade. Eight 10-pagers to be published in Walt Disney's Comics and Stories, published in a monthly basis, and one longer story for the sporadically published Donald Duck. In this case the story was Donald Duck and the Mummy's Ring, 28-pages long, first published in September, 1943. The shorter stories would usually focus on Donald's everyday life and on comedy, while the longer ones were usually adventure stories set in exotic locales. The latter would often contain more dramatic elements and darker themes, and would place Donald and his nephews into dangerous and often near-fatal situations. To add realism to his illustration of those stories' settings, Barks would still seek reference sources. The magazine National Geographic would usually provide most of the material he needed.

In both cases the stories presented Donald's personality as having multiple aspects that would surface according to circumstance. Or as Barks would say later: "He was sometimes a villain, and he was often a real good guy and at all times he was just a blundering person like the average human being." Adding another note of realism was the fact that Donald could end up being either the victor or the loser in his stories. And often even his victories were hollow. This gave a sense of realism to Donald's character and the characters and situations around him. His nephews accompanied him in those stories and Barks also gave many aspects to their personalities. In some cases they acted as the mischievous brats Taliaferro had introduced, often antagonizing their uncle. In some cases they got in trouble and Donald would have to save them. But in others they proved remarkably resourceful and inventive, often helping their uncle out of a difficult situation. But most of the time, they would appear to have developed a deeper understanding of things and level of maturity than their uncle.

The first recurring character that Barks would introduce was Donald's next-door Neighbor Jones. He was mentioned by name and made a cameo in Good Deeds, first published in July, 1943. He was mentioned as a neighbor that Donald likes to harass, but more as a form of teasing than anything more serious. Then he made his first full appearance in Good Neighbors, first published on November 1943. There Donald and he appear to have agreed to a truce. But when they misinterpret a number of chance events to be covert attacks by their respective neighbor, they resume their fighting with renewed determination. Jones seems to always be in a bad mood and Donald just serves to make him angry. The two irrational and easily irritated neighbors would serve as the focus of a number of short stories. From 1947, Jones was also used by non-Barks comics writers; from the 1960s onward, he has frequently reappeared in stories by a great number of authors.

The next two recurring characters to be introduced by Barks were much more significant. Donald's maternal uncle Scrooge McDuck made his first appearance in Christmas on Bear Mountain, first published in December 1947. The first member of The Clan McDuck to appear, his name was based on Ebenezer Scrooge, a fictional character from Charles Dickens's A Christmas Carol. The story's title was based on A Night on Bald Mountain by Modest Mussorgsky, a scene of Fantasia. Scrooge's first appearance was almost immediately followed by that of Donald's first cousin Gladstone Gander in Wintertime Wager, first published in January, 1948. Both characters did not yet have their now-recognizable characteristics. Scrooge was a bearded, bespectacled, reasonably wealthy old duck living in isolation in a huge mansion who is visibly leaning on his cane. Gladstone was presented as a rather arrogant cousin that had a claim on Donald's house. More specifically, in summer he had gotten Donald to agree to a wager. On Christmas, he had to either swim in a lake near his house or to pass his house to Gladstone. Gladstone does not yet lay claim to the title of The Luckiest Duck In the World. Daisy, who saves Donald from losing his house, still seems to have no interest in Gladstone. Their love triangle hadn't formed yet.

In the following years both characters would become prominent members of Donald's supporting cast. In Gladstone's case, he soon started to rival his cousin in a number of personal wagers and organized contests. His incredible luck was introduced in Race to the South Seas!, first published in 1949. This story also was the first to present Donald and Gladstone trying to win Scrooge's favor in order for one of them to become his heir. The story also explains their relationship to their rich relative: Donald is the son of Scrooge's sister and Gladstone is the son of Scrooge's sister's sister-in-law. Gladstone would also rival his cousin in a treasure hunt in Luck of the North, first published in December, 1949. Gladstone soon became Donald's rival for Daisy's affections. The love-triangle of Donald, Daisy and Gladstone would become an ongoing theme for the following decades.

While Gladstone's development and establishment seemed to take about a year after his appearance, Barks continued to experiment with Scrooge's appearance and personality for the following four years. Scrooge was soon established as a recurring character and various stories cast him as a featured character alongside Donald. By 1952, Scrooge had gained a magazine of his own. From then on Barks produced most of his longer stories in Uncle Scrooge with Scrooge as their star and focusing in adventure, while his ten-pagers continued to feature Donald as their star and focused on comedy. Scrooge became the central figure of the stories while Donald and their nephews were cast as Scrooge's helpers, hired helping-hands who followed Scrooge around the world. Other contemporary creators also reflected this change of focus from Donald to Scrooge in stories. Since then the role of the central figure in new stories alternates between Donald and Scrooge.

Further developments
Hundreds of other authors have used the character — for example, the Disney Studio artists that made comics directly for the European market. Two of these, Dick Kinney and Al Hubbard, created Donald's cousin Fethry Duck, an obsessive dreamer with a love of discovering new lifestyles and hobbies. Fethry remains one of the most popular Duck characters in Italy and Brazil, frequently with his own comic book title in Brazil.

The American artists Vic Lockman and Tony Strobl, working directly for the American comic books, created Moby Duck.

Don Rosa started writing and drawing Disney comics in 1987 for the American publisher Gladstone. He later worked briefly for the Dutch editors, but moved to work directly for Egmont soon afterwards. Rosa created numerous sequels to Barks' stories, including a 12-part series on The Life and Times of Scrooge McDuck, which won Rosa two Eisner awards. Also for Egmont, Rosa developed a popular edition of the Donald Duck family tree. Rosa retired in 2008, two years after the publication of his last story.

Other important artists who have worked on Donald are Freddy Milton and Daan Jippes, who made eighteen ten-pagers in the 1970s and 1980s that some claim are as good as Barks' work. More recently, both Jippes and Milton have continued to produce Duck stories on a solo basis.

Romano Scarpa, an Italian Disney artist, created Brigitta MacBridge, a female Duck who is madly in love with Scrooge. Her affections are rarely reciprocated, although she perseveres. Scarpa also created Dickie Duck (Paperetta Ye-Ye in Italian), granddaughter of Glittering Goldie (Scrooge's prospective love interest in the Klondike), and Kildare Coot (Sgrizzo Papero in Italian), an eccentric nephew of Grandma Duck.

Paperinik (Superduck / Duck Avenger)
Paperinik, also known as PK (Italy), Superduck (UK), Duck Avenger (USA),) is a comic book-costumed vigilante, Donald Duck's alter ego. Donald originally created Paperinik as a dark avenger alter-identity to secretly seek revenge upon relatives such as Scrooge McDuck and Gladstone Gander, but he soon found himself fighting other menaces as a superhero. The character is an Italian invention and, though dominant in stories in which he appears, is very much absent from all others not starring him. The Italian creators (editor-in-chief Elisa Penna, writer Guido Martina, and artist Giovan Battista Carpi) introduced Paperinik in the two-part, 60-page story "Paperinik il diabolico vendicatore" ("Paperinik the diabolical avenger") published in Italy in Topolino #706–707, on June 8 and June 15, 1969. The name "Paperinik" was initially meant to reference the Italian comic book antihero Diabolik, to which Paperinik's original depictions wear similarities.

Donald's character history
According to Don Rosa, Donald was born in 1920, however, this is not an official year of birth. According to Carl Barks, Donald's parents are Hortense McDuck and Quackmore Duck. Donald’s sister is named Della Duck, but neither she nor Donald's parents appear in the cartoons or comics except for special cases, like The Life and Times of Scrooge McDuck. According to Rosa, Donald and Della are twins.

title: Donald Duck in comics