text:
User talk:Ze miguel

Comments and questions are welcome Ze miguel 12:22, 4 October 2005 (UTC)

 * Archive 1 from 26 September 2005 to 05 December 2005

stubs and categories
I sympathize with your concern for "Category:United_States-related_stubs", but I am willing to look at "Special:Lonelypages" which is a lot uglier. True, it is limited to 1000 and is not updated on a regular basis. Anyway, I am trying to minimize my use US-stub and the other categories that have a "gettingbig" tag in them. But I will continue to use "band-stub", and the rest of the overgrown stub lists in Category:Overpopulated_categories, etc. at will and let someone else worry about exactly what kinds of deth-metal-rock sub-genre, etc. they were producing. Fplay 02:03, 9 December 2005 (UTC)

What the Wikipedia UI needs is a "sort by date added" view or a least a "sort by modified-date" view of a category entries so that the recently-added stuff to giant "stubs" categories can be monitored more easily. 69.181.82.102 00:15, 8 December 2005 (UTC)

CSD categories
In response to your proposal... first off, it is quite possible to tag a category for speedy deletion, per the speedy deletion policy. Any of the criteria in the "general" section also apply to categories, e.g. patent nonsense (Category:fhsdfksfd), attack categories (Category:Moronic assholes) and recreations of previously deleted cats. So that covers your third point, at least.

Speedying duplicate categories has been considered a while ago, but the problem is that it isn't always apparent which of the two should go. In the example you cite, however, capitalization and typo fixes qualify for speedy deletion or renaming or redirecting, as the case may be.

Regarding categories of Wikipedians, consensus does not support blanket deletion of all of them. It is generally agreed that some of them are useful (Category:Wikipedians from ) and some are not (Category:Wikipedians with blue eyes). Unless we can get a clear distinction between the two, CFD is the place to go. HTH! Radiant_ >|< 16:42, 28 December 2005 (UTC)

Cities in New Jersey Category
I can see that there is a quirk with how these subcategories work. However, of the six New Jersey cities that are listed as city subcategories — Atlantic City, New Jersey, Hoboken, New Jersey, Jersey City, New Jersey, New Brunswick, New Jersey, Newark, New Jersey and Trenton, New Jersey — all but Trenton appear in both the main category and the subcategory (if I recall correctly). As the category does have its uses in searches based on forms of government, it may not be meaningful to expect that someone would know that some cities have their own subcategory. Furthermore, there were several other category entries in the New Brunswick, New Jersey article that had been removed that were completely unrelated to the city category / subcategory issue which is why I reverted the revision. If there is a reasonable and logical solution that would address the issues without the side effects, that might be another story. Alansohn 16:20, 29 December 2005 (UTC)

IByte bot
Hi, are you still interested in the PHP code of my bot? Due to some general discontent with the attitude of some Wikipedia users (as stated on my user page) I've been away from WP for a while, so I didn't respond immediately. The core of my bot is a library (PHP include file) that offers a function to fetch a specified WP page, and one that can save a page to WP again. In between, you can do any processing of the page you want. I currently have functionality for adding stub tags (sounds similar to what you want, if I understand correctly) and putting a page on AfD, both including user interface pages. User account authentication is currently hardcoded, so you'll either have to copy the info from your cookies into the code or extend it with something nicer. If you're interested, give me an e-mail address to send the code to or something. --IByte 17:11, 31 December 2005 (UTC)

Ze, could you take a look at
Requests_for_comment/Rbj and possibly add a comment, if you feel so inclined? r b-j 15:59, 3 January 2006 (UTC)

 * thanks Ze. r b-j 00:41, 4 January 2006 (UTC)

From One Ze to another
from one Ze to another, hi. -- ZeWrestler  Talk 17:26, 4 January 2006 (UTC)
 * =P -- ZeWrestler  Talk 17:44, 4 January 2006 (UTC)

Paris Portal
Thank you very much for the compliments - I will write again when I get home : )  T HE P ROMENADER  16:43, 13 January 2006 (UTC)
 * Late night, noted you earlier from the blackberry. Can't say how much I appreciate your words of encouragement as I've been feeling rather alone in defending "all things Paris". I hope you don't mind my writing in English here.

 * I am interested to know what you have in mind in the way of a "WikiProject" for Paris - please give details! I have already begun a "Paris streets" Wikiproject (here if you are interested - pretty enormous but all the data is there if you know where to find it - indicated on the project page - but I'm still sorting out plan ideas and finalising an infobox. Any help and suggestions would be welcome - I have made a "participants" box but have yet to activate it. If you're game I will : ) You seem go be good at sorting out categories - in addition to having all my Wikitime taken up by the Paris page conflict, I've had to call a halt to the Portal:Paris until I can get categories sorted out - everything "Paris" is a mess and I'm finding stray articles everywhere.

 * Also, I would very much appreciate a "bon mot" in the Paris page discussion as, although I am solid in my factual contestation of the article, I am lacking in input from people actually knowledgable about the subject. I of course am not asking you to take sides, but to point out fact for fact, even if you find fault with something I have written. Just insert a note between the arguments confirming or denying each - but do this only if you feel up to it! Don't worry though, all the "big writing" is over now. Once and for all I hope.

 * Anyhow, please let me know what Wikiproject ideas you have in mind. Until then, take care,

 * T HE P ROMENADER 23:10, 13 January 2006 (UTC)

 * Than you very much - any help will be welcome. Consider yourself signed up : )  T HE P ROMENADER  22:50, 17 January 2006 (UTC)

categories...
I agree with your feedback on those three categories. I got lazy because I did not really know how to find a better match. When I do a thorough job, it often involves a bit of bouncing back and forth between articles and categories to find a good parent for an orphan category. -- Pinktulip 00:22, 14 January 2006 (UTC)

French Collaboration Project
 '''You showed support for the French Collaboration Project. This week Little boy was chosen to be translated from fr:Little boy. Hope you can help.''' Cast your VOTE to select next week's translation! Nominate a good Spanish article

Categories
Thanks for your work with categories. It makes a difference. Cheers, -Will Beback 20:06, 16 January 2006 (UTC)

Category:Ecclesia Dei
You wrote: "You edited Category:Ecclesia Dei to set Category:Priestly Society of Saint Peter as a sub-category instead of a parent cat. I don't know much about the subject, but shouldn't Category:Priestly Society of Saint John Mary Vianney and Category:Society of St. Pius X be moved as well ? -- Ze miguel 16:29, 17 January 2006 (UTC)"

 * perhaps. Ecclesia Dei was a reaction to the SSPX, so the SSPX should maybe be there as well as in the parent cat.  I'm not sure about the St. John Mary Vianney Soceity article, they're a Personal Apostolic Administration and it's not clear to me if they're under Ecclesia Dei or their own situation.  Actually that cat itself should prob be renamed Personal Apostolic Administration of Saint John Mary Vianney to match the article. (and St. to be standard for both the article and the cat.)  so much to be done!--Samuel J. Howard 16:41, 17 January 2006 (UTC)

Re: Bush Approval Ratings
Good suggestion, I'll make the change the next time I update the graph. -- tomf688 {talk} 20:16, 28 January 2006 (UTC)

Little boy
Hi CG, I'm a bit disappointed by the lack of activity on Little Boy by the translators. When I provided my initial rough translation, I expected that it would be edited much more than it has, especially since many people have signed up as translators. Is the translation supposed to be completed already ? I find that some of the style that I used is far from perfect, as I'm not a native English speaker. What are your thoughs ? -- Ze miguel 14:23, 3 February 2006 (UTC)
 * I was happy when I saw that there is a lot of contributors to this project, but the lack of activity also dissapointed me. I also thank you for your translation and I've read it and compared it to the French article, I was even going to remove it assuming that the translation is finished. As for myself I'm really terrible in writing and translation even though I understand perfectly the two languages, so I'm unable to help with the cleanup. The only think I was able to do is some organisation and references added. Anyway if you want you can ask for help from any user for cleaning up this article. I recommend User:Palmiro, he has helped me in several occasions in writing. CG 18:10, 3 February 2006 (UTC)

Image copyright problem with Image:Al-Salam Boccaccio sinking in Red Sea new.png
Thanks for uploading Image:Al-Salam Boccaccio sinking in Red Sea new.png. However, the image may soon be deleted unless we can determine the copyright holder and copyright status. The Wikimedia Foundation is very careful about the images included in Wikipedia because of copyright law (see Wikipedia's Copyright policy).

The copyright holder is usually the creator, the creator's employer, or the last person who was transferred ownership rights. Copyright information on images is signified using copyright templates. The three basic license types on Wikipedia are open content, public domain, and fair use. Find the appropriate template in Image copyright tags and place it on the image page like this:.

Please signify the copyright information on any other images you have uploaded or will upload. Remember that images without this important information can be deleted by an administrator. If you have any questions, feel free to contact me. Thank you. Admrb♉ltz (T | C) 19:00, 3 February 2006 (UTC)
 * Yea it did. If you wanted to replace the original image, which is located on the Wikimedia Commons you would have to upload it over the original. --Admrb♉ltz (T | C) 21:58, 3 February 2006 (UTC)

French translation
Hi CG,

I have a small proposal for next month's translation: I think we should post a list of things that need to be done, then people would be able to come in and add their names to the list, and once the process is completed, the article is done.

I'd propose something like this:

 * Initial translation of paragraphs 1-5
 * user1 -> done
 * Initial translation of paragraphs 6-10
 * user2 -> done
 * Copyediting
 * user3 -> done
 * user4 -> ongoing
 * user5 -> not done

What do you think ?

-- Ze miguel 12:01, 15 February 2006 (UTC)

 * Great idea. The fact that translating a complete article may be a long work is responsible for the low activity of this project. Dividing the work in this kind of way would be a good solution. I'm for it. I'm just worried that during this process some information in the English Wikipedia will be erased. About the Little Boy article, I think the translation is finished (great work from you), do you think the commented french version could be erased? CG 18:33, 15 February 2006 (UTC)

template:user fsm
I'm calling out a posse, to fight for freedom of choice, to fight all those who think that only their opinion's right, template:user fsm was speedy deleted by an administrator without any cause or even discussion, I'm therefore putting it up for undeletion since people have put a jihad out against opinions in userboxes. As you were one of many people using the template, I'm trying to rally you into the posse. If you think the template should be returned to active status, put in a vote at Deletion_review/Userbox_debates. Janizary 04:26, 22 February 2006 (UTC)

Jabran Said bin al Qahtani's interrogation log
I am pretty sure that the interrogation log Time magazine hosts is that of Mohamed al-Qahtani, not Jabran Said bin al Qahtani. -- Geo Swan 00:47, 17 March 2006 (UTC)

Wikipédia et l'affaire Bogdanov
Salut,

Je viens d'écrire et de publier sur mon site Bogdanov.ch un article sur la conception de "Bogdanov Affair" sur Wikipédia. L'article s'intitule "Wikipédia et l'affaire Bogdanov : "encyclopédie libre" ou dictature virtuelle ?". Bien sûr tu es mentionné.

Laurence67

Battle of Friju Island
On November 8 you added a verify tag to this article. I've put ip up at WP:AFD because I and 99% sure it's a hoax. Just thought I'd let you know. Cheers. Reyk YO!  08:19, 3 May 2006 (UTC)

Add new section to fr:Rafle
I read French fine but writing not very good.

Would you be interested in translating the the first paragraph of the article "Łapanka" and adding a new section "En Pologne" to the French Wiki article "Rafle"?

Syrenab 14:22, 11 September 2006 (UTC)

NEVER HEARD ABOUT PRIVACY RIGHTS?
HEY DUDE!

I wanted to reach Anselm but he is gone from wiki, so that will be you. I want to tell that I begin on wiki in 2005 and that I was first unregistered as unknowing the system and had just a user number to begin with. Quiet usual. Then I took a pseudo as most foxes do, and wrote on wiki under that name, having very clearly and several times on that same article underlined that I was the same person as the one writting under the previous user number. Nothing wrong either on that one. BUt but but, you and some idiotic fox from enclosed wiki board are accusing me of being a socket puppet for other idiots like yourself, and for trying to hide me under that user number. Er! here, what the heck do you think you are doing. Oh sorry, I forgot it was easy to partake foxes bodies once they cant talk. That explain. Or so little. For your knowledge, or what is left of it, I was the one who most strongly asked for the arbcom to look at this bogda affair, and I was the one who contacted all kind of wiki control instances to have them put some order in the mes that was happening there at that time. since sept. 2005. So you know it. Nonetheless I was bloqued before the arb com had begin which nobody can ever justify. And now to the point: everybody on wiki is aloud to preserve its own identity private in order to protect oneself from personal attacks, and this rule has been enfringed by ALL adminsitrators on wikipedia with my name!!! It is not because you have access to my private data that this gives you the rights to abuse of that facts and to reveal my identity to the world, as it will be later seen as a links in all GOOGLE, which has also been abused by YBM and co who have made a guirlande of links with my full name on it and quiet sarcastics (at best) and very insulting (as most) texts who can all be seen on the net when my name is computed in google. To add to that, diverse active administrators at that time, loke this bishonen have used my FULL name and aftername when mentioning me instead of the pseudo used by me on wikipedia as it is always done usually, when talking in private wiki forum between other administrators of wikipedia and other internal chat room on wiki. Those texts, very damaging and insultings, are also on google under my name.. And those text also ended up, god knows how and why, in a private web site created more than 9 months after those exchanges took place, and were my name with insults figure... at the front webside..(?) I do not know the woman who made that site and contacted them to have them remove that and to know why my name figured there, but was never answered. Instead my mail to them was in the list at google... So all that to tell you that since I was on wikipedia my name has become a hit at google, and I would like to ask you why, and how this is possible, and since when wikipedia was ment to be a forum to disgrace people and put them in the most public forum, like google, with shit all over their head. I have in fact lost 3 job interviews because of that as my employer looked at google and didnt like what he saw there. ´Basically that I say lots of rant and rant and rant. (must be the alone vocabulary wiki admi know about, since it is the alone one they use when short for real argumentation, could make some new words, I mean this is an encyclopedia, no?) Since you like to program, so deleete all entries with my name on it related far or close to wikipidia, wiki admi intern talks in chat rooms of wiki, or related to wikipedia, and links coming from wiki users involved in the bogda affair. I have came back a short time to write about a topic COMPLETELY unrelated to the bogda, but nonetheless some admi found very amusing to blend in it (probably bored by each others small talks on the main bogda site) and to block me just for fun. Also acusations by anselm that I came back using my user number are false as I couldnt get my pseudo back. As simpel as that. I was able to do so later on, using the help of an admi I had contacted regarding that. So I found those comments of anselm on the bogda talk page completely unrelated and frivole and an obvious personal harrassement, which is in fact the specialty of most administrators in wikipedia, from my own experience: to harrass any they dont agree wiht or dont understand or to do so just for fun and to get some extra ban stars or just to feel they have. indeed, some power in life. And no, I didn't like it. Another point is that I very clearly remembered to have been blocked 3 days for making remarcs, banal, but who were not 100% related to the topic, but more personal, as adressing another user, very friendly, when the discussion was running about august sept 2005. I also remember that it was Bishonen who did that. But when I see the kind of discussions you and your fellows are having now, and how private chit chat that is, and even "how was your hollydays?" so that this place ressemble more and more to a private chat room for admi en mal de compagnie, I ask myself if rules are only made to harrass users as please, or if admi are just enjoying diplomates imunity here. I thought wiki was for all to write about a subject and not just for admi not knowing a thing about it to put their grant of salt. You liked to think you are some kind of Hierophantes, knowing all about all, and able to say it all, but just take a look at your biaised point of view -and not fact- in this exemple: bogda brothers where accused of having got the lawest degree with mention honorable (misused by diverse fox thinking that the english wont get it) but at the end it was proven that the law in vigor at that time, show that the mention was very good indeed. And the main text, article was about to be changed in that regard, when suddendly >Rialuezo appear and PRETEND that the law is "doesnt matter" what matters is what the fox says and they says "i contacted him my self" that this mention is law. Which is a lie. the guy never checked with the PHD correctors, and what he say cant be taken at face value seen with the past he has and his animosity towards the bogdanov combined with his personal friendship with YBM. But nonetheless it was taken at face value and used to rechange the text to its negativ expression of the meaning of those mentions. Incredible what some will found to deny other to be with them... Rialuezo is full member of a sect, that count 5 scientifics, out of the 6 scientifics mentioned at the end of the article about the bogdanov. This sect is represented by a man that you will found if you just tast the title of the bogda book in google, the man clame to have write the book already, but with a different and not so scientifical content. The symbol of his sect are delphins. Please take the time to fold over his web site and get the surprise of your life with rialuezo and baez swimming there with woit. I say no more just go and see. I tried in due time to get the attention of wiki users and admi about this discrepency, but it was waist of time. You all call my stoff rant because unable to understand and maybe too too leasy to check your sources and mine on your own. With the consequences that we now know. I dont personally give a shit about the story, but I do care about having my name blended with all kind of schmug insulting me, and this all over google. So remove my name, both forname and aftername from wiki, As I wish nothing else but to have absolutly nothing to do with that very disappointing place, who could use some lesson in objectivity, and objective reasonement. You are in robotic, as I am, and programing as me, we aint in the same boat, but use your know how to deleete all my entries from wiki using my full name. I am NOT interested in being spotted in that kind of light, I have other things to do and no need to loose a job as chief operator at >Siemens, nor as a project manager in robotic and polymæric sensors research, for reasons who are as stupid as being named by uncarefull, or directly and voluntaraly, mean administrators. That will be it and merry christmas. Be nice enough to send me an email with info as when you are planning to launch the deleete session and in which extend you can do so. Entre nous: j'en ai vraimment plein mon cul de cette histoire, et vu que j'ai pas mis les pieds dans ce brouillard de discussion depuis 13 mois, j'aimerai bien savoir ce qui peut pousser des admi á me casser les pieds de leurs remarques debiles et grandement péjoratives, toute pleines d'idées recues et de préjudices. Pour ta connaissance: je n'avais jamais entendue parler des bogdanov avant le 15 aout 2005, ai n'en ai plus entendu parlée depuis nov-dec 2005.cá fait moins de 4 mois de connaissance, ce qui est en fait beaucoups moins que toi et que les admis qui sont venus sur la page Aprés que j'en ai été bannie. Je trouve cela trés marrant. Mon field c'est la physique théorique, et j'ai écris un livre sur le sujet, mais en plus grand, si je puis dire. Je t'enverrai un petit mot dés que cá sortira. En attendant fais le ménage, car ce genre d'intrusion dans ma vie privée m'exaspére. Ma raison affaire Bogdanov? Parler francais. Cá faisait plus de 20 ans que j'avais pas pu le parler alors cá me manquait, mais cá a fini dans wiki english. Dommage. Avec les conséquences et répercussion que l'on sait. Pas sympa les francais, tout compte fait. Pas trés bon retour aux sources. Come come back ce fut bel et bien râté!

Salut, et me provoque pas, je pétes les plombs complets avec cette histoire de link sur google. voilá mon email, --@.dk j'ose pas écrire mon nom, on sait jamais. Moi qui m'en fichais, depuis les interviews râtés avec reference sur mon role dans ce wiki debats... faudrait peut être commencer á faire gaffe sur les infos privés que vous lâchez sur les gens entre admis... cá craint mon vieux, et á un tel point!!!

S- P, pseudo: "XAL", numero de membre: je m'en rappelle plus. Contacte moi au plus vite sur ce precedent, il faut le regler au plus vite et contacter les webadmi n'a pas trop marché. Short: je sais pas comment faire.

 * Removed your private info from the message. Other than that, I'm afraid I don't have any power to remove data relevant to your name and/or identity on Wikipedia. -- Ze miguel 13:59, 30 November 2006 (UTC)

Image:Escher's Relativity.jpg
Hello, Ze miguel. An automated process has found and removed an image or media file tagged as nonfree media, and thus is being used under fair use that was in your userspace. The image (Image:Escher's Relativity.jpg) was found at the following location: User:Ze miguel. This image or media was attempted to be removed per criterion number 9 of our non-free content policy. The image or media was replaced with Image:NonFreeImageRemoved.svg, so your formatting of your userpage should be fine. Please find a free image or    media to replace it with, and or remove the image from your userspace. User:Gnome (Bot)-talk 02:25, 16 May 2007 (UTC)

Request for comment on Category Redirect template
Because you are a member of WikiProject Categories, your input is invited on some proposed changes to the design of the Category redirect template. Please feel free to view the proposals and comment on the template talk page. --Russ (talk) 21:46, 11 January 2008 (UTC)

Political parties by continent
Do you propose to change "the Americas" categories eg Category:Communist parties in the Americas to seperate into North & South America categories, which seems necessary to align with other categories by continent eg Category:Politics of North America and Category:Political organizations in North America Hugo999 (talk) 05:50, 31 May 2010 (UTC)

Category:Communist parties in the Americas has been nominated for merging
Category:Communist parties in the Americas has been nominated for merging. A discussion is taking place to decide whether it complies with the categorization guidelines. If you would like to participate in the discussion, you are invited to add your comments at the category's entry on the categories for discussion page. Thank you. Mason (talk) 05:18, 20 January 2024 (UTC)

title: User talk:Ze miguel


text:
Eric Lavigne

Eric T. Lavigne (born November 4, 1972) is a Canadian former professional ice hockey defenceman. He played one game in the National Hockey League with the Los Angeles Kings during the 1994–95 season, on February 20, 1995 against the Vancouver Canucks. The rest of his career, which lasted from 1993 to 2009, was mainly spent in the minor leagues.

Biography
Lavigne was born in Victoriaville, Quebec. As a youth, he played in the 1985 Quebec International Pee-Wee Hockey Tournament with a minor ice hockey team from Beauport, Quebec City.

Lavigne was selected in the 2nd round (25th overall) in the 1991 NHL Entry Draft by the Washington Capitals.He played one game in the National Hockey League with the Los Angeles Kings during the 1994–95 NHL season. He also played in the International Hockey League, the American Hockey League, and later in the Ligue Nord-Américaine de Hockey.

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

title: Eric Lavigne


text:
Xtro

Xtro is a 1983 British science fiction horror film written and directed by Harry Bromley Davenport. The film stars Bernice Stegers, Philip Sayer, Simon Nash, and Maryam d'Abo. The film focuses on a man who was abducted by aliens and returns back to his wife and son three years later.

The film received largely negative reviews from critics, while the special effects were praised.

Plot
As Sam Phillips and his son Tony are playing outside their farm, Sam is suddenly abducted by a bright light. Three years later, the light returns and plants a seed. A half-human, half-alien creature develops from the seed, and is hit by a car; the couple in the car are soon killed. The creature then goes to a cottage nearby, where it attacks and impregnates the young woman living there before dissolving. When she awakens later, her belly rapidly grows to a gargantuan size until she gives birth to a fully formed Sam, killing her. Sam washes himself, steals the driver's clothes and leaves in the car.

Sam seeks out Tony, who lives in an apartment building in London with his mother Rachel, her new American boyfriend Joe Daniels, and French au pair Analise Mercier. Tony has recurring nightmares where he wakes up soaked in another person's blood. Sam picks Tony up from school and is found by Rachel. Despite Joe's consternation Sam goes to live with the family, claiming that he can't remember anything. After Tony sees Sam eating the eggs of his pet snake, Sam comforts him and drinks his blood. Tony soon discovers he has paranormal powers, which he uses to send a human-sized toy soldier to slaughter a neighbour who killed his snake and to bring a toy clown to life.

Sam and Rachel visit the farm where they used to live, leaving Tony in Analise's care. During a game of hide-and-seek with Tony, Analise is knocked out by the clown and used as a womb for the alien eggs. Tony sends a toy tank to attack her boyfriend Michael, who is killed by a panther as he tries to flee. Meanwhile, while Sam and Rachel make love at the farm, his skin starts to bleed and decompose. Joe takes Tony to the farm, where Sam takes his son up a hill towards the alien light. Sam, now taking the form of an alien, uses his scream to kill Joe. Sam and Tony enter the light and return to the alien world, leaving Rachel behind. Arriving at home the next day, Rachel finds an overturned refrigerator full of eggs. As she picks up one, Rachel is killed by a newborn creature.

Cast

 * Philip Sayer as Sam Phillips
 * Bernice Stegers as Rachel Phillips
 * Danny Brainin as Joe Daniels
 * Maryam d'Abo as Analise Mercier
 * Simon Nash as Tony Phillips
 * Peter Mandell as Clown
 * David Cardy as Michael
 * Anna Wing as Mrs. Goodman
 * Robert Fyfe as Doctor
 * Katherine Best as Jane
 * Robert Pereno as Ben
 * Sean Crawford as the Commando
 * Tim Dry as the Monster
 * Arthur Whybrow as Mr. Knight
 * Susie Silvey as Woman in cottage

Production
Producer Mark Forstater got involved in Xtro when the director Harry Bromley Davenport came to him with a script written by him and Michel Patty. The two had previously met during a screening of Davenport’s directorial debut Whispers of Fear, which impressed Forstater. The film was financed by Ashley Productions Ltd., a subsidiary of a British investment group based in Manchester.

Forstater brought in two other writers, Robert Smith and Iain Cassie, stating that "The plot was kept intact, but the new writers went off into weird and wonderful tangents."

The film had a six-week shooting schedule. Chris Hobbs, a sketch artist, helped sort out the visual concepts for the production, which originally involved a faceless rubber suit for a creature. This was changed to man standing with his back to the ground on his arms and legs. A mime was hired to perform the strange scuttle of the walk.

Release
Alan Jones wrote in a July issue of Cinefantastique that Xtro was initially set to be released by New Line later in 1982. In December 1982, an article in Fangoria scheduled the film for release in February 1983. Xtro was released in March 1983 in the United Kingdom.

When released on home video in 1983, the film was subject to a prosecution case in relation to British obscenity laws. Unlike many other "video nasties", as they were then called, Xtro had actually been passed uncut by the BBFC with an 18 certificate for theatrical release (with both the original and an alternate ending). The film even went on to reach 33rd place in the Gallup British video chart for 1983.

Home media
It was released on DVD three times in the US by Image Entertainment. The first DVD was released in 2005 as a double feature with sequel Xtro II: The Second Encounter. The second was released in 2006 as a standalone release. The third, released in 2007, was a triple feature alongside Xtro II and Skeeter. In the UK, the Xtro trilogy was released in box-set, remastered anamorphic widescreen with 5.1 for Xtro II and an interview with director Harry Bromley Davenport covering the production of all three films. It has been released on blu-ray format in the UK in October 2018 by Second Sight, with several featurettes and two alternate endings and four cuts of the film.

Critical reception
Among contemporary reviewers, Alan Jones wrote in Starburst that the film has "occasional flashes of tangential inspiration" but was "really nothing very xtro-ordinary", finding that scenes did not scare him "or even disgusted [him] to any great extent" and that he would have liked more characterisation and that Bernice Stegers was "horribly miscast". Jones went on to state that the special effects were "minor miracles of ingenuity" for their low budget and he at least admired director Metcalfe for "trying so earnestly to resuscitate low budget exploitation sf/horror films in this country." Jo Imeson of The Monthly Film Bulletin described the film as a "sub s-f rip-off" and that it was "entirely lacking in the energy or resonances of It's Alive! horror-within-the-family genre." The review also noted "flat acting" stating that Bernice Stegers was "weighed down by a depressingly one-dimensional role". The review did note that "one or two effects are quite memorable-the cocoon in the bathroom, the revolving birth of a full-sized man"."Lor." of Variety found the film "too silly and underdeveloped in story values to expand beyond diehard fans" and that "Harry B Davenport builds little suspense and no thrills in a film devoid of stuntwork or action scenes. It's just another "check out that makeup" exercise, consisting of brief scenes and poor continuity" and that "acting is flat, with Stegers [...] inexpressive and unattractively styled." Roger Ebert panned the film, awarding it 1 of 4 stars, calling the film "ugly" and "despairing" and further commenting, "Most exploitation movies are bad, but not necessarily painful to watch. They may be incompetent, they may be predictable, they may be badly acted or awkwardly directed, but at some level the filmmakers are enjoying themselves and at least trying to entertain an audience. 'Xtro' is an exception, a completely depressing, nihilistic film, an exercise in sadness ... It's movies like this that give movies a bad name". Stephen Hunter writing for The Baltimore Sun called the film "the slimiest, wormiest, most nauseating film to come oozing into Baltimore in some time" that was "almost wholly incomprehensible". Hunter went on to state that "what is most depressing about Xtro is that its performances are first-rate, especially Stegers' as the distraught Mum" and that the cinematographer by John Metcalfe "displays a good deal of technical finesse, particularly the long, apartment sequence".

Colin Greenland reviewed Xtro for Imagine magazine, and stated that "Xtro is quite unpretentious. It doesn't claim to be anything but a vehicle for Tony Harris' special effects, which are as virulent and glutinous as they come."

Among retrospective reviews, TV Guide awarded the film 0 of 4 stars, calling the film, "A vile exercise in grotesque special effects" and "an excuse to parade all manner of perversities across the screen", further stating that, "Not only is this disgusting, it lacks anything that remotely resembles suspense". AllMovie called the movie "pure trash" that was "made to capitalize on public interest in E.T. the Extra-Terrestrial" and "basically presents the gory, sexy exploitation-movie take on that film's 'alien visits Earth' premise."

Sequels
Director Harry Bromley Davenport made two sequels to the film, Xtro II: The Second Encounter and Xtro 3: Watch the Skies. Neither film had anything to do with the original film. In March 2011, Davenport confirmed that Xtro 4 - The Big One is in the works.

title: Xtro


text:
Persian miniature

A Persian miniature (Persian: نگارگری ایرانی negârgari Irâni) is a small Persian painting on paper, whether a book illustration or a separate work of art intended to be kept in an album of such works called a muraqqa. The techniques are broadly comparable to the Western Medieval and Byzantine traditions of miniatures in illuminated manuscripts. Although there is an equally well-established Persian tradition of wall-painting, the survival rate and state of preservation of miniatures is better, and miniatures are much the best-known form of Persian painting in the West, and many of the most important examples are in Western, or Turkish, museums. Miniature painting became a significant genre in Persian art in the 13th century, receiving Chinese influence after the Mongol conquests, and the highest point in the tradition was reached in the 15th and 16th centuries. The tradition continued, under some Western influence, after this, and has many modern exponents. The Persian miniature was the dominant influence on other Islamic miniature traditions, principally the Ottoman miniature in Turkey, and the Mughal miniature in the Indian sub-continent.

Persian art under Islam had never completely forbidden the human figure, and in the miniature tradition the depiction of figures, often in large numbers, is central. This was partly because the miniature is a private form, kept in a book or album and only shown to those the owner chooses. It was therefore possible to be more free than in wall paintings or other works seen by a wider audience. The Quran and other purely religious works are not known to have been illustrated in this way, though histories and other works of literature may include religiously related scenes, including those depicting the Islamic prophet Muhammad, after 1500 usually without showing his face.

As well as the figurative scenes in miniatures, which this article concentrates on, there was a parallel style of non-figurative ornamental decoration which was found in borders and panels in miniature pages, and spaces at the start or end of a work or section, and often in whole pages acting as frontispieces. In Islamic art this is referred to as "illumination", and manuscripts of the Quran and other religious books often included considerable number of illuminated pages. The designs reflected contemporary work in other media, in later periods being especially close to book-covers and Persian carpets, and it is thought that many carpet designs were created by court artists and sent to the workshops in the provinces.

In later periods miniatures were increasingly created as single works to be included in albums called muraqqa, rather than illustrated books. This allowed non-royal collectors to afford a representative sample of works from different styles and periods.

Style
The bright and pure colouring of the Persian miniature is one of its most striking features. Normally all the pigments used are mineral-based ones which keep their bright colours very well if kept in proper conditions, the main exception being silver, mostly used to depict water, which will oxidize to a rough-edged black over time. The conventions of Persian miniatures changed slowly; faces are normally youthful and seen in three-quarters view, with a plump rounded lower face better suited to portraying typical Central Asian or Chinese features than those of most Persians. Lighting is even, without shadows or chiaroscuro. Walls and other surfaces are shown either frontally, or as at (to modern eyes) an angle of about 45 degrees, often giving the modern viewer the unintended impression that a building is (say) hexagonal in plan. Buildings are often shown in complex views, mixing interior views through windows or "cutaways" with exterior views of other parts of a facade. Costumes and architecture are always those of the time.

Many figures are often depicted, with those in the main scene normally rendered at the same size, and recession (depth in the picture space) indicated by placing more distant figures higher up in the space. More important figures may be somewhat larger than those around them, and battle scenes can be very crowded indeed. Great attention is paid to the background, whether of a landscape or buildings, and the detail and freshness with which plants and animals, the fabrics of tents, hangings or carpets, or tile patterns are shown is one of the great attractions of the form. The dress of figures is equally shown with great care, although artists understandably often avoid depicting the patterned cloth that many would have worn. Animals, especially the horses that very often appear, are mostly shown sideways on; even the love-stories that constitute much of the classic material illustrated are conducted largely in the saddle, as far as the prince-protagonist is concerned. Landscapes are very often mountainous (the plains that make up much of Persia are rarely attempted), this being indicated by a high undulating horizon, and outcrops of bare rock which, like the clouds in the normally small area of sky left above the landscape, are depicted in conventions derived from Chinese art. Even when a scene in a palace is shown, the viewpoint often appears to be from a point some metres in the air.

The earliest miniatures appeared unframed horizontally across the page in the middle of text, following Byzantine and Arabic precedents, but in the 14th century the vertical format was introduced, perhaps influenced by Chinese scroll-paintings. This is used in all the luxury manuscripts for the court that constitute the most famous Persian manuscripts, and the vertical format dictates many characteristics of the style.

The miniatures normally occupy a full page, later sometimes spreading across two pages to regain a square or horizontal "landscape" format. There are often panels of text or captions inside the picture area, which is enclosed in a frame, eventually of several ruled lines with a broader band of gold or colour. The rest of the page is often decorated with dense designs of plants and animals in a muted grisaille, often gold and brown; text pages without miniatures often also have such borders. In later manuscripts, elements of the miniature begin to expand beyond the frame, which may disappear on one side of the image, or be omitted completely.

Another later development was the album miniature, conceived as a single picture rather than a book illustration, though such images may be accompanied by short lyric poems. The withdrawal of Shah Tahmasp I from commissioning illustrated books in the 1540s probably encouraged artists to transfer to these cheaper works for a wider circle of patrons. Albums or muraqqas were assembled by collectors with album miniatures, specimen pages of calligraphy, and miniatures taken from older books, to which border paintings were often added when they were remounted. Album miniatures usually showed a few figures on a larger scale, with less attention to the background, and tended to become drawings with some tints of coloured wash, rather than fully painted.

In the example at right the clothes are fully painted, and the background uses the gold grisaille style earlier reserved for marginal decoration, as in the miniature at the head of the article. Many were individual portraits, either of notable figures (but initially rarely portraits of rulers), or of idealized beautiful youths. Others were scenes of lovers in a garden or picnics. From about the middle of the 16th century these types of images became dominant, but they gradually declined in quality and originality and tended towards conventional prettiness and sentimentality.

Books were sometimes refurbished and added to after an interval of many years, adding or partly repainting miniatures, changing the border decoration, and making other changes, not all improvements. The Conference of the Birds miniature in the gallery below is an addition of 1600 to a manuscript of over a century earlier, and elements of the style appear to represent an effort to match the earlier miniatures in the book. The famous painting Princes of the House of Timur was first painted in 1550-55 in Persia for the exiled Mughal prince Humayun, who largely began the Mughal miniature tradition by taking back Persian miniaturists when he gained the throne. It was then twice updated in India (c.1605 and 1628) to show later generations of the royal house. The dimensions of the manuscripts covered a range not dissimilar to typical modern books, though with a more vertical ratio; many were as small as a modern paperback, others larger. Shah Tamasp's Shahnameh stood 47 cm high, and one exceptional Shahnameh from Tabriz of c. 1585 stood 53 cm high.

Artists and technique
In the classic period artists were exclusively male, and normally grouped in workshops, of which the royal workshop (not necessarily in a single building) was much the most prestigious, recruiting talented artists from the bazaar workshops in the major cities. However the nature of the royal workshop remains unclear, as some manuscripts are recorded as being worked on in different cities, rulers often took artists with them on their travels, and at least some artists were able to work on private commissions. As in Europe, sons very often followed their father into the workshop, but boys showing talent from any background might be recruited; at least one notable painter was born a slave. There were some highly placed amateur artists, including Shah Tahmasp I (reigned 1524–1576), who was also one of the greatest patrons of miniatures. Persian artists were highly sought after by other Islamic courts, especially those of the Ottoman and Mughal Empires, whose own traditions of miniature were based on Persian painting but developed rather different styles.

The work was often divided between the main painter, who drew the outlines, and less senior painters who coloured in the drawing. In Mughal miniatures at least, a third artist might do just the faces. Then there might be the border paintings; in most books using them these are by far the largest area of painted material as they occur on text pages as well. The miniatures in a book were often divided up between different artists, so that the best manuscripts represent an overview of the finest work of the period. The scribes or calligraphers were normally different people, on the whole regarded as having a rather higher status than the artists - their names are more likely to be noted in the manuscript.

Royal librarians probably played a significant role in managing the commissions; the extent of direct involvement by the ruler himself is normally unclear. The scribes wrote the main text first, leaving spaces for the miniatures, presumably having made a plan for these with the artist and the librarian. The book covers were also richly decorated for luxury manuscripts, and when they too have figurative scenes these presumably used drawings by the same artists who created the miniatures. Paper was the normal material for the pages, unlike the vellum normally used in Europe for as long as the illuminated manuscript tradition lasted. The paper was highly polished, and when not given painted borders might be flecked with gold leaf.

A unique survival from the Timurid period, found "pasted inconspicuously" in a muraqqa in the Topkapi Palace is thought to be a report to Baysunghur from his librarian. After a brief and high-flown introduction, "Petition from the most humble servants of the royal library, whose eyes are as expectant of the dust from the hooves of the regal steed as the ears of those who fast are for the cry of Allahu akbar ..." it continues with very businesslike and detailed notes on what each of some twenty-five named artists, scribes and craftsmen has been up to over a period of perhaps a week: "Amir Khalil has finished the waves in two sea-scenes of the Gulistan and will begin to apply colour. ... All the painters are working on painting and tinting seventy-five tent-poles .... Mawlana Ali is designing a frontispiece illumination for the Shahnama. His eyes were sore for a few days." Apart from book arts, designs for tent-makers, tile-makers, woodwork and a saddle are mentioned, as is the progress of the "begim's little chest".

History
The ancient Persian religion of Manichaeism made considerable use of images; not only was the founding prophet Mani (c.216–276) a professional artist, at least according to later Islamic tradition, but one of the sacred books of the religion, the Arzhang, was illustrated by the prophet himself, whose illustrations (probably essentially cosmological diagrams rather than images with figures) were regarded as part of the sacred material and always copied with the text. Unfortunately, the religion was repressed strongly from the Sassanid era and onwards so that only tiny fragments of Manichean art survive. These no doubt influenced the continuing Persian tradition, but little can be said about how. It is also known that Sassanid palaces had wall-paintings, but only fragments of these have survived.

There are narrative scenes in pottery (Mina'i ceramics), though it is hard to judge how these relate to lost contemporary book painting. Recent scholarship has noted that, although surviving early examples are now uncommon, human figurative art was also a continuous tradition in Islamic lands in secular contexts (such as literature, science, and history); as early as the 9th century, such art flourished during the Abbasid Caliphate (c. 749-1258, across Spain, North Africa, Egypt, Syria, Turkey, Mesopotamia, and Persia).

The great period of the Persian miniature began when Persia was ruled by a succession of foreign dynasties, who came from the east and north. Before the Mongol Ikhanid dynasty (1253-1353), narrative representations are only known in Persia in architecture and ceramics. With the large tradition of Arabic manuscripts in the 12th-13th centuries, illustrated manuscripts probably also existed in Persia, but the only Persian-language illustrated manuscript securely datable to before Mongol conquest is the Varka and Golshah, attributable to Konya in Central Anatolia c.1250. The traumatic Mongol invasion of 1219 onwards established the Ilkhanate as a branch of the Mongol Empire, and despite the huge destruction of life and property, the new court had a galvanising effect on book painting, importing many Chinese works and probably artists, with their long-established tradition of narrative painting, and sponsoring a cultural revival and the creation of history-related literary works. The earliest known illustrated Persian manuscript under the Mongols is the Tarikh-i Jahangushay (1290), commissioned by the Mongol emir Arghun Aqa, also one of the earliest examples of "Metropolitan style" of the Mongol Ilkhanid court, followed by the 1297-1299 manuscript Manafi' al-hayawan (Ms M. 500), commissioned by Mongol ruler Ghazan. The Ilkhanids continued to migrate between summer and winter quarters, which together with other travels for war, hunting and administration, made the portable form of the illustrated book the most suitable vehicle for painting, as it also was for mobile European medieval rulers. The Great Mongol Shahnameh, now dispersed, is the outstanding manuscript of the following period.

After 1335 the Ilkhanate split into several warring dynasties, all swept aside by the new invasion of Timur from 1381. He established the Timurid dynasty, bringing a fresh wave of Chinese influence, who were replaced by the Black Sheep Turkmen in 1452, followed by the White Sheep Turkmen from 1468, who were in turn replaced by the Safavid dynasty by 1501; they ruled until 1722. After a chaotic period Nader Shah took control, but there was no long-lived dynasty until the Qajar dynasty, who ruled from 1794 to 1925.

It was only in the 14th century that the practice began of commissioning illustrated copies of classic works of Persian poetry, above all the Shahnameh of Ferdowsi (940-1020) and the Khamsa of Nizami, which were to contain many of the finest miniatures. Previously book illustration, of works in both Arabic and Persian, had been concentrated in practical and scientific treatises, often following at several removes the Byzantine miniatures copied when ancient Greek books were translated. However a 14th-century flowering of Arabic illustrated literary manuscripts in Syria and Egypt collapsed at the end of the century, leaving Persia the undisputed leader in Islamic book illustration. Many of the best miniatures from early manuscripts were removed from their books in later centuries and transferred to albums, several of which are now in Istanbul; this complicates tracing the art history of the period.

Miniatures from the Safavid and later periods are far more common than earlier ones, but although some prefer the simpler elegance of the early 15th and 16th centuries, most art historians agree in seeing a rise in quality up to the mid-16th century, culminating in a series of superb royal commissions by the Safavid court, such as the Shahnameh of Shah Tahmasp (or Houghton Shahnameh). There was a crisis in the 1540s when Shah Tahmasp I, previously a patron on a large scale, ceased to commission works, apparently losing interest in painting. Some of his artists went to the court of his nephew Ibrahim Mirza, governor of Mashad from 1556, where there was a brief flowering of painting until the Shah fell out with his nephew in 1565, including a Haft Awrang, the "Freer Jami". Other artists went to the Mughal court. After this the number of illustrated book manuscript commissions falls off, and the tradition falls into over-sophistication and decline.

Tabriz in the north-west of Iran is the longest established centre of production, and Baghdad (then under Persian rule) was often important. Shiraz in the south, sometimes the capital of a sub-ruler, was a centre from the late 14th century, and Herat, now in Afghanistan, was important in the periods when it was controlled from Persia, especially when the Timurid prince Baysonqor was governor in the 1420s; he was then the leading patron in Persia, commissioning the Baysonghor Shahnameh and other works. Each centre developed its own style, which were largely reconciled and combined under the Safavids.

The schools of Herat, where the Timurid royal workshops usually were, had developed a style of classical restraint and elegance, and the painters of Tabriz, a more expressive and imaginative style. Tabriz was the former capital of the Turkmen rulers, and in the early Safavid period the styles were gradually harmonized in works like the Shahnameh of Shah Tahmasp. But a famous unfinished miniature showing Rustam asleep, while his horse Rakhsh fights off a lion, was probably made for this manuscript, but was never finished and bound in, perhaps because its vigorous Tabriz style did not please Tahmasp. It appears to be by Sultan Mohammad, whose later works in the manuscript show a style adapted to the court style of Bizhad. It is now in the British Museum.

Chinese influences
Before Chinese influence was introduced, figures were tied to the ground line and included "backgrounds of solid color", or in "clear accordance with indigenous artistic traditions". However, once influenced by the Chinese, Persian painters gained much more freedom through the Chinese traditions of "unrestricted space and infinite planes". Much of the Chinese influence in Persian art is probably indirect, transmitted through Central Asia. There appear to be no Persian miniatures that are clearly the work of a Chinese artist or one trained in China itself. The most prestigious Chinese painting tradition, of literati landscape painting on scrolls, has little influence; instead the closest parallels are with wall-paintings and motifs such as clouds and dragons found in Chinese pottery, textiles, and other decorative arts. The format and composition of the Persian miniature received strong influence from Chinese paintings.

The Ilkhanid rulers did not convert to Islam for several decades, meanwhile remaining Tantric Buddhists or Christians (usually Nestorians). While very few traces now remain, Buddhist and Christian images were probably easily available to Persian artists at this period. Especially in Ilkhanid and Timurid Mongol-Persian mythological miniatures, mythical beasts were portrayed in a style close to the Chinese qilin, fenghuang (phoenix), bixie and Chinese dragon, though they have a much more aggressive character in Islamic art, and are often seen fighting each other or natural beasts.

Prominent Persian miniaturists
The workshop tradition and division of labour within both an individual miniature and a book, as described above, complicates the attribution of paintings. Some are inscribed with the name of the artist, sometimes as part of the picture itself, for example as if painted on tiles in a building, but more often as a note added on the page or elsewhere; where and when being often uncertain. Because of the nature of the works, literary and historical references to artists, even if they are relied upon, usually do not enable specific paintings to be identified, though there are exceptions. The reputation of Kamāl ud-Dīn Behzād Herawī, or Behzād, the leading miniaturist of the late Timurid era, and founder of the Safavid school, remained supreme in the Persianate world, and at least some of his work, and style, can be identified with a degree of confidence, despite a good deal of continuing scholarly debate.

Sultan Mohammed, Mir Sayyid Ali, and Aqa Mirak, were leading painters of the next generation, the Safavid culmination of the classic style, whose attributed works are found together in several manuscripts. Abd al-Samad was one of the most successful Persian painters recruited by the Mughal Emperors to work in India. In the next generation, Reza Abbasi worked in the Late Safavid period producing mostly album miniatures, and his style was continued by many later painters. In the 19th century, the miniatures of Abu'l-Hasan Khan Gaffari (Sani ol molk), active in Qajar Persia, showed originality, naturalism, and technical perfection. Mahmoud Farshchian is a contemporary miniaturist whose style has broadened the scope of this art.

Style( Persian: ( مکتب maktab) or (مدرسه school) )
The maktab of Iranian miniature painting have been named based on the central authority of the ruling empires in the country. Wherever power and wealth were concentrated and considered the capital and seat of government, artists would come to those places willingly or sometimes forcibly. This naming and classification of Iranian miniature painting maktab have been commonly used in Western research and to some extent in Iranian studies.

There may be overlaps in the historical periods discussed later due to the dispersion of governments and their capitals within the realm of Iranian culture and art, rather than their political territories.

Some of the Iranian miniature painting maktab include the following (in chronological order):

1. Baghdad Maktab (or Abbasid Maktab): This maktab had a relatively short period during the late 12th century in the capital city of Baghdad under the Abbasid caliphate. It had less influence from Iranian art and showed a stronger inclination towards Byzantine painting and realism. However, some works exhibited influences from Sasanian and Central Asian art.

2. Seljuk Maktab: This maktab emerged during the Seljuk period and was influenced by both Iranian and Central Asian art.

3. First Tabriz Maktab (or Ilkhanid Maktab): This maktab developed during the Ilkhanid period, which was a Mongol dynasty. It had significant connections with Iranian and Central Asian art.

4. First Shiraz Maktab: This maktab emerged in Shiraz and had its own distinctive style.

5. Jalairid Maktab: This maktab developed during the Jalairid dynasty and had its own unique characteristics.

6. Second Shiraz Maktab: This maktab emerged as a revival of the First Shiraz Maktab and continued its artistic traditions.

7. Herat Maktab: This maktab flourished in Herat under the Timurid dynasty and produced remarkable works.

8. Bukhara Maktab: This maktab developed in Bukhara and had its own distinct artistic style.

9. Second Tabriz Maktab: This maktab emerged as a revival of the First Tabriz Maktab during the Safavid period and incorporated elements from various artistic traditions.

10. Qazvin Maktab: This maktab emerged in Qazvin and had its own artistic characteristics.

11. Isfahan Maktab: This maktab developed in Isfahan during the Safavid period and played a significant role in the development of Iranian miniature painting.

12. Qajar Maktab: This maktab emerged during the Qajar dynasty and had its own distinct style.

1) Tabriz Maktab of Art (First Period)

With the Mongol invasion and the establishment of the Ilkhanate rule, Maragheh and Tabriz transformed into cultural centers. The Ilkhanate rule had two important consequences for Iranian painting. The first was the transfer of elements and techniques of Chinese art to Iran, and the second was the establishment of a form of collective artistic education in workshops and royal libraries. The Tabriz Maktab of Art, also known as the Mongol or Ilkhanid Maktab, along with its subsequent period, the Jalayirid period, formed the main foundation of Iranian painting. During this period, artists sought to integrate visual and pictorial art. One of the notable events of this period was the creation of a cultural complex near Tabriz, known as Rab'-e Rashidi, by the order of Rashid al-Din Fazlullah Hamadani, the vizier of Ghazan Khan. This place served as a gathering place for Iranian and foreign artists, scholars, and calligraphers. One of the works produced in Rab'-e Rashidi is the Comprehensive Book of Chronicles, which was worked on by numerous artists in various styles. The First Tabriz style brought about fundamental changes compared to its previous period, the Seljuk period. The technique of hatching, the depiction of clouds and mountains, the rendering of faces, composition, and shading all borrowed from Chinese art, while the use of silver color and the depiction of garments recalled Byzantine and Mesopotamian art. However, the figurative style of the human figures and their arrangement in the composition remained Iranian in nature. The scenes became more expansive, and we can even see a portion of the sky in the images. The peak of the First Tabriz art can be seen in the Demotte Shahnameh, where the influence of foreign arts is more evident. Nevertheless, this imitation gave rise to new visual patterns and concepts. For example, the dragon in Chinese art symbolizes nature and fertility, but the Iranian painter portrays Bahram fighting the dragon as a symbol of overcoming evil, indicating a disregard for their original meanings and a mere adoption of the Chinese pattern. One of the renowned artists of this period is Ahmad Musa.

2) Jalayirid Maktab of Art

After the death of the last Mongol Ilkhan, Abu Sa'id, power struggles ensued among Mongol dynasties, and eventually, the Jalayirid dynasty seized power and established their rule in Tabriz and Baghdad. During this period, book illustration received significant attention, and artworks from the Ilkhanid period were collected and preserved. Despite the numerous tensions of this period, many artists, especially during the reign of Sultan Ahmad Jalayir, received patronage, with many kings themselves reciting poetry and engaging in painting. Although the artists continued the tradition of the Ilkhanid maktab, they also advanced experimental approaches. The outstanding result of this period is the Divan of Khwaju Kermani, which includes the signature of an artist named Junayd Baghdadi, making it the oldest known signature of an Iranian painter. In Junayd's paintings and generally in the Jalayirid maktab, the spaces expanded completely, and the paintings occupy an entire page. The figures in the images are slender and tall, and architectural spaces depict both interiors and exteriors simultaneously for the first time. In this period, books were written in a new style of Nasta'liq calligraphy, and the colors became more vibrant compared to the Ilkhanid period, while the issue of the relationship between humans and nature was resolved. Overall, the artworks of the Ilkhanid and Jalayirid periods can be divided into three main categories. The first category consists of pure Iranian works, which, even if influenced by other arts, are combined with Iranian elements. The second category includes paintings that combine Iranian and Chinese art, with a more tangible influence of Chinese art, and the third category consists of paintings abundant in Chinese elements and are almost foreign in nature. The artworks of the Jalayirid period belong to the first category, where Chinese elements are hardly seen.

3) The Maktab of Shiraz

During the 8th century AH (14th century CE), while the Ilkhanid and Jalayirid maktabs were flourishing in Tabriz and Baghdad, an independent artistic movement was taking place in the city of Shiraz. When the Mongols invaded, the rulers of Fars managed to protect the city through diplomacy and intelligence, allowing it to continue its existence under the same previous rulers. Many Iranian artists and intellectuals sought refuge in Shiraz under the patronage of local dynasties, namely the Al-e Injou and later the Al-e Mozaffar. Consequently, Shiraz became a central hub for preserving and continuing the ancient traditions and arts of Iran, such as Seljuk art and resistance against foreign influences.

Significant developments during this period include the flourishing of Persian poetry and literature, and the emergence of renowned figures like Saadi and Hafez. Calligraphy workshops thrived in Iran, and the production and illustration of Shahnameh (the Persian epic) had widespread popularity in Shiraz. The illustrations of Shirazi books were simple and reminiscent of Seljuk-era manuscripts, characterized by flat and vibrant colors, large figures, and shallow spaces, evoking the ancient traditions of Iranian art.

In the Maktab of Shiraz, the central theme is humanity, while other motifs fill the surrounding spaces. After the death of Abu Sa'id, the last ruler of the Injou dynasty, Shiraz and some other cities became artistically independent. For instance, in cities like Behbahan, a unique style of nature illustration without human presence can be observed. During the Mozaffarid period, the depiction of lyrical poems (ghazals) received more attention, and the spaces became more expansive. Although the Maktab of Shiraz had its distinct path compared to Tabriz and Baghdad, there was artistic and cultural exchange between these cities, influencing one another. It can be inferred that the vibrant colors of the Maktab of Shiraz influenced Baghdad and Tabriz, while in return, the spacious compositions from Tabriz and Baghdad reached Shiraz. The production of books in Shiraz was so extensive that its products were exported to other countries such as Turkey and India, representing a tradition known as the "commercial style" that endured until the Safavid era in Isfahan.

4) The Herat school (Maktab-e Herat)

was an artistic movement in Persian painting during the medieval period, originating in the city of Herat in present-day Afghanistan. The maktab flourished under the patronage of Baysonqor Mirza, who succeeded Shah Rukh and established Herat as his capital. During Baysonqor Mirza's reign, the workshop of the royal court in Herat became a melting pot of artistic influences from Shiraz, Tabriz, and even Chinese painting traditions. These diverse influences converged to give birth to the distinctive style of the Herat Maktab. The artistic style of the Baysonqor Mirza period transformed into a formal and refined manner, exemplified in the illustrations of the Baysonqori Shahnameh. Notable artists of this period included Jafar Tabrizi, Gawwam al-Din, Mir Khalil, and Khwaja Ghiyath al-Din. Despite the upheavals in Herat after Shah Rukh's death until the reign of Hussain Bayqara, independent artworks from artists such as Maulana Vali Allah and Mansur were produced. The establishment of Sultan Husayn Bayqara's rule and the presence of his minister, Mir Ali-Shir Nava'i, marked a splendid era for art in Iran. Various art forms thrived, and artists gained recognition. Mir Ali-Shir Nava'i fostered a gathering of intellectuals who came together regardless of social status, sharing ideas and artworks. Notable members of this gathering included Wa'iz Kashifi, Kamal al-Din Behzad, and Sultan Ali Mashhadi. During this period, alongside the traditional masters who continued the Baysonqori style, a new generation of talented and innovative artists emerged, introducing new experiences to Persian painting. For example, Haji Mohammad Haravi, known as Mohammad Siyah Qalam, incorporated Iranian satire and grotesque elements in his works. Kamal al-Din Behzad focused on human figures and depicted everyday life in courtly paintings. In this period, the art of portraiture gradually gained popularity, often attributed to Kamal al-Din Behzad. Some portraits of contemporary rulers like Sultan Husayn and Shah Bayqara have survived from this time. This style was also influenced by the arrival of Gentile Bellini, who came to Istanbul at the invitation of an Ottoman Sultan, and later had an impact on Timurid artists. The Herat Maktab encompassed various artistic trends and exhibited a high degree of diversity. However, the works of the Sultan Husayn and Kamal al-Din Behzad period, known as the Kamaleddin Behzad Maktab, are particularly well-known. Generally, it can be said that colors became more vibrant in the Herat Maktab, and the compositions became more complex, featuring circular and intersecting elements. Human activities and details received more attention, and the workshop tradition became a fixed practice in Persian painting. The Herat Maktab, especially the style of Kamal al-Din Behzad, had a direct influence on subsequent periods, such as the Second Tabriz Maktab. Following the rise of the Shaybanid dynasty in Herat, Mohammad Khan Shaybani moved the capital to Bukhara, leading many artists of the Herat Maktab to migrate there. This migration gave rise to the Bukhara Maktab, which followed in the footsteps of the Herat Maktab. The prominent artist of the Bukhara Maktab was Mahmud Muzahhib, who continued the style of Kamal al-Din Behzad. The characteristics of the Bukhara Maktab included rich colors, intricate details within simple forms, short figures, and frontal structures.

5) The Second Shiraz School

In the city of Shiraz during the Timurid period, specifically in the late 8th century, two Timurid rulers, Sultan Iskandar and Sultan Ibrahim, governed Shiraz and greatly influenced its art. Sultan Iskandar gathered the artists of Shiraz once again after the Timurid invasions. It is likely that Pir Ahmad Baghshamali was active in Sultan Iskandar's workshop. The painters of Sultan Iskandar depicted his battles, which became known as "The Selected Battles of Sultan Iskandar." The court style of Sultan Iskandar had already emerged before the establishment of the Herat School and demonstrated the earliest fusion of Iran's exquisite painting styles, such as the Jalairid and Al-Muzaffar styles. The use of lapis lazuli blue color, sponge-like rocks in the sky's horizon, slender and colorful figures, and embellished architectural structures with arabesque patterns were characteristic of the Iskandar School, which later directly influenced the Herat School. Sultan Iskandar was deposed due to conflicts with Shah Rukh Timurid and was succeeded by Ibrahim Sultan, Shah Rukh's son. Ibrahim Sultan's reign brought about significant transformations in the Shiraz style. The figures became more strongly designed, and the colors became more muted, with a strong tendency towards compositional harmony evident in the artworks. Calligraphic elements gained particular importance in the composition, and fixed rules for arranging and formatting texts were established, which became inseparable from the Shiraz style until the late 10th century AH. The general rule was to place two or four inscriptions at the top and bottom of the image, creating a symmetrical and geometric structure within the artwork, with significant subjects often appearing in the central section and beneath the horizon line. Notable works from this period include the Khamsa of Nizami and the Shahnameh of Ibrahim Sultan.

6) The Turkman Style

During the 8th century AH, two Turkmen tribes simultaneously occupied the western regions of Iran. Initially, the Qara Qoyunlu gained power and made Tabriz their capital, followed by the Aq Qoyunlu, who seized control over all of Iran except for Khorasan. Overall, the Turkman style was a mixture of the Herat, Tabriz, Shiraz, and Baghdad schools. They established a royal workshop similar to the Timurid court workshop and employed both local and non-local painters. The result was a new and distinct style characterized by robust figures, round faces with arched eyebrows, and small mouths. The works produced in the Tabriz region, due to the strong tradition of landscape painting in the early Tabriz school, emphasized nature in Turkmen painting, giving rise to fantastical and surreal landscapes. As previously mentioned, there was a commercial style in Shiraz during the first period of the Shiraz School, which continued with the arrival of the Turkmen. The non-courtly Turkman style was simple and unadorned, yet it can be considered suitable for commercial purposes due to its commercial nature and high production. Nevertheless, these images are very explicit and clear in terms of description. One of the Shirazi artists believed to be the creator of this commercial style is Farhad. He is the same artist who illustrated the Khavarannameh manuscript written by Ibn Husam Khusfi. These illustrations have innovative compositions that vividly demonstrate Farhad's imagination. The final and most advanced phase of the Turkman style occurred during the reign of Yakub Beg, the Aq Qoyunlu ruler. Artists such as Sheikh and Darvish Mohammad produced images of the Khamsa of Nizami during that period. These images feature imaginative landscapes and diverse colors, with nature surpassing humanity. The power of imagination in these images is so high that the peaks of rocky mountains transform into human and animal forms. This poetic depiction of nature also found its way into the Safavid school through Sultan Muhammad.

7) Tabriz School 2

With the establishment of the Safavid government, Shah Ismail chose Tabriz as the center of his rule and gathered Turkmen painters, including Sultan Muhammad, in Tabriz. Artists from the Herat school, such as Sheikhzadeh and Kamal al-Din Behzad, initially produced artistic works under the rule of the Safavid government in Herat and then migrated to Tabriz during the reign of Shah Tahmasb. One notable work produced in Safavid Herat is the "Zafarnama" (Book of Victory), characterized by intricate compositions, diverse colors, and strong design, displaying elements of Behzad's style. In comparison to his Timurid-era works in the Herat school, Behzad's works in the Tabriz school exhibit less vibrant spirit and subdued colors, possibly influenced by the taste of the court patrons. One of the main characteristics we observe in Safavid paintings is the presence of a specific type of turban known as the "Qizilbash turban." The fusion of Western and Eastern Iranian painting styles gave rise to an authentic and complete style, exemplified by Shahnameh-e Tahmasbi (Tahmasb's Shahnameh) and Khamsa-e Tahmasbi (Tahmasb's Khamsa), which were the result of collaborative efforts by a group of artists. These two works represent a juxtaposition of two main stylistic poles: Sultan Muhammad's style, the Turkman style, and the contrasting style of the Calligraphers of the Behzad School. It seems that in images dominated by nature and slightly surreal, the Turkmen and Sultan Muhammad schools had an influence, while the Calligraphers of the Behzad School created works that focused more on human figures and human relationships. The paintings in the Tabriz school became much busier, featuring more figures within a scene. This led to more complex compositions, a higher variety of colors, and a tendency to push the figures out of the space. In Tabriz School 2, although there is no perspective, the principles of authentic Iranian painting are adhered to. However, due to the complex relationships between elements and architecture, the images appear both two-dimensional and three-dimensional simultaneously. The synchronicity of events and places reached its peak in Tabriz School 2, where one can witness various events taking place within a single image, yet perceiving the works as cohesive and unified. Tabriz School 2 came to a halt with the capital's relocation to Qazvin, and after Shah Tahmasb's withdrawal of support, many artists dispersed to various cities. On the other hand, in Mashhad, Ibrahim Mirza, a young Safavid prince, established a workshop and brought together skilled artists from Tabriz and local artists in Mashhad. Thus, the Safavid Tabriz style continued in Mashhad with new approaches. One of the most significant works produced in Mashhad is the "Haft Orang" by Jami. Overall, in Mashhad, we encounter new characteristics, including emphasis on color through white spots, dominance of soft and curvilinear lines, presence of ancient trees, fragmented rocks, and slender figures with long necks and round faces. During the twenty years that Mashhad continued its activities, there was not much book illustration flourishing in the Safavid capital of Qazvin, and only a few works were produced following the Mashhad style during a short period, particularly during the reign of Ismail II.

8) "Maktab-i Isfahan

After a tumultuous decade, Shah Abbas ascended the Safavid throne and relocated the capital to Isfahan. During this period, all the industrial arts flourished and served the taste of the Shah, resulting in the infiltration of Western art into the underlying fabric of society. Architecture, textiles, carpets, and ceramics of this era had numerous enthusiastic admirers, yet, with a fair critique, one can find a decline in vitality and creativity in almost all the arts of this period. However, the field of painting had a different and pioneering movement, as it was almost independent of court patronage. In this period, even before the Isfahan School, we encounter a new style where artists produced works independent of books on a large scale. The emergence of this phenomenon depended on two factors: a decrease in court support and the growth of the merchant class. The taste of the Shahs was changing, and artists could not rely solely on court patronage. Consequently, they turned towards capitalists and nobles. As they lacked the financial capability to produce a complete book, they contented themselves with single-page illustrations. In the midst of this, a young and talented artist named Reza Abbasi appeared and perfected this style of painting. Reza Abbasi's technique was based on the value of line, giving volume to the work through the thickness and thinness of lines. In his paintings, figures were usually large and detached from the surroundings. Later, Moin Mosavar continued Reza Abbasi's style by combining it with his own personal style. Generally, it can be said that the connection between painting and literature had weakened, and the line had surpassed color in the art of painting. These two events led artists to observe their surroundings and document various everyday events. Workshop traditions gradually weakened, and individual worth of each artist became more independent during this period. As a result, signing and long inscriptions became prevalent, particularly in the works of Moin Mosavar."Wall painting was another art form that emerged in the 11th century AH (17th century CE) in the Safavid palaces of Isfahan and continued the style of Qazvin School wall paintings. The compositions of the wall paintings resemble the illustrations found in books, but when executed on a large scale, they lose the delicacy found in books. Gradually, with the arrival of Europeans, Western painting styles entered Iranian paintings and captivated the taste of the Safavid Shahs. In the late period, we witness two main trends: the first being the distinctive and independent style of painters such as Reza Abbasi and Moin Mosavar, and the second being painters like Mohammad Zaman, who were influenced by European naturalism, and their works were referred to as the "School of Italy in Isfahan". The first trend continued until the end of Moin Mosavar's life, while the inclination towards naturalism grew and became more formalized, marking a new beginning in the Iranian painting style.

9) The Qajar School

This style emerged during the Zand period and continued into the Qajar era and slightly beyond. This style holds a prominent position as a cohesive and school-based style in Iranian painting, encompassing all the thematic and practical features of a painting school. It was primarily developed through the fusion of traditional Iranian painting characteristics with elements and techniques borrowed from European painting. Although there were some works in a similar style during the Safavid period in Iran, which were referred to as "Europeanization," it found its distinct form primarily during the Zand period and continued into the Qajar era. A genre of folk painting known as "Qahveh-Khaneh-gari" (coffeehouse painting) also emerged during this time.

Intangible cultural heritage
In 2020, UNESCO inscribed the art of miniature on its Representative List of the Intangible Cultural Heritage of Humanity upon the nomination of four countries in which it is an important element of their culture: Azerbaijan, Iran, Turkey, and Uzbekistan.

In their rationale for inscription on the list, the nominators highlighted that "The patterns of the miniature represent beliefs, worldviews and lifestyles in a pictorial fashion and also gained a new character through the Islamic influence. While there are stylistic differences between them, the art of miniature as practised by the submitting States Parties shares crucial features. In all cases, it is a traditional craft typically transmitted through mentor-apprentice relationships (non-formal education) and considered as an integral part of each society's social and cultural identity".

In later culture
The French painter Henri Matisse said he was inspired by Persian miniatures. He visited the Munich 1910 exhibition of Persian miniatures and carpets, and noted that: "the Persian miniatures showed me the possibility of my sensations. That art had devices to suggest a greater space, a really plastic space. It helped me to get away from intimate painting."

Persian miniatures are mentioned in the novel My Name Is Red by Orhan Pamuk.

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Ray LeBlanc

Raymond Jude LeBlanc (born October 24, 1964) is an American former professional ice hockey goaltender. He played one game in the National Hockey League, with the Chicago Blackhawks during the 1991–92 season. The rest of his career, which lasted from 1984 to 2000, was spent in the minor leagues. Internationally LeBlanc played for the American national team at the 1992 Winter Olympics, and at the 1992 World Championships.

Biography
LeBlanc was born in Fitchburg, Massachusetts. After playing two seasons of junior hockey in Ontario, LeBlanc turned professional and joined the Pineridge Bucks of the Atlantic Coast Hockey League for the 1984–85 season. He then played one season for the ACHL's Carolina Thunderbirds before moving on to the International Hockey League, where he would spend the majority of his career. In his rookie season in 1986–87 with the Flint Spirits, LeBlanc appeared in 63 games and was awarded the Ken McKenzie Trophy as the top American-born rookie in the league.

LeBlanc played for the IHL's Flint Spirits, Saginaw Hawks, Indianapolis Ice, Fort Wayne Komets, Cincinnati Cyclones and Chicago Wolves during his career. LeBlanc spent the final two seasons of his career with the Jacksonville Lizard Kings of the ECHL and retired after the 1999–2000 season.

LeBlanc appeared in one National Hockey League game in his career, playing for the Chicago Blackhawks during the 1991–92 season. His appearance came to allow the Blackhawks to exploit a loophole in the NHL's rules for the 1992 NHL Expansion Draft, where each team had to expose a goaltender who had appeared in at least one game during 1991–92. LeBlanc was activated and placed into his only game on March 10, 1992, therefore meaning the Blackhawks would not have to expose any of their top three goaltenders: Ed Belfour, Dominik Hašek and Jimmy Waite. LeBlanc allowed only one goal, earning the victory as the Blackhawks defeated the San Jose Sharks, 5–1.

International play
At the 1992 Winter Olympics, LeBlanc appeared in all eight games for the United States, compiling a record of 5–2–1 with two shutouts. The Americans finished out of the medals, however, as they lost 6–1 to Czechoslovakia in the bronze medal game. He also played at the 1992 World Championships.

Awards

 * Ken McKenzie Trophy (best American-born rookie in the IHL): 1986–87 season

title: Ray LeBlanc


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Slobodna Bosna

Slobodna Bosna (English: Free Bosnia) was an investigative weekly news magazine based in Sarajevo, Bosnia and Herzegovina. It was established in August 1995 as a print edition and in 2000 an online edition started to exist. The print edition was abolished in December 2015 and Slobodna Bosna now operates only as an online magazine.

Profile
Before transferring to online space, Slobodna Bosna was one of the loudest and articulate critics of political figures, criminals and corruption in Bosnia and Herzegovina. The magazine's frequent investigations of corruption have led politicians to sue the editor-in-chief Senad Avdić. On 23 June 1999, Sarajevo Municipal Court sentenced Avdić to a two-month suspended jail term on charges of criminal libel. This led to the Committee to Protect Journalists to condemn the conviction and sentencing of Senad Avdić on criminal libel charges as a violation of all international norms of press freedom.

Before the changes in leadership of the rivalry magazine Dani and the transition of Slobodna Bosna to online space, these two magazines were seen as two most competent journalistic investigative hubs in Bosnia and Herzegovina.

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Wikipedia:Requests for adminship/Nominate

To nominate yourself or another editor for adminship, you must first create an RfA subpage for the candidate. However, it is a good idea to seek out the prospective candidate before you create the RfA subpage – if the candidate wants to wait or doesn't wish to be an admin, creating the page may be a bit awkward for them, so please check first. This will also prevent the candidate from declining the RfA.

The RfA subpage will be created automatically when you follow the instructions in the appropriate section below. You will be taken directly to this new subpage when you click the nomination button. On this subpage, the nominator must explain why this candidate would make a good administrator. Next, the candidate must accept the nomination on this subpage. The subpage should not be transcluded to the main RfA page before the candidate has accepted the nomination and made a statement or answered the questions. This ensures editors will not vote against candidates simply because they have not completed the nomination – this prevents embarrassment and irritation for everybody. Also please refrain from "voting" on an RfA before transclusion. This is a time to prepare the RfA, as well as answer the necessary questions and get co-nominators.

Finally, once the nomination has been accepted, the questions answered to the candidate's satisfaction, and the candidate is ready for the RfA to begin, the subpage should be transcluded to the RfA page. This can be done by either the candidate or the nominator. This is done by following the "edit this page" link in the appropriate section below and adding the template provided above the most recent nomination on the RfA page. Remember to substitute the candidate's name for USERNAME in the template.

Please note that the forms below apply to first nominations – if a candidate has been nominated before, attempting to fill out the form will take the nominator to the previous nomination. To create a second nomination, simply put a space and then the number 2 after the candidate's username. This number should be incremented by 1 with each subsequent nomination; for example, if the candidate is on their third RfA, then add their username, a space, and the number 3. If someone has been nominated before under a different username, keeping the numbering scheme is recommended: if X has an RfA, is renamed to Y, then has another RfA, it is recommended to put the RfA at "WP:Requests for adminship/Y 2".

To nominate yourself

 * 1) To proceed, in the form below, replace the text that shows   with your username without the User: prefix (double check spelling and capitalization).  If, for some reason, there is no text showing in the box, then type in "Wikipedia:Requests for adminship/USERNAME", with your name replacing "USERNAME".
 * 2) If this is your second nomination or subsequent, then add a space after the username with a number corresponding to the number of Requests for Adminship you have performed.  If it is your second, put space 2.  If it is your third, space 3 and so forth.
 * 3) When you are taken to the next page, edit that page and follow the instructions listed there.
 * 4) Save the page.
 * 5) Re-edit the page again, and make sure to delete the acceptance line. Remember to keep the text about disclosing paid editing. It is recommended you answer the standard questions; though technically optional, candidates who do not answer them may garner opposition. A detailed description is preferred.
 * 6) If there are any co-noms that wish to participate in the RfA they need to list their names there now.
 * 7) Go to the following page: [ Edit this page], and at the top of the list of RfAs, transclude your RfA page, adding   below the transclusion in a new line. Be sure to use your RfA page's exact name!
 * After you have added the above code into the main RfA page this template will be included there.
 * At this point users will be able to vote as normal.
 * 1) Once you have submitted the RfA, go to the top of the page and edit the end date to reflect 7 days AFTER the day you submitted it, by following the directions in the header source code.

To nominate someone else

 * 1) Verify with the person you are wanting to nominate.  This might save the embarrassing situation of them publicly declining the nomination.
 * 2) Make sure that they meet the community's standards. Look at other RfAs, read Advice for RfA candidates (in the perspective of the candidate), and compare your candidate to other successful and unsuccessful candidates.
 * 3) In the form below replace the text that shows   with the username of the person you are wanting to nominate (double check spelling and capitalization). If, for some reason, there is no text showing in the box, then type in "Wikipedia:Requests for adminship/USERNAME", with the person's name replacing "USERNAME".
 * 4) When you are taken to the next page replace   with your nomination text. Do not replace   (unless it is a second nomination)
 * 5) Save the page.
 * 6) Notify the candidate on their talk page when the nomination RfA has been created, include a link to the page you just created (Requests for adminship/USERNAME). You may choose to inform them by placing the RfA nomination template on their talk page, which will automatically contain a link to their nomination page:
 * 7) If there is a second nomination, please add a number, for example  YOUR USERNAME, if applicable, or just add a space and the number 2.
 * 8) Wait until the candidate has accepted the nomination and answered the questions before adding the RfA to Wikipedia:Requests for adminship. The candidate may also transclude the page themselves. Once the page is transcluded, consider adding the editing statistics to the talk page. Data from the XTools' Edit Counter can be downloaded as wikitext using the "Download" dropdown at the top-right of each section.
 * 9) If there are any co-noms that wish to participate in the RfA they need to list their names there now.
 * 10) If the candidate requests you submit the RfA, go to the top of the page and edit the end date to reflect 7 days AFTER the day you submitted it, by following the directions in the header source code.
 * 11) Go to the following page: [ Edit this page], and transclude the RfA page verbatim, adding
 * 1) Go to the following page: [ Edit this page], and transclude the RfA page verbatim, adding

What to do if you are nominated by someone else

 * 1) Go to your RfA subpage, and accept or decline your nomination. If you decline, be sure to inform your nominator.
 * 2) After you accept your nomination, answer the standard questions for all candidates.
 * 3) Edit [ this page] and add the following text above the most recent nomination (replacing   with your name): (This is known as transclusion - it can also be completed by your nominator)
 * 4) Please double check your RfA to make sure there are no votes on the page before it is "transcluded" (added to the main RfA page).
 * 5) Once you have submitted the RfA, go to the top of the page and edit the end date to reflect 7 days AFTER the day you submitted it, by following the directions in the header source code.
 * 1) Once you have submitted the RfA, go to the top of the page and edit the end date to reflect 7 days AFTER the day you submitted it, by following the directions in the header source code.

User notification
If you nominate yourself, keep in mind that canvassing for support (asking other editors to vote in your favor) is strongly discouraged. To get editors to notice your RfA, you are free to put a on your userpage. Such declarations are most definitely allowed.

Reminders

 * Make sure co-nominators are handled before transclusion.
 * Many editors reviewing your RFA will view edit count tool reports of your aggregate activity. You may also privacy blank all or part of the report from the talkpage of your RFA. See the Toolserver Privacy Policy for details.
 * It is recommended that no comments are made in the support, oppose, or neutral sections of the RfA before transcluding it into the main RfA page.
 * If you have any questions, or are unsure of anything ask an admin or another Wikipedian and they can help you through the process.
 * If you have a major bot, don't advertise your RfA within the bot's edits; this may cause problems when your RfA is discussed, as it has done previously.

Multiple nominations
If you have self nominated, or nominated someone more than once, there is a way to deal with subsequent nominations. When you do the second nomination for yourself or the person add |# (number of the nomination) or space # (number of the nomination) after the name. It will allow you to create the other nominations.

Add  to link to all previous requests.


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Jeff Libby

Jeff Libby (born March 1, 1974) is an American former professional ice hockey defenseman.

He played three seasons with the University of Maine before joining the American Hockey League. He played professionally in the International Hockey League with the Utah Grizzlies, the American Hockey League with the Kentucky Thoroughblades and Lowell Lock Monsters, and one game in the National Hockey League with the New York Islanders on March 26, 1998, against the Pittsburgh Penguins.

His career ended on November 7, 1998, after he lost his right eye as a result of it being cut by the skate of Toronto Maple Leafs prospect, Mark Deyell, while playing for the Lowell Lock Monsters.

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Ron Loustel

Ronald David Loustel (born March 7, 1962) is a Canadian former professional ice hockey goaltender who played in one National Hockey League (NHL) game for the Winnipeg Jets during the 1980–81 NHL season. He has the stigma of having allowed more goals than any other goaltender who only appeared in one NHL game. He allowed 10 goals on 51 shots (41 saves, 80.4 SV%) in a 10–2 loss to the Vancouver Canucks in his sole career NHL game on March 27, 1981. He has also played for the Kelowna Buckaroos, Saskatoon Blades, Tulsa Oilers, Brandon Wheat Kings, and Fort Wayne Komets.

Playing career
General manager John Ferguson Sr., facing severe goaltending woes, called up Loustel from the Saskatoon Blades of the Western Hockey League (WHL), hoping he would be the solution. In his only NHL appearance against the Vancouver Canucks, while he made 41 saves, the Canucks got 51 shots on goal, giving him 10 goals against (GA). Since he never played another NHL game, he currently holds the record of having the most GA of any goalie who played only 1 NHL game.

title: Ron Loustel