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Shoulder Arms

Shoulder Arms is Charlie Chaplin's second film for First National Pictures. Released in 1918, it is a silent comedy film set in France during World War I, the first of three films he made on the subject of war. It co-starred Edna Purviance and Sydney Chaplin, Chaplin's elder brother. In this film, Chaplin is never in his Little Tramp outfit.

Plot
Some time during World War I, Doughboy (Charlie Chaplin) begins his service in the war amongst "the awkward squad" a group of American soldiers. He is bow-legged, unbalanced, and uncoordinated during bootcamp in contrast to the other soldiers who all have excellent coordination. He does move on to the front in France though, amongst the shells and trenches, and bunks amongst comrades (Sydney Chaplin). Doughboy is charged with guard duty and begins daydreaming of bars, cities, and home before being dismissed back to his bunk.

News/mail for soldiers is brought out for the soldiers, but there is nothing for Doughboy. Though his fellow soldiers offer him food from their mail he refuses and walks out to find there is a package for him; Limburger cheese and incredibly hard crackers. Due to the pungent smell of the cheese, he decides to throw it over the trench, hitting the Germans, rather than eat it.

Later, Doughboy struggles to sleep in waist high water, with his comrades all sleeping with no particular trouble in the conditions. In the morning, they are given the order to advance over the top. After hyping himself up against a backdrop of exploding artillery, Doughboy somewhat reluctantly goes over and manages to capture the enemy trench and 13 German troops the same as his identification number. Doughboy becomes much more confident after these events, and is no longer frazzled by the artillery or scared to take shots over the trench.

Doughboy volunteers for a secret mission and is advised that he may not return. His mission is to infiltrate enemy lines, disguised as a tree. When one of his comrades is captured spying on the enemy, Doughboy helps him to escape and is chased by a large German soldier (Henry Bergman) into the woods. Losing his tree disguise he is able to escape to a bombed out building wherein he meets a French girl (Edna Purviance) who tends to his wounds. Shortly after meeting, the large German soldier finds them. Both the French girl and Doughboy run, however the French girl is caught and arrested for aiding the Allies.

Before the French girl is assaulted by a German soldier, Doughboy manages to save her. Then the Kaiser shows up and Doughboy, disguised as a German officer, saves his comrade from capture again. All three of them now disguised as German officers chauffeur the Kaiser and his allies towards the Allied front. At the front they are greeted with applause and praise from the Allied troops.

Doughboy then wakes up back at bootcamp, revealing all was his dream.

Credited cast

 * Charlie Chaplin as Charlie, the Doughboy
 * Edna Purviance as French girl
 * Sydney Chaplin as The sergeant, Charlie's Comrade / The Kaiser
 * Jack Wilson as German Crown Prince
 * Henry Bergman as Fat German sergeant / Field Marshal von Hindenburg / Bartender
 * Albert Austin as American Officer / Clean Shaven German Soldier / Bearded German Soldier
 * Tom Wilson as Dumb German Wood-Cutter
 * John Rand as U.S. soldier
 * J. Parks Jones as U.S. soldier (credited as Park Jones)
 * Loyal Underwood as Small German officer
 * W.J. Allen as Motorcyclist
 * L.A. Blaisdell as Motorcyclist
 * Wellington Cross as Motorcyclist
 * C.L. Dice as Motorcyclist
 * G.A. Godfrey as Motorcyclist
 * W. Herron as Motorcyclist

Reception
Shoulder Arms proved to be Chaplin's most popular film, critically and commercially, up to that point. A review in the October 21, 1918 New York Times was typical: "'The fool's funny,' was the chuckling observation of one of those who saw Charlie Chaplin's new film. Shoulder Arms, at the Strand yesterday—and, apparently, that's the way everybody felt. There have been learned discussions as to whether Chaplin's comedy is low or high, artistic or crude, but no one can deny that when he impersonates a screen fool he is funny. Most of those who go to find fault with him remain to laugh. They may still find fault, but they will keep on laughing." The film was very revolutionary for its time, introducing a new genre of comedy. Previously, films had treated war as a serious subject. This is believed to be the first comedy film about war.

title: Shoulder Arms


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Gouffre Jean-Bernard

Gouffre Jean-Bernard or Réseau Jean Bernard, sometimes known simply as Jean Bernard, is the seventh deepest cave in the world, and the third deepest one in Europe. It is in the Alps in Samoëns, France. The first entrance to the cave was found by the French caving group Groupe Vulcain in 1963. More entrances have been found over the years since, and currently at least thirteen are known. The highest entrance, known as C37, is at 2333 m above sea level. The cave is named after Jean Dupont and Bernard Raffy, two Groupe Vulcain members who died in 1963 in an unrelated expedition in Goule de Foussoubie Cave.

Exploration
The first entrance, known as V4, was discovered in 1963 and exploration in that year took the cave to a depth of 100 m. Further explorations in the following year reached the main drain, or master cave, of the system at a depth of -210 m. This was further explored downstream in 1965 and 1966, reaching the base of a wet shaft, the Puits des Affreux, at -380 m. Explorations in 1968 reached Puits de la Rivière at -450 m. A major expedition in 1969, attended by many French cavers, reached a sump at -623 m.

In the upper part of the Vallon des Chambres, Gouffre B19 at an altitude of 2118 m, which had been discovered in 1968, was explored down to -450 m. In 1975, winter expeditions began. The -900 m elevation was exceeded on 4 January and at -938 m, the Salle des Crêpes was discovered two days later, marking the end of explorations for that year. The Gouffre B19 was connected to the network on the first of November, giving a system depth of 1208 m.

The sump at -1298 m was reached on 1 January 1976. In July 1979, exploration of Gouffre B21 at an altitude of 2237 m allowed the network to become the deepest in the world with a depth of -1358 m. It remained so until January 1998, when its depth was surpassed by Gouffre Mirolda.

In 1980, 1981, 1982 in February, three sumps were dived increasing the depth to 1494 m, progress being stopped by a fourth impenetrable sump. In August 1983, Gouffre B22 at 2194 m was explored and connected to the B21, giving access to the upstream galleries which allowed the system to exceed the -1500 m difference in height at -1535 m. At that point, further exploration was blocked by a water-filled passage.

More recent explorations have increased the depth to 1612 m, making it the seventh deepest cave known in the world.

Karst Development
The Gouffre Jean Bernard is located in a synclinal valley (Vallon des Chambres). The various entrances are located on the north-eastern flank of the syncline between 1800 m and 2300 m above sea level and are perpendicular to the master cave. The master cave flows close to the Urgonian Limestone-Hauterivian marl contact in a meander 2 m to 3 m wide. The resurgence is located at an altitude of 780 m in le Clévieux stream. The passages of 10 m to 15 m in diameter that are found in the upper part of the network are fossil passages developed before the incision of the Giffre valley.

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

title: Gouffre Jean-Bernard


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Jean Bernard

Jean Bernard may refer to:
 * Jean Bernard (physician) (1907–2006), French hematologist
 * Father Jean Bernard (1907–1994), Catholic priest who survived the Nazi concentration camp at Dachau
 * Jean-François Bernard (born 1962), former French professional road bicycle racer

title: Jean Bernard


text:
Temptations Live!

Temptations Live! is the first live album to be released by The Temptations. The album was recorded on October 3, 1966, at the Roostertail in Detroit, Michigan. The album cover photograph was taken in March 1966 at The 20 Grand, 14th and Warren in Detroit, Michigan, and the album was released on Gordy (Motown) Records in 1967. The album features David Ruffin, Paul Williams, Eddie Kendricks, Melvin Franklin, and Otis Williams performing their regular live repertoire for a highly receptive crowd mostly consisting of young women. Included in the set are Temptations hits such as "My Girl", "My Baby", "Get Ready", "Ain't Too Proud to Beg", "Don't Look Back", and the group's then-current single, "Beauty Is Only Skin Deep". Out of the several live albums the group recorded during their career, this is the only one to feature David Ruffin. The album remained on the Billboard pop albums chart for 51 weeks, peaking at number 10.

Track listing
Superscripts denote lead singers for each track: (a) David Ruffin, (b) Eddie Kendricks, (c) Paul Williams, (d) Melvin Franklin.

Side one

 * 1) Intro by Scott Regen – 0:03
 * 2) Medley – 4:49
 * 3) "Girl (Why You Wanna Make Me Blue)" (Norman Whitfield, Edward Holland Jr.) b
 * 4) "The Girl's Alright with Me" (Whitfield, Holland, Eddie Kendricks) b
 * 5) "I'll Be in Trouble" (Smokey Robinson) b
 * 6) "I Want a Love I Can See" (Robinson) c, a
 * 7) "What Love Has Joined Together" (Robinson, Robert Rogers) – 3:01 b
 * 8) "My Girl" (Robinson, Ronnie White) – 3:08 a
 * 9) ""Yesterday"/"What Now My Love" (Lennon–McCartney, Gilbert Bécaud, Pierre Delano, Carl Sigman) – 3:08 a, d
 * 10) "Beauty Is Only Skin Deep" (Whitfield, Holland) – 2:23 a
 * 11) Group Introduction – 0:49
 * 12) "I Wish You Love" (Albert Beach, Charles Trenet) – 1:52 b
 * 13) "Ain't Too Proud to Beg" (Whitfield, Holland) – 2:57 a

Side two

 * 1) "Old Man River" (Jerome Kern, Oscar Hammerstein II) – 4:44 d
 * 2) "Get Ready" (Robinson) – 2:10 b
 * 3) "Fading Away" (Robinson, Rogers, Warren Moore) – 1:55 b
 * 4) "My Baby" (Robinson, Rogers, Moore) – 2:10 a
 * 5) "You'll Lose a Precious Love" (Robinson) – 2:50 a
 * 6) "Baby, Baby I Need You" (Robinson) – 1:50 c, b
 * 7) "Don't Look Back" (Robinson, White) – 7:07 c

Compact disc bonus track

 * 1) "The Way You Do the Things You Do" (Robinson, Rogers) – 3:24 b

Personnel

 * The Temptations – Eddie Kendricks, David Ruffin, Paul Williams, Otis Williams, and Melvin Franklin (David English)
 * The Temptations Band:
 * Cornelius Grant – guitar, musical director
 * Bill Upchurch – bass
 * "Stormin" Norman Roberts – drums
 * Johnny Trudell's Horn Section:
 * Johnny Trudell, Maurice Davis, and Floyd Jones or Billy Homer – trumpets
 * Don White and George Bohanon – trombones
 * Ted Buckner and Ernie Rogers – alto saxophones;
 * George Benson and Angelo Carlisi – tenor saxophones;
 * Thomas "Beans" Bowles – baritone saxophone, flute
 * Scott Regen - M.C.

title: Temptations Live!


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User talk:Keevan Daley

As you have done work with the Kingdom of Hawaii's monarchy, please take a look again. There's been a huge fuss lately over whether articles on Hawaii's monarchs are in the right location and there are some people who'd like to change the format used in naming the articles (e.g. one user wants to move the article Kamehameha I to Kamehameha I, King of Hawaii. We're having a discussion at Wikipedia talk:WikiProject Hawaii/Manual of Style, and your views on the conflict would be most appreciated. Arrigo 12:54, 27 August 2005 (UTC)

title: User talk:Keevan Daley


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Rudolf Wolf

Johann Rudolf Wolf (7 July 1816 – 6 December 1893) was a Swiss astronomer and mathematician best known for his research on sunspots. Wolf was born in Fällanden, near Zurich. He studied at the universities of Zurich, Vienna, and Berlin. Encke was one of his teachers. Wolf became professor of astronomy at the University of Bern in 1844 and director of the Bern Observatory in 1847. In 1855 he accepted a chair of astronomy at both the University of Zurich and the Federal Institute of Technology in Zurich.

Wolf was greatly impressed by the discovery of the sunspot cycle by Heinrich Schwabe and he not only carried out his own observations, but he collected all the available data on sunspot activity back as far as 1610 and calculated a period for the cycle of 11.1 years. In 1848 he devised a way of quantifying sunspot activity. The Wolf number, as it is now called, remains in use. In 1852 Wolf was one of four people who discovered the link between the cycle and geomagnetic activity on Earth. Notices of Wolf's discovery appeared in:
 * The three other astronomers who observed a relation between the solar cycle and magnetic declination on Earth were:
 * Johann von Lamont (1805–1879) of Scotland and Germany:
 * Edward Sabine (1788–1883) of Ireland: From p. 103: " … I have had the satisfaction of finding that the observations [of magnetic declination] of these years [i.e., 1846–1848] confirm … the existence of a periodical variation, which … corresponds precisely both in period and epoch, with the variation in the frequency and magnitude of the solar spots, recently announced by M. Schwabe … "
 * Jean-Alfred Gautier (1793–1881) of Switzerland:  On pp. 189–190, after discussing Schwabe's discovery of the solar cycle, Gautier presents Lamont's findings on the relation between the solar cycle and the periodic variations in the magnetic declination.  Gautier mentions that the Austrian astronomer Augustin Reslhuber (1808–1875) confirmed Lamont's findings.  (Reslhuber's confirmation appeared in:  )
 * Edward Sabine (1788–1883) of Ireland: From p. 103: " … I have had the satisfaction of finding that the observations [of magnetic declination] of these years [i.e., 1846–1848] confirm … the existence of a periodical variation, which … corresponds precisely both in period and epoch, with the variation in the frequency and magnitude of the solar spots, recently announced by M. Schwabe … "
 * Jean-Alfred Gautier (1793–1881) of Switzerland:  On pp. 189–190, after discussing Schwabe's discovery of the solar cycle, Gautier presents Lamont's findings on the relation between the solar cycle and the periodic variations in the magnetic declination.  Gautier mentions that the Austrian astronomer Augustin Reslhuber (1808–1875) confirmed Lamont's findings.  (Reslhuber's confirmation appeared in:  )

Around 1850, to study the laws of probability, Wolf performed a Buffon's needle experiment, dropping a needle on a plate 5000 times to verify the value of π, a precursor to the Monte Carlo method.

title: Rudolf Wolf


text:
Graham McKenzie

Graham Douglas McKenzie (born 24 June 1941) – commonly known as "Garth", after the comic strip hero – is an Australian cricketer who played for Western Australia (1960–74), Leicestershire (1969–75), Transvaal (1979–80) and Australia (1961–71) and was a Wisden Cricketer of the Year in 1965. He succeeded Alan Davidson as Australia's premier fast bowler and was in turn succeeded by Dennis Lillee, playing with both at either end of his career. McKenzie was particularly noted for his muscular physique (hence his nickname) and ability to take wickets on good batting tracks. His father Eric McKenzie and uncle Douglas McKenzie played cricket for Western Australia. Garth was chosen for the Ashes tour of England in 1961 aged only 20. He made his debut in the Second Test at Lord's, where his 5/37 (including the last three wickets in 12 balls) wrapped up the England innings to give Australia a 5-wicket victory.

Early years
McKenzie grew up in a sporting family. His father, Eric McKenzie, was an opening batsman who played once for Western Australia, against the touring South African cricket team in 1931–32. His uncle, Douglas McKenzie, was a batsman who represented Western Australia on several occasions, scoring 88 in his last game against Lindsay Hassett's Services team in 1945–46. Douglas went on to become President of the Western Australian Cricket Association. Both Douglas and Eric also represented Western Australia in field hockey.

In his youth, McKenzie was an all rounder, batting right-handed and bowling off spin. Aged twelve, he gained selection for Western Australia in the 1953–54 under-14 interstate competition held at Adelaide, but the team withdrew after a polio epidemic in Western Australia. The next season, he captained the state when the competition was held in Perth, leading his team to the championship.

McKenzie attended John Curtin High School, where he performed well with both bat and ball in the school's first XI. At sixteen he was made his first grade debut for Claremont-Cottesloe as a batsman, but after unproductive performances was dropped to the second XI. The following year in 1958–59, he continued in second grade and took up fast bowling, taking 50 wickets at an average of 14.50 after his team had a pace bowling shortage. He was recalled to the First XI in 1959–60. He finished the season with 515 runs at an average of 39.46 and 49 wickets at an average of 11.21. His efforts were rewarded when the state selectors handed him a debut for the penultimate match of the Sheffield Shield season against Victoria in Melbourne. He went wicketless and scored 22 and 41. He took his first wickets in the final match against South Australia at Perth with 3/69. At season's end, his captain Ken Meuleman advised McKenzie to concentrate on his fast bowling.

International career
The 1960–61 season began with McKenzie's third first-class match, against the West Indies. He did not bowl in the first innings but took 4/41 in the second to seal a 94 run win, prompting West Indies captain Frank Worrell to predict a bright future.

Further strong performances during the Shield season saw him selected at age 19 for the 1961 Ashes tour under Richie Benaud. Following an injury to Benaud, Australia replaced him with a third seamer, allowing McKenzie to make his debut in the Second Test at Lord's during the "Battle of the Ridge". In his first innings, he made 34 on his twentieth birthday batting at number 10 on a difficult pitch. The last two wickets added 102 and Australia gained a lead of 134. In England's second innings, McKenzie captured the prized wickets of Ted Dexter and Peter May, and took the last three wickets in twelve balls to give 5/37 on debut. Australia went on to win by five wickets. After losing the Third Test at Headingley, Australia won the fourth Test at Old Trafford with McKenzie again making a valuable contribution with the bat. With a lead of only 177 with nine wickets down in the second innings, McKenzie joined Alan Davidson. He held his end for 32 runs while Davidson's powerful hitting saw 98 added for Australia's highest tenth wicket partnership on English soil. This allowed Benaud to bowl Australia to victory on the final day. The youngest member of the touring party, McKenzie was one of eight bowlers to take at least fifty wickets.

When Dexter's Englishmen toured Australia in 1962–63, McKenzie was promoted to share the new ball with Davidson. Playing in all five Tests, he did not trouble the batsmen to the same extent as his partner, taking 20 wickets for 30.95. He was noted for his ability to contain the opposition by bowling long spells. Davidson retired at the end of the series and McKenzie became the pace spearhead when South Africa toured in 1963–64. He was Australia's leading bowler with 16 wickets at 43.06. In the Third Test in Sydney, he hit his highest Test score of 76.

Five-wicket hauls
In cricket, a five-wicket haul (also known as a "five–for" or "fifer") refers to a bowler taking five or more wickets in a single innings. This is regarded as a notable achievement, and as of August 2014 only 23 bowlers have taken at least 20 five-wicket hauls at international level in their cricketing careers.

1964 saw McKenzie make his second Ashes tour of England. He led the attack as Australia retained the Ashes. His 29 wickets in five Tests equalled the highest obtained for Australia in England by Clarrie Grimmett in 1930. He took 21 wickets when Australia visited India and Pakistan on the return journey to Australia. Another seven wickets in a one-off Test against Pakistan in Melbourne in December established a new record for the number of Test wickets in the space of one year; from 11 December 1963 to 8 December 1964 he took 73 wickets in fifteen Tests. This surpassed Maurice Tate's 65 wickets in 1924–25. In this period, he became the youngest bowler to reach 100 wickets, at the age of 23 and 162 days, 139 days younger than A.L. Valentine. He was named as one of the Wisden Cricketers of the Year in 1965, the first Western Australian born recipient.

He toured South Africa in 1966–67 and in 1967–68 was dropped for the final two Tests after taking his only ten wicket match haul against India.

In 1968, McKenzie became a full-time cricketer, believing that it would offer him the best chance of financial security. At the time the Australian Cricket Board regarded its players as amateurs and paid them accordingly. McKenzie joined Leicestershire, captained until 1968 by the Western Australian skipper and former England Test stalwart Tony Lock. He took over four hundred wickets for the county and was instrumental in its four One Day Cricket trophies in the early 1970s and winning their first County Championship in 1975.

In 1968–69 he took 30 wickets (25.26) against the visiting West Indies and at 27 became the youngest man to take 200 Test wickets, a record since beaten. Another 21 wickets (21.00) came on the Indian tour of 1968–69, but when the Australian team proceeded to South Africa his form slumped (1/333 in four Tests) and they were whitewashed. It led to suspicions that he had contracted hepatitis. He played in the first four Tests of the 1970–71 Ashes series against England, taking 4/66 in the Second Test at Perth, the first played at the WACA Ground and 2–22 in the first ever One Day International at Melbourne. In the Fourth Test at Sydney McKenzie retired hurt after being hit in the face by a bouncer from John Snow as the England fast bowler took 7–40 in England's 299 run victory. He recovered sufficiently to break Geoff Boycott's forearm in a tour match just before the vital Seventh Test, but was not recalled and was left stranded on 246 Test wickets, two short of Richie Benaud's Australian record. He was only 29 years old.

In his 60 Tests McKenzie took 5 wickets in an innings 16 times, and 10 in a match three times. McKenzie only played one One Day International, the first ODI against England in 1971, in which he took 2/22.

Pace spearhead
1964 saw McKenzie make his second Ashes tour of England. He led the attack as Australia retained the Ashes. His 29 wickets in five Tests equalled the highest obtained for Australia in England by Clarrie Grimmett in 1930. He took 21 wickets when Australia visited India and Pakistan on the return journey to Australia. Another seven wickets in a one-off Test against Pakistan in Melbourne in December established a new record for the number of Test wickets in the space of one year; from 11 December 1963 to 8 December 1964 he took 73 wickets in fifteen Tests. This surpassed Maurice Tate's 65 wickets in 1924–25. In this period, he became the youngest bowler to reach 100 wickets, at the age of 23 and 162 days, 139 days younger than A.L. Valentine. He was named as one of the Wisden Cricketers of the Year in 1965, the first Western Australian born recipient.

McKenzie had an unproductive tour of the West Indies in 1964–65 and had mixed fortunes in the 1965–66 Ashes series. He was not selected for the First Test, but took 5/134 in England's mammoth 558 the Second Test at Melbourne. He did little in the Third Test, which Australia lost by an innings, and was one of the five men dropped for the Fourth Test. Fortunately Peter Allan was injured and McKenzie was brought back into the team. The Adelaide Oval was notoriously flat, but McKenzie was an expert on getting batsmen out on dull wickets and used the humid atmosphere and fresh pitch to bowl Bob Barber for a duck and have John Edrich caught by the ever-reliable Simpson at slip. McKenzie took 6/48 to have England out for 241 and Australia won by an innings. He took 3/17 in the second innings in the Fifth Test to finish with 16 wickets (29.18), the chief wicket taker along with Neil Hawke who took 16 wickets (26.18). Thereafter McKenzie became one of the most consistent opening bowlers in the world.

He toured South Africa in 1966–67 and in 1967–68 was dropped for the final two Tests after taking his only ten wicket match haul against India. This was speculated to be due to fears that his dominance over the Indian batsmen was diminishing public interest in the series.

In 1968, McKenzie became a full-time cricketer, believing that it would offer him the best chance of financial security. At the time the Australian Cricket Board regarded its players as amateurs and paid them accordingly. McKenzie joined Leicestershire, captained until 1968 by the Western Australian skipper and former England Test stalwart Tony Lock. He took over four hundred wickets for the county and was instrumental in its four One Day Cricket trophies in the early 1970s and winning their first County Championship in 1975.

In 1968–69 he took 30 wickets (25.26) against the visiting West Indies and at 27 became the youngest man to take 200 Test wickets, a record since beaten. Another 21 wickets (21.00) came on the Indian tour of 1968–69, but when the Australian team proceeded to South Africa his form slumped (1/333 in four Tests) and they were whitewashed. It led to suspicions that he had contracted hepatitis. He played in the first four Tests of the 1970–71 Ashes series against England, taking 4/66 in the Second Test at Perth, the first played at the WACA Ground and 2–22 in the first ever One Day International at Melbourne. In the Fourth Test at Sydney McKenzie retired hurt after being hit in the face by a bouncer from John Snow as the England fast bowler took 7–40 in England's 299 run victory. He recovered sufficiently to break Geoff Boycott's forearm in a tour match just before the vital Seventh Test, but was not recalled and was left stranded on 246 Test wickets, two short of Richie Benaud's Australian record. He was only 29 years old.

He continued to play for Western Australia until 1974. He came out of retirement in 1977 to play in Kerry Packer's World Series Cricket. After that, he moved his family to South Africa to play in domestic Limited Overs cricket, before returning to Western Australia.

He has the record for taking the most dismissals, hit wicket (4), in Test match history.

In 2010, McKenzie was inducted into the Australian Cricket Hall of Fame.

title: Graham McKenzie


text:
Wikipedia:Articles for deletion/The King Street Run

 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 no consensus; kept. --Canderson7 23:44, September 5, 2005 (UTC)

The King Street Run
A pub crawl in Cambridge. Drunk students are tedious, but they are not notable. Pilatus 12:55, 27 August 2005 (UTC) Please see Pages for deletion/The Cambridge Arms. If the consensus on that vote is to delete, please remove the information about The Cambridge Arms from the King Street Run article, as it would be a violation of GFDL to keep that information. Zoe 21:04, August 27, 2005 (UTC)
 * Delete. Not notable, utters ninth Greek.  Paul Klenk
 * Delete. nn. Dottore So 15:10, 27 August 2005 (UTC)
 * I've merged the individual pub pages there. None of them deserve their own article. On the other hand, if the Run has a pub named after it, then that suggests a significant degree of notability. So I vote keep . Flowerparty  talk 16:47, 27 August 2005 (UTC)
 * Never heard of it while I was living there. Knowledge of the custom can't extend beyond the undergrad population. Pilatus 19:08, 27 August 2005 (UTC)
 * Keep. David | Talk 18:21, 27 August 2005 (UTC)
 * Move. The idea of merging a series of pubs is good, but organizing it around an undergrad drinking game is probably what is generating all the delete votes. Sdedeo 20:26, 27 August 2005 (UTC)
 * Fair point, move to a more neutral list page. Flowerparty  talk 20:43, 27 August 2005 (UTC)
 * Why not include the information on the King Street article? Sdedeo 20:51, 27 August 2005 (UTC)
 * How do you mean? Flowerparty  talk 21:00, 27 August 2005 (UTC)
 * i.e., have the article on King Street contain the information about the pubs on King Street. Sdedeo 21:09, 27 August 2005 (UTC)
 * So effectively you mean "merge" with King Street, Cambridge. Yes, that's probably sensible. Flowerparty  talk 21:24, 27 August 2005 (UTC)
 * Has any of you actually seen King Street, Cambridge? It has a few shops and pubs and the only coffee shop in Cambridge that doesn't close until midnight. It's not even one of the main shopping streets of the town, it's quite marginal in fact. WAH! Must we have every street in every town next? Pilatus 21:48, 27 August 2005 (UTC)
 * Pilatus is right. It's where you go when you're bored with everywhere else. Although the coffee shop in question, Clowns, is rather good. -Splash 22:47, 27 August 2005 (UTC)
 * Clowns is horrible! Sorry. Why are so many Cambridge people hanging around VfD? Sdedeo 19:15, 28 August 2005 (UTC)

 * Well, not quite. It would be a violation of GFDL to cut-and-paste the text into a different article, but there is nothing wrong about including information about the pub somewhere else on wikipedia. This happens all the time. Sdedeo 21:11, 27 August 2005 (UTC)
 * OK, this is complex, because of the merging. Can we not merge the pubs in Cambridge into Pubs in Cambridge, or List of public houses in Cambridge, rather than organizing them by student drinking routes? I vote to Keep this, and merge it into some better organized article. Trollderella 21:06, 27 August 2005 (UTC)
 * Alright, I'm regretting being bold now. Can we just replace that part with a link for now, and keep the discussions separate. I'm too scared to edit these pages now. Flowerparty  talk 21:24, 27 August 2005 (UTC)
 * Delete, non-notable pub crawl. Nandesuka 22:37, 27 August 2005 (UTC)
 * Keep and reorganize, as per Trollderella. Kappa 22:45, 27 August 2005 (UTC)
 * Delete, it's not particularly notable even among the undergrad population. I can't help wondering why people think that a pub-crawl is somehow notable. You're not being blinded by the fact that it has some association with the students of a 'famous' Uni, surely.-Splash 22:47, 27 August 2005 (UTC)

 * Delete non-notable local custom followed only by undergrad students. Denni ☯ 22:52, 2005 August 27 (UTC)
 * Keep Does no harm. Dmn  €  Դմն 23:15, 27 August 2005 (UTC)
 * Delete every uni has a pub crawl. Students being drunk is not notable, it being the basic state of your normal student and all. And this pub crawl seems no more noticable than the ones I have taken in Coventry, Southampton or Leeds. Sabine's Sunbird 01:53, 28 August 2005 (UTC)
 * delete as per sabine's sunbird. --TimPope 08:03, 28 August 2005 (UTC)
 * Delete nn. Martg76 00:36, 29 August 2005 (UTC)
 * Delete. Non-notable.  Many unreferenced claims. Quale 15:32, 31 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: Template:Infobox website

title: Template:Infobox website


text:
Category:Alumni of Lincoln College, Oxford

People who attended Lincoln College, a college of the University of Oxford, as students.


text:
User:RyanFreisling/bro

=vandal rhetorician=

User:bro aka User:172.148.137.250 aka User:172.154.204.2 aka User:172.135.239.51 aka User:172.149.162.30 aka User:172.152.87.228 etc.
Egregious, willful and ongoing Three revert rule violation on. aka aka  aka  aka  (there are dozens more)

Reverted to 20:11, 25 August 2005

1st revert: 21:29, 25 August 2005

2nd revert: 21:46, 25 August 2005

3rd revert: 21:53, 25 August 2005

4th revert: 22:04, 25 August 2005

5th revert: 23:07, 25 August 2005

6th revert: 23:44, 25 August 2005 edit comment: "whos trying to get around 3rr? certainly not I, I will continue to remove the section for reasons provided"

7th revert: 00:03, 26 August 2005 edit comment: "providing reasons does not get around 3rr, and I never claimed they did. What they do do, is make me right, especially when they stand unanswered."

8th revert: 00:23, 26 August 2005 edit comment: "rv, well, at least now some random people flock in"

9th revert: 00:38, 26 August 2005

10th revert: 00:48, 26 August 2005 edit comment: "I think the most humorous aspect of this has to be that -I- gave reasons for my edit, while none of these others have...oh well"

11th revert: 01:00 26 August 2005

12th revert: 01:22 26 August 2005

13th revert: 02:06, 26 August 2005

14th revert: 02:57 26 August 2005
 * Reported by: RyanFreisling @ 03:15, 26 August 2005 (UTC)

Comments:
 * This user, who steadfastly refuses to create an account, uses multiple IP's per hour, and has a history of aggressive trolling of the Talk:2004_U.S._presidential_election_controversy_and_irregularities page under dozens of IP addresses has today violated the 3RR on that article's page... instead of resolving the issues, this user repeatedly blanked content he finds objectionable, in a classic example of bad faith.
 * It is worth mentioning that he has until recently refused to participate as an editor on articles of a 'controversial nature':
 * "If you are asking me to cite links for this or that, I tried to make it clear that I was unwilling to edit this (and other equally controversial topics) and to offer suggestions to those that -are-." -bro 172.139.207.115 6 July 2005 09:19 (UTC)
 * " I've relegated myself to talk for any controversial article, thats just the reality and it will stay that way." -bro 172.150.234.103 02:09, 9 August 2005 (UTC)
 * Apparently, his policy has changed - and this 3RR violation represents his second verifiable substantive contribution to the article. An inauspicious start, to be sure. -- RyanFreisling @ 03:15, 26 August 2005 (UTC)

 * A bit of circumstantial evidence. Anon-AOL user 'bro' last accessed the article August 9, after which there was no activity on the page until this user appeared on August 18 and picked up a number of issues 'bro' was discussing (palast, commondreams, etc.) . Bro has thus far not re-appeared. -- RyanFreisling @ 05:43, 26 August 2005 (UTC)

 * Actually, a quick readthrough of the talk page shows that this "bro" first commented on July 5th. My first comment there was August 5th. Sheesh, getting my date wrong is at least understandable, but "bro" even signs his comments with that name, and you were even in discussion with him on that.  172.152.87.228 08:32, 26 August 2005 (UTC)

This seems to be a good summary of what I am dealing with, I am not any user named bro, I never made the statements quoted. Misattribution, ignoring whats said seems to be this users MO. 172.161.129.54 03:23, 26 August 2005 (UTC)

 * You are welcome to your opinion, I will let the admins decide if the content I added warranted your repeated blanking without good faith attempts to discuss. -- RyanFreisling @ 03:29, 26 August 2005 (UTC)

 * Yet, you are not entitled to misattribute quotes. And yes, they can do what they wish.  The obvious lack of response to the reasons given in the edit summaries say more than I need to. 172.157.101.186 03:34, 26 August 2005 (UTC)

 * Since you constantly change IP's, you could as equally claim that your last two posts were by separate users... insisting you are not the same user as 'bro' (a claim I find highly dubious) is one thing - but your 3RR vio (all under the same IP) speaks for itself. Your comments in edit summaries do not constitute an attempt to discuss - you deleted the content outright before making any attempt. That's not the wiki way. -- RyanFreisling @ 03:35, 26 August 2005 (UTC)

 * Yet another example of this user's operating procedure. I did not dispute the reverts.  And, yes, I am every anon dialup user that uses AOL and edits wikipedia, every single one.  My edit summaries and your lack of response stand on their own, I need not say more. 172.149.162.30 03:49, 26 August 2005 (UTC)

 * And avoiding accountability is yours. Create an account and take responsibility for your reverts and your behavior alike. -- RyanFreisling @ 03:52, 26 August 2005 (UTC)

 * An account is not required, and I do not wish to make one. Pretty simple. 172.149.162.30 03:58, 26 August 2005 (UTC)

My two cents: I haven't had any dealings with someone who identified themself as "bro," so I can't be sure if anon-AOL is the same person. I am pretty confident that at least the two latest versions (viz. 172.149.162.30 and 172.154.204.2) are the same person. I further suspect that the user does not create an account specifically to avoid accountability. Creating an account would certainly be a good-faith gesture that anon-AOL wants to resolve things amicably. LizardWizard 04:57, August 26, 2005 (UTC)

 * Yes, those two IP's were me. 172.149.162.30 05:14, 26 August 2005 (UTC)

 * At this point, LizardWizard and I have both used our 3 reverts for the day in dealing with this ongoing, bad faith 3RR violation. -- RyanFreisling @ 05:11, 26 August 2005 (UTC)

 * I have violated the rule. But the bad faith is in your actions by reverting without responding to the reasons provided. 172.149.162.30 05:14, 26 August 2005 (UTC)

 * Outright deletion (especially of new, cited content) is bad faith. You should leave the content in, and discuss in talk. You do not have unilateral right to remove content eight (and counting) times, though 2 other editors at least want it in, without discussing it first on 'talk'. Your edit comments claimed the source was not noteworthy, and the piece not reflective of the section - both of which we can discuss on 'talk' before you decide in violation of the rules to continually blank those sections outright. For what it is worth, I find both those claims spurious.

 * Good faith for you (once your coming block expires) would begin at creating an account to demonstrate your desire for accountability, and then working out the issues on Talk BEFORE you blank them over and over. I would welcome it, but I admit I am skeptical that you will do so. -- RyanFreisling @ 05:21, 26 August 2005 (UTC)

 * Outright deletion (especially of new, cited content) is bad faith. This is, of course, wrong.  You do not have unilateral right to remove content  This too, is of course, wrong. both of which we can discuss on talk  Which you haven't done.  The rest is ad hom, and par for the course.

 * I'll say it clearly one last time. 10 repeated outright deletions of new, cited content, without discussing it FIRST on talk is bad faith on the part of the deleter. That's you. And there is zero ad hominem in my post. -- RyanFreisling @ 05:43, 26 August 2005 (UTC)

 * Ok, sure, one last time. I've given my reasons, yet you, have not.  Thus, bad faith is again, in your actions. 172.149.162.30 05:58, 26 August 2005 (UTC)

 * There are no valid reasons for breaking 3RR. And I have indeed given my response. Your edit comments do not nearly suffice to justify the original deletion, nor the 10 that have followed. Enjoy your upcoming wiki vacation. -- RyanFreisling @ 06:08, 26 August 2005 (UTC)

 * Sigh, the reasons I mentioned above, are in reference to those that you continue to ignore. If they do not "suffice to justify" it, then say why, you have not. 172.152.87.228 07:13, 26 August 2005 (UTC)

 * Blocked for 3RR. Except for User:bro since there is no such user. Radiant_ >|< 11:29, August 26, 2005 (UTC)
 * Least you did the effort...but he/she logs back in after a minute and presto, new IP. Unless, and that would be ridiculous, you block the entire range.--MONGO 11:32, August 26, 2005 (UTC)

 * As the AOL anon user himself says:
 * As I am sure you know, blocking those IPs is rather useless. But, carry on. 172.138.13.214 18:42, 26 August 2005 (UTC)
 * It remains to be seen if this user takes responsibility for this post, which in my opinion directly validates the underlying concern - that the user is intentionally hiding behind the anonymity provided by AOL dialup in order to disrupt this part of the Wikipedia. -- RyanFreisling @ 18:54, 26 August 2005 (UTC)

 * Inded, twas I. And it is a simple statement of fact, though I understand you don't much like those... 172.148.137.72 22:04, 26 August 2005 (UTC)

title: User:RyanFreisling/bro


text:
A Dog's Life (1918 film)

A Dog's Life is a 1918 American short silent film written, produced and directed by Charlie Chaplin. This was Chaplin's first film for First National Films. It was part of a then groundbreaking $1 million contract. It was for a total of eight 3 reel short silent films.

Chaplin plays opposite an animal as "co-star". "Scraps" (the dog) was the hero in this film, as he helps Charlie and Edna towards a better life. Edna Purviance plays a dance hall singer and Charlie Chaplin, The Tramp. Sydney Chaplin (Chaplin's brother) had a small role in this film; this was the first time the two brothers were on screen together.

Charles Lapworth, a former newspaper editor who had met Chaplin when he interviewed him, took a role as a consultant on the film.

Plot
Charlie is jobless and has few prospects for employment. He tries to steal food from a lunch cart and is nearly caught by a police officer, avoiding arrest by doing some fancy rolling back and forth under a fence. Later, Charlie saves a stray dog (Scraps) from other dogs. Charlie and Scraps become fast friends and partners in purloining food. Charlie enters a cabaret where dogs are not allowed. Charlie hides Scraps in his baggy trousers, but Scraps' tail emerges from the back end. Charlie meets a girl who works in the cabaret. She is disillusioned with life, so Charlie attempts to cheer her up. Charlie is ejected from the cabaret for having no money and returns to his normal outdoor sleeping spot. By chance, thieves have buried a stolen wallet nearby that is laden with a small fortune. Scraps digs up the wallet. Charlie returns to the cafe and shows the girl he has enough money for them to be married. The crooks discover that Charlie has the wallet and violently take it back from him. Charlie fights furiously to reclaim it. This leads to a frantic chase which culminates in the thieves' arrest. Charlie uses the money to buy a farm for himself and his bride. The movie ends with the newlyweds peering fondly into a cradle. It contains Scraps and her puppies.

Cast

 * Charlie Chaplin – The Tramp
 * Edna Purviance – Bar singer
 * Mut – Scraps, a thoroughbred mongrel
 * Syd Chaplin – Lunchwagon owner
 * Henry Bergman – Fat unemployed man / Dance-hall lady
 * Charles Reisner – Employment agency clerk / Door-to-door / Drummer
 * Albert Austin – Thief
 * Granville Redmond — Dance-hall owner
 * Bud Jamison – Thief
 * Tom Wilson – Policeman
 * James T. Kelley — Sausage buyer / Robbed passer
 * M. J. McCarthy – Unemployed man
 * Mel Brown – Unemployed man
 * Charles Force – Unemployed man
 * Bert Appling – Unemployed man
 * Thomas Riley – Unemployed man
 * Louis Fitzroy – Unemployed man
 * Slim Cole – Unemployed man
 * Ted Edwards – Unemployed man
 * Loyal Underwood — Unemployed man / Dance-hall man

title: A Dog's Life (1918 film)


text: User talk:24.91.168.211

title: User talk:24.91.168.211


text:
Gwynyth Walsh

Gwynyth Walsh (born 1956) is a Canadian actress best known for her role of the Star Trek character B'Etor, one of the Duras sisters. She also played constable Nimira in the Star Trek: Voyager episode "Random Thoughts", and provided the voice for the character Grey Mother, in the video game The Long Dark. Walsh earned her Bachelor of Fine Arts at the University of Alberta and started her career appearing on stage across Canada and in the United States in many classics. For Shakespeare's Much Ado About Nothing she won a Dramalogue Award - Best Actress for her portrayal of Beatrice. Her first appearance on screen was in a 1983 TV movie Pajama Tops.

title: Gwynyth Walsh


text:
User talk:Spacepen2002

Welcome!

Hello,, and welcome to Wikipedia! Thank you for your contributions. I hope you like the place and decide to stay. Here are a few good links for newcomers: I hope you enjoy editing here and being a Wikipedian! Please sign your name on talk pages using four tildes (~~); this will automatically produce your name and the date. If you need help, check out Where to ask a question, ask me on my talk page, or place  on your talk page and someone will show up shortly to answer your questions. Again, welcome! , SqueakBox 13:02, August 27, 2005 (UTC)
 * The five pillars of Wikipedia
 * How to edit a page
 * Help pages
 * Tutorial
 * How to write a great article
 * Manual of Style

title: User talk:Spacepen2002


text: User talk:97gator

title: User talk:97gator


text: User talk:82.201.171.4

title: User talk:82.201.171.4


text:
Jonan

 * Jōnan-ku, Fukuoka, ward in Fukuoka, Japan
 * Jōnan Line, light rail line in Matsuyama, Japan
 * Ignasius Jonan, Indonesian politician
 * 21254 Jonan, minor planet

title: Jonan


text:
Wikipedia:Articles for deletion/"lady mary montagu"

 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 MERGE to Lady Mary Wortley Montagu. Already been done — I will apply the redirect. -Splash 01:20, 3 September 2005 (UTC)

"lady mary montagu"
It looks like this is the same person as Lady Mary Wortley Montagu. I suspect it was created in error by a new contributor.

Also, I think there's some clever process by which you can do a redirect and delete simultaneously but I can't find it now. I do recall it looked rather complicated anyway. If someone knows, let me know. Cheers. Finbarr Saunders 13:04, 27 August 2005 (UTC)

 * You misunderstand the purpose of a redirect, Finbarr - if X redirects to Y, then we don't need to delete X. Anyway, I've already merged the article into Lady Mary Wortley Montagu (there was some info in the badly-named version that wasn't in the already-existing version), so I think we can just leave it as a redirect.DS 13:10, 27 August 2005 (UTC)
 * Redirect. Apparently a new editor unfamiliar with wiki formatting, that did include source info. --WCFrancis 21:35, 27 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:
Japanese Right Army

The Japanese Right Army or Army of the Right was an army of unified Japan during the second wave of Japanese invasions of Korea, in the years 1597–1598. It included forces from several divisions of the earlier invasions (1592–1596). The Army of the Right consisted mainly of the former Second Division led by Katō Kiyomasa, the Third Division led by Kuroda Nagamasa and the Seventh Division led by Mōri Hidemoto, who replaced his cousin Mōri Terumoto.

Composition

 * Mōri Hidemoto (毛利秀元) – 30,000 men
 * Katō Kiyomasa (加藤清正) – 10,000 men
 * Nabeshima Naoshige (鍋島直茂) – 12,000 men
 * Kuroda Nagamasa (黒田長政) – 5,000 men

Battles Fought

 * The Battle of Koryong
 * The Siege of Hwangsoksan
 * The Battle of Jiksan
 * The First Siege of Ulsan
 * The Siege of Samga
 * The Second Siege of Ulsan

title: Japanese Right Army


text:
Southern white-breasted hedgehog

The southern white-breasted hedgehog (Erinaceus concolor), sometimes referred to as white-bellied hedgehog or white-chested hedgehog, is a hedgehog native to Eastern Europe and Southwestern Asia. These hedgehogs are becomingly increasingly popular as pets in the United States and Iran.

Description
It is very similar in appearance to the European hedgehog (E. europaeus), but it has a white spot on its chest that easily distinguishes them. They weigh between 680 to 900 grams. Their body weight drops no lower than 600 grams during hibernation.

Origins
The white breasted hedgehog diverged from a split lineage due to geographical features. The Caucasus Mountains played a significant role in dividing the white breasted hedgehog to southern and northern locations. North of the Caucasus Mountains lies Russia which is where some white breasted hedgehogs are located. Other hedgehogs live in Turkey, Iran, Israel due to the distribution of this species.

Taxonomy
For a long time these two species were considered to be one. The northern white-breasted hedgehog of Eastern Europe and Russia was formerly recognized as a subspecies of the southern white-breasted hedgehog but newer investigations see both as different species. The southern white-breasted hedgehog and European hedgehog can hybridize.

Similar White Breasted Hedgehogs
Some relatives to the southern white breasted hedgehog consist of the west european (Erinaceus europaeus) and northern white-breasted (Erinaceus roumanicus). These two species are creating gene flow through reproducing with one another and result in generating hybrids. Gene studies were conducted and discovered that the northern southern white breasted hedgehogs have more expressed genes than the west European hedgehog in the hybrid species.

Behaviour
Like most hedgehogs, the southern white-breasted hedgehog’s habitat ranges from deciduous forests to parks and gardens. Their diet is the same as well, consisting mostly of insects, slugs, snails, and worms. They also prey upon toxic beetles which they happen to be immune to. The breeding period is between March and July, with up to 7 offspring being produced after a gestation period of about 6 weeks. They hibernate from November to March. Unlike its European counterpart, the southern white-breasted hedgehog never digs dens. It prefers building grass nests in secluded places.

Parasites
The species carries a host of ectoparasites such as ticks and fleas and due to their increasing popularity as exotic pets, this can lead to a potential transmission of zoonotic diseases. Lungworm is another type of parasite in the southern white breasted hedgehog. There are two specific types of lungworms that these hedgehogs can contract Crenosoma striatum and Capillaria aerophila. Southern white breasted hedgehogs can have one or both types of lungworm infections that can be life threatening. Some symptoms of lungworm consist of weight loss, trouble breathing, and less physical activities. Scientists discovered a successful treatment plan for deworming the southern white breasted hedgehog by giving a single dose of Moxidectin/Praziquantel.

Bartonella infection, which is an infection caused by the bacteria Bartonella, was found in 5 out of 57 southern white breasted hedgehogs in a study conducted in 2016. This study was the first to find Bartonella DNA in hedgehogs.

title: Southern white-breasted hedgehog


text:
John Capreolus

John Capreolus, in French Jean Capréolus and in Latin Johannes Capreolus (c. 1380 – 6 April 1444), was a French Dominican theologian and Thomist.

He is sometimes known as the Prince of the Thomists. His Four Books of Defenses of the Theology of St. Thomas Aquinas can be said to have sparked a revival in Thomism.

Life
Only scant details of his personal history are known. He was born and died in the diocese of Rodez. He was a Dominican affiliated with the province of Toulouse, and a general chapter of his order at Poitiers in 1407 assigned him to lecture on The Sentences at the University of Paris. He began in 1408 and achieved success.

The following year he finished the first part of his defensive commentary on the theology of Thomas Aquinas. He passed examinations for degrees at the Sorbonne in 1411 and in 1415. After serving for some time as regent of studies at Toulouse, he repaired to Rodez where he laboured at his commentaries completing the three remaining parts in 1426, 1428 and 1433.

Works
In the preface of a compendium of Capreolus's work by Isidoro Isolani, it is stated that these manuscripts once narrowly escaped destruction by fire, a lay brother having saved them, to the joy of the author, who was then advanced in years. The same authority describes Capreolus as having a devotion to the Blessed Virgin.

Capreolus's Scholastic writings defend Aquinas against critics including Scotus, Henry of Ghent, John of Ripa, Guido the Carmelite, Aureolus, Durandus, Gregory of Rimini, William of Ockham, and other Nominalists. He has been called the "Soul of St. Thomas" for his scrupulous adherence to Aquinas; his writings also heavily cite Aristotle and Averroes.

The commentaries, bearing slightly variant titles, were published in four folio volumes at Venice, 1483, 1514, 1519, 1589. In 1881, Bishop Joseph-Christian-Ernest Bourret of Rodez, who had made the life and works of Capreolus, the object of considerable research, suggested a critically revised edition of the commentaries, which was at length undertaken by the Dominicans. Its publication was begun at Tours in 1900 under the title: ''Johannis Capreoli Tholosani, Ordinis Praedicatorum, Thomistarum principis, Defensiones Theologiae Divi Thomae Aq.de novo editae cura et studio RR. PP. Ceslai Paban et Thomae Pegues''. Early compendiums of the work by Paul Soncinas and by Sylvester Prierias were much used in their day.

title: John Capreolus


text:
User talk:Matteo~enwiki

Grosse Pointe photos
Hi, you've added a couple of images of Grosse Pointe High School (Image:Gphighsouth.jpg and Image:Gps-pic4.jpg), but they don't have information about their source and license. Could you fix this? If you've taken them by yourself, you may license them under GFDL by adding a tag to the image description page. Thanks! –Mysid ( talk ) 13:05, August 27, 2005 (UTC)

Hello Matt
What was the deal with them deleting your pictures? --Bisyork 22:55, 17 January 2006 (UTC)

meh, I'll eventually get to it~ Matt

Non-free use disputed for Image:Snapon.jpg
Thanks for uploading Image:Snapon.jpg. However, there is a concern that the rationale you have provided for using this image under "fair use" may be invalid. Please read carefully the instructions at Non-free content and then go to the image description page and clarify why you think the image qualifies. 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 it is determined that the image does not qualify under fair use, it will be deleted within a couple of days according to our Criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you.BetacommandBot 05:23, 6 June 2007 (UTC)

Matteo from Free Geek?
Matteo,

Are you the same Matteo on the Free Geek wiki?

Cheers, --jcarroll (talk) 10:55, 17 September 2008 (UTC)

Your account will be renamed
Hello,

The developer team at Wikimedia is making some changes to how accounts work, as part of our on-going efforts to provide new and better tools for our users like cross-wiki notifications. These changes will mean you have the same account name everywhere. This will let us give you new features that will help you edit and discuss better, and allow more flexible user permissions for tools. One of the side-effects of this is that user accounts will now have to be unique across all 900 Wikimedia wikis. See the announcement for more information.

Unfortunately, your account clashes with another account also called Matteo. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Matteo~enwiki that only you will have. If you like it, you don't have to do anything. If you do not like it, you can pick out a different name. If you think you might own all of the accounts with this name and this message is in error, please visit Special:MergeAccount to check and attach all of your accounts to prevent them from being renamed.

Your account will still work as before, and you will be credited for all your edits made so far, but you will have to use the new account name when you log in.

Sorry for the inconvenience.

Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 01:41, 20 March 2015 (UTC)

Renamed
 This account has been renamed as part of single-user login finalisation. If you own this account you can |log in using your previous username and password for more information. If you do not like this account's new name, you can choose your own using this form after logging in: . -- Keegan (WMF) (talk) 16:03, 22 April 2015 (UTC)

title: User talk:Matteo~enwiki


text:
Mego

Mego may refer to:

 * Mego Records, an Austrian record label
 * Mego Corporation, a toy company that produced action figures during the 1970s and early 1980s
 * Mego (motorbikes), a Greek motorcycle manufacturer
 * Mego (Kim Possible), a fictional superhero
 * Mego, a subdistrict in Sikka Regency, East Nusa Tenggara, Indonesia

title: Mego


text:
The Boy Is Mine (Brandy and Monica song)

"The Boy Is Mine" is a duet by American singers Brandy and Monica. It was written by LaShawn Daniels, Japhe Tejeda, Fred Jerkins III, Rodney "Darkchild" Jerkins, and Brandy, while production was helmed by Jerkins, Brandy, and Dallas Austin. It was released as the lead single from both singers' second albums from 1998, Never Say Never by Brandy and the album of the same name by Monica. Inspired by Michael Jackson and Paul McCartney's 1982 duet "The Girl Is Mine", the lyrics of the mid-tempo R&B track revolve around two women fighting over a man.

The song received generally positive reviews from music critics and was the first number-one pop hit for both artists, in the US and internationally. Exploiting the media's presumption of a rivalry between the two young singers, "The Boy Is Mine" became the best-selling song of the year in the US, selling 2.6 million copies, and spent 13 weeks at the top of the US Billboard Hot 100. It became the second song in the history of the chart to ascend directly to number-one from a previous position beneath the Top 20, at number 23, following the Beatles and the 27–1 leap of their single "Can't Buy Me Love" in April 1964. Internationally, the single also achieved a strong charting, peaking at number one in Canada, the Netherlands and New Zealand, while reaching the top five on most of the other charts on which it appeared.

The accompanying music video, directed by Joseph Kahn, starred the singers and Mekhi Phifer. It was nominated for two MTV Video Music Awards, including Video of the Year and Best R&B Video. In addition, "The Boy Is Mine" was awarded the Grammy Award for Best R&B Vocal Performance by a Duo or Group and received nominations for both Record of the Year and Best R&B Song in 1999. Billboard named it the Hot 100 Sales Single of Year and also listed it 54th on its 50th Anniversary All-Time Hot 100 Top Songs chart, as well as 18th on the All-Time Top R&B/Hip-Hop Songs countdown. The singers reunited on the 2012 single "It All Belongs to Me" and the remix of American singer Ariana Grande's 2024 single of the same name, "The Boy Is Mine".

Background
"The Boy Is Mine" was a song Brandy wrote with Rodney "Darkchild" Jerkins, his brother Fred Jerkins III, Japhe Tejeda, and LaShawn Daniels. The singer came up with its concept while watching an episode of The Jerry Springer Show tabloid talk show, where love triangles among the guests was the theme. Created as a solo track, Brandy originally recorded the song alone. After listening to the result, however, she and Jerkins thought it would work better as a duet, an idea which was further inspired by Paul McCartney and Michael Jackson's 1982 hit duet "The Girl Is Mine". At Brandy's request, her label Atlantic Records approached fellow R&B teen singer Monica to collaborate: The pair had seen each other in passing at award shows and other live events, and Brandy thought a duet would help combat ongoing rumors that the singers were rivals. With the permission of Clive Davis, who headed Monica's record company Arista Records, Monica eventually signed on to the project.

Originally, the two artists recorded their vocals for the song together with Jerkins and his production team at the Record One studios in Los Angeles. However, the joint recording was felt to be a failure so Monica re-recorded her vocals separately at the DARP Studios in Atlanta, Georgia with longtime contributor Dallas Austin and turned the song into a more mature pop sound. (Thus, Austin would later share the main production credit alongside Jerkins. ) Though both Brandy and Monica repeatedly denied the song reflected any actual rivalry between them, tabloids began writing the opposite. There were claims that Monica was upset when Brandy performed the song solo on The Tonight Show with Jay Leno, and Brandy was reportedly miffed when Monica opted to take the name of the duet for the title of her second album. Following reports that the pair came to blows during a rehearsal for a performance at the MTV Video Music Awards in September 1998, talk of the rivalry became so loud that the singers' managers released a joint statement in which they called the press out for its "disturbing behavior" and called the "ongoing negativity [as] totally unfair." However, Jerkins later claimed that both singers "didn’t get along" during production and that he and Dexter Simmons remixed the track seven times to keep everything even. In a 2012 interview with WZMX, Monica spoke about her past relationship with Brandy:

"We were young. We could barely stay in the room with each other. By no means was it jealousy or envy. She and I are polar opposites and instead of embracing that, we used our differences as reasons not to be amongst each other."

Composition
"The Boy Is Mine" was written by Brandy Norwood, LaShawn Daniels, Japhe Tejeda, Fred Jerkins III, and his brother Rodney "Darkchild" Jerkins. Musically, the song has been described as "R&B-pop." Written in thirty-two-bar form, "The Boy Is Mine" starts off with a twinkling yet stormy synthesized harp line, produced through the harp setting of a keyboard. When the two protagonists initiate a conversation that depicts their first meeting as rivals, the track adds a pulsing beat and a countermelody of cello strings before the chorus kicks in. Similar to McCartney and Jackson's "The Girl Is Mine", Jerkins and his team structured "The Boy Is Mine" with spaces. During the constructing of the lyrics, they settled on a call and response form, giving each singer two bars a piece to sing.

According to the sheet music published at Musicnotes.com by Sony/ATV Music Publishing, the song is set in the time signature of common time, with a tempo of 93 beats per minute. It is written in the key of C♯ minor, and it follows a chord progression of F♯m 9 –C♯m 9, and the vocals span from G♯3 to F♯4. The song's lyrics chronicle a catfight between two young women who try to convince each other that they are the object of a man's affection. On the track, each trades increasingly escalating remarks about how the other must be mistaken, jealous or delusional about her importance to the man in question. The chorus runs as follows: "You need to give it up, had about enough, it's not hard to see, the boy is mine." Critics noted that the lyrics almost take on the heated fell of a political debate or even a reality show."

Critical reception
The song has garnered positive reviews from music critics. AllMusic editor Stephen Thomas Erlewine ranked the duet among the best songs on both album, Never Say Never (1998) and The Boy Is Mine (1998). Larry Flick from Billboard called it a "surprisingly subdued, ultimately sleek and soulful jam." He added, "Joined by fellow jeep ingénue Monica, TV's "Moesha" reveals a markedly matured style and a far more flexible range. Meanwhile, Monica whets appetites for her own forthcoming disc with a deliciously diva-driven performance that is rife with subtext." He complimented the producers for dressing the singers in "plush synths and quietly insinuating beats that will have seasoned listeners reminiscing about the heyday of Barry White and the Love Unlimited Orchestra. This isn't the obviously poppy or immediately infectious single one might have expected as the preview to Brandy's new disc, but after a second spin, you won't be able to shake the subtle hook from your brain." Entertainment Weekly's J.D. Considine felt that "there's none of the soul-baring theatrics we'd get if Faith Evans and Mary J. Blige had gone at it. Instead, the two younger women play second fiddle to the steady-thumping bass, keeping their voices so low you'd think they were afraid a teacher might overhear them." In a different review, his colleague Matt Diehl wrote, "No, this isn't an estrogen flip on the Michael Jackson hit. Nor is it the soul-sista catfight that the pairing of these teen-dream divas-in-training promised (the too-silky production delivers a TKO to any gritty R&B tension). Still, child star Brandy sings like a woman for the first time, making her potential for an adult career à la Toni Braxton a distinct possibility." Lorraine Ali, writing for Rolling Stone, complimented Jerkins' production for its "sweeping orchestration." Craig Seymour from The Village Voice said that the song "creeps up on you with a harp sound that's like light twinkling on a reflective pool." He found that "You don't groove to it so much as you vibe in it, as Brandy and Monica kick a rather standard script [...] in their surprisingly complementary styles. Brandy is to groove what Monica is to rhythm. Where Brandy rides the contour of a melody like a wave, Monica advances and recedes, spontaneously creating then dismissing parallel rhythms."

Chart performance and impact
On June 5, 1998, "The Boy Is Mine" became both singers' first number-one hit and fifth top ten entry for each on the US Billboard Hot 100. Bouncing from number 23 to the number 1 spot, it became the second song in the history of the chart to ascend directly to number-one from a previous position beneath the Top 20, following the Beatles and the 27–1 leap of their single "Can't Buy Me Love" in April 1964. In addition, it was the first number-one collaboration between solo women since 1979's two-weeks number-one run of "No More Tears (Enough Is Enough)," performed by Barbra Streisand and Donna Summer. The same week, "The Boy Is Mine" also moved to number-one on the Hot R&B Singles, Hot 100 Singles Sales and Hot Dance Music/Maxi-Singles Sales charts. Within the first month of its purchasable release the song went on to sell 605,000 units. It spent thirteen consecutive weeks atop the Billboard Hot 100 and was at the time the second-longest running number-one song in US chart history, sharing this record with Boyz II Men's "End of the Road" (1992). "The Boy Is Mine" was the best-selling single of 1998 in the US, with sales of 4,500,000, with the second best-selling single being Next's "Too Close". It was certified double platinum by the Recording Industry Association of America (RIAA) and was ranked eighth on Billboard's Decade-End Charts. The song spent 18 weeks in the top 10 and a total of 27 weeks in the Top 50.

Outside the US, "The Boy Is Mine" reached the top-ten in over 14 countries and topped the chart in Canada, the Netherlands and New Zealand. In Canada, the song debuted on the RPM Singles Chart at number 74 on the RPM issue dated June 1, 1998, and reached the top spot of the chart on August 21, 1998. It was present on the chart for a total of 45 weeks. It reached the top two in Belgium, France (platinum), Ireland, Norway (gold), and the United Kingdom (platinum); the top-five in Australia, Germany (gold), Sweden, and Switzerland (gold) and the top-ten in Austria (gold) and Italy.

Awards and recognitions
The single won many awards throughout 1998 and 1999. It was nominated for three Grammy Awards at the 41st annual ceremony, winning both singers their first prize by the National Academy of Recording Arts and Sciences in the Best R&B Performance by a Duo or Group with Vocals category. It, however, lost in its nominations for Record of the Year and Best R&B Song to Celine Dion's "My Heart Will Go On" and Lauryn Hill's "Doo Wop (That Thing)" respectively. The song garnered three Billboard Music Awards.

It was listed as number 55 of the Hot 100 singles of all time by Billboard in 1998. This position was raised to number 54 in 2008. In addition, it was listed 18th on the All-Time Top R&B/Hip-Hop Songs countdown. In 2008, Billboard ranked the song third on a special The 40 Biggest Duets of All Time listing. The song is the best-selling song of 1998 in the United States with 4.5 million copies sold.

Music video
A music video for "The Boy Is Mine" was directed by Joseph Kahn. Filmed in Los Angeles in April 1998, it uses 90-degree tilts to depict the drama and the playfulness between the two. Making its debut on April 22, 1998, it uses the radio edit of the song, removing the intro. It was nominated for two MTV Video Music Awards at the 1998 ceremony, including Best R&B Video and Video of the Year, but lost to both Wyclef Jean's "Gone Till November" and Madonna's "Ray of Light" respectively.

Synopsis
The video begins with Brandy watching an episode of The Jerry Springer Show. Next Monica who, using her remote, accidentally turns Brandy's TV along with her own to watch an old romantic movie. Confused, Brandy changes her channel back. Much to their dismay, whenever one of them turns the channel, the other's TV is also turned. They begin singing. The next scene shows the two discussing their problem among their separate groups of friends. The titular boy himself (played by Mekhi Phifer) then appears outside adjacent apartments, 6 & 7, where we later discover the two girls live; all their friends walk by him as they exit their respective friend's place. The girls are seen next arguing through their adjoining bedroom wall, until the boy phones them one after the other. They each overhear the other's conversation through the wall, realizing that they've both been played. They proceed to gather up all gifts and memorabilia related to the boy and toss them out the door. After Brandy and Monica sing more through the song's lyrics, the boy knocks on Brandy's door. The door opens showing Brandy for a brief moment before she opens the door wider to reveal Monica beside her. Noticing that he had been caught, the boy is taken aback, and the door is slammed in his face before he even gets a chance to talk to them, ending the video.

Live performances
Brandy first performed the song by herself on The Tonight Show. Following that, she and Monica first performed it together at the 1998 MTV Video Music Awards in Los Angeles at the Gibson Amphitheatre on September 10, 1998, an event which remains, to date, Brandy and Monica's only television broadcast performance of the song. The pair came together a second time on December 16, 2008, for a surprise performance at Atlanta's V103 Soul Session, singing it a cappella.

In 2012, they performed the song with their new duet "It All Belongs To Me" at V-103's "Conversation/Soul Session".

Track listings
US 12-inch single
 * A1. "The Boy Is Mine" (extended mix) – 7:40
 * A2. "The Boy Is Mine" (a cappella) – 4:30
 * B1. "The Boy Is Mine" (album version) – 4:52
 * B2. "The Boy Is Mine" (album instrumental) – 4:52

US and Canadian maxi-CD single
 * 1) "The Boy Is Mine" (album version)
 * 2) "The Boy Is Mine" (club mix)
 * 3) "The Boy Is Mine" (radio with intro)
 * 4) "The Boy Is Mine" (album instrumental)
 * 5) "The Boy Is Mine" (a cappella)

US CD, 7-inch, and cassette single
 * 1) "The Boy Is Mine" (radio edit with intro) – 4:00
 * 2) "The Boy Is Mine" (instrumental) – 4:52

UK CD and 12-inch single, Australian CD single
 * 1) "The Boy Is Mine" (radio edit without intro) – 4:00
 * 2) "The Boy Is Mine" (radio edit with intro) – 4:00
 * 3) "The Boy Is Mine" (LP version) – 4:51
 * 4) "The Boy Is Mine" (club version) – 7:40

UK cassette single and European CD single
 * 1) "The Boy Is Mine" (radio edit without intro) – 4:00
 * 2) "The Boy Is Mine" (club version) – 7:40

Credits and personnel
Credits are taken from the Never Say Never liner notes.

 * Brandy Norwood – music production, songwriting, lead vocals, background vocals
 * Monica Arnold – lead vocals, background vocals
 * Dallas Austin – Monica's vocal production
 * Leslie Brathwaite – recording engineer
 * LaShawn Daniels – Brandy's vocal production, vocal arrangements, songwriting
 * The Darkchild Orchestra – strings
 * Ben Garrison – music recording
 * Larry Gold – string arrangements

 * Rodney Jerkins – music production, Brandy's vocal production, vocal arrangements, string arrangements, songwriting, mixing
 * Carlton Lynn – engineering assistant
 * Victor McCoy – engineering assistant
 * Isaac Phillips – guitar
 * Dexter Simmons – music recording, audio mixing
 * Chris Tergesen – string section recording engineer
 * Greg Thompson – engineering assistant

Cover versions and remixes

 * In 1998, UK garage group Architechs remixed "The Boy Is Mine", and released it as a white label bootleg which eventually sold 20,000 copies. This remix became highly popular due to incessant airplay on pirate radio.
 * In 2001, Brandy and Monica's vocals were merged with Modjo's 2000 dance hit single "Lady (Hear Me Tonight)" by British DJs Stuntmasterz. Starting as an underground hit, "The Ladyboy Is Mine" was later commercially released to become a moderate hit across Europe, reaching the top ten in the United Kingdom, Belgium and the top forty in France and Switzerland. The commercial release didn't include the vocal sample from Modjo's "Lady" as Warner Brothers label East West were unable to clear it. Instead the release used the same sample from Chic's "Soup for One" and created an alternate version that only featured Brandy and Monica.
 * In 2009, Japanese singer BENI and American singer Tynisha Keli covered this song.
 * The song was covered in 2010 by Amber Riley and Naya Rivera for the TV show Glee as their respective characters, Mercedes Jones and Santana Lopez. Their version hit number 76 on the Billboard Hot 100.
 * In 2014, the British production duo 99 Souls made a house music mash-up called "The Girl Is Mine", which used the record alongside "Girl" by Destiny's Child. After the duo got official approvals from the singers involved, the duo released the record via RCA Records in 2015 with a re-recorded vocal by Brandy (but not Monica), resulting in a Top 5 position in the Official Charts' UK Singles listings.
 * In 2018, Postmodern Jukebox released a 1940s vintage cover of the song, starring the sisters Emily and Juliette Goglia. The YouTube video has received 1.6 million views as of December 21, 2020.
 * On the October 14, 2019, episode of reality television singing competition show The Voice, Team (John) Legend members Khalea Lynee of St. Petersburg, Florida, and Zoe Upkins of Nashville, Tennessee, performed the song in a Battle round. Coaches Kelly Clarkson, Gwen Stefani, and Blake Shelton were all divided, with Stefani preferring Upkins's performance, Shelton preferring Lynee's performance, and Clarkson abstaining from naming her preference. Legend chose to agree with Shelton and named Lynee the winner of the Battle, advancing her to the Knockout rounds. Soon after, Legend also attempted to save Upkins and keep her on his team, as well, although Clarkson and Stefani both attempted to steal her instead, with the three coaches' attempts saving her from elimination regardless of her choice. Ultimately, Upkins opted to remain on Team Legend, advancing to the Knockouts on his team.


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Jalapa, Tabasco

Jalapa is a small city in the Mexican state of Tabasco. It is located at 17.7°N, -92.8°W.

Jalapa also serves as the administrative centre for the surrounding municipality of the same name, which covers a total surface area of 642.91 km² and, in the year 2000 census, reported a population of 32,773.

title: Jalapa, Tabasco


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Tinganes

Tinganes is the historic location of the Faroese landsstýri (government), and is a part of Tórshavn. The name means "parliament jetty" or "parliament point" in Faroese.

The parliament met there for the first time in the Viking ages when Norwegian colonists placed their Ting (parliament) on the location in 825. It is one of the oldest parliamentary meeting places in the world, along with Tynwald hill on the Isle of Man and Þingvellir in Iceland. The Løgting has since moved to the north of the city, but the home-rule government still sits here. The building on the outermost point on the small peninsula of Skansapakkhusið is currently the government's main building. The small main street on the peninsula is called Gongin and is home to the oldest parts of the city. Many of the houses on Tinganes were built in the 16th and 17th centuries and are still in use today.

The peninsula divides the Tórshavn harbour in two parts, Eystaravág and Vesteravág.

title: Tinganes


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Russian submarine Chelyabinsk (K-442)

The K-442 Chelyabinsk is an Oscar II Class (Project 949A) SSGN of the Russian Navy.

History
K-442 was laid on May 21, 1987 at Severodvinsk before being listed by the Soviet Navy on February 20, 1989. In June 1990, it was launched before being commissioned on December 28, 1990. On August 18, 1991, K-442 along with another Oscar II Class SSGN, K-173, left Zapadnaya Litsa Bay to sail underneath the North Pole to transition from the Northern Fleet to the Pacific Fleet. They arrived on September 12, 1991 at Krasheninnikov Bay in Vilyuchinsk and officially was assigned to the Pacific Fleet on September 24.

K-442 did not receive the name 'Chelyabinsk' until April 13, 1993. During 1994, the K-442 took part in an operational tour in the Pacific. This included it tracking the USS Kitty Hawk (CV-63) Battlegroup. During the tracking of the Kitty Hawk CVBG, the US conducted ASW operations against it between July 7–8, 1994. The voyage also including tracking the USS Independence (CV-62), which was based in Yokosuka, Japan.

In May 1999, the K-442 was laid up due to wear and tear before returning to service around 2002. In 2008, The sub was laid up again awaiting repair. The submarine is currently located at the Rybachiy Nuclear Submarine Base, in Vilyuchinsk, near Petropavlovsk-Kamchatsky.

Outfitting

 * Electronics Fit:
 * Radar: Tobol surface search
 * Sonar: MGK-540, Skat 3
 * Other: Medveditsa 949M navigation, Tsunami space communications

title: Russian submarine Chelyabinsk (K-442)


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Jean Charbonneau

Jean Charbonneau (1875 – 25 October 1960) was a French-Canadian poet who was the main founder of the Montreal Literary School.

Publications

 * 1912: Les blessures , Paris, Lemerre
 * 1916–1920: Des influences françaises au Canada (three volumes), Montréal, Beauchemin
 * 1921: L'Âge de Sang, Paris, Lemerre
 * 1923: Les Prédestinés, Montréal, Beauchemin
 * 1924: L'Ombre dans le miroir, Montréal, Beauchemin
 * 1928: La Flamme ardente, Montréal, Beauchemin
 * 1935:
 * 1940: Tel qu'en sa solitude... Poèmes, Montréal, Éditions B. Valiquette, Éditions A.C.F.

title: Jean Charbonneau


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Ilene Chaiken

Ilene Chaiken (born June 30, 1957) is an American television producer, director, writer, and founder of Little Chicken Productions. Chaiken is best known as being a co-creator, writer and executive producer on the television series The L Word, and was recently an executive producer on Empire, The Handmaid's Tale, and Law & Order: Organized Crime.

Early life and education
Chaiken was born in Elkins Park, Pennsylvania to a Jewish family. She studied at the Rhode Island School of Design and graduated with an undergraduate degree in graphic design in 1979.

Career
She began her career as an agent trainee for Creative Artists Agency, and as an executive for Aaron Spelling and Quincy Jones Entertainment. In 1988, she was the coordinating producer for The Fresh Prince of Bel-Air and the associate producer for Satisfaction. She then wrote the screenplay Barb Wire (1996), and the television films Dirty Pictures (2000), and Damaged Care (2002). Dirty Pictures won the Golden Globe for Best Miniseries or Television Film in 2000.

Chaiken co-created The L Word in 2004, inspired largely by her own experiences as a lesbian. Her first romance with another woman, which ended in heartbreak when the woman revealed she had a long-distance girlfriend, served as a loose inspiration for the relationship of the characters Marina Ferrer and Jenny Schecter.

In 2007, she and a group of women in the entertainment and tech industries launched a social networking site called OurChart for lesbians and their friends. OurChart was online until 2008, when it was shutdown. At that time, a spin-off show of The L Word entitled The Farm was in development and two pilots were being written by Chaiken, although Showtime never bought the series.

Chaiken produced a documentary for Showtime in 2014 titles L Word Mississippi: Hate the Sin. The film focused on multiple lesbian women, telling their experiences of being gay in the Deep South. During this time, Chaiken was also a showrunner on ABC's The Black Box, which was cancelled after one season.

Chaiken is credited with first developing the TV adaptation of The Handmaid's Tale, which became a successful Hulu original show. Chaiken left the project during development to become the show-runner on Fox's Empire, but was still credited as an executive producer.

In January 2019, Showtime announced that it had ordered a full season of the sequel to The L Word. The show aired December 8, 2019, titled The L Word: Generation Q, and picks up where the original series ended, set ten years later.

More recently, her company, Little Chicken Productions, signed an overall deal with Universal Television. In 2020, Chaiken co-created the show Law & Order: Organized Crime, a spin-off of the long-running series Law & Order. The following year, she worked as a writer and showrunner for the series, but was replaced by Barry O'Brien part-way through production of the second season.

Personal life
Chaiken has been married to LouAnne Brickhouse, a former executive at Disney, since 2013. They live in the Laurel Canyon area of the Hollywood Hills in Los Angeles and have nurtured more than 100 species of birds and other fauna, which they document regularly on an Instagram account.

Chaiken is co-parent to twin daughters Tallulah and Augusta with her former partner, English architect Miggi Hood.

title: Ilene Chaiken


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Flintoff

Flintoff is a surname. Notable people with the surname include:

 * Andrew Flintoff (born 1977), English cricketer
 * Corey Flintoff (born 1946), American newscaster
 * Debbie Flintoff-King (born 1960), Australian hurdler
 * Tess Flintoff (born 2003), Australian cricketer

title: Flintoff


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Brett Hart

Brett Hart may refer to:
 * Professional wrestlers:
 * Bret Hart (born 1957), Canadian-American professional wrestler, billed with the spelling "Brett" by the WWF in the mid 1980s.
 * Barry Horowitz (born 1960), American professional wrestler who used the ring name "Brett Hart" in JCP 1983-1984.

title: Brett Hart


text: File:Still I Rise.jpg

title: File:Still I Rise.jpg


text: User talk:81.130.67.232

title: User talk:81.130.67.232


text:
Jean Charlot

Louis Henri Jean Charlot (February 8, 1898 – March 20, 1979) was a French-born American painter and illustrator, active mainly in Mexico and the United States.

Life
Charlot was born in Paris. His father, Henri, owned an import-export business and was a Russian-born émigré, albeit one who supported the Bolshevik cause. His mother Anna was an artist. His mother's family originated from Mexico City; his grandfather was a French-Indian mestizo. His great-grandfather had immigrated to Mexico in the 1820s shortly after the country's independence from Spain, and married a woman who was half-Aztec.

From an early age Charlot was fascinated with the Mexican manuscripts and art in the collection of his great uncle Eugene, and by the pre-Columbian artefacts of a neighbor and family friend, Désiré Charnay, who was a well-known archaeologist. As a teenager, he began learning Nahuatl. He studied art in Paris before serving in the French Army during World War I. In 1920, his scale drawings for the mural decorations of a church were included in an exhibition of religious art at the Louvre.

Charlot spent an extensive period of his life living and working in Mexico. In 1921, after his father died, he and his mother left Europe to settle in Mexico City. He met Fernando Leal (1896–1964) and shared his studio with him. Charlot was deemed "a fine person who is doing important work" by Diego Rivera, the renowned Mexican painter and muralist. Rivera introduced Charlot to other young artists, such as Pablo O'Higgins (born Paul Stevenson Higgins and who came to live in Mexico in 1924, having grown up in Salt Lake City, Utah). O'Higgins would later recall that he met Charlot at the former's studio, when he was painting a nude of Luz Jiménez, a very beautiful Mexican Indian woman who modeled for Diego Rivera. Luz's native language was Nahuatl, which she taught to Charlot as she posed for him. Charlot and O'Higgins shared an interest in learning about Mexico and traveled together exploring the country, sometimes with Anita Brenner, a Jewish 19-year-old at that time, with whom Charlot seemed in love and collaborated in several literary and illustration projects.

Charlot married a close friend of O'Higgins, Dorothy Day, an artist who had also grown up in Salt Lake City. Her family was Mormon but later left the church. At age twenty, Dorothy had changed her name to Zohmah and traveled to Mexico. She got involved in the Mexican art movement of the 1920s and 1930s, and became close friends with young Mexican and American artists, such as Charlot and O'Higgins, in the circle of Diego Rivera.

Charlot and O'Higgins had a long-lasting friendship, sharing their interest on each other's work even after Charlot went with his mother to live in New York in 1928. When in Mexico City, Charlot would stay in a humble room Pablo rented in downtown Mexico City on the roof of a dilapidated building on the street of Belisario Dominguez. In December 1930, to prepare for his solo exhibit in early 1931 at the John Levy Gallery in New York, O'Higgins lived with Charlot for six months in his small unheated apartment on Union Square and 14th Street, near the Art Students League, where Charlot was teaching. At the same time, mid-January 1931, a few blocks away, José Clemente Orozco was painting murals for The New School at 66 West 12th Street. Charlot and Orozco had maintained frequent correspondence in previous years.

Both commented on each other's murals in Hawaii in 1952.

In 1940, Charlot applied for and was accorded American citizenship. A dual citizen of the United States and France, he retained passports from both countries.

Work
Charlot is generally recognized as having brought international attention to José Guadalupe Posada, a Mexican printer who had produced more than 15,000 prints and lithographs, devoted mostly to the popular readers of newspapers in pre-revolutionary Mexico, in which he would present political satires using cartoon-like skeletons; these are a variety of calavera. The original style and plastic language of Posada's art struck Charlot when he saw his prints being sold in 1922 on street corners, and he went on to find his forgotten printing blocks (woodcuts, leadcuts, zinccuts, etc.) in the workshop of Posada's former publisher. With O'Higgins and the son of Posada's publisher, Charlot participated in 1928 and 1930 in the publication of catalogues of Posada's prints, a project conceived by Frances Toor which piqued public interest in Posada. Posada's skeletons and skulls, rooted in pre-Hispanic religious ritual, were later adapted by Rivera, Frida Kahlo, O'Higgins, and many others, and are now icons acknowledged worldwide as being at the heart of Mexican popular art and handcrafts. Charlot himself was much interested in and also started avant-garde woodcut.

After the Mexican Revolution (1910–1917), post-revolutionary governments sought to educate the public on the principles of social justice, as consecrated in the new constitution. Mural painting became an extraordinary visual vehicle, for occupying public spaces like government buildings, schools and markets where it was accessible to all people and spoke even to the illiterate, in contrast to traditional easel painting aimed at private art consumption by the educated. During the government of President Alvaro Obregon (1921–1924), mural painting was actively promoted by Minister of Education Jose Vasconcelos. Diego Rivera's strong personality and political connections led to many important early commissions. His first commission from Vasconcelos was to paint a mural in the Preparatory School, where four young artists dared to accept Vasconcelos' challenge. Jean Charlot was one of them, and also his friend and roommate Fernando Leal who invited him to get involved. Charlot's fresco Massacre in the Templo Mayor (1921–1922), depicting the massacre in the Great Temple of Tenochtitlan, is in front of Fernando Leal's The Dancers of Chalma (1921–1923). In his fresco, Charlot portrayed himself, Leal and Diego Rivera. Charlot's was the first mural finished and the first in the fresco technique. Thus, Charlot participated in the founding of Mexican muralism.

The next project Rivera took on was in the Court of Labor at the Ministry of Education building; other young artists, including Charlot, Xavier Guerrero, and Amado de la Cueva, were assigned walls in the Court of Fiestas in the same building. Charlot considered it a first attempt at "communal painting". Rivera, however, eventually wrested control of the project, acquiring more space for himself and recasting the other artists in the role of assistants, even painting over one of Charlot's finished murals, Danza de los Listones (Dance of the Ribbons) to create room for his own Market Place. According to John Charlot, son of Jean, in the beginning only younger artists dared to undertake commissions for large mural paintings. While Vasconcelos himself preferred non-political allegorical works, he carefully avoided guiding the artists, who increasingly became more political in reflecting the ideas of the revolution.

In 1928, works by Charlot were included with those of 21 other artists (including Rivera, Orozco, O'Higgins, Siqueiros, and Carlos Mérida) in an exhibition at the Art Center Gallery in New York organized by Frances Flynn Paine, the manager of a Rockefeller fund to sponsor Mexican artists. The exhibition had the co-sponsorship of the Mexican Ministry of Education and the Mexican National University.

Between 1926 and 1928 Charlot spent three seasons deeply immersed in the excavation of Mayan temples at Chichen Itza. Hired by Sylvanus Morley of the Carnegie Institution and under the field direction of Earl H. Morris, Charlot meticulously traced and copied bas-reliefs and painted surfaces as they were unearthed, creating an invaluable guide to the reconstruction of some of the key structures of the temple complex. The work had a major influence on his own art, and led to a long friendship with Earl Morris and his wife Ann, a fellow painter-copyist at Chichen Itza. The Morrises took care of Charlot after his mother died in New York City in the winter of 1929, and together the three co-authored The Temple of the Warriors at Chichén Itzá, Yucatan, published in two volumes in 1931 and considered a classic in its field

In the U.S., Charlot executed commissions for the Work Projects Administration's Federal Arts Project, including the creation of murals for Straubenmuller Textile High School in Manhattan during 1934–1935, and, in 1942, an oil on canvas mural for the post office in McDonough, Georgia titled Cotton Gin, 4.5 x.

In 1944, Josef Albers invited Charlot to teach at the first Summer Institute of Black Mountain College. During his time there, Charlot completed two frescos, titled Inspiration and Knowledge (sometimes also called Study), on the pylons beneath the college's Studies Building. These frescos are likely the only intact artwork to remain on the historic site of Black Mountain College's Lake Eden campus.

Charlot went to Colorado Springs, Colorado in 1947 to take a job at the Colorado Springs Fine Arts Center, where he taught fresco painting and worked with Lawrence Barrett on several editions of lithographs. While there he also taught art at The Fountain Valley School, an independent school for boys (at that time), founded in 1930. Charlot left the Fine Arts Center in 1949 under a cloud of misunderstandings between himself and the Arts Center's Board of Trustees and the Art Center's director, Mitch Wilder. Charlot then went to teach at the University of Hawaii, where he stayed for over 30 years. There, he developed a close friendship with the world-famous local artist Madge Tennent and collaborated with Juliette May Fraser, an accomplished muralist in her own right, on several major commissions in and around Honolulu. During the summer of 1969, Charlot worked with Tony Smith at UH and Smith thanked him by creating a piece in the For... series named For J.C.

The Fine Arts Museums of San Francisco, the Cleveland Museum of Art, the Hawaii State Art Museum, the Honolulu Museum of Art, the Isaacs Art Center (Waimea, Hawaii), the East-West Center and the University of Hawaii at Manoa library are among the public collections having works by Jean Charlot.

In 1940 he illustrated the book Tito's Hats (Garden City Publishing), which was written by the future actor Mel Ferrer. Anthony Boucher and J. Francis McComas praised his 1951 collection of captioned drawings, Dance of Death, as "superlative macabre humor in a welcome modernization of a great ancient art-form." Charlot also illustrated the book Springtime, Tales of the cafe Rieu by J.B. Morton in 1956.

In 1972, Charlot published An Artist on Art: Collected Essays of Jean Charlot, which discussed Mexican art history.

Selected works

 * 1923: Massacre in the Main Temple, 14 by 26, fresco at the Antiguo Colegio de San Ildefonso.
 * 1949: Cargadore: Danza de los Listones, and Lavanderas, frescos at the Secretaria de Educación, México.
 * 1924: Shield of the National University of Mexico, with Eagle and Condor, 16 by 20 in., fresco at the Biblioteca Pan-Americana, México.
 * 1935: Head, Crowned with Laurels, 16 by 20 in., fresco at the Strauben-Muller Textile High School, New York.
 * 1944: Inspiration and Knowledge (or Study), 5 by 5 ft., frescos on pylons of the New Studies Building, Black Mountain College (renamed: Camp Rockmont for Boys), Black Mountain, North Carolina.
 * 1949: Relation of Man and Nature in Old Hawaii, 10 by 29 ft., fresco at the University of Hawai'i-Manoa, Honolulu, Hawaii.
 * 1952: Early Contacts of Hawaii with the Outer World, 11 by 57 ft., fresco at the Bishop Bank, Honolulu, Hawaii.

title: Jean Charlot


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Jack Hart

Jack Hart may refer to:

 * Jack Hart (state senator), American lawyer and member of the Massachusetts Senate
 * Jack Hart (rugby union) (born 1998), South African rugby union player
 * Jack Hart, ringname of Barry Horowitz
 * Jack Hart, known better as Jack of Hearts, a Marvel Comics character

title: Jack Hart


text:
The Temptations Show

The Temptations Show was a one-hour syndicated television special starring Motown singing group The Temptations, which aired on July 10, 1969. Produced by Motown Productions, it guest-starred George Kirby and Kaye Stevens.

Among the featured musical numbers were Temptations singles such as "Get Ready", "Cloud Nine", and "Run Away Child, Running Wild", pop standards such as "Ol' Man River" and "Swanee"., and a closing number, "Somebody's Keepin' Score", featuring an (early) "rap" by all three stars. Along with the TCB special in 1968, which featured both the Temptations and Diana Ross & The Supremes, this was one of Dennis Edwards' first appearances with the group. A soundtrack of the show was released on Motown's Gordy label as GS 933 that same year. The soundtrack was also issued on 8-Track GOR-8-1933

title: The Temptations Show


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Wilkie (surname)

Wilkie is a surname of Scottish or German origin, which is medieval pet form of the personal name William. An alternative spelling is Wilkey, and a related German surname is Wilke. The surname Wilkie may refer to:

 * Alan Wilkie (disambiguation), several people
 * Allan Wilkie (1878–1970), British actor
 * Alex Wilkie (born 1948), British mathematician
 * Alexander Wilkie (1850–1928), British politician
 * Andrew Wilkie (born 1961), Australian politician
 * Andrew Wilkie (geneticist) (born 1959), at Oxford University
 * Andrew Wilkie (zoo director) (1853–1948), of Melbourne, Australia
 * Bob Wilkie (footballer), (1920-2001) Australian Rules footballer
 * Bob Wilkie (ice hockey) (born 1969) Canadian ice hockey player
 * Clare Wilkie (born 1974), British actress
 * David Wilkie (artist) (1785–1841), British painter
 * David Wilkie (ice hockey) (born 1974), American ice hockey player
 * David Wilkie (surgeon) (1882–1938), British surgeon
 * David Wilkie (swimmer) (born 1958), British swimmer
 * Dougie Wilkie (born 1956), Scottish footballer
 * Douglas Wilkie (1909–2002), Australian journalist
 * Elsie Wilkie (1922–1995), lawn bowls competitor from New Zealand
 * Gordon Wilkie (born 1940), Canadian ice hockey player
 * Horace W. Wilkie (1917–1976), American politician
 * Ian Angus Wilkie (born 1960), British actor
 * J. Scott Wilkie, Canadian lawyer
 * Jack Wilkie, Scottish footballer
 * Jean Baptiste Wilkie (1803–1886), American Métis chief
 * John Wilkie (1860–1934), American journalist and head of the Secret Service
 * John Wilkie (canoeist) (born 1977), Australian slalom canoeist
 * John Wilkie (footballer) (born 1947), Scottish footballer
 * Kim Wilkie (born 1959), Australian politician
 * Kyle Wilkie (born 1991), Scottish footballer
 * Lee Wilkie (born 1980), Scottish footballer
 * Lefty Wilkie (1914–1992), American baseball player
 * Leslie Wilkie (1878–1935), Australian artist and gallery director
 * Malcolm Richard Wilkey (1918–2009), American judge and diplomat
 * Philip Willkie (1919–1974), American businessman
 * Reginald Wilkie (1907–1962), British ice dancer
 * Rob Wilkey (born 1956), American politician
 * Robert Wilkie (born 1963), American lawyer
 * Robert J. Wilke (1914–1989), American actor
 * Vincent Wilkie (born 1969), German musician
 * Wendell Willkie (1892–1944), American lawyer and politician
 * William Wilkie (1721–1772), Scottish poet

title: Wilkie (surname)