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Walls of Jericho (album)

Walls of Jericho is the debut studio album by German power metal band Helloween, released in 1985 on LP by Noise Records. It is the only album featuring Kai Hansen as lead vocalist until 2021's Helloween, although he would continue to act as guitarist on the two following albums.

In 1988, Walls of Jericho was released on CD. Due to the enhanced capacity of the CD, the Helloween EP/mini-LP and the song "Judas" from the Judas EP were added to the Walls of Jericho track listing; they are now released as a compilation. In the late 1980s, due to a manufacturing error, side one of several cassette copies of Walls of Jericho accidentally contained the music of Celtic Frost's To Mega Therion, confusing many first-time Helloween listeners.

2006 Remastered & Expanded Edition
Disc one is the same as above.

 * Tracks 1 & 2 also appear on the album Treasure Chest
 * Tracks 3 & 4 also appear on the Judas EP
 * Tracks 5 & 6 also appear on the Death Metal compilation
 * Track 7 also appears on the Helloween EP

Band members

 * Kai Hansen – vocals, guitar
 * Michael Weikath – guitar, cover concept
 * Markus Grosskopf – bass
 * Ingo Schwichtenberg – drums

Additional musicians

 * James Hardway – E-mu Emulator II

Production

 * Produced, engineered and mixed by Harris Johns
 * Edda and Uwe Karczewski – Cover design
 * Peter Vahlefeld – Layout, typography

Trivia

 * The titular entity in the song "Gorgar" is the first talking pinball machine ever produced.
 * The main theme of Edvard Grieg's "In the Hall of the Mountain King" is used in the song "Gorgar."
 * The intro to "Starlight" is taken from a commercial in the movie Halloween III: Season of the Witch.
 * The song "Heavy Metal (Is the Law)" is not an official live recording. Rather, crowd noise was added.
 * The live versions of "Ride the Sky" and "Guardians" are not live recordings; they are the same songs as found on Walls of Jericho but with crowd noise mixed in. The actual live versions of the two songs appeared only on the original 12" vinyl edition of the "Judas" single.
 * Professional wrestler Chris Jericho took his ring name and the name of his submission maneuver from the title of this album.

title: Walls of Jericho (album)


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John H. Sammis

John H. Sammis (1846–1919) was the writer of the Christian hymn "Trust and Obey" with Daniel B. Towner in 1887. Sammis also wrote the hymn "He's a Friend of Mine".

Biography
Sammis was born in 1846, in Brooklyn, New York. He was a businessman who became a Presbyterian minister. He taught at the Bible Institute of Los Angeles.

Sammis wrote over 100 hymns. Most of them can be categorized as "songs of trust" and "songs of obedience". They were compiled by T. C. Horton (a founder of Bible Institute of Los Angeles) and R. A. Torrey in 1918.

Sammis died in Highland Park, Los Angeles on June 12, 1919, and was buried at Forest Lawn Memorial Park in Glendale.

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

title: John H. Sammis


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Frye's Inn

Frye's Inn is an early 19th-century stagecoach inn and tavern near the "Capon Bridge" that crosses the Cacapon River in Capon Bridge, West Virginia.

History
Frye's Inn, located on the east side of the Cacapon River, was constructed between 1800 and 1818 by Margaret Caudy and her husband Eli Beall. Originally known as Beall's Tavern, the log structure became a haven for early pioneers and stagecoach travelers headed west on the Northwestern Turnpike (presently U.S. Route 50). Beall's daughter Sarah Jane married a man with the surname Frye and this marriage between the Beall and Frye families resulted in the tavern's name change to Frye's Inn.

During the American Civil War, General Stonewall Jackson of the Confederate States Army and his men paused to pray under the large walnut tree directly opposite the inn along the turnpike. This event was later recounted by Jenny Frye in a local newspaper.

The inn currently serves as the private residence of Thomas Kipps of Capon Bridge.

title: Frye's Inn


text: User talk:81.179.23.37

title: User talk:81.179.23.37


text:
Arthur Mitchell (Yukon politician)

Arthur Mitchell is a Canadian politician, who was a member of the Legislative Assembly of Yukon and the Leader of the Official Opposition from 2006 to 2011. He is a former real estate agent and an assistant to John Ostashek, the Yukon Party Government Leader (Premier) from 1992 to 1996. Mitchell was elected leader in June 2005 in a leadership race against Pat Duncan, the Yukon's first Liberal premier, and remained leader until his defeat in the 2011 Yukon election.

Personal life
Mitchell is originally from the community of New Rochelle, New York. He is the brother of television journalist Andrea Mitchell who is married to Alan Greenspan. He is son of Cecile and Sydney Mitchell. Mitchell's father was the chief executive officer and partial owner of a furniture manufacturing company in Manhattan and was also the president of Beth El Synagogue in New Rochelle for 40 years. His mother was an administrator at the New York Institute of Technology in Manhattan. Mitchell moved to Canada in the 1970s, settling in Atlin, British Columbia to run a general store until moving to Yukon in the early 1990s and becoming a real estate agent in Whitehorse.

Mitchell has also served as alternate chair of the Yukon Worker's Compensation Health and Safety Board and on the City of Whitehorse Parks and Recreation Board.

Political career
Mitchell ran unsuccessfully in the newly created Whitehorse riding of Copperbelt in the 2002 Yukon election, but was defeated by Yukon Party candidate Haakon Arntzen.

In the 2002 election, the Liberals were reduced from government to just a single seat, that of leader and former Yukon Premier Pat Duncan. Duncan consequently called for a confidence vote in her leadership, which Mitchell contested. He defeated Duncan by 54 votes in June 2005.

Mitchell soon after contested a by-election in the riding of Copperbelt in 2005, following the resignation of Haakon Arntzen after convictions of indecent assault. Mitchell was elected to the Yukon Legislative Assembly in the November 21, 2005 by-election.

Mitchell led his party to gaining Official Opposition status in May 2006, following the defection of two New Democrat MLAs, Gary McRobb and Eric Fairclough, to the Liberal caucus. Under Mitchell's leadership, the Liberals retained Official Opposition status later that year in the 2006 Yukon election, increasing the party's seat count by one. Mitchell served as the Yukon's Leader of the Official Opposition during the 32nd Legislative Assembly.

Mitchell announced his intention to seek re-election in the redistributed riding of Copperbelt North in the 2011 election, after his riding of Copperbelt was dissolved. However, he was defeated by Currie Dixon of the Yukon Party and announced his resignation as the head of the Yukon Liberal Party. As a result of its loss, the Yukon Liberal Party was once again reduced to third party status.

2011 general election

 * Liberal
 * Arthur Mitchell
 * align="right"| 407
 * align="right"| 37.4%
 * align="right"| –

! align=left colspan=3|Total ! align=right| 1088 ! align=right| 100.0% ! align=right| –
 * NDP
 * Skeeter Miller-Wright
 * align="right"| 159
 * align="right"| 14.6%
 * align="right"| –
 * }

2006 general election

 * Liberal
 * Arthur Mitchell
 * align="right"| 632
 * align="right"| 52.5%
 * align="right"| +3.0%

!align="left" colspan=3|Total !align="right"| 1204 !align="right"| 100.0% !align="right"| –
 * NDP
 * David Hedmann
 * align="right"| 191
 * align="right"| 15.9%
 * align="right"| -14.8%
 * - bgcolor="white"

2005 by-election

 * Liberal
 * Arthur Mitchell
 * align="right"|459
 * align="right"|49.5%
 * align="right"|+16.9%

 * NDP
 * Maureen Stephens
 * align="right"|285
 * align="right"|30.7%
 * align="right"|+3.2%

!align="left" colspan=3|Total !align="right"| 927 !align="right"| 100.0% !align="right"| –
 * - bgcolor="white"

 * On the resignation of Haakon Arntzen (September 2005).

2002 general election

 * Liberal
 * Arthur Mitchell
 * align="right"| 312
 * align="right"| 32.6%
 * align="right"| –

!align="left" colspan=3|Total !align="right"| 957 !align="right"| 100.0% !align="right"| –
 * NDP
 * Lillian Grubach-Hambrook
 * align="right"| 263
 * align="right"| 27.5%
 * align="right"| –
 * - bgcolor="white"

title: Arthur Mitchell (Yukon politician)


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Leonid Utesov

Leonid Osipovich Utesov, also spelled Utyosov or Utiosov, born Lazar (Leyzer) Iosifovich Vaysbeyn or Weissbein (22 March 1895, Odessa – 9 March 1982, Moscow), was a famous Soviet estrada singer, and comic actor, who became the first pop singer to be awarded the prestigious title of People's Artist of the USSR in 1965.

Biography
Leonid Utesov was brought up in Odessa, Russian Empire and attended the Faig School of Commerce, from which he dropped out and joined the Borodanov Circus troupe as an acrobat. He started his stage career in 1911 in Kremenchuk, then returned to Odessa, changed his artistic name to Leonid Utesov, and performed as a stand up comedian with the Rosanov troupe and with the Rishelyavsky Theatre. In 1917, he won a singing competition in Gomel, Belarus, then performed in Moscow.

In the 1920s, he moved to Leningrad and set up one of the first Soviet jazz bands. In Leningrad, he began collaboration with the popular composer, Isaak Dunayevsky, which turned out to be a breakthrough for both artists. At that time, Utesov built a band of the finest musicians available in Leningrad, and created a style all his own – a jazz show with stand up comedy, which blended several styles, ranging from Russian folk songs to a variety of international cosmopolitan genres. In 1928, Utesov toured Europe and attended performances of American jazz bands in Paris, which influenced his own style. During the 1930s, Utesov and his band, called "Thea-Jazz" (a portmanteau of Theatrical Jazz) had a regular gig at the Marble Hall of the Kirov Palace of Culture in Leningrad. Utesov's jazz band also performed at the Leningrad Maly Opera theatre, at the "Svoboda-teatr," and at the Leningrad Music Hall. In his performances, Utesov delivered a variety of musical styles, including such genres as American jazz, Argentine tango, French chanson, upbeat dance, and Russian folk music.

His popularity was on the rise in the 1930s when he co-starred with Lyubov Orlova in the comedy Jolly Fellows. In it, Utesov performed such hits as "Serdtse" (Heart). During World War II, Utesov performed on the front lines, helping lift the spirits of the Soviet soldiers fighting against the Nazis. He donated two La-5 planes to 5th Guards Fighter Aviation Regiment; one of planes was named "Jolly Fellows". After a meeting with Vitaly Popkov, flight commander of the "singing" squadron and Head of the amateur frontline orchestra, Leonid Osipovich presented the squadron with forty-two of his vinyl records. On Victory Day (9 May 1945), Utesov performed on Sverdlov Square in Moscow.

Utesov lived in Moscow for the rest of his life, albeit in many of his songs he alluded to his native town of Odessa, where a monument to him was dedicated in 2000.

Richard Stites writes: In the years of the "red jazz age" (1932–1936) European and Soviet bands were heard in dozens of cities. The kings were Alexander Tsfasman and Leonid Utesov. ... Utesov – musically far less gifted – was actually more popular than Tsfasman, partly because of the spectacular success of his comedy film Happy-Go-Lucky Guys, but mostly because his Odessa background and his circus and carnival road experience on the southern borscht belt gave him a clowning manner. He resembled his idol, the personable Ted ("Is everybody happy?") Lewis more than he did any of the great jazz figures of the time. In fact, Utesov was the typical estrada entertainer – quick witted, versatile, and funny. He was not only one of the stars of the 1930s but also a personal favorite of Stalin.

Filmography

 * 1919 – Lieutenant Schmidt – Freedom Fighter (Russian: Лейтенант Шмидт — борец за свободу)
 * 1923 – Trade-House "Entente and Co." (Russian: Tорговый дом «Антанта и К»)
 * 1926 – Career of Spirka Shpandyr (Карьера Спирьки Шпандыря)
 * 1928 – Strangers (Russian: Чужие)
 * 1934 – Jolly Fellows (Russian: Весёлые ребята) — Kostya Potekhin
 * 1940 – Concert on the Screen (Russian: Концерт на экране)
 * 1942 – Concert for the Frontlines (Russian: Концерт фронту)
 * 1954 – Merry Stars (Russian: Весёлые звёзды)
 * 1963 – Melodies of Dunayevsky (Russian: Мелодии Дунаевского)
 * 1974 – Pyotr Martynovich and the Years of a Great Life (Russian: Пётр Мартынович и годы большой жизни)

Singles

 * Gop so smykom
 * S Odesskogo kichmana
 * Odessit-Mishka
 * Havana
 * Have a good night
 * Road to Berlin
 * My dear Muscovites
 * Waves of the Danube
 * Jewish Rhapsody
 * On a wing and a prayer
 * When Johnny came home
 * Leningrad bridges
 * Happy-go-lucky guys marsh
 * Song of the old cab
 * Beautiful marquise
 * Sea widely
 * Suliko
 * Tachanka
 * Chapliniana
 * In the Black Sea
 * Tyuh-tyuh
 * Oh, my Odessa
 * Moscow Windows

Honours and awards
A minor planet, 5944 Utesov, discovered on 2 May 1984, is named after him. On March 21, 2020, Google celebrated his 125th birthday with a Google Doodle.

title: Leonid Utesov


text:
George Tuska

George Tuska (April 26, 1916 – October 16, 2009), who early in his career used a variety of pen names including Carl Larson, was an American comic book and newspaper comic strip artist best known for his 1940s work on various Captain Marvel titles and the crime fiction series Crime Does Not Pay and for his 1960s work illustrating Iron Man and other Marvel Comics characters. He also drew the DC Comics newspaper comic strip The World's Greatest Superheroes from 1978–1982.

Early life and career
George Tuska was born in Hartford, Connecticut, the youngest of three children of Russian immigrants Harry and Anna Onisko Tuska, who had met in New York City. George's siblings Peter, the eldest, and Mary, the middle child, were born in New York City. Years later, Mary died while giving birth to her second child, who was stillborn. Harry, a foreman at a Hartford auto-tire company, died when George was 14. Anna then opened a restaurant in Paterson, New Jersey, where she had relatives, and later remarried. At 17, Tuska moved to New York City, rooming with his cousin Annie, and a year later began attending the National Academy of Design. His artistic influences included illustrators Harold von Schmidt, Dean Cornwell, and Thomas Lovell, and comic strip artists Lou Fine, Hal Foster, and Alex Raymond. At some early point, he took his first job in art, designing women's costume jewelry.

Tuska then began working for comic book packager Eisner & Iger, one of a handful of companies at the time that supplied comics on demand for publishers entering the new medium. His first known published comic-book work appeared in Fox Comics' Mystery Men Comics #1 and Wonderworld Comics #4, both cover-dated August 1939. Tuska in the mid-2000s recalled:

"I went to art school at the same I was doing costume jewelry design. I put in an application with a professional agency in New York City. I told them I could do cartooning, drawing. A week later, I got a call from Eisner-Iger, asking me to submit some samples. ... [Eisner] said, 'That's pretty good, but we don't do that [cartoon] stuff'. He showed me a comic book and said, 'This is what we want'. ... I went home and made a page — a whole story in one page. When I brought it back, he bought it for $5. He said, 'We'd like to have you work for us'. That's how I got started. ... I gave up school. ... I made $10 per week."

At Eisner & Iger, Tuska said in 2001, "I worked alongside Bob Powell, Lou Fine, and Mike Sekowsky". His studio colleagues later grew to include artists Charles Sultan, John Celardo, and Nick Cardy, and writer Toni Blum. Writer-artist and company co-founder Will Eisner recalled of the period, "It was a friendly shop, and I guess I was the same age as the youngest guys there. We all got along. The only ones who ever got into a hassle were George Tuska and Bob Powell. Powell was kind of a wiseguy and made remarks about other people in the shop. One day, George had enough of it, got up, and punched out Bob Powell". The otherwise mild-mannered Tuska, thinking comic books "would last two or three years — a fad", later left to seek non-comics work. After two weeks, however, he came across colleagues Sultan and Dave Glaser, on their way to meet with comics packager Harry "A" Chesler. Tuska, invited along, joined Chesler's studio, working there in 1939 and 1940, earning $22 a week, increased to $42 a week within six months. Alongside colleagues that included Sultan, Ruben Moreira, Mac Raboy, and Ralph Astarita, Tuska helped to supply content for such Fawcett Comics publications as Captain Marvel Adventures. Later, when Eisner-Iger client Fiction House formed its own bullpen to produce work on staff, Tuska left Chesler to join Cardy, Jim Mooney, Graham Ingels and other artists there.

Tuska produced a prodigious amount of work that included, for Fiction House, the South Sea adventure feature "Shark Brodie" (under the pen name George Aksut) and the investigative feature "Hooks Devlin", both for Fight Comics; the rich-vigilante feature "Glory Forbes" in Ranger Comics; and "Jane Martin" in Wings Comics. Before and during his six years at Fiction House, Tuska freelanced such features as the North Atlantic seafaring adventure "Spike Marlin" (as Carl Larson) in Harvey Comics' Speed Comics; "Wing Turner" (as Floyd Kelly) for Fox Comics' Mystery Men Comics; "Archie O'Toole" (as Bud Thomas) in Quality Comics' Smash Comics and "Cosmic Carson" (as Michael Griffith) in Fox's Science Comics.

At some point, Tuska again worked for Will Eisner, now split from Jerry Iger, with a group of artists including Alex Kotzky and Tex Blaisdell. "While with Eisner, I penciled some Spirit and Uncle Sam stories". (Tuska's first Uncle Sam work was the cover and virtually every story in Uncle Sam Quarterly #3, cover-dated Summer 1942.) Independently, he was assigned by Fawcett art director Al Allard to draw "a few more Captain Marvel stories. Allard had asked me to draw as close as possible to the way Captain Marvel had first appeared in Whiz Comics. ... After those freelance jobs, I never worked for Fawcett again". Tuska's earliest Captain Marvel work appeared in Captain Marvel Adventures #2-4 (Summer 1941, Fall 1941, and the oddly dated Oct. 31, 1941).

Drafted into the U.S. Army circa 1942, Tuska was stationed at the 100th Division at Fort Jackson in Columbia, South Carolina where he worked in headquarters drawing artillery. He was honorably discharged as a private first class after a year for reasons the artist did not specify. Returning home, he took up again with Fiction House, drawing a host of stories featuring Reef Ryan, Rip Carson, Lady Satan, the Western hero Golden Arrow, and Camilla, Queen of the Jungle.

Crime Does Not Pay
Following the huge popularity of superheroes during the World War II years, those characters' appeal began to dwindle in the post-war era. Comic-book publishers, casting about for new subjects and genres, found a hit in crime fiction, the most prominent comic of which was Lev Gleason Publications' Crime Does Not Pay. Tuska would soon make a name for himself as one of the genre's top comics artists. After starting with short backup features and spot illustrations for text stories, Tuska was drawing the lead stories and more by Crime Does Not Pay #50 (March 1947).

1950s
Tuska's first work for the future Marvel Comics came in 1949, when Marvel's predecessor company, Timely Comics, was transitioning to its 1950s iteration, Atlas Comics. His first confirmed credit is the seven-page story "Justice Has a Heart" in Casey - Crime Photographer # 1 (Aug. 1949). He quickly went on to draw in an abundance of genres for Atlas, including crime fiction (in titles including Crime Can't Win, Crime Exposed, Private Eye, Justice, Amazing Detective Cases, and All True Crime Cases Comics); military fiction (Men in Action, War Combat, Man Comics, Battlefield, and Battle); horror (Adventures into Weird Worlds, Adventures into Terror, Mystic, Menace, and Strange Tales); and, particularly, Westerns (Black Rider, Gunsmoke Western, Kid Colt, Outlaw, Red Warrior, Texas Kid, Two-Gun Kid, Western Outlaws & Sheriffs, Wild Western, and many others) through 1957, while also occasionally contributing to Lev Gleason and St. John Publications.

Simultaneously at first, from 1954 to 1959, Tuska took over as writer-artist for the failing adventure comic strip Scorchy Smith, supplying "eye-catching drawings and interesting plots, but it was too late". The strip would end in 1961. Tuska by then had moved on to the long-running science-fiction comic strip Buck Rogers, on which he was the final artist, drawing both the daily and Sunday strip from April 1959 to 1965, and the daily only from then through 1967, when both the daily and the Sunday were canceled.

The Silver Age
Near the cancellation of the daily Buck Rogers strip, Tuska again found a freelance home at what was by now Marvel Comics, then in the full breadth of what historians and fans call the Silver Age of Comic Books. "I called [editor-in-chief] Stan [Lee] and he said, 'Come on up', Tuska recalled in the mid-2000s. His first Marvel story, a "Tales of the Watcher" feature in Tales of Suspense #58 (Nov. 1964), included a special introduction by Lee, hailing the return of the Golden Age great.

Tuska became a Marvel mainstay, penciling and occasionally inking other artists on series as diverse as Ghost Rider, Sub-Mariner, and The X-Men. His signature series became Iron Man, on which he enjoyed a nearly 10-year, sometimes briefly interrupted, run from issue #5 (Sept. 1968) to #106 (Jan. 1978). He and writer Archie Goodwin created the Controller as an antagonist in Iron Man #12 (April 1969).

Comics historian Les Daniels noted that when Goodwin, Tuska and inker Billy Graham launched Luke Cage, Hero for Hire in 1972, "it was the first Marvel comic to take its title from a black character." Shanna the She-Devil was created by Carole Seuling, Steve Gerber, and Tuska in the eponymous first issue of that character's own series. He was one of the artists on the licensed movie tie-in series Planet of the Apes. Due to Marvel not having the likeness rights for Charlton Heston, the star of the film, one of the lawyers at 20th Century Fox insisted on changes to Tuska's art. Editor Roy Thomas believed that Tuska "just made a handsome looking guy, but it didn't look like Heston ... you can't argue. If somebody says it looks like Charlton Heston and they're worried he's gonna sue, you can't say 'no' because they just weren't going to give the approval."

The A.V. Club insert of The Onion wrote, shortly before Tuska's death in 2009, that,

"Tuska was perfectly competent, and his art for titles like Iron Man and The Incredible Hulk [sic] is decent, though unspectacular. But his drawing was so quickly assayed, and so essentially flavorless, that he became the King of the Fill-In Issue, hopping in to provide bland, forgettable work whenever someone else blew a deadline. He thus played an inadvertent part in setting up [Marvel and DC Comics]' creed of speed over quality, and helped establish the Marvel house style, which nurtured some young artists, but acted as an artistic straitjacket for others."

That assessment of Tuska's Marvel work is not widely shared. John Romita Sr., Marvel's de facto and later official art director during this period, found Tuska "so versatile. He could do everything. When Stan knew that a guy could do anything, he used him in every possible, conceivable way. George was a helluva artist and very versatile and very fast. ... He was in demand". Comics writer and Tuska collaborator Tony Isabella wrote, "I would love to see a Best of George Tuska collection which included his crime, mystery, romance, war, and western stories. He brought as much excitement and talent to those genres as he did to superhero comics". Comics journalist and historian Tom Spurgeon wrote that,

"... his layouts were certainly more imaginative than the standard at the time, and the way in which characters like Luke Cage held a lot of their strength in their shoulders and punched from their legs up through their torsos betrayed his knowledge of strength and fitness. His signature flourish may have been characters in arrested motion, coiled in preparation for violence like so many pulp heroes of an earlier generation, legs splayed in the form of a near-base ready for what might come next. ... Tuska cemented his reputation as one of the more iconic superhero artists of [the 1970s] — two full generations after entering comics."

Later career and death
Later, for DC Comics, Tuska drew characters including Superman, Superboy, and Challengers of the Unknown. He had a four-year run drawing The World's Greatest Superheroes comic strip from 1978–1982, inked by Vince Colletta. By this time, his health had become a handicap; Jim Shooter, who scripted an issue of Daredevil penciled by Tuska in 1977, recalled that, "George Tuska was at the end of his brilliant career, he was mostly deaf, communication was difficult, and though he showed occasional flashes of the chops that made him a big name artist in his day, I don't think his work on Daredevil was anywhere near his best." Tuska drew DC's Masters of the Universe limited series in 1982.

Retired from active comics work as of the 2000s, Tuska late in life moved from Hicksville, New York, on Long Island, to Manchester Township, New Jersey, with his wife Dorothy ("Dot"), where he did commissioned art. The couple had three children, Barbara, Kathy and Robert. Tuska died in 2009 "near the stroke of midnight between October 15 and October 16," officially on the latter date. His last published comic-book art was one of four variant covers for Dynamite Entertainment's Masquerade #2 (March 2009).

Awards
Tuska was a 1997 recipient of the industry's Inkpot Award.

DC Comics

 * Action Comics #409, 486, 550 (1972–1983)
 * Adventure Comics #493–494 (1982)
 * The Brave and the Bold #88 (1970)
 * Challengers of the Unknown #73–74 (1970)
 * Detective Comics #486, 490 (1979–1980)
 * Falling In Love #118, 141, 143 (1970–1973)
 * Fury of Firestorm #17–18, 31, 45 (1983–1986)
 * Ghosts #2–4 (1971–1972)
 * Girls' Love Stories #144, 152, 154–155, 158, 160, 165 (1969–1972)
 * Girls' Romances #147, 150, 154, 157 (1970–1971)
 * Green Lantern #166–168, 170 (1983)
 * Heart Throbs #128–129 (1970)
 * House of Mystery #207, 293–294, 316 (1972–1983)
 * House of Secrets #86, 90, 95, 104 (1970–1973)
 * Infinity, Inc. #11 (1985)
 * Justice League of America #153, 228, 241–243 (1978–1985)
 * Legion of Super-Heroes vol. 2 #308 (1984)
 * Masters of the Universe #1–3 (1982–1983)
 * Mystery in Space #115, 117 (1981)
 * Secret Origins vol. 2 #4, 9 (1986)
 * Superboy #172–173, 176, 183 (1971–1972)
 * Superboy and the Legion of Super-Heroes #235 (1978)
 * The Superman Family #203, 207–209 (1980–1981)
 * Tales of the Legion of Super-Heroes #314–317 (1984)
 * Tales of the Unexpected #34 (1959)
 * Teen Titans #27, 31, 33–39 (1971–1972)
 * The Unexpected #117–118, 120, 123–124, 127, 129, 132, 134, 136, 139, 152, 180, 200 (1970–1980)
 * Weird War Tales #103, 122 (1981–1983)
 * Wildcats: Mosaic #1 (2000)
 * The Witching Hour #11–12, 19 (1970–1972)
 * World's Finest Comics #250–252, 254, 257, 283–284, 308 (1978–1984)
 * Young Romance #172 (1971)

Fawcett Comics

 * Captain Marvel Adventures #2–4 (1941)
 * Captain Marvel Jr. #10 (1943)
 * Master Comics #12–19, 21–23 (1941–1942)

Lev Gleason Publications

 * Black Diamond Western #10, 48 (1949–1954)
 * Boy Comics #30, 57, 70, 98, 101, 105, 113, 115 (1946–1955)
 * Boy Loves Girl #42, 46 (1954)
 * Boy Meets Girl #1 (1950)
 * Crime and Punishment #2–3, 28, 30, 33, 42, 64–64, 70 (1948–1954)
 * Crime Does Not Pay #22, 47–54, 56–64, 66–68, 71–74, 77–78, 80–81, 86–87, 99, 110, 114, 129–140, Annual #1 (1942–1954)
 * Desperado #4 (1948)
 * Lovers' Lane #2, 6, 40 (1949–1954)

Marvel Comics

 * 3-D Action #1 (1954)
 * Adventures into Terror #14, 18 (1952–1953)
 * Adventures into Weird Worlds #1, 12, 15 (1952–1953)
 * All-True Crime #48, 51 (1952)
 * Amazing Detective Cases #10 (1952)
 * Arizona Kid #6 (1952)
 * Astonishing #27 (1953)
 * Astonishing Tales #5–6 (Doctor Doom); #8 (Gemini) (1971)
 * The Avengers #47–48, 51, 53–54, 106–107, 135, 137–140, 163 (1967–1977)
 * Battle #11, 15, 23, 30, 32 (1952–1954)
 * Battle Action #2, 29 (1952–1957)
 * Battle Ground #11, 15–16 (1956–1957)
 * Battlefield #3 (1952)
 * Battlefront #22, 37 (1954–1955)
 * Black Goliath #1–3 (1976)
 * Black Rider #12, 18–21 (1951–1954)
 * Captain America #112, 215 (1969–1977)
 * Captain Marvel #54 (1978)
 * Casey – Crime Photographer #1 (1949)
 * Champions #3–4, 6–7, 17 (1976–1978)
 * Cowboy Action #11 (1956)
 * Creatures on the Loose #30–32 (Man-Wolf) (1974)
 * Crime Can't Win #3 (1951)
 * Crime Cases Comics #5, 9, 12 (1951–1952)
 * Crime Exposed #3–4 (1951)
 * Crime Must Lose #9 (1951)
 * Daredevil #39, 145, Annual #4 (1968–1977)
 * Defenders #57 (1978)
 * Dracula Lives! #13 (1975)
 * Frontier Western #2, 10 (1956–1957)
 * G.I. Tales #4 (1957)
 * Ghost Rider #13–14, 16 (1975–1976)
 * Gunhawk #13, 33–34 (1951–1956)
 * Hero for Hire #1–3, 5, 7–12 (1972–1973)
 * The Incredible Hulk vol. 2 #102, 105–106, 218 (1968–1977)
 * Iron Man #5–13, 15–24, 32, 38, 40–46, 48–54, 57–61, 63–72, 78–79, 86–92, 95–106, Annual #4 (1968–1978)
 * Journey into Mystery #11 (1953)
 * Journey into Unknown Worlds #3, 10, 14 (1951–1952)
 * Jungle Action #2 (1954)
 * Jungle Tales #2 (1954)
 * Justice #15, 18, 31, 33, 37, 40–41, 48 (1950–1954)
 * Ka-Zar #2–3 (Angel backup stories) (1970–1971)
 * Kent Blake of the Secret Service #5 (1952)
 * Kid Colt Outlaw #16, 24, 32, 34–35, 63 (1951–1956)
 * Lorna the Jungle Girl #6 (1954)
 * Man Comics #1–2 14, 16, 21, 23–24 (1949–1953)
 * Marines in Battle #15, 18, 20 (1956–1957)
 * Marvel Chillers #7 (Tigra) (1976)
 * Marvel Premiere #26 (Hercules) (1975)
 * Marvel Super-Heroes #19 (Ka-Zar) (1969)
 * Marvel Tales #114 (1953)
 * Marvel Tales vol. 2 #30 (Angel backup story) (1971)
 * Marvel Treasury Edition #13 (1977)
 * Marvel Two-in-One #6 (1974)
 * Masters of the Universe The Motion Picture #1 (1987)
 * Men in Action #2, 6 (1952)
 * Men's Adventures #12, 24 (1952–1953)
 * Menace #1–2, 5 (1953)
 * Monsters on the Prowl #10 (1971)
 * Monsters Unleashed #3 (1973)
 * My Love #2 (1949)
 * My Love vol. 2 #17 (1972)
 * My Own Romance #10 (1950)
 * Mystery Tales #10, 12, 14 (1953)
 * Our Love Story #20 (1972)
 * Outlaw Fighters #1–3 (1954)
 * Planet of the Apes #1–6 (1974–1975)
 * Power Man #17–20, 24, 26, 28–29, 47 (1974–1977)
 * Private Eye #1–3 (1951)
 * Quick-Trigger Western #17 (1957)
 * Rawhide Kid #14 (1957)
 * Red Warrior #1 (1951)
 * Shanna the She-Devil #1 (1972)
 * Space Squadron #1–3 (1951)
 * Spaceman #5 (1954)
 * Sports Action #7 (1951)
 * Spy Cases #7 (1951)
 * Spy Fighters #1-2 (1951)
 * Strange Tales #1, 12, 14, 18–19, 94, 166 (1951–1968)
 * Sub-Mariner #41–42, 69–71 (1971–1974)
 * Super-Villain Team-Up #1 (1975)
 * Supernatural Thrillers #6 (Headless Horseman) (1973)
 * Suspense #5–6, 12, 24 (1950–1952)
 * Tales of Justice #57, 61–62 (1955–1956)
 * Tales of Suspense #58 (Watcher); #70–74 (Captain America) (1964–1966)
 * Texas Kid #1, 6 (1951)
 * Tower of Shadows #3 (1970)
 * Two-Gun Kid #11, 45 (1953–1958)
 * War Action #2, 8, 10 (1952–1953)
 * War Adventures #1 (1952)
 * War Comics #22 (1953)
 * Western Outlaws #2, 6, 15 (1954–1956)
 * Western Outlaws and Sheriffs #64, 69–72 (1950–1952)
 * What If ... ? #5 (Captain America) (1977)
 * Wild Western #21, 27, 29, 32, 37 (1952–1954)
 * Worlds Unknown #7–8 (The Golden Voyage of Sinbad adaptation) (1974)
 * X-Men #43–46 (1968)
 * Young Men #6–7, 21–23 (1950–1953)

Quality Comics

 * Hit Comics #6–8, 18 (1940–1941)
 * National Comics #1–9 (1940–1941)
 * Uncle Sam Quarterly #3–4 (1942)

Tower Comics

 * Dynamo #2–3 (1966–1967)
 * T.H.U.N.D.E.R. Agents #7–8, 10, 13–17, 19 (1966–1968)

title: George Tuska


text:
Mário de Andrade

Mário Raul de Morais Andrade (October 9, 1893 – February 25, 1945) was a Brazilian poet, novelist, musicologist, art historian and critic, and photographer. He wrote one of the first and most influential collections of modern Brazilian poetry, Paulicéia Desvairada (Hallucinated City), published in 1922. He has had considerable influence on modern Brazilian literature, and as a scholar and essayist—he was a pioneer of the field of ethnomusicology—his influence has reached far beyond Brazil.

Andrade was a central figure in the avant-garde movement of São Paulo for twenty years. Trained as a musician and best known as a poet and novelist, Andrade was personally involved in virtually every discipline that was connected with São Paulo modernism. His photography and essays on a wide variety of subjects, from history to literature and music, were widely published. He was the driving force behind the Modern Art Week, the 1922 event that reshaped both literature and the visual arts in Brazil, and a member of the avant-garde "Group of Five". The ideas behind the Week were further explored in the preface to his poetry collection Pauliceia Desvairada, and in the poems themselves.

After working as a music professor and newspaper columnist, he published his great novel, Macunaíma, in 1928. Work on Brazilian folk music, poetry, and other concerns followed unevenly, often interrupted by Andrade's shifting relationship with the Brazilian government. At the end of his life, he became the founding director of São Paulo's Department of Culture, formalizing a role he had long held as a catalyst of the city's—and the nation's—entry into artistic modernity.

Early life
Andrade was born in São Paulo, Brazil, and lived there virtually all of his life. As a child, he was a piano prodigy, and he later studied at the Music and Drama Conservatory of São Paulo. His formal education was solely in music, but at the same time, as Albert T. Luper records, he pursued persistent and solitary studies in history, art, and particularly poetry. Andrade had a solid command of French, and read Rimbaud and the major Symbolists. Although he wrote poetry throughout his musical education, he did not think to do so professionally until the career as a professional pianist to which he aspired was no longer an option.

In 1913, his 14-year-old brother Renato died suddenly during a football game; Andrade left the Conservatory to stay at Araraquara, where his family had a farm. When he returned, his piano playing was afflicted intermittently by trembling of his hands. Although he ultimately did receive a degree in piano, he gave no concerts and began studying singing and music theory with an eye toward becoming a professor of music. At the same time, he began writing more seriously. In 1917, the year of his graduation, he published his first book of poems, Há uma Gota de Sangue em Cada Poema (There is a drop of blood in each poem), under the pseudonym Mário Sobral. The book contains hints of Andrade's growing sense of a distinctive Brazilian identity, but it does so within the context of a poetry that (like most Brazilian poetry of the period) is strongly indebted to earlier European—particularly French—literature.

His first book does not seem to have had an enormous impact, and Andrade broadened the scope of his writing. He left São Paulo for the countryside, and began an activity that would continue for the rest of his life: the meticulous documentation of the history, people, culture, and particularly music of the Brazilian interior, both in the state of São Paulo and in the wilder areas to the northeast. He published essays in São Paulo magazines, accompanied occasionally by his own photographs, but primarily he accumulated massive amounts of information about Brazilian life and folklore. Between these trips, Andrade taught piano at the Conservatory, and became one of its professors in 1921.

The Modern Art Week
While these folklore-gathering trips were going on, Andrade developed a group of friends among young artists and writers in São Paulo, who, like him, were aware of the growing modernist movement in Europe. Several of them were later known as the Grupo dos Cinco (the Group of Five): Andrade, poets Oswald de Andrade (no relation) and Menotti del Picchia, and artists Tarsila do Amaral and Anita Malfatti. Malfatti had been to Europe before World War I, and introduced São Paulo to expressionism. Jack E. Tomlins, the translator of Andrade's second book, describes in his introduction a particularly crucial event in the development of Andrade's modernist philosophy. In 1920, he had recently met the modernist sculptor Victor Brecheret, and bought a sculpture from him entitled "Bust of Christ," which depicted Christ as a Brazilian with braided hair. His family (apparently to his surprise) was shocked and furious. Andrade retreated to his room alone, and later recalled, in a lecture translated by Tomlins, that—still "delirious"—he went out onto his balcony and "looked down at the square below without actually seeing it."

Noises, lights, the ingenuous bantering of the taxi drivers: they all floated up to me. I was apparently calm and was thinking about nothing in particular. I don't know what suddenly happened to me. I went to my desk, opened a notebook, and wrote down a title that had never before crossed my mind: Hallucinated City.

Retaining that title (Paulicéia Desvairada, in Portuguese), Andrade worked on the book for the next two years. He very quickly produced a "barbaric canticle", as he called it in the same lecture, and then gradually edited it down to half its original size.

These poems were entirely different from his earlier formal and abstract work. The lines of verse vary greatly in length and in syntactical structure, consisting primarily of impressionistic and fragmented descriptions interspersed with seemingly overheard, disconnected bits of speech in São Paulo dialect. The speaker of the poems often seems overwhelmed by the maze of dialogue that constantly interrupts him, as in "Colloque Sentimental":

After the poems were completed, Andrade wrote what he called an "Extremely Interesting Preface", in an attempt to explain in hindsight the poems' theoretical context (though Bruce Dean Willis has suggested that the theories of the preface have more to do with his later work than with Paulicéia ). The preface is self-deprecating ("This preface—although interesting—useless") but ambitious, presenting a theory not just of poetry but of the aesthetics of language, in order to explain the innovations of his new poems. Andrade explains their tangle of language in musical terms: "There are certain figures of speech in which we can see the embryo of oral harmony, just as we find the germ of musical harmony in the reading of the symphonies of Pythagoras. Antithesis: genuine dissonance."

He makes a distinction, however, between language and music, in that "words are not fused like notes; rather they are shuffled together, and they become incomprehensible." However, as Willis has pointed out, there is a pessimism to the preface; in one of its key passages, it compares poetry to the submerged riches of El Dorado, which can never be recovered.

In 1922, while preparing Paulicéia Desvairada for publication, Andrade collaborated with Malfatti and Oswald de Andrade in creating a single event that would introduce their work to the wider public: the Semana de Arte Moderna (Modern Art Week). The Semana included exhibitions of paintings by Malfatti and other artists, readings, and lectures on art, music, and literature. Andrade was the chief organizer and the central figure in the event, which was greeted with skepticism but was well-attended. He gave lectures on both the principles of modernism and his work in Brazilian folk music, and read his "Extremely Interesting Preface." As the climactic event of the Semana, he read from Paulicéia Desvairada. The poems' use of free verse and colloquial São Paulo expressions, though related to European modernist poems of the same period, were entirely new to Brazilians. The reading was accompanied by persistent jeers, but Andrade persevered, and later discovered that a large part of the audience found it transformative. It has been cited frequently as the seminal event in modern Brazilian literature.

The Group of Five continued working together in the 1920s, during which their reputations solidified and hostility to their work gradually diminished, but eventually the group split apart; Andrade and Oswald de Andrade had a serious (and public) falling-out in 1929. New groups were formed out of the splinters of the original, and in the end many different modernist movements could trace their origins to the Modern Art Week.

"The apprentice tourist"
Throughout the 1920s Andrade continued traveling in Brazil, studying the culture and folklore of the interior. He began to formulate a sophisticated theory of the social dimensions of folk music, which is at once nationalistic and deeply personal. Andrade's explicit subject was the relationship between "artistic" music and the music of the street and countryside, including both Afro-Brazilian and Amerindian styles. The work was controversial for its formal discussions of dance music and folk music; those controversies were compounded by Andrade's style, which was at once poetic (Luper calls it "Joycean" ) and polemical.

His travels through Brazil became more than just research trips; in 1927, he started writing a travelogue called "The apprentice tourist" for the newspaper O Diario Nacional. The column served as an introduction for cosmopolites to indigenous Brazil. At the same time, it served as an advertisement for Andrade's own work. A number of Andrade's photographs were published alongside the column, showing the landscape and people. Occasionally, Andrade himself would appear in them, usually filtered through the landscape, as in the self-portrait-as-shadow on this page. His photographs thus served to further his modernist project and his own work at the same time as their function in recording folklore.

Though Andrade continued taking photographs throughout his career, these images from the 20s comprise the bulk of his notable work, and the 1927 series in particular. He was particularly interested in the capacity of photographs to capture or restate the past, a power he saw as highly personal. In the late 1930s, he wrote: ". . .the objects, the designs, the photographs that belong to my existence from some day in the past, for me always retain an enormous force for the reconstitution of life. Seeing them, I don't simply remember, but re-live with the same sensation and same old state, the day that I already lived. .."

In many of the images, figures are shadowed, blurred, or otherwise nearly invisible, a form of portraiture that for Andrade became a kind of modernist sublime.

Macunaíma

At the same time, Andrade was developing an extensive familiarity with the dialects and cultures of large parts of Brazil. He started to apply to prose fiction the speech-patterned technique he had developed in writing the poems of Hallucinated city. He wrote two novels during this period using these techniques: the first, Love, Intransitive Verb, was largely a formal experiment.; the second, written shortly after and published in 1928, was Macunaíma, a novel about a man ("The hero without a character" is the subtitle of the novel) from an indigenous tribe who comes to São Paulo, learns its languages—both of them, the novel says: Portuguese and Brazilian—and returns. The style of the novel is composite, mixing vivid descriptions of both jungle and city with abrupt turns toward fantasy, the style that would later be called magical realism. Linguistically, too, the novel is composite; as the rural hero comes into contact with his urban environment, the novel reflects the meeting of languages. Relying heavily on the primitivism that Andrade learned from the European modernists, the novel lingers over possible indigenous cannibalism even as it explores Macunaíma's immersion in urban life. Critic Kimberle S. López has argued that cannibalism is the novel's driving thematic force: the eating of cultures by other cultures.

Formally, Macunaíma is an ecstatic blend of dialects and of the urban and rural rhythms that Andrade was collecting in his research. It contains an entirely new style of prose—deeply musical, frankly poetic, and full of gods and almost-gods, yet containing considerable narrative momentum. At the same time, the novel as a whole is pessimistic. It ends with Macunaíma's willful destruction of his own village; despite the euphoria of the collision, the meeting of cultures the novel documents is inevitably catastrophic. As Severino João Albuquerque has demonstrated, the novel presents "construction and destruction" as inseparable. It is a novel of both power (Macunaíma has all kinds of strange powers) and alienation.

Even as Macunaíma changed the nature of Brazilian literature in an instant—Albuquerque calls it "the cornerstone text of Brazilian Modernism"—the inner conflict in the novel was a strong part of its influence. Modernismo, as Andrade depicted it, was formally tied to the innovations of recent European literature and based on the productive meeting of cultural forces in Brazil's diverse population; but it was fiercely nationalistic, based in large part on distinguishing Brazil's culture from the world and on documenting the damage caused by the lingering effects of colonial rule. At the same time, the complex inner life of its hero suggests themes little explored in earlier Brazilian literature, which critics have taken to refer back to Andrade himself. While Macunaíma is not autobiographical in the strict sense, it clearly reflects and refracts Andrade's own life. Andrade was a mulatto; his parents were landowners but were in no sense a part of Brazil's Portuguese pseudo-aristocracy. Some critics have paralleled Andrade's race and family background to the interaction between categories of his character Macunaíma. Macunaíma's body itself is a composite: his skin is darker than that of his fellow tribesmen, and at one point in the novel, he has an adult's body and a child's head. He himself is a wanderer, never belonging to any one place.

Other critics have argued for similar analogues between Andrade's sexuality and Macunaíma's complex status. Though Andrade was not openly homosexual, and there is no direct evidence of his sexual practices, many of his friends have reported after his death that he was clearly interested in men (the subject is only reluctantly discussed in Brazil). It was over a pseudonymous accusation of effeminacy that Andrade broke with Oswald de Andrade in 1929. Macunaíma prefers women, but his constant state of belonging and not belonging is associated with sex. The character is sexually precocious, starting his romantic adventures at the age of six, and his particular form of eroticism seems always to lead to destruction of one kind or another.

Inevitably, Macunaíma's polemicism and sheer strangeness have become less obvious as it has grown ensconced in mainstream Brazilian culture and education. Once regarded by academic critics as an awkwardly constructed work of more historical than literary importance, the novel has come to be recognized as a modernist masterpiece whose difficulties are part of its aesthetic. Andrade is a national cultural icon; his face has appeared on the Brazilian currency. A film of Macunaíma was made in 1969, by Brazilian director Joaquim Pedro de Andrade, updating Andrade's story to the 1960s and shifting it to Rio de Janeiro; the film was rereleased internationally in 2009.

Late life and musical research

Andrade was not directly affected by the Revolution of 1930, in which Getúlio Vargas seized power and became dictator, but he belonged to the landed class the Revolution was designed to displace, and his employment prospects declined under the Vargas regime. He was able to remain at the Conservatory, where he was now Chair of History of Music and Aesthetics. With this title he became a de facto national authority on the history of music, and his research turned from the personal bent of his 1920s work to textbooks and chronologies. He continued to document rural folk music, and during the 1930s made an enormous collection of recordings of the songs and other forms of music of the interior. The recordings were exhaustive, with a selection based on comprehensiveness rather than an aesthetic judgment, and including context, related folktalkes, and other non-musical sound. Andrade's techniques were influential in the development of ethnomusicology in Brazil and predate similar work done elsewhere, including the well-known recordings of Alan Lomax. He is credited with coining the word "popularesque," which he defined as imitations of Brazilian folk music by erudite urban musicians ("erudite" is generally a deprecation in Andrade's vocabulary). The word continues to have currency in discussion of Brazilian music as both a scholarly and nationalist category.

In 1935, during an unstable period in Vargas's government, Andrade and writer and archaeologist Paulo Duarte, who had for many years desired to promote cultural research and activity in the city through a municipal agency, were able to create a unified São Paulo Department of Culture (Departamento de Cultura e Recreação da Prefeitura Municipal de São Paulo). Andrade was named founding director. The Department of Culture had a broad purview, overseeing cultural and demographic research, the construction of parks and playgrounds, and a considerable publishing wing. Andrade approached the position with characteristic ambition, using it to expand his work in folklore and folk music while organizing myriad performances, lectures, and expositions. He moved his collection of recordings to the Department, and expanding and enhancing it became one of the Department's chief functions, overseen by Andrade's former student, Oneyda Alvarenga. The collection, called the Discoteca Municipal, was "probably the largest and best-organized in the entire hemisphere."

At the same time, Andrade was refining his theory of music. He attempted to pull together his research into a general theory. Concerned as always with Modernismo's need to break from the past, he formulated a distinction between the classical music of 18th- and 19th-century Europe, and what he called the music of the future, which would be based simultaneously on modernist breakdowns of musical form and on an understanding of folk and popular music. The music of the past, he said, was conceived in terms of space: whether counterpoint, with its multiple voices arranged in vertical alignment, or the symphonic forms, in which the dominant voice is typically projected on top of a complex accompaniment. Future music would be arranged in time rather than space: "moment by moment" (in Luper's translation). This temporal music would be inspired not by "contemplative remembrance", but by the deep longing or desire expressed by the Portuguese word saudade.

Through his position at the Department of Culture in this period, he was able to assist Dina Lévi-Strauss and her husband, Claude Lévi-Strauss with films they were making based on field research in Mato Grosso and Rondônia.

Andrade's position at the Department of Culture was abruptly revoked in 1937, when Vargas returned to power and Duarte was exiled. In 1938 Andrade moved to Rio de Janeiro to take up a post at the Universidade Federal do Rio de Janeiro. While there he directed the Congresso da Língua Nacional Cantada (Congress of National Musical Language), a major folklore and folk music conference. He returned to São Paulo in 1941, where he worked on a collected edition of his poetry.

Andrade's final project was a long poem called "Meditação Sôbre o Tietê." The work is dense and difficult, and was dismissed by its early critics as "without meaning", although recent work on it has been more enthusiastic. One critic, David T Haberly, has compared it favorably to William Carlos Williams's Paterson, a dense but influential unfinished epic using composite construction. Like Paterson, it is a poem about a city; the "Meditação" is centered on the Tietê River, which flows through São Paulo. The poem is simultaneously a summation of Andrade's career, commenting on poems written long before, and a love poem addressed to the river and to the city itself. In both cases, the poem hints at a larger context: it compares the river to the Tagus in Lisbon and the Seine in Paris, as if claiming an international position for Andrade as well. At the same time, the poem associates both Andrade's voice and the river with "banzeiro," a word from the Afro-Brazilian musical tradition: music that can unite man and river. The poem is the definitive and final statement of Andrade's ambition and his nationalism.

Andrade died at his home in São Paulo of a heart attack on February 25, 1945, at the age of 51. Because of his tenuous relationship with the Vargas regime, the initial official reaction to his career was muted. However, the publication of his Complete Poems in 1955 (the year after Vargas's death) signalled the start of Andrade's canonization as one of the cultural heroes of Brazil. On February 15, 1960, the municipal library of São Paulo was renamed Biblioteca Mário de Andrade.

Bibliography of English translations

 * Hallucinated City (Paulicéia Desvairada) (1922). Translated by Jack E. Tomlins. Nashville: Vanderbilt University Press, 1968.
 * Fraulein (Amar, Verbo Intransitivo) (1927). Translated by Margaret Richardson Hollingsworth. New York: Macaulay, 1933.
 * To Love, Intransitive Verb (Amar, Verbo Intransitivo) (2018). Translated by Ana Lessa-Schmidt. Hanover, CT: New London Librarium, 2018.
 * Popular Music and Song in Brazil (Ensaio sobre Música Brasileira) (1928). Translated by Luiz Victor Le Cocq D'Oliveira. Sponsored by the Ministry of State for Foreign Affairs of Brazil: Division of Intellectual Cooperation. Rio de Janeiro: Imprensa Nacional, 1943.
 * Macunaíma (1928). Translated by E. A. Goodland (New York: Random House, 1984); later trans. Katrina Dodson (New Directions, forthcoming).
 * Brazilian Sculpture: An Identity in Profile/Escultura Brasileira: Perfil de uma Identidate. Catalog of exhibition in English and Portuguese. Includes text by Mário de Andrade and others.  Edited by Élcior Ferreira de Santana Filho.  São Paulo, Brazil: Associação dos Amigos da Pinateca, 1997.

title: Mário de Andrade


text:
Talk:Ligand-gated ion channel

Untitled
This particular Ion Channel is now known as a Chemically gated Ion Channel.

Other ligand gated ion channels?
At the moment, this page focuses entirely on one type of ligand-gated ion channels, namely the extracellularly activated ligand-gated ion channel receptors (some are missing, e.g. histamine and proton gated ones). Should we change the title or add the missing classes of LGIC, such as IP3 and ryanondine receptors, cGMP gated channels etc.?

We should definitely make the coverage more complete, are there more that are missing?Momeara (talk) 12:47, 24 November 2013 (UTC)

 * There is a more complete list of LGICs in the navbox at the bottom of this article (see Ligand-gated ion channels). Histamine gated ion channels appear to be much less well characterized (see for example ).  Finally the proton gated = acid-sensing ion channels (ASICs; a subclass of sodium channels) and already has its own article. It may be a semantic question as to whether ASICs should be classified as a ligand gated ion channels.  In any case, please expand this article as you see fit. Boghog (talk) 13:53, 24 November 2013 (UTC)

ATP-gated channels
"ATP-gated channels open in response to binding the nucleotide ATP"
 * I have no medical background whatsoever, I'm a software engineer that happens to be interested in basic neurology. If I'm not mistaken, adenosine triphosphate is not a nucleotide (one of the 4/5 components of codons-amino acids-DNA/RNA). Adenosine is. While related, they are two different things.Crackettt (talk) 11:39, 19 March 2014 (UTC)
 * I also have no medical background, and also am interested in neuroscience, but I think you're mistaken, as a nucleotide is defined as consisting of a nitrogenous base, a sugar (ribose or deoxyribose) and one to three phosphate groups, which describes ATP. Just because nucleotides are components of DNA/RNA doesn't mean that's all they are. See the Encyclopaedia Britannica article on nucleotide.UnderEducatedGeezer (talk) 01:46, 12 December 2015 (UTC)

What exactly IS 'binding'? And how does it open the ion-pore?
What I mean is why/how does a neurotransmitter adhere to a receptor site, and why/how is it subsequently released?

And if I've even remotely correctly understood the immediate result of the binding, the neurotransmitter's presence causes protein folding of the receptor, which results in a shape change which opens the pore, in at least some cases by a twisting (or more like an un-twisting) action.UnderEducatedGeezer (talk) 12:00, 25 April 2016 (UTC)

title: Talk:Ligand-gated ion channel


text:
Talk:Mohammad Ali Jauhar

Things named after Jauhar
Since there are numerous things named after Muhammad Ali Jauhar in India and outside India and a plethora of coverage is available, I guess a list article is justified. Perhaps the things mentioned in the Death and legacy section be completely added in the list, and names of major places and institutions be kept here, along with a link to the "main list". Regards, ─ The Aafī   (talk)|undefined  06:01, 6 December 2020 (UTC)
 * If we do so then what should be the title of that article? Is "List of institutions and places named after Muhammad Ali Jauhar" a fine name or anything else? ─ The Aafī   (talk)|undefined  06:17, 6 December 2020 (UTC)
 * Makes sense to move it to a new page. Suggested title, "List of places named after Muhammad Ali Jauhar" But considering that most places are educational institutes your title also makes sense. DilliKiShaam (talk) 06:31, 6 December 2020 (UTC)
 * Yes, it seems logical to have an article titled List of institutions and places named after Muhammad Ali Jauhar in light of the numerous localities and colleges named after the Islamic scholar. Feel free to go ahead and create it. I hope this helps. With regards, AnupamTalk 14:35, 6 December 2020 (UTC)
 * , ; I've created the list article and removed most of the things there but not completely. Please feel free to improve the list with reliable references. ─ The Aafī   (talk)|undefined  10:09, 7 December 2020 (UTC)

title: Talk:Mohammad Ali Jauhar


text:
Give blood (disambiguation)

Blood donation occurs when an individual voluntarily has blood drawn, usually for a blood transfusion to another person.

Give blood may also refer to:
 * Give Blood (Bane album), a 2001 album by former American band Bane
 * Give Blood (Brakes album), a 2005 album by the British band Brakes
 * "Give Blood" (song), a 1986 song by Pete Townshend

title: Give blood (disambiguation)


text:
Talk:Mário Pinto de Andrade

Untitled
I have changed the redirect for Mário de Andrade to point to the great Brazilian poet by that name. If you disagree with this change, please create a Disambiguation page. Chick Bowen 04:39, 9 October 2005 (UTC)

title: Talk:Mário Pinto de Andrade


text:
Talk:Initial reaction force

NPOV
I'd like a second opinion on whether this article is in NPOV.

A number of allegations are made without indicating who made them. The bulk of the article seems to consist of accusations without any defense being presented. The section on Spc. Sean Baker seems to duplicate material at that article.

If people feel the article is NPOV then please remove the tag. (The verify tag asking for sources might be better tag.) RJFJR 04:39, 9 October 2005 (UTC)

 * I'd agree that there are the two problems you mention:
 * Attributing allegations (most are in sources mentioned here or in Spc. Sean Baker).
 * No response from the "other side" to speak of. But maybe there wasn't one - I have no idea.
 * Some of the duplication can be lived with, I think.
 * Rich Farmbrough 20:50, 11 October 2005 (UTC)

 * I still think this article merits the tag. It is not neutral. Joaquin Murietta 16:51, 16 October 2005 (UTC)

 * It's far too much in favour of the US, while there can't be much said against them, there can at least be some official views. 86.150.226.157 (talk) 12:57, 15 July 2008 (UTC)

ERF/IRF
The article was using ERF and IRF intercahngably. I changed it to use ERF for consistancy (I shose ERF over IRF because the article title goes with ERF). RJFJR 04:39, 9 October 2005 (UTC) The Tactics used by IRF are exactly the same as those used by Correctional Facilities throughout the United States to bring unruly inmates under control. User:12.201.112.61 (01:19, 29 November 2005)

HUman Rights Watch - Article title
"If I refused a cell search MPs would call the Extreme Reaction Force [the actual name is the Initial Reaction Force] who came in riot gear with plastic shields and pepper spray."

http://hrw.org/backgrounder/usa/gitmo1004/9.htm

Moving to Initial Reaction Force. Rich Farmbrough 20:52, 11 October 2005 (UTC)

Associatee chages/redirect made. May need to move again, if so fine. Rich Farmbrough 21:19, 11 October 2005 (UTC)

Jeremy Scahill piece on Initial Reaction Force
There are a lot of good sources and new information on the use of the IRF at the Guatnamo prison in this article:

Little Known Military Thug Squad Still Brutalizing Prisoners at Gitmo Under Obama mennonot (talk) 18:54, 23 May 2009 (UTC)

Misleading redirect here (Immediate Reaction Force)
Immediate Reaction Force being a NATO force set up in 1999, does not seem to have anything to do with this article. I strongly doubt that either Telemark Battalion or Befalsskolen for Infanteriet i Sør-Norge has any relation to Initial Reaction Force. Can someone PLEASE clean up this mess? (For instance, see http://www.nato.int/sfor/trans/2004/p040722a.htm : "STANAVFORMED was established as a NATO immediate reaction force in Naples (Italy) on 30 April 1992 and has participated in NATO peace support operations related to the crises in the former Yugoslavia." ) 2.150.55.10 (talk) 14:41, 18 March 2012 (UTC)

"Initial Reaction Force" is ambigious term?
invalid link named Initial Reaction Force comes from 7th Infantry Regiment--Estopedist1 (talk) 13:13, 10 April 2020 (UTC)

title: Talk:Initial reaction force


text:
Talk:Far Beyond Driven

<^>v!!This album is connected!!v<^>

 * All song titles serve as redirects to this album, have their own pages, or have been placed at the appropriate disambiguation pages.--Hraefen Talk 18:28, 26 July 2006 (UTC)

Album title spelling
"Beyond" is a preposition, and should be lowercase. Shall I change it?
 * I've never seen prepositions with 6+ letters used in lowercase in a title. In my experience, 4 or 5 is normally the max for lowercase, but can still go either way. Nufy8 03:42, 10 August 2006 (UTC)

 * Artists are granted latitude when naming and spelling their songs, albums etc. The way that the title appears on the album, the band or label's official website etc. is the way that it appears on Wikipedia.  Proper names are "supposed" to be capitalized, but that doesn't stop mclusky and controller.controller.--Hraefen Talk 15:15, 10 August 2006 (UTC)

 * Well, I'm aware that words in titles are supposed to be capitalized, but articles and prepositions are not, even in titles (unless it's the first word) so I just thought since "beyond" is a prep. I would lowercase it, but I see that's not the case. --Bashe 20:45, 11 August 2006 (UTC)
 * I see what you mean, but the policy I outlined above is what's used in Wikipedia. It is a good idea, however, to create redirects with the variant forms.  I just created far beyond driven, Far beyond driven and Far Beyond driven for example.--Hraefen Talk 21:28, 11 August 2006 (UTC)

just wonderin'
is that a drill being rammed into an ass on the original cover?24.144.137.244 01:58, 9 February 2007 (UTC)

"Banned" and "censored"
Was the original cover ever really banned or censored? If so, in which countr(ies) and under what law(s)? —Preceding unsigned comment added by 71.65.248.32 (talk) 15:58, 12 April 2009 (UTC)
 * Yeah, what happened to the image of the brown version of the cover? It used to be here.--69.165.157.19 (talk) 02:26, 6 March 2021 (UTC)

Dead external links to Allmusic website – January 2011
Since Allmusic have changed the syntax of their URLs, 2 link(s) used in the article do not work anymore and can't be migrated automatically. Please use the search option on http://www.allmusic.com to find the new location of the linked Allmusic article(s) and fix the link(s) accordingly, prefereably by using the Allmusic template. If a new location cannot be found, the link(s) should be removed. This applies to the following external links: --CactusBot (talk) 09:53, 2 January 2011 (UTC)
 * http://allmusic.com/album/far-beyond-driven-r193737/far_beyond_driven
 * http://www.allmusic.com/cg/amg.dll?p=amg&sql=Ab22m964odep7

 * Done. Nite-Sirk (talk) 01:28, 22 July 2011 (UTC)

Far Beyond Driven Tour
I attended a Pantera concert in 1995 on their Far Beyond Driven tour. Type O Negative opened up for them on that particular date, but Prong did not. You may want to clarify that it wasn't just Prong opening up for Pantera on the entire United States leg. At the very least, Type O Negative also opened up some shows for them. Kevinhowarth (talk) 03:56, 8 April 2011 (UTC)

title: Talk:Far Beyond Driven


text:
Men's Egg

MensEGG was a style magazine distributed in Japan aimed at young men published between 1999 and 2013. It was a counterpart of Egg magazine, which focused on Gyaru-oh (male Gyaru) fashions – it was the gyaru-oh bible. There is also Men's Egg Bitter magazine, aimed at Gyaruo aged 23 and above.

History and profile
Men's Egg' was established in 1999. The image of the magazine revolved around Japanese working-class trends, appealing to young men mostly under 20. It draws inspiration from Japanese "yankee" (delinquent) culture, also with techno and surfer influences. This style is often looked down on by some other Japanese, who associate it with juvenile delinquency, and also, "Inakamono"(somebody from the countryside). The generic "Bon-Jovi"-esque style featured in Men's Egg magazine can be found being offered cheaply in chain clothing-stores across Japan such as "Zenmall" or "Jeansmate" although the big name gyaruo fashion brands sell for high prices.

Apart from fashion, the magazine also featured information for young teenagers, such as advice on picking up girls, dating, and explicit articles with advice on sex. The magazine also contained information about club events.

Men's Egg ceased publication in October 2013.

title: Men's Egg


text:
Talk:Hawking temperature

Proposed merger

 * merge as per User:Linas: seems that as of Oct 05, this stub has been around for a year without growing.---CH (talk) 04:42, 9 October 2005 (UTC)

title: Talk:Hawking temperature


text:
Nikolai Virta

Nikolai Yevgenyevich Virta (Никола́й Евге́ньевич Вирта́) (real name Karelsky) (December 19 1906 – January 3, 1976) was a Soviet writer who developed the theory of "conflictless" drama.

Biography
Nikolai Virta was born in the village of Bolshaya Lazovka in Tambov Governorate, into the family of a village priest who was shot in 1921 as a supporter of Aleksandr Antonov. From 1923 he worked as a reporter for newspapers and radio, and after 1930, he lived in Moscow. He took his writer name Virta (Finnish for "stream") as a reference to his Karelian forefathers. He won fame with his 1935 novel Odinochestvo (Alone), which he used as the basis for his play Zemlya (Earth, 1937). He was awarded the Stalin Prize for the novel in 1941, as well as for his plays Khleb nash nashushchny (Our Daily Bread) in 1948 and Zagovor obrechennykh (Conspiracy of the Condemned, a "virulently anti-American drama" ) in 1949, and for his script for the film Stalingradskaya bitva (The battle of Stalingrad) in 1950. He later turned his 1956 novel Krutye gory (Steep Hills) into the play Dali dal'nye, ne oglyadnye (1957).

In 1943, Joseph Stalin decided to allow publication of the Bible in Russia, and Virta was chosen as the censor for the project; he decided there were no deviations from Communist ideology and passed it without alteration. In 1954, as the result of a scandal, he was excluded from the Writers' Union, but he was reinstated in 1956.

In describing the "nadir of the Soviet theatre" between World War II and the death of Stalin, Michael Glenny writes: Matters reached the depth of absurdity when one of the most compliant Stalinist playwrights, Nikolay Virta, propounded the theory of 'lack of conflict'. According to this, the only possible basis of drama for a Soviet play was the struggle between the 'good' and the 'better'. The resulting plays were so abysmal that even the party was forced to disown them. Kornei Chukovsky described Virta as follows in his diary entry for October 19, 1941: But morally suspect as he is, there is something endearing about him: he hasn't read a thing and doesn't care for poetry, music, or nature, yet he is hardworking, tireless in his machinations (and not only when they're for his own good), not without literary ability (some of his newspaper reports are very well written). It's just that he's a predatory type by nature. He adores things—fancy clothes, fine furniture, rich food—and power.

English translations

 * Alone, Foreign Languages Publishing House, 1950.

title: Nikolai Virta


text:
Wikipedia:Articles for deletion/W. Mark Felt/Temp

 * The following discussion is an archived debate of the proposed deletion of the article below. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or on a Votes for Undeletion nomination).  No further edits should be made to this page.

The result of the debate was Delete -- (drini's page| ☎ ) 21:25, 19 October 2005 (UTC)

W. Mark Felt/Temp
Inactive "temporary version" of W. Mark Felt article. Alai 04:44, 9 October 2005 (UTC)
 * Was any of it incorporated into the main article? Gazpacho
 * Delete - There have been no edits to article (except making the categories inactive and this AfD) since June 22. I am sure that its purpose has been served --Rogerd 00:08, 10 October 2005 (UTC)
 * delete, nothing but category inactivation. No need to retain. - Mgm|(talk) 09:30, 10 October 2005 (UTC)

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


text:
User talk:Alliestephen

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 have any questions, check out Where to ask a question or ask me on my talk page. Again, welcome!
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 * Help pages
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If you like to contribute something about yourself, please do so on your user page. Also, anything you upload to the Wikipedia must have some kind of copyright license. Thanks! --AllyUnion (talk) 04:46, 9 October 2005 (UTC)

title: User talk:Alliestephen


text: Category:Canadian television journalists


text:
Big Y

Big Y Foods, Inc. (or Big Y) is an American, family-owned supermarket chain located in Massachusetts and Connecticut. It operates under the trade names "Big Y World Class Market" or "Big Y Supermarket". The company is headquartered in Springfield, Massachusetts and is currently run by cousins Charles and Michael D'Amour.

Big Y is one of the largest independently owned supermarket chains in New England, and it employs over 12,000 people. In 2021 Big Y was the 210th-largest private company in the United States, according to that year's Forbes magazine "Largest Private Companies" list. Big Y is the fifth largest supermarket chain in New England after Quincy-based Stop & Shop, Scarborough-based Hannaford, West Bridgewater–based Shaw's Supermarkets, and Tewksbury-based Market Basket. Big Y is the second largest in Southern New England after the aforementioned Stop & Shop.

History
In 1936, a young entrepreneur, Paul D'Amour, aided by his brother, Gerald, and sisters, Ann Marie, Yvette, and Gertrude, purchased the Y Cash Market in the Willimansett section of Chicopee, Massachusetts, at the "Y" intersection of Chicopee and Meadow Streets. According to Paul D’Amour on the 50th anniversary, it was in the fall of 1936 that the brothers began Y Cash Market, the forerunner of Big Y.

In July 2016, it was announced that Big Y had entered into a purchase agreement with Ahold and Delhaize Group for eight Hannaford Brothers locations in Massachusetts as part of the divestiture of stores to gain clearance from the Federal Trade Commission for the impending Ahold/Delhaize merger. The new stores, all converted from Hannaford, are located in Kingston, Quincy, Norwell, Milford, Norwood, West Peabody, Saugus, and Easton. The addition of the eight new stores brought Big Y's store count in Massachusetts to 37, and increased its footprint in the state to extend from the Berkshires all the way to Greater Boston.

As of September 2023, Big Y operates 73 supermarkets in Massachusetts and Connecticut; many of which are located in the metropolitan areas of Springfield, Worcester, Greater Boston, and Hartford. In addition to its traditional supermarkets, Big Y owns and operates two specialty markets: Table & Vine, a large specialty liquor and wine store in West Springfield; and the Big Y Express Fresh Market, a smaller, urban market in Downtown Springfield. Big Y also operated two standalone pharmacies in Springfield and Wilbraham before eventually folding them into the pharmacies located in its nearby stores. Between 2013 and 2023, Big Y opened 16 gas stations and convenience stores in Western Massachusetts and Connecticut, under the name "Big Y Express." Most Big Y Express stores are located adjacent to, or nearby, a full-size Big Y supermarket.

Locations and expansion

Big Y focuses primarily on opening stores to strengthen its existing footprint, though that footprint is expanding slowly. Most Big Y stores are within a 75 mi radius of their Springfield headquarters. In 2010, Big Y announced that its new store plans included Lee, Franklin, and Milford, Massachusetts; according to its website, each town would have a store by 2012. The Lee store opened in November 2011, adding to Big Y's presence in the Berkshires; while the Franklin store opened in August 2012. The Franklin store is a sister location to Big Y's store in Walpole; those two had been Big Y's only stores in Greater Boston until 2016. Big Y also announced new stores in Foxborough and Holyoke, but plans for those locations were ultimately withdrawn. The original Milford plans also never came to fruition, but after the previously mentioned buyout of eight Hannaford stores, Big Y now operates the former Hannaford stores in Milford, Norwell, Kingston, Easton, and Norwood.

In 2016, Big Y opened a Connecticut store in Shelton, bringing their store count in that state to 33. Big Y has also occasionally grown through acquisitions. In addition to the previously mentioned acquisition of eight former Hannaford stores, in late 2010 Big Y purchased seven stores from A&P, which was leaving central Connecticut. Four of these stores (Branford, Mystic, Old Lyme, and West Hartford) were renovated and re-opened as Big Y World Class Markets within a short period of time.

As of June 2017, the company operated 77 locations.

On November 7, 2019, Big Y opened two new store locations in Milford, Connecticut and Derby, Connecticut.

On March 7, 2022, Big Y announced plans to open locations in Uxbridge and Pembroke.

Big Y's largest competitor throughout its trade area is Stop & Shop, based out of Quincy, and to a lesser extent Big Y also competes with Boston-based Shaw's and Schenectady, New York's Price Chopper supermarkets. In Connecticut, Big Y is now the second-largest supermarket chain by number of locations, with only Stop & Shop operating more Connecticut stores.

title: Big Y


text:
Talk:Spellbound (2002 film)

Untitled
why is Sean Welch aka Marley not mentioned at all in the article he financed, co produced, did the music, etc wondering ...........this omission seems to make the thing less accurate 75.6.237.31 23:25, 18 March 2007 (UTC)Festus Christopher King aka Pythagoras fcking2000@yahoo.com

I just added the Angela entry with Angela sitting right here. Thought someone might find that interesting. I do. Notthe9 04:48, 9 October 2005 (UTC)

Ted was not sponsored by the Lebanon Daily Record. Instead, he was sponsored by the Rolla Daily News.

This is part of Harry's life here. If you would deny it to him then you would deny all that is Harry.

The Esteemed Harry Altman Esquire
Please leave this poor lad alone and do not alter his entry.

He is a god among us men and I understand how many of you may be jealous. But we cannot let our jealousy cloud our judgement. Was not Jesus sacraficed because we could not understand his love, promethius tortured by Zeus out of jealousy for his cleverness, and Socratese killed because the Athenians coveted his widsom?

Must Harry befall the same fate because of your simple minded pettiness?

I know my collegues have not been fair to this page, and I have punished those responsible. But let me ask you, as the head of the Seceret Brotherhood of the Musical Robots, to leave our lord in peace.

High Lord of Banns

"And then the lord god Altman sent his angles forth to play on their trumpet, and the time was heard from all over the land, and it was right and 3 OClock"

Book of Spellbound Chapter 6, Verse 12

-Were the great Harry Altman himself reading this, he'd most surely rattle the earth and incense the heavens at your mispelling of Socrates.

"Who the hell are you, that you think you're better than Harry Altman?"
 * Chapter 5, Verse 15

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

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Merge of Nupur Lala

 * merge- The information between the individual page and the character biography is almost identical. Minor alterations could be added to her character biography in an adequate merge.  The page has a lack of information, distinction and significance.  66.109.248.114 21:53, 17 June 2007 (UTC)
 * The Nupur Lala article was sent to AfD here, and the result was keep. I will remove the merge tags and add  tags pointing to her article and the article for Harry Altman. Bry9000 (talk) 02:46, 8 February 2008 (UTC)

different list formats?
why are the words spelled presented in 2 different formats? some of them are done as comma seperated lists, others as bullet points, it looks messy & is inconsistent. —Preceding unsigned comment added by 86.166.107.74 (talk) 22:59, 14 February 2009 (UTC)

Ted Brigham's death
The article currently says Ted Brigham killed himself, but I'm suspicious of this claim. The linked reference is behind a paywall, but I suspect that if it really said that, someone would have noted that earlier. A quick search on Google suggests that it's not really known if this is actually the case. Should I just go ahead and revert that? Sniffnoy (talk) 14:43, 17 May 2010 (UTC)

title: Talk:Spellbound (2002 film)


text:
Gary Buckenara

Gary William Buckenara (born 3 July 1958) is a former Australian rules footballer who played for the Hawthorn Football Club in the Victorian Football League (VFL) and the Subiaco Football Club in the West Australian Football League (WAFL).

Renowned for his superb high marking and kicking skills, whether passing to teammates or shooting for goal, as well as his performances in "big games", Buckenara is one of a handful of footballers to be named in two separate Teams of the Century, both on the half-forward flank. After a brief coaching stint, the highlight of which was a runner-up finish with Subiaco, Buckenara returned to Hawthorn as an administrator and played a key role in the successful era under Alastair Clarkson.

Playing career
Educated at Churchlands Senior High School, Buckenara was considered an outstanding junior footballer and cricketer. He admitted as a youngster he was more serious about his cricket, playing at the time with Scarborough Cricket Club in Western Australian Grade Cricket alongside test stars Dennis Lillee, Rod Marsh, Sam Gannon, Mick Malone, Greg Shipperd and Tom Hogan. It was not until his older brother Rod invited him to play at Teachers Training College Churchlands in the E Grade of the Western Australian Amateur Football League (WAAFL) that football became Buckenara's first sporting love, and he excelled, winning the E Grade best and fairest in 1977. In 1979 he began his senior League career with and quickly attracted attention from Victorian clubs, finishing runner-up in the Tom Outridge Medal in each of his three seasons with the club. The Lions eventually agreed to lease Buckenara to Hawthorn for three years for $210,000 and after a court case began his career at Hawthorn.

During his time at Hawthorn, Buckenara played 154 games, usually playing in the centre or at half-forward when he had problems with his knees. He kicked 293 goals, won four premierships and played on one losing Grand Final team. He played for his state regularly from 1979 onward and he was selected as the Western Australian captain. In 1983, 85 and 86, he was named in the All Australian Team.

In 1985, after being omitted from the senior team for the Grand final, Buckenara kicked eight goals in Hawthorn's Reserves premiership victory over Carlton.

In November 1986, Buckenara decided to move back to Perth with his family. The previous year, his mother Dawn had become paralysed following a serious car accident, and with the West Coast Eagles having been granted admission into the VFL for the next season, Buckenara had been offered the vice-captaincy. As Buckenara sought a release from his contract, Hawthorn's chief executive John Lauritz went to the Victorian Supreme Court and argued that Buckenara needed to honour his contract as a legally binding document, lest it cause another chaotic legal precedent similar to that of Silvio Foschini back in 1983.

Buckenara put the disappointment of the legal case behind him, and increased the 2-year option to three years, and proceeded to enjoy another stellar season with Hawthorn. The highlight was undoubtedly his performance in the famous Preliminary final against, showing great composure to kick five goals, the last of them later recognised as one of the sport's most unforgettable moments. With only seconds remaining and the Demons clinging to a four-point lead, the Hawks launched one last foray forward. Having been awarded a free kick 50 metres from goal after being tripped by Earl Spalding, Buckenara was thinking of playing on when the final siren sounded, however the crowd noise was so loud that hardly anyone heard it. Amid the commotion, Demons ruckman Jim Stynes had rushed to man up on Hawthorn wingman Robert DiPierdomenico, who had moved into Hawthorn's forward line without an opponent. In doing so, Stynes infringed by running across the mark, which was spotted by field umpire David Howlett who awarded Buckenara a 15-metre penalty, now bringing him within easy kicking distance. Reflecting on the incident many years later, Buckenara recalled that he had not heard the siren and how he had taken his kick quickly to not let the pressure build up:

"I didn’t hear siren go. I was thinking to get the ball forward quickly, we’ve got to keep moving this. [...] After the 15 metres was paid, Russell Greene comes up to me, puts his arm around my shoulder – and I still hadn’t heard the siren - and says, ‘for God’s sakes ‘Bucky’ kick the goal, the siren’s gone’. [...] I got on with it pretty quickly, I didn’t leave myself time to ponder and think, ‘geez if I mis this’. That never came into my mind thank goodness."

Coaching and Administrative Career
His career ended early due to knee injuries, and he moved into coaching. He was appointed senior coach of the Sydney Swans in 1992 but was sacked in the middle of the 1993 season, after eighteen straight losses. He returned to his original club Subiaco to coach in 1995 and 1996 and is now one of the staff at Hawthorn. In 2003, he was named in the Hawthorn Team of the Century.

Buckenara has remained involved in football over the years, and is currently the general manager of Frankston in the Victorian Football League.

Post-Career Honours
In October 2018, Buckenara gained further recognition from his home state for his sporting achievements when he was inducted into the Western Australian Hall of Champions.

title: Gary Buckenara


text:
User talk:Ibnabraham

Welcome!

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title: User talk:Ibnabraham


text:
User talk:ALepik

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 have any questions, check out Where to ask a question or ask me on my talk page. Again, welcome! EdwinHJ | Talk 04:50, 9 October 2005 (UTC)
 * The five pillars of Wikipedia
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title: User talk:ALepik


text:
PlayStation Broadband Navigator

PlayStation Broadband Navigator (also referred to as BB Navigator and PSBBN) was a software program for Japanese PlayStation 2 consoles that provides an interface for manipulating data on PlayStation 2 HDD Unit.

History
Online services pertaining to the software closed on March 31, 2016.
 * PSBBN version 0.10 – This prerelease version was released and bundled with Japanese PlayStation 2 BB Units (Network Adaptor and HDD bundle packs) in early 2002, replacing HDD Utility Disc 1.00. It lacked the ability to store and manage game saves on the HDD that HDD Utility Disc had.
 * PSBBN version 0.20 was released in late 2002. It added functions to the interface of the software, including the ability to update itself to new versions over a broadband internet connection and management for game saves.
 * PSBBN version 0.30 was released in mid-2003. It added access to Sony's feega service (which is used to bill the monthly fee for some online games) and an e-mail program. Version 0.31 was released in late 2003, fixing an exploit.
 * PSBBN version 0.32 was released in early 2004 and is the most up-to-date version. The only change appears to be the removal of the Audio Player option inside the Music Channel, which allows to transfer music between the HDD and a MiniDisc player in earlier PSBBN versions.

Restrictions
The PlayStation Broadband Navigator installation disc is reported to have a more strict region lock on it than normal PlayStation 2 software, as the software will only boot on NTSC-J systems with a model number ending in 0 (systems that are sold only in Japan), making the software unusable on Korean and Asian NTSC-J PlayStation 2 consoles. Furthermore, the software will not operate if a non-Sony brand network adapter is installed in the console.

Features
PlayStation Broadband Navigator offers many features that are not available with the default PS2 Navigator. Some Japanese releases take advantage of these features and may even require a specific version (or higher) of the software.

 * The features of the software include:
 * Game Channel
 * Access to online sites, similar to web pages, for various ISPs and software publishers (only in version 0.20 and higher)
 * Downloadable game demos or full games (ex. Pop'n Taisen Puzzle-dama Online demo, Star Soldier BB full game, Milon's Secret Castle full game)
 * Downloadable picture and movie files
 * Information pages on past, current, and future releases and services
 * A launching point for bootable games installed to the HDD
 * NetFront 3.0, a Linux-based web browser
 * Music Channel
 * Provides a tool to convert an audio CD to audio files on the HDD
 * Provides an organization system for audio files stored on the HDD and a means to play them
 * Provides a means to transfer audio files between a MiniDisc player and the HDD over a USB connection (only in versions 0.20 through 0.31)
 * Photo Channel
 * Provides an organization system for picture files stored on the HDD and a means to view them
 * Provides a means to transfer picture files between most USB storage devices and the HDD
 * Movie Channel
 * Provides an organization system for video files stored on the HDD and a means to view them
 * feega account management (only in versions 0.30 and up; required for Net de Bomberman and Minna no Golf Online)

Non-Japanese release
Sony Computer Entertainment America released the HDD on March 23, 2004, with HDD Utility Disc 1.01 and was bundled with Final Fantasy XI. Consumers that were aware of the PlayStation Broadband Navigator were confused as to why it was not included with the HDD Utility Disc. SCEA's response was always that the PlayStation Broadband Navigator would be released in North America "at a later date." Ultimately, the Broadband Navigator was never released outside of Japan, as Sony Computer Entertainment switched to only manufacturing the slim PlayStation 2 models, which never supported the HDD and furthermore and later ending the manufacturing of HDD units for the North American region. Furthermore, the HDD was never released in European regions by SCEE, with the exception of the Linux Kit.

The Broadband Navigator can be used on any PS2 by using a fan created modified/cracked build.

Compatible software
See PlayStation 2 Expansion Bay.

title: PlayStation Broadband Navigator