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Begotten (film)

Begotten is a 1989 American experimental silent horror film written, directed, and produced by E. Elias Merhige. It stars Brian Salsberg, Donna Dempsy, Stephen Charles Barry, and members of Merhige's theatre company, Theatreofmaterial. Its unconventional narrative depicts the suicide of a godlike figure and the resulting births of Mother Earth and the Son of Earth, who set out on a journey across a barren landscape. The film does not contain dialogue, with its visual style evoking early silent films.

The film's storyline draws upon creation myths in Christian mythology, Celtic mythology, and Slavic paganism, featuring narrative motifs and religious imagery that reoccur throughout Merhige's work. Other influences include the transgressive artist Antonin Artaud and the philosopher Friedrich Nietzsche. The film's visual style was inspired by Georges Franju's Blood of the Beasts, Akira Kurosawa's Seven Samurai, Stan Brakhage's The Act of Seeing with One's Own Eyes, and The Cabinet of Dr. Caligari.

Begotten was originally conceived as a work of experimental theatre featuring dance and live music. It became a film project after Merhige realized that his vision would be too expensive to produce live. The film was shot on location in New York City and New Jersey over five and a half months. After it was completed, Merhige spent two years trying to find a distributor willing to market it. The film debuted at the Montreal World Film Festival, and later screened at the San Francisco International Film Festival, with the film critics Tom Luddy and Peter Scarlet in attendance. Impressed by its cinematographer and visual imagery, the two brought it to the attention of the critic Susan Sontag, whose enthusiastic praise and private screening to critics and filmmakers in her own home were instrumental to its eventual release.

Although it was largely ignored by mainstream critics, and the few contemporary reviews were mixed to positive, it has since attained cult film status and influenced several avant-garde film-makers, visual artists and musicians. The film's scarcity on home video prompted fans to circulate their own bootleg copies, a phenomenon described as a "copy-cult" by the film studies scholar Ernest Mathijs. Merhige produced two sequels to Begotten: 2006's Din of Celestial Birds and 2022's Polia & Blastema: A Cosmic Opera. Both are short films.

Plot
Inside a small shack, a robed figure described as "God Killing Himself" in the credits  disembowels himself with a straight razor, and dies after cutting open his abdomen and removing his internal organs. A woman, representing Mother Earth, emerges from his mutilated remains. She brings the corpse to arousal, and uses his semen to impregnate herself. Time passes, and Mother Earth, now visibly pregnant, stands beside the coffin of the dead god. Wandering off into a vast and desolate world, she gives birth to the Son of Earth, a fully-matured yet malformed and convulsing entity. He is soon abandoned by his mother, who leaves him to his own devices.

After wandering across the barren landscape, the Son of Earth encounters a tribe of faceless nomads who seize him by his umbilical cord. Upon being captured, the Son of Earth begins to vomit what appears to be organs, which the nomads excitedly accept as gifts. Taking the Son of Earth with them on their trek through a rocky hillside, the nomads soon reveal their intentions, throwing him into a fire pit where he burns to death. Son of Earth is then resurrected by Mother Earth, who comforts him before they continue together across a desert plain. The nomads later appear and attack the Son of Earth as Mother Earth stands in a trance-like state. They soon turn their attention to her, knocking her to the ground, as they rape and murder her as her son watches helplessly nearby.

Once the nomads have left, large robed figures arrive and carry away Mother Earth's mutilated remains. They take her remains into a gorge where they cut her body into small pieces, crushing the bones and placing them into clay-filled jars. With the grisly act complete, they return to abduct and murder her son, repeating the same process and burying the jars into the crust of the earth. Over time, the burial site becomes lush with flowers and crops as a montage of photographs depicting the robed god is shown. In the final scene, Mother Earth and her son appear, wandering through a forested path as the cycle begins again.

Cast

 * Brian Salzberg as God Killing Himself:
 * A mysterious, robed entity who disembowels himself with a straight razor. He is also the father of Mother Earth and Son of Earth.

 * Donna Dempsey as Mother Earth:
 * A female entity. She is the mother of Son of Earth, whom she conceived via artificial insemination.

 * Stephen Charles Barry as Son of Earth (Captioned as Flesh on Bone):
 * The deformed, convulsing son of Mother Earth and God Killing Himself. Barry later reprised his role in the film's sequel, Din of Celestial Birds, which was also written and directed by Merhige.

Members of Merhige's theater company Theatreofmaterial – which included Adolpho Vargas, Arthur Streeter, Daniel Harkins, Erik Slavin, James Gandia, Michael Phillips, and Terry Andersen are credited as the Nomads and Robed Figures.

Development and pre-production
Begotten was written, produced, and directed by Merhige, who had studied at State University of New York, developing an interest in the theater after attending several performances while in Manhattan. According to Merhige, he was intrigued by the theatre performers' enactment of a highly visualized form of storytelling through dramatic movement, provoking what he described as "an otherworldly response". He was particularly fascinated by the performances of the Japanese butoh dance troupe Sankai Juku, who were known for blending grotesque imagery with a transgressive dance style. Attending these performances, Merhige was fascinated by the degree of personal and professional interconnectivity among its core members—knowing everything about one another and engaging in a more personal and intimate level of interaction. Merhige founded Theatreofmaterial, a small experimental theatre production company based in New York City, with the intention of creating a similar group dynamic.

The development of Begotten, according to Merhige, commenced sometime in the mid-to-late 1980s; although some sources have given the start date as 1984. The initial concept was described by Merhige as a dance production at the Lincoln Center, performed with a live orchestral accompaniment. The concept was personal to Merhige, representing his attempt to express the thoughts and ideas he had at the time. After discovering that it would cost a quarter of a million dollars to produce, Merhige instead decided to make a motion picture. This change in format allowed Merhige the opportunity to document the company's work, as many of its performers were transitioning outside the company to pursue other interests.

Merhige developed the script with members of Theatreofmaterial, who worked as both cast and crew during production. They decided that the film should be silent, and opted to abandon the traditional narrative structure of films in favour of an experimental story. The latter decision came in part from Merhige's frustration with storytelling through exposition and the limitations that he believed dialogue imposed upon narration. Merhige and Theatreofmaterial strove to evoke what the director called "emotions on the fringes", avoided, they felt, by most directors and performers. In preparation for scriptwriting, Merhige and members from Theatreofmaterial performed ritual breathing exercises. Describing the process of "breath[ing] to the point of hysteria", Merhige states that the group followed up this by discussing these experiences, filtering these emotions into something he could replicate for the film. He then brought portions of the script to the cast members and began a process of rehearsals, followed by group discussion and reflection on the material as it took shape. Merhige, a former painter and visual artist, was heavily influenced by the fine arts, with paintings by Hieronymus Bosch, Edvard Munch, and Francisco Goya having a significant impact upon him in the film's early developmental stages. The philosophical concepts of Antonin Artaud and Friedrich Nietzsche, which Merhige felt had not been fully explored on film, served as further points of influence. The script's first draft was completed in six months.

Over four-and-a-half months, the group developed the script's abstract ideas into more concrete, enactable scenes, committing to extensive rehearsals during this period. Merhige has said that these rehearsals were focused on group cohesion rather than precise choreography, enabling the actors to get 'in tune' with their characters. Merhige further strove to imbue the film with the tribal and ritual aspects associated with alchemy and hermeticism. To achieve this, he and the cast experimented with hypnosis and meditation.

Filming
Principal photography began in the mid-to-late 1980s and lasted for a period between three and five-and-a-half months. Merhige took on multiple roles in the film's production, including cinematography and special effects, in the latter using a 16mm Arriflex camera on black-and-white reversal film. Celia Bryant, who had worked on the set of the films Greased Lightning (1977) and I, the Jury (1982), is credited as the film's costume designer. The film was produced on a low-budget of around thirty-three thousand dollars; the cast and crew were paid little to nothing, but they were given free room and board throughout filming. Funding for the film came from Merhige's grandfather, who had set Merhige up with a trust fund for medical school. Additional costs were paid by Merhige from the income he received while working multiple jobs as a special effects artist.

The opening passage depicting God disemboweling himself and Mother Earth emerging from his remains was the first to be shot. After editing the resulting footage, it was shown to the cast and crew, according to Merhige, to motivate them to complete production. Most of the film was shot at a construction site on the border between New York City and New Jersey, where Merhige was permitted to shoot for twenty days when construction crews were not working. Members of the construction site occasionally assisted the film crew by constructing landscapes when shots of mountains were needed. Scenes involving time-lapses of sunrises and sunsets were shot by the director, who spent two days in the mountains near Santa Fe or Albuquerque, while additional sequences of plants sprouting from the earth were filmed from inside a large terrarium Merhige had constructed. Merhige characterized the atmosphere during production as a powerful, almost ceremonial experience that was "life-changing" for those involved. As filming concluded, Merhige had difficulties moving on from the project, describing a sense of mourning and the loss of an emotional high.

Post-production and visual effects

At the outset, Merhige intended for the visuals to have a decayed look, as if the film was an artifact that had been damaged and degraded by time and wear. Merhige had always been interested in crafting imagery through analog format, stating it resembled the very nature of creation. Prior to Begotten, Merhige had worked as a special effects designer for various companies, including a brief job for a Disney television series that involved rotoscoping. These jobs had provided him with the technical knowledgeand savingshe needed to handle the film's post-production and visual effects on his own. Visual ideas, such as audience perception and how imagery is processed, according to Merhige, was also important to him while crafting the film's visual style, as it challenged the viewer's interpretation of what is depicted on the screen. Merhige identified his goals when creating Begotten visual style by saying:

"I wanted Begotten to look, not as if it were from the twenties, not even as if it were from the nineteenth century, but as if it were from the time of Christ, as if it were a cinematic Dead Sea Scroll that had been buried in the sands, a remnant of a culture with customs and rites that no longer apply to this culture, yet are somewhere underneath it, under the surface of what we call 'reality.'"

Filmic influences for Begotten visual style identified by Merhige include The Cabinet of Dr. Caligari (1920), Blood of the Beasts (1949), Seven Samurai (1954), and The Act of Seeing with One's Own Eyes (1971). He also listed the cinematic works of Andrzej Munk, Sergei Eisenstein, and Luis Buñuel, all known for their unconventional style, as additional points of influence. Other possible influences identified by critics include David Lynch's Eraserhead (1977), Dimitri Kirsanoff's Ménilmontant (1926), and Tobe Hooper's The Texas Chain Saw Massacre (1974), as well as tribal art, ethnographic studies, and the paintings of Piero della Francesca. Visual underminings from 1930s horror films, such as intertitles, was also commented on by David Annwn Jones, who wrote that it was utilized to express its own set of evolving visual ideas and techniques.

Before and during Begotten shooting, Merhige experimented with different types of film reel to achieve the look he wanted. In one experiment, he ran an unexposed negative against sandpaper to scratch its surface before shooting on the damaged reel. Unsatisfied with the results, Merhige decided on an optical printer for further processing. He was unable to find an optical printer priced within his budget, so he built one himself. The printer was constructed in eight months with spare parts from camera stores and special effects houses where he had worked.

The production process was time-consuming, with each minute of footage generated by the optical printer taking between eight and ten hours to complete. Once a test shot was sent to the laboratory for development, minuscule mistakes in calibration sometimes ruined the shot, meaning the process had to be restarted. Merhige began asking laboratories if they were willing to adjust their usual development procedures to his custom specifications, but was repeatedly turned away. Eventually, he found a small studio willing to accommodate his requests: Kin-O-Lux Labs, owned by Fred Schreck. Merhige quickly developed a friendship with Schreck, who allowed the director to use the laboratory to develop the footage while teaching him how to develop footage by hand. At one point during the editing process, Merhige enlisted his father's input on certain scenes, stating that his father was "very open-minded" to the project. Results of the "rephotography" process removed almost all of the gray midtones from the visible spectrum, leaving only extreme contrasts of black and white on the film reel. Merhige used similar "rephotography" techniques for segments of his next film, Shadow of the Vampire (2001).

Music and sound effects
Begotten does not contain any dialogue, apart from its opening intertitles; Merhige envisioned "a time that predates spoken language" in which "communication is made on a sensory level". The soundtrack and sound effects were composed and mixed by Evan Albam, who, prior to Begotten, had not composed professionally. Merhige and Albam spent a year working on the soundtrack, crafting the right balance of visual and audio cues. The music is ambient and dirge-like, and the sound design is fleshed out by natural sounds such as bird calls, insect noises, and the sounds of a heartbeat. In 2016, the former March Violets band member-turned composer Tom Ashton announced on his SubVon Studio website that he was working closely with Merhige on an "audio reimagining" of Begotten's soundtrack. , there have been no new updates on its outcome.

Analysis
Begotten has been analyzed by critics and scholars who have written on their interpretations of the film. According to the Ryerson University professor Carolyn L. Kane, the grainy and decayed visual style of Begotten is an allegory to the viewer's uncertainty. As Kane argues, the film's ambiguity intentionally invites differing interpretations from the viewer of what she described as "the hermeneutic of the image". However, Merhige has said that he intentionally incorporated certain mythic and existential themes into the film.

Death and rebirth
Some critics have suggested that Begotten contains underlying motifs of death and rebirth. According to Elaine Dutka, these potential themes might have been inspired by a near-death experience Merhige suffered at the age of nineteen, which, Dutka states, had left a lasting impression on Merhige.

Throughout the film, the three main characters are subjected to acts of extreme violence. The author and independent filmmaker John Kenneth Muir described these depictions of suffering, death, and rebirth as something imbued within the Son of Earth character and his journey. Muir argues that the character's mistreatment can be seen as a parallel to mankind's "painful" toil of the earth for the planting of crops, and as an allegory to the bringing forth of life through great suffering. The film's characters also represented, according to Muir, certain aspects of mankind and the earth itself, with the depictions of life, death, and renewal symbolizing the four seasons. This thematic description of the film and its characters was echoed by Merhige himself, who states that the characters and events depicted in the film were metaphors for life and the struggle of mankind with itself and nature.

The film studies scholar William E.B. Verrone argues that viewers are encouraged to mourn the film's characters through the agony and torment inflicted upon them. according to Verrone, the viewer is symbolically "offered salvation" in Begotten visualization of the blossoming flowers on the characters' graves. Narrative motifs symbolizing death and decay were also identified by Jason Wood, who stated that the film's "evocation of the body as the source of horror and decay" was redolent of the surrealist works by Buñuel and Lynch. Wood compared the film's grainy look and landscapes to the recurring themes of hopelessness and desolation in the works of the Russian filmmaker Aleksandr Sokurov.

Religion, mythology, and the occult

Begotten has been highlighted by authors and critics for its incorporation of religious and mythological imagery and themes, with some commenting on possible connections to Christian mythology, Celtic mythology, Slavic paganism, and various creation myths. Merhige, himself, was a believer in alchemy and hermeticism, and has said that the film was deliberately arranged to appear as part of a mythology. According to Film Comment Robert DiMatteo, a "God's eye" is applied to the film's human characters, with their movement and behavior comparable to insects; they move in "the way [that] ants move when they carry food up a hill". Verrone argues that Begotten's storyline was founded on ancient mythologies, recounting the birth of a divine entity and their subsequent suffering, describing the film's premise as "a cryptic passion play about Earth's birth and torture". The media scholars Penny Papageorgopoulou and Dimitris Charitos argued that Begotten interweaved mythologies were used to establish the relation between humanity, earth, and religion. Through this mixture of myth and religion, they said, Begotten represented mankind's mistreatment of the Earth. While human in representation, Papageorgopoulou and Charitos state that the film's characters were given a set of "inhuman" characteristics in reference to the Genesis creation narrative and Egyptian mythology.

The film's opening sequence has been the focus of some publications, who have written on its symbolic qualities. Marc Savlov described the plot as an allegory of the death and rebirth of god, with similarities to creation mythologies depicting the death and dismemberment of a primordial being, whose violent act brings forth the creation of the universe. The art historian Herbert S. Lindenberger suggested that the film's narrative is a reworking of early writings on creation mythology published by social anthropologist and folklorist Sir James Frazer, who intended to shock his readers with what Lindenberger described as "the savagery of their ancestors". Motifs which include the concepts of the "buried god", and the Mother Earth characters, were, as Lindenberger wrote, symbolic mirrors to Christianity with allusions to Christ and his resurrection, and Mary, mother of Jesus. In his review of the film, Richard Corliss argued that the film 'enacts a biblical narrative through the lens of Druidism', with the stories of Genesis, Nativity, and Christ's torture/death retold in a ritualistic fashion that was both steeped in Christianity and Druidism. Ernest Mathijs and Jamie Sexton have argued that the film "makes perhaps the most serious attempt to visualize elements of Dionysian orgiastic cultism in combination with Gnostic and pagan myths".

Its narrative correlation to early creationism was further written upon by Ted Knighton, who described Begotten as the representation of the very act of creation itself. Stating that many of its thematic elements, such as the sound and visual aspects, were an invitation for viewers to participate in 'putting the pieces together' for the film's narrative. On the film's narrative structure, Scott MacDonald states the allegorical plot represented many of the popular attitudes towards the origins of life and religion at the time of its release, and told in the transgressive style of Viennese Actionism.

Distribution
Once editing for Begotten was completed, Merhige spent two years trying to find a distributor willing to release it. Merhige screened the film to possible distributors but most refused as it did not fit into a specific genre, making it difficult to market. He said that at first "everyone laughed at me, saying 'We don't know what this is...'" Merhige took it to several museums; only two showed interest, but he turn both down as he felt that they were not the right choice. As a result, he became very protective of the film, and after only screened it to people he felt he could trust.

Through these private screenings, film critics Tom Luddy and Peter Scarlet viewed the film, becoming fascinated by its distinct visual style. Although uncertain how the film might be received, they were able to put together several screenings of the film at the San Francisco International Film Festival, before showing the film to fellow critic Susan Sontag. Sontag held a private screening at her home for twenty of her friends and became one of Begotten's leading advocates and was instrumental setting up its eventual theatrical release. Sontag later brought a copy to the Berlin Film Festival where she informally screened it to interested cinéastes, proclaiming it to be an artistic masterpiece. During one of her screenings, it was supposedly viewed by director Werner Herzog, whom Merhige later claimed was "very supportive of the film".

Theatrical screenings

Unable to find a distributor, Begotten did not attain either wide or limited theatrical release. However, it became a popular underground film, as a film released outside of conventional commercial channels, especially one with subversive or transgressive content. Lacking a standard theatrical release, Merhige booked one-off screenings at various film festivals and art museums.

The earliest public screening took place at the Goethe-Institut in Montreal on October 24, 1989, as part of the Montreal World Film Festival. It had three screenings from May 57 at the 1990 San Francisco International Film Festival, marking its premiere in the United States. It also premiered later that year in New York at the Museum of Modern Art, on October 22 with Merhige introducing the film, followed by a post-screening discussion with the audience. On March 22, 1991, it was screened in New Mexico's Center for Contemporary Arts, with Merhige in attendance. New York City's Film Forum also screened the film on June 5, 1991. It was exhibited at the Stadtkino Theater in Vienna in 1992, as a part of a retrospective of American independent cinema titled "Unknown Territories". Its final screening that decade was at the Berlin Film Festival in the early to mid – 1990s.

From the mid-2010s and onwards, it has consistently appeared at multiple film festivals, in retrospectives and celebratory screenings. The first of these screenings began on October 20, 2014, where it was shown at Brooklyn's Spectacle Theater as a part of its fourth annual "Spectober" film event. The film appeared at the third annual horror film festival SpectreFest on October 28, 2015, along with its spiritual sequel Din of Celestial Birds, followed by an onstage discussion with Merhige. The film was shown at the Music Box Theatre in Midtown Manhattan on September 25, 2016, during its 25th Anniversary celebration, where it was screened from Merhige's personal 16mm print. It was viewed as a double-feature alongside the director's other film Shadow of the Vampire, and was followed by a Q&A with Merhige. The film was later screened at the Short Film Festival in London on January 8, 2017, where it was shown again in its original 16mm format, accompanied by a live music score from the film. It was screened on October 17, 2019, at the Rice Media Center, as part of a celebration of "Low-Fi" Analog film series. It had its more recent screening on March 29, 2022, at Cinemateca Portuguesa in Lisbon.

Home media and bootlegging

Begotten received a very limited home media distribution after its theatrical release, with copies of the film currently out of print and difficult to acquire in secondhand markets. Initially, Merhige did not intend for the film to be released on home video at all, stating in an interview with Scott MacDonald that he had previously hated the concept of home video as a medium. Merhige eventually changed his mind and felt that the original soundtrack mix, with which he had not been completely satisfied, could be enhanced through the medium.

The film was briefly released on VHS by World Artists Home Video on March 10, 1995. It was later given a very limited DVD release by World Artists on February 20, 2001, and included a souvenir booklet, the original theatrical trailer, rare and never-before-seen movie stills, and production photos. World Artists' DVD release of the film was listed by Film Comment's Gavin Smith as the ninth of his "Top 10 DVD Picks".

Due to the film's severely limited availability on home media, its fans began to spread it through bootleg copies and digital piracy. The circulation of unlicensed copies would help the film to gain more exposure, overtaking the legal means of distribution in volume. The film is typically encountered via ambiguously legal methods, a situation whichaccording to Mathijs and Sextonfostered a "copy-cult" that enhanced its cult status. The film was reportedly banned in Singapore due to its graphic and disturbing content.

On July 29, 2016, Merhige announced that the film was to be released on Blu-ray in the fall of that year, but the distribution deal fell through. A second announcement, during its 25th-anniversary screening alongside Shadow of the Vampire at Music Box Theatre in Midtown Manhattan, did not provide a release date either. As of 2023, Begotten is still awaiting an optical restoration and upscaling from its original 16mm format.

Reception

Begotten has received little to no attention from film critics, with most mainstream reviewers ignoring the film entirely. Merhige was initially afraid that audiences might misunderstand certain parts, or the entire film altogether, "When I finished the film, I felt sure it would be misunderstood and consigned to the underground again. I see it as a very serious, very beautiful work of art, but when it was first finished, I was always thinking, 'What if everybody just laughs? What if they don't see anything in it?' There is always that possibility." Reactions to the film upon its release were extremely polarized, but Merhige has stated that he remains grateful for starting his career with the film.

Limited reviews of the film were mixed to positive, with some critics praising the film's unique visual style and resonating themes, while commenting on its graphic violence. Susan Sontag—one of the leading advocates for the film—praised it, referring to it as "a metaphysical splatter film" and "one of the 10 most important films of modern times". In his 1991 review, Joe Kane of the New York Daily News praised the film's minimalist soundtrack, visuals, and its subversion of traditional narrative structure. Newsday's Jon Anderson awarded it his highest score of four stars, lauding what he felt was its deconstruction of the barriers of dream and reality, bestowing additional acclaim towards its exploration of the human condition through its unconventional style. Marc Savlov from the Austin Chronicle called the film "Experimental, haunting, dreamlike, and intentionally confounding", further writing on the film's grainy visuals, and horrific imagery as having an influence on the VHS sequences in The Ring series, and the works of Guy Maddin. In their annual publication of The Video Movie Guide, the authors Mick Martin and Marsha Porter rated Begotten their highest score of four stars, praising its uniqueness, while commenting that viewers would either 'love or hate it'.

Adrian Halen from Horror News.net opined its use of symbolism from Christianity and Egyptian mythology, in addition to the ambiguity of what was displayed on the screen, created a unique viewing experience that was admittedly not always easy to digest. Jonathan Rosenbaum at the Chicago Reader called it a "remarkable if extremely upsetting" film, applauding the originality of its visuals, but cautioned that its graphic violence was not for the squeamish or the faint of heart. The Christian Science Monitor's, David Sterritt compared it favorably to Samuel Beckett's novel How It Is in regards to its symbolism and narrative structure. Sterritt also commented that the film's claustrophobic atmosphere, and dark narrative were hard to stomach but equally entrancing overall.

Although some critics were favorable towards its visuals and narrative themes, others have criticized these same elements, in addition to its brutal violence and running time. Awarding it two and a half out of a possible four stars, John Kenneth Muir felt its narrative was better suited as a short subject rather than a feature film, despite its admittedly powerful imagery and originality. Echoing this sentiment, the Polish journalist Bartłomiej Paszylk thought the first half was compelling and genuinely frightening, but further commented that its narrative could have been accomplished at a much shorter length. Its graphic violence and visuals were criticized by Janet Maslin of The New York Times, who described it as "too grotesque" to engage its audience, regardless of its unique narrative.

Legacy
Since the start of the 21st century, Begotten has gained more exposure through its availability online through various streaming platforms such as YouTube helping it receive a wider audience. It has gradually developed a cult following and is considered by some to be the director's masterpiece. As one critic wrote, Begotten "earned its reputation as an endlessly provocative and mystifying experience always centuries ahead of the rest of American cinema". In his 2014 book Disorders of Magnitude: A Survey of Dark Fantasy, the author Jason V. Brock wrote that Begotten was his seventh favorite work of radio, film, or television production. It was listed in the 2011 book 100 Cult Films by Ernest Mathijs and Xavier Mendik over Mendik's objections, as he felt that its following was too small to merit inclusion. However, it ultimately made it in because, to Mathijs, the film's following represented "the real sectarian cult; it's a very small committed group of people. It's like a secret handshake that goes worldwide. If you've seen Begotten, you're in that cult." Over the years, several sources have erroneously reported Time as ranking Begotten in its top-ten list of either 1990 or 1991, but the film was not included in either year.

Though initially mixed in his response to the film, Muir has since called Begotten "one of the most disturbing films ever made". Natalia Keogan of Paste described the film as one of the best and the most unsettling avante-garde films. Several publications selected it as one of the most disturbing films of all time, including Highsnobiety (2016), Entertainment Weekly (2017), Screen Rant (2019), NME (2023), Similarly, Begotten has been ranked in several top film lists, including number four by Joblo.com (2012), and Nylon (2017); number twenty by GamesRadar+ in 2018; and number twenty-three by Complex Magazine in 2021. Publications such as Collider and MovieWeb have placed it in their top avant-garde/experimental films, with the later describing it as an 'unforgettable experiment in horror'.

The film helped provide a foundation for Merhige to continue his filmmaking career. A decade after Begotten's release, Merhige directed the critically acclaimed Shadow of the Vampire, followed by the less well-received Suspect Zero. Nicolas Cage, a co-producer of Shadow of the Vampire, advocated hiring Merhige to direct the project based on his positive impression of Begotten.

Merhige was later hired by the singer Marilyn Manson to direct music videos for his songs "Antichrist Superstar" and "Cryptorchid", the latter utilizing imagery incorporated from Begotten. Manson was a huge admirer of Begotten, having the album's art designer P. R. Brown watch the film for inspiration while developing cover art for the album. When preparing to adapt the album into a music video, Manson personally contacted Merhige to ask him if he was willing to direct the music video for his song "Cryptorchid". Manson has stated that Begotten was played on a loop during the entire recording for his album Antichrist Superstar. The music video for "Cryptorchid" premiered at the San Francisco International Film Festival in 1997 where it won a Golden Gate Certificate of Merit Award. It was subsequently barred from release by Interscope Records, whom Manson claimed were "appalled by it" due to its fascist iconography, namely the Nuremberg rallies and images of a Ku Klux Klan lynching. "Antichrist Superstar" was also beset with troubles and remained unreleased until it was leaked on YouTube in 2010. Merhige has since become a prominent member of the theatre, directing numerous stage plays which include A Dream Play, an adaption of William Shakespeare's A Midsummer Night's Dream, and Waiting for Godot.

Influence
Since its release, Begotten has become a minor influence on several avant-garde and experimental films, and has been cited by several artists as inspiration for some of their works. Michael Pope's acclaimed 2001 experimental film Neovoxer has been compared to Begotten, featuring a similar visual style and "impressionistic mythology". According to Panos Cosmatos the flashback sequences in his 2010 film Beyond the Black Rainbow were directly inspired by Begotten. When interviewed by CHUD.com's Joshua Miller, Cosmatos stated that he had wanted the flashback sequences to 'have the look and feel of an artifact that was in the process of deterioration', and Begotten's visual style was the perfect look for these sequences. Kyle Turner from Mubi.com compared the 2015 experimental film Ville Marie as being very similar to Merhige's film in terms of cinematic style, and use of reverse-exposure.

A number of scenes in Can Evrenol's 2015 surrealist horror film Baskin were compared to Begotten. James Quinn's 2017 experimental horror film Flesh of the Void was described by several critics as being similar to Merhige's film in style and narrative. However, Quinn himself stated, in an interview with Nightmare on Film Street, that he felt his film did not fall into the same category. Certain scenes from Blake Williams' 2018 avant-garde science fiction film Prototype were compared to Begotten by Glenn Kenny of The New York Times. Jimmy Joe Roche's 2018 experimental short film, Skin of Man, was also said to have been influenced by Begotten.

The film's influence has also extended into the music world. As the scholar Andrew M. Whelan wrote, cult and underground films such as Begotten often share the same thematic style as power electronics, a form of noise music noted for its lack of conventional rhythm, often inviting strong reactions from both listeners and critics in a manner the reminiscent of Merhige's film. In 1997, Swedish heavy metal band Katatonia released their third album Sounds of Decay, which featured a screenshot of Begotten as its front cover artwork. In an interview with webzine Chronicles of Chaos, band member Jonas Renkse recalled the idea behind the inclusion of the image came out a conversation with a member of the record label Avantgarde Music. In the promotional video for their 2001 song "Sterile Nails and Thunderbowels", the Swedish black metal band Silencer used clips from Begotten interspersed with their own original footage. The American music artist Zola Jesus listed the film as a major inspiration for her 2017 music album Okovi, stating in an interview with ARTnews that during the development of the album, she played the film on loop in order to help with Okovi's audio and visual aesthetic. For their experimental musical composition Frankenstein Bemshi! at the 2018 Rochester Fringe Festival, the performers Dave Esposito and G. E. Schwartz mixed portions of Begotten with the 1910 film Frankenstein, accompanied by live guitar music, electronic soundscapes, spoken narration, and with poetry added as text to the movie's image. The heavy metal magazine Decibel compared the music video for the Texas gothic rock band Sword Collector's single "Inherit the Scepter" to Begotten and Ari Aster's 2019 folk horror film Midsommar.

Sequels
Begotten is the first in a trilogy of films described by Merhige and media outlets as The Begotten Cycle, a series of short film sequels delving into different aspects of creation mythology and mysticism.

Din of Celestial Birds
The first sequel is the 14-minute short film Din of Celestial Birds. As with Begotten, Merhige acted as writer, director, and producer. The short was funded by the Q6 production group, a collective of philosophers and artists. His principal inspiration came from silent films such as Jean Cocteau's Blood of a Poet (1930), Fritz Lang's Metropolis (1927), and the works of Auguste and Louis Lumière.

Merhige intended for the short to depict "creation in its simplest and purest form". Focusing on the theory of evolution instead of religion and mythology, it opens with an intertitle that reads: "Hello and welcome ... do not be afraid ... be comforted ... remember ... our origin...", followed by images depicting the Big Bang. Then, after a hyper-accelerated trip through the evolution of life and the Earth, it culminates in the birth of an embryonic pseudo-humanoid named the Son of Light (Stephen Charles Barry) who reaches towards the sky as the scene fades to a shot of the Earth.

Din of Celestial Birds premiered at the Telluride Film Festival on September 6, 2006, as one of their showcased short films. It was later screened on Turner Classic Movies on September 15th. The film was also screened at the European Media Art Festival in 2009 as a part of that year's theme, "The Future Lasts Longer Than The Past". It was later screened alongside its predecessor at the SpectreFest Film Festival in 2015.

Polia & Blastema: A Cosmic Opera
Merhige's trilogy later concluded with the 40-minute short film Polia & Blastema: A Cosmic Opera, alternately titled Polia & Blastema: A Metaphysical Fable, marking the director's first operatic effort. The film is a collaborative effort between Merhige and fellow filmmaker David Wexler, and the music artist Gavin Gamboa, through the production companies Century Guild Creative, Strangeloop Studios, and The Teaching Machine. Inspiration for the film came from the short-lived transgressive art movement Viennese Actionism, in addition to philosopher Eugene Thacker's notions of supernatural horror and dissolution known as "[a] world-without-us". Production for the film began in mid-2016, after a successful Kickstarter campaign.

Described as "a gnostic creation myth" in promotional material for its premiere screening, the film incorporates several different genres, including fantasy and science fiction in the series' typically grainy, black-and-white visual style. The story follows two otherworldly beings (Nina McNeely, and Jasmine Albuquerque) who believe themselves to be a single entity separated by unknown circumstances, as they journey through a desolate and hellish landscape. Through their quest across space and time, they discover more about themselves and are finally reunited. Embracing, the two beings 'become one' as they devour each other in ritualistic ecstasy, merging in an act that transforms them into a new deity.

It premiered at the Opera Philadelphia's Opera on Film Festival on September 30, 2022. It was later screened at Offscreen Film Festival, as a part of their The Screen of the Sky series, in the Brussels Planetarium, alongside Begotten and Din of Celestial Birds, on March 26, 2023. The entire "Begotten Cycle" was screened at the 2023 L'Etrange Festival in Paris, beginning on September 9 and concluding on September 17. On November 4th, Polia & Blastema made its official premiere in the United Kingdom at the Leeds International Film Festival, where it was screened alongside the entire trilogy followed by a Q & A with Merhige. At the end on the year, on December 16, 2023, it was screened at the 17th Annual Film Mutations Film Festival in Croatia, with the previous entries in the series.

title: Begotten (film)


text:
Battle of Vevi

Battle of Vevi may refer to:
 * Battle of Vevi (1912), part of the First Balkan War
 * Battle of Vevi (1941), part of World War II

source: wikimedia

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

title: Battle of Vevi


text:
Hazledine and Company

Hazledine and Company (or Hazeldine and Company) was an ironworks in Bridgnorth, Shropshire, England. It was set up about 1792 by three brothers: John Hazledine (1760–1810), Robert Hazledine (1768–1837) and Thomas Hazledine (1771–1842). Sources differ about the partnership - Discover Shropshire claims that the partners were John Hazledine, William Hallen and John Wheeler.

The company
The company built up a good reputation for the quality of its castings but, in 1797, John Hazledine was declared bankrupt. It seems that some accommodation was made with his creditors because the company remained in business. From 1802, Richard Trevithick placed several orders with the company for the construction of steam engines, including the locomotive Catch Me Who Can, built in 1808.

In 1807, John Hazledine entered into partnership with John Urpeth Rastrick, to form the company Hazeldine and Rastrick but the partnership was a troubled one. John Hazledine died in 1810, and Rastrick left the company in 1817. In 1819, Rastrick formed a partnership with James Foster to form Foster, Rastrick and Company.

In 1823, the company, now under Robert Hazledine, went bankrupt. However, it re-emerged on a smaller scale in 1824, supplying goods for the local market. In 1829–30, the creditors forced a sale and the property was sold in two tranches in 1834 and 1835. Even so, John Hazledine (Robert's son) was still in business as an ironfounder in 1840/41, but at a different address. When John died, in 1843, the Hazledine business finally came to an end.

The Hazledine family
William Hazledine (1734–1818) was a millwright at Shawbury, Shropshire. He married Mary Morgan and they had four sons: John, William, Robert and Thomas.

John Hazledine was born in 1760. In 1774, he was apprenticed, either to his uncle or his father. In 1782 he married Ann Davies of Eardington. He set up the ironworks, with brothers Robert and Thomas, about 1792. He died in October 1810. and has an iron tombstone.
 * John

William Hazledine was born in 1763. He became a pioneering ironmaster and died in 1840.
 * William

Robert Hazledine was born in 1768. He married in 1794 and had a son, John (1796-1843). Robert died in 1837.
 * Robert

Thomas Hazledine was born in 1771 and died in 1842. Little else is known about him.
 * Thomas

title: Hazledine and Company


text:
Collaborative play writing

Plans for play writing projects
Briefly describe plans for play writing projects in sections below. Active projects should each have their own subpage.

An alternative Internet site involving play writing on a public wiki is found at link. Read Collaborative Playwriting: Polyvocal Plays from the EU Collective Plays Project the largest new play project in theatre history and discover 5 models for collaboration plus the plays themselves. (Routledge 2019).

From monologue to dialogue
The idea behind this project is to write a play, starting with a monologue and gradually re-writing it into a dialogue. One new character will be added with each re-write and, in this manner the script will eventually be fleshed out into a full play. So the key would be to start with a really good monologue.

Monologue from plays
Among renowned playwrights, Anton Chekhov wrote a monologue for one man, On the Harmful Effects of Tobacco (1886). The text of "On the Harmful Effects of Tobacco" is seen at http://method.vtheatre.net/doc/tobacco.html

Jean Cocteau wrote The Human Voice (1930), a monologue for one woman speaking on the telephone.

August Strindberg wrote The Stronger (1889), a play with 2 women, but only one of them speak. The text of "The stronger" is seen at http://www.archive.org/details/threeplayscounte00striuoft

Eugene O'Neill wrote "Time before Breakfast" (1916), a one-act play with two persons (a man and a woman), but only the woman speaks. also Hughie (1942), a one-act play with 2 men, but with mostly one of them speaking. Samuel Beckett wrote Happy Days (play) (1961), a play with one woman and one man, with only the woman speaking. In two other Beckett plays, Krapp's Last Tape (1958) contains one man and Not I (1972) one woman. Harold Pinter wrote Landscape (play) (1968) with one man and one woman, but since they do not interact, this amounts to two monologues for the price of one. Sam Shepard wrote Kicking a Dead Horse (2007) with one man, almost a monologue, except for one woman arriving late in the play, and a dead horse.

Among lesser known more modern plays, Kristen Thomson wrote I, Claudia (2001), a one-woman play.

Monologue from short stories
A second possibility is to adapt a short story in monologue form into a play. Renowned examples of this kind include Victor Hugo's The Last Day of a Condemned Man (1829), Nikolai Gogol's Diary of a Madman (1835), Fyodor Dostoyevsky's Notes from Underground (1864), Thomas Mann's Death in Venice (1912),  Franz Kafka's A Hunger Artist (1924), Louis-Ferdinand Céline's "Cannon-fodder" (1949).

The text of "The Last Day of a Condemned Man" can be read at http://www.archive.org/details/worksofvictorhug05hugoiala

"Diary of a Madman" at http://www.archive.org/details/mantleotherstori00gogorich

"Notes from Underground" at http://en.wikisource.org/wiki/Notes_from_Underground

Monologue from diaries or confessions
The diary format may be particularly conducive to such adaptations. Famous memoirs comprise Confessions (St. Augustine) (397), by Augustine of Hippo, "Chronicles of the reign of Henry III and Henry IV of France" (1621) by Pierre de L'Estoile, Samuel Pepys's diary (1669), John Evelyn's diary (1697), Confessions (Jean-Jacques Rousseau) (1782) by Jean-Jacques Rousseau, Histoire de ma vie (Story of my Life, 1794) by Giacomo Casanova, Carlo Gozzi, "Memorie inutili" (Useless memoirs, 1797), Confessions of an English Opium-Eater (1821) by Thomas de Quincey, Mémoires d'outre-tombe (Memoirs from beyond the grave, 1848), by François René de Chateaubriand,  A Confession (1882) by Leo Tolstoy, and Franz Kafka's Diaries (1948). In a more modern, popular if not frivolous vein, there is Bridget Jones's Diary (1996) by Helen Fielding.

Augustine's confessions are found at http://en.wikisource.org/wiki/The_Confessions_of_Saint_Augustine

Pepys' diary at http://en.wikisource.org/wiki/Diary_of_Samuel_Pepys

Evelyn's diary at http://www.archive.org/details/diaryjohnevelyn00braygoog

Rousseau's confessions at http://www.archive.org/details/confessions01rousgoog

Gozzi's confessions at http://www.gutenberg.org/etext/33225

The memoirs of Casanova at http://www.archive.org/details/jccld10

The memoirs of de Quincey at http://en.wikisource.org/wiki/Confessions_of_an_English_Opium-Eater

The memoirs of Chateaubriand at http://wikilivres.info/wiki/Chateaubriand%27s_memoirs

Tolstoy's confessions at http://en.wikisource.org/wiki/A_Confession

Monologues in play forms adapted from confessions have already been written, such as The Year of Magical Thinking (2007) by Joan Didion: consisting of one woman and I Am My own Wife (2003) by Doug Wright, consisting one one female transvestite.

There is one ongoing project in this section: "French chronicles of the 1590s".

French chronicles of the 1590s
"French chronicles of the 1590s" is based on "Chronicles of the reign of Henry III and Henry IV of France" (1621) by Pierre de L'Estoile.

The initial version of this play written by Robert Lalonde is based on a free e-book version available at.

See

French chronicles of the 1590s

Making a Renaissance play Shakespeare-like

Reflections on collaborative playwriting in the English Renaissance theatre have been published in the journal Theatre Research International, 1989 http://journals.cambridge.org/action/displayAbstract?fromPage=online&aid=3061952

A second source of information is a more recent book by Heather Anne Hirschfeld: Joint enterprises: collaborative drama and the institutionalization of the English Renaissance Theater. Amherst and Boston: University of Massachusetts Press, 2004, presented in part at

http://books.google.fr/books?id=tT_lXKFK1roC&printsec=frontcover&dq=Joint+Enterprises:

a book reviewed by Brain Walsh in Renaissance Quarterly-Volume 58, Number 1, Spring 2005, pp. 345-347.

at http://muse.jhu.edu/login?uri=/journals/renaissance_quarterly/v058/58.1walsh.html

One idea is to start with an entire public domain play and rewrite it, each writer being responsible for specific scenes, often done in Elizabethan days. The best choices might be plays with strong scenes but with important flaws liable to be improved.

There are 3 ongoing projects of this kind.

Cardenio
Double Falshood (1727) by Lewis Theobald is an adaptation of the lost The History of Cardenio by John Fletcher (playwright) and William Shakespeare. The lost play is described at the Lost Plays database: http://www.lostplays.org/index.php/Cardenio. Gary Taylor (scholar) adapted it in Renaissance-style speech. Stephen Greenblatt and Charles L. Mee adapted it in modern style.

Only a small part of the original version of the Theobald play, perhaps 1%, sounded like either of the 17th century authors. The purpose of the project is to make the Theobald play more Shakespeare-like, or at least more Fletcher-like. At the present moment, the text has almost entirely been reshaped and sounds much more like an 17th century work. The names of most of the characters have been changed back to the original version of the story, namely the Cardenio episodes contained in chapters 24, 27, 28, 29, and 36 of Miguel de Cervantes' Don Quixote (1605 and 1615).

The original text of "Double falsehood" is available at http://www.archive.org/details/cu31924013363894

See

Cardenio

A Yorkshire Tragedy
Plays of the Shakespeare Apocrypha may be used, such as A Yorkshire Tragedy (1608). As with Cardenio, the text has been almost entirely reshaped.

The original text of "A Yorkshire Tragedy" is found at http://www.archive.org/details/supplementplays00shakiala

See

A Yorkshire Tragedy

Aglaura
Other playwrights listed in English Renaissance theatre may be used, such as Aglaura (play) (1637) by Sir John Suckling (poet). The text has almost entirely been reshaped to sound like a more important 17th century work.

The original text of "Aglaura" is seen at http://www.archive.org/details/poemsplaysandot06suckgoog

See

Aglaura

The Murder of John Brewen
Works from playwrights listed in English Renaissance theatre may be adapted for other works than the theatre, such as The Murder of John Brewen (1592), a prose pamphlet written by Thomas Kyd. This text has been reshaped into a 17th century-type play.

See

John Brewen

The Countess of Challand
Tales of the Italian Renaissance writer, Matteo Bandello, may be pilfered, as Shakespeare did, directly or indirectly via other authors, for a few of his plays. Among over 200 published tales (1554, 1573) is "The Countess of Cellant", available at the following site:

http://www.archive.org/details/novelsmatteoban01bandgoog

In the English translation, Cellant is a distortion of Challand, as in the town of Challand-Saint-Victor in the Aosta Valley region of north-western Italy, and so the collaborative play is renamed "The Countess of Challand".

See

The Countess of Challand

Adapting an existing play into contemporary style
Plays in the public domain may be used, prior to the date of the current Copyright cut-off, and transformed into contemporary language. An example of this type is "Warnings" (1913), a one-act play by Eugene O'Neill. A second option is to take more recent plays available on the Internet where Copyright was waived, for example "Time to Burn" (1997), a one-act play by Charles L. Mee.http://charlesmee.org/html/plays.html

One-act plays can be extended into full length plays. Every year, hundreds of plays are refused by theatre directors. Where do they go? Why not submit it here in the hope of improving it?

There are two ongoing projects for this subsection.

Warnings
The original text of "Warnings" is seen at http://www.eoneill.com/texts/warnings/contents.htm

See

Warnings

Time To Burn
The original text of "Time To burn" is seen at http://charlesmee.org/html/timetoburn.html

See

Time to Burn

Adapting a foreign play into English
Find a foreign language play in the public domain and adapt it into English.

For French and German dramatists, see List of French playwrights, List of German-language playwrights, and List_of_playwrights_by_nationality_and_date_of_birth. Perhaps particularly appealing would be late 19th century social plays.

French theatre
French theatre with strong social themes include those of Eugène Brieux and François, Vicomte de Curel.

Examples of the more popular theatre include Boulevard Theatre since the 19th century, written In French, plays with hundreds if not thousands of productions, mainly in Paris, but also in New York and London. Only some of these have been translated. Important comic playwrights of this genre include Georges Courteline, Georges Feydeau, and Sacha Guitry, while playwrights in the more dramatic vein include Jean Anouilh, Henry Bernstein, and Edouard Bourdet.

German theatre
A notable example of a German author with strong social themes is Gerhart Hauptmann, whose plays include The Weavers (play) (1892), The Beaver Coat (1893), The Conflagration (1901), Drayman Henschel (1898), Rose Bernd (1903), and The Rats (play) (1911). Although social conditions have changed, these plays may be fruitfully adapted to new ends.

The first three Hauptmann plays can be found at http://www.archive.org/details/thedramaticworks09971gut

and the second threesome at http://www.archive.org/details/thedramaticworks09972gut

Adapting a novel or short story into a play
Plays based on a contemporary or older novel or short story may be used.

Moon Hammer
The goal of Moon Hammer project is to create a theatrical version of a science fiction ghost story Moon Hammer and to recreate a theatrical experience similar to The War of the Worlds (radio) (1938) by Orson Welles, based on the novel of the same name (1898) by H.G. Wells.

See

Moon Hammer play writing project

Other science fiction possibilities
"Frankenstein", a novel by Mary Shelley is overdue for collaborative dramatization (see novel at http://www.gutenberg.org/ebooks/84 and see also http://knarf.english.upenn.edu/Articles/forry2.html)

"20,000 leagues under the sea", a novel by Jules Verne could also be dramatized http://www.gutenberg.org/ebooks/2488

"Dracula", a novel by Bram Stoker is another possibility: http://www.gutenberg.org/ebooks/345

"Mummy" A merged collaborative version of four titles on Gutenberg would be great.

Adapting historical events into a play
Plays based on historical events may be used.

Adapting a film-script into a play
A film-script in the public domain may be adapted into a play, or a Copyrighted film-script significantly changed, or else a script not yet made into a film. Every year, hundreds of film-scripts are refused. Where do they go? Why not submit it here in the hope of improving it?

Adapting a scientific dialogue into a play
A scientific exchange can be turned into a play.

Adapting a blog into a play
A blog between several persons can be turned into a play, for example this one on a scientific subject.

Considerations on copyright
Here is a point to ponder: if we use a pre-existing, copyrighted monologue as a starting point, will we be violating the copyright? Since the final product will be vastly different from the original text, this may be permissable, but on the other hand, the original text may still be there - word for word - but simply spread out throughout the script. Also, is the copyright on the actual text alone? Or does it include the idea behind the text as well (ie. would paraphrasing the original piece still be violating the copyright)?

Do you have some specific examples of "pre-existing, copyrighted monologue" that you might want to use? I see there are some texts available under free licenses such as the movie playscript Out Of The Blue by Daniel Joseph Pezely, under this license. Also see mothers group also under creative commons license. You can search for more at Creative Commons. There is also GFDL text at the fiction wikia.

title: Collaborative play writing


text:
Kilmurry Ibrickane

Kilmurry Ibrickane can refer to

 * Kilmurry Ibrickane (Catholic parish)
 * Kilmurry Ibrickane (civil parish)
 * Kilmurry Ibrickane GAA

title: Kilmurry Ibrickane


text:
Wikipedia:Articles for deletion/Fontys University of Applied Sciences

The result was keep. Consensus was to keep based on it being a degree awarding institution and weak deletion nom criteria. (non-admin closure) --  Dane talk  23:18, 26 September 2017 (UTC)

Fontys University of Applied Sciences

 * – ( View AfD View log  Stats )

This article looks like an ad. It heavily relies on the subject's own websites. Indeed, almost all the footnotes lead to fontys.edu, fontysvenlo.nl and other related sites. Seemingly independent links are either dead or merely bear a passing mention of the subject.

All of this, combined with the fact that it's been developed by an WP:SPA leads me to believe that we're also looking at a breach of the terms of use (the compulsory disclosure clause)

This low quality content is now creeping into other wikis, by using this article as a blueprint (or even via automatic translation) with efforts from other WP:SPAs. - Andrei (talk) 09:28, 19 September 2017 (UTC)
 * Note: This debate has been included in the list of Education-related deletion discussions. ʍaɦʋɛօtʍ (talk) 10:36, 19 September 2017 (UTC)
 * Note: This debate has been included in the list of Netherlands-related deletion discussions. ʍaɦʋɛօtʍ (talk) 10:36, 19 September 2017 (UTC)

 * Keep. Accredited universities are generally notable. WP:PROMO and WP:SPA are not valid reasons for deletion. Terms of use breaches can result in speedy deletion of content once proven. however it has not been proved, so this is not a factor. AfD is not cleanup. Α Guy into Books ™  § ( Message ) -  14:54, 19 September 2017 (UTC)
 * Keep per Aguyintobooks – Editør (talk) 08:38, 20 September 2017 (UTC)
 * Keep as an accredited degree-awarding institution per longstanding precedent and consensus. -- Necrothesp (talk) 23:31, 25 September 2017 (UTC)
 * Note: This debate has been included in the list of Schools-related deletion discussions. Necrothesp (talk) 23:31, 25 September 2017 (UTC)


text:
Carl von Winterfeld

Carl Georg Vivigens von Winterfeld (28 January 1784 – 19 February 1852) was a German lawyer and musicologist. He studied music from the 16th to 18th centuries, and was instrumental in reviving it, especially the music by Heinrich Schütz.

Life
Winterfeld was born in Berlin. His parents were Karl Friedrich Gotthilf von Winterfeldt (17 May 1757 - 14 September 1824) and his wife Sophie Elisabeth Helene Wilhelmine von Köhler (28 March 1754 – 13 April 1821).

Winterfeld studied law at the University of Halle from 1803, and was appointed as a judge in Breslau in 1816. After his return to Berlin in 1832, he was appointed Obertribunalrat, and in 1839 became an honorary member of the Prussian Academy of Arts. Winterfeld was a founding member of the Bach-Gesellschaft and since 1835 a member of the Gesetzlose Gesellschaft zu Berlin.

Winterfeld is credited with the rediscovery of Heinrich Schütz, publishing works by Schütz in his work about Gabrieli in 1834. In 1812, he undertook a journey to Italy, where he made copies of compositions from the 16th to 18th centuries. He found more music from the period in Breslau. His collection is kept in the Berlin State Library. Winterfeld was a patron of August Heinrich Hoffmann von Fallersleben, who dedicated the song collection "Siebengestirn gevatterlicher Wiegen-Lieder für Frau Minna von Winterfeld" to him in gratitude, or to his wife Wilhelmine "Minna" von Winterfeld and their children.

Family
Winterfeld married Wilhelmine von Thümen (20 June 1789 – 1 November 1845). The couple had several children, including
 * Sigismund, Hoffmann von Fallersleben's godfather
 * Rudolf von Winterfeldt (22 March 1829 – 23 July 1894), married to Pauline von Roeder (5 January 1845 – 15 August 1914)

Publications

 * Giovanni Pierluigi da Palestrina. Breslau 1832.
 * Giovanni Gabrieli und sein Zeitalter. Berlin 1834.
 * Dr. Martin Luther's deutsche geistliche Lieder. Leipzig 1840.
 * Der evangelische Kirchengesang und sein Verhältniss zur Kunst des Tonsatzes Leipzig 1843–47.
 * Part 1: Der Evangelische Kirchengesang im ersten Jahrhunderte der Kirchenverbesserung. Breitkopf und Härtel, Leipzig 1843.
 * Part 2: Der Evangelische Kirchengesang im siebzehnten Jahrhunderte. Breitkopf und Härtel, Leipzig 1845.
 * Part 3: Der Evangelische Kirchengesang im achtzehnten Jahrhunderte. Breitkopf und Härtel, Leipzig 1847 (Numerized).
 * Zur Geschichte heiliger Tonkunst. Leipzig 1850–52.

title: Carl von Winterfeld


text:
Talk:David Johnston (governor general)

Protected edit request on 9 June 2023 (3)
I now see that people have flooded the edit request for changes and the tempers are quite high; given that, I think this addition -- on a new line in the section regarding his career after serving as Governor General -- is fair and unbiased: Amid fierce criticism by opposition parties regarding Johnston's appointment as special rapporteur, citing Johnston's relationship with the Trudeau family and the Trudeau Foundation as constituting a conflict of interest, Johnston submitted a letter of resignation on June 9, 2023. Keithshep (talk) 23:04, 9 June 2023 (UTC)
 * Tempers get high when blatant censorship is occurring. I smell the Telford from here. <IP_ADDRESS> (talk) 15:16, 11 June 2023 (UTC)

 * Actualcpscm (talk) 07:12, 12 June 2023 (UTC)

Protected edit request on 9 June 2023 (5)
Johnston resigned as special rapporteur on June 9. Rushtheeditor (talk) 23:47, 9 June 2023 (UTC)

 * ✅ Actualcpscm (talk) 07:11, 12 June 2023 (UTC)

Requested move 10 July 2024

The result of the move request was: moved. (closed by non-admin page mover) Safari Scribe Edits! Talk! 04:19, 17 July 2024 (UTC)

– Very common name (20+ entries at the disambiguation page) and I don't think the GG is the primary topic. |David_Johnston_(Australian_politician)|David_Johnston_(British_politician)|David_Johnston_(admiral)|David_Johnston_(newsreader)|David_A._Johnston|David_Cay_Johnston On pageviews, David A. Johnston is a clear number one, averaging more than double the views of the governor-general; given both are not "in the news" I think this trend is likely to persist. In addition, two others David Johnston (the British politician and the Australian admiral) have surpassed the governor-general on certain days within the past few months.
 * David Johnston → David Johnston (governor general)
 * David Johnston (disambiguation) → David Johnston

In terms of historical significance, I don't see a strong argument for the GG's primacy either – while the office he held is significant, I'm not sure it's more significant than any of those held by the other David Johnstons, as evidenced by the lack of standalone biographies / academic works as per the source list in his article. ITBF (talk) 13:40, 10 July 2024 (UTC)
 * Support per nom.  Crouch, Swale  ( talk ) 18:07, 10 July 2024 (UTC)
 * Support per nomination and Crouch, Swale. This is indeed a common name, which includes the 27 notable men listed upon the David Johnston (disambiguation) page. Ultimately, there is no indication that the renown of the former Governor General remains at such a level that it exceeds the combined notability of the remaining 26 men. —Roman Spinner (talk • contribs) 23:19, 10 July 2024 (UTC)
 * Support per nom. The   Kip  (contribs) 21:44, 11 July 2024 (UTC)
 * Support. His name is far, far too common to anoint him as permanent primary topic over all 26 other people listed on the dab page. He'd certainly still be the primary topic for Canadians, but not for most of the rest of the world, especially now that two other David Johnstons (neither of whose articles, to be fair, even existed yet when this was first created at this title) have overtaken him in recent newsworthiness. Bearcat (talk) 16:58, 14 July 2024 (UTC)

 * Support per nom Urchincrawler (talk) 18:49, 15 July 2024 (UTC)

title: Talk:David Johnston (governor general)


text:
Norman Sas

Norman Anders Sas (March 29, 1925 – June 28, 2012) was an American toy inventor, mechanical engineer and manufacturer who is best known for inventing electric football, a tabletop game popular from the late 1940s until the development of video football games in the 1980s.

Early years
Sas was born in New York in 1925. After graduating from the Bronx High School of Science, he served in the United States Navy and also received bachelor's degrees in mechanical engineering from the Massachusetts Institute of Technology (MIT) and business administration from the MIT Sloan School of Management after being admitted as part of the V-12 Navy College Training Program. He worked for General Electric on projects involving plastics and gas turbines after graduating from MIT.

Tudor Games and Electric Football
In 1948, Sas became the president of Tudor Metal Products Corporation (later renamed Tudor Games), a company founded by his father. The company had developed table-top car and horse-racing games which used vibrations from a motor to propel figures across a metal surface. Sas developed electric football by applying the prior technology to create a game in which figures were moved across a football field by the vibrations from the motor. Sas recalled the inspiration for the game as follows: "Watching these horses run, I thought, 'Gee! If we could come up with some football figures and get them running against each other, we’d have a football game.'"

The game was released in 1949 and remained in production into the 1980s. Although no longer in production, the game maintained a following among baby-boomers who continued to play it, leading to the formation of the Miniature Football Coaches Association.

In 1967, Sas entered into a licensing agreement with the National Football League allowing the company to use team colors and player names on the game's figures. Over 40 million copies of the game were ultimately sold. Michael David Smith of NBC Sports recalled:

"For the first decade or so of its partnership with the NFL, Electric Football was stunningly popular: Young football fans couldn’t get enough of strategizing with their 11 plastic players, putting them in just the right formation so that the ball carrier would vibrate his way into the end zone. Of course, the game’s motions were so unpredictable that the ball carrier was liable to go backward for a safety, but no matter: The game was pure fun."

In 2012, a book on the history of electric football and Tudor Games titled The Unforgettable Buzz was published. One of the book's authors, Earl Shores, recalled, "You'd sit there and on the 10th try your running back would turn to the left and magically go down the field for a touchdown. You played Electric Football for that one moment." Shores praised Sas for his ability to sustain the game's popularity: "To be able to run your company for 40 years with the same toy — that puts you in the same company as Monopoly."

The game's popularity waned in the development of video football games. Interviewed in 1998, Sas said, "For the first 10 years, we generated more money for NFL Properties than anyone else. Then the [video] games came out, and that was the beginning of the end."

Later years
Sas lived in Alpine, New Jersey for more than 30 years, where he served on the borough council, planning board and a volunteer for the Reliance Fire Department. He was also a member of the New York Athletic Club, the Knickerbocker Country Club, and the Englewood Field Club.

Sas sold his company to Miggle Toys in the 1980s and retired in 1988. He moved to Vero Beach, Florida in the late 1990s, and died at his home there in June 2012 at age 87. He lived a wonderful life as a kind, hardworking businessman, husband, father, and grandfather who was loved by all. He was inducted into the Miniature Football Coaches Association Hall of Fame in August 2012. Sas was survived by his wife, Irene Sas, to whom he had been married for 62 years.

title: Norman Sas


text:
Talk:Plano Independent School District

No mention of the new upcoming high schools
The STEAM school, IB, etc. Don't really have time to insert the information now, was wondering if somebody else was going to get to it? — Preceding unsigned comment added by Thomas Chongruk (talk • contribs) 05:54, 3 December 2012 (UTC)

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

If there is other other fair use media, consider checking that you have specified the fair use rationale on the other images used on this page. Note that any fair use images uploaded after 4 May, 2006, and lacking such an explanation will be deleted one week after they have been uploaded, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you.BetacommandBot 09:05, 6 June 2007 (UTC)

Chinese documents
WhisperToMe (talk) 00:58, 18 October 2011 (UTC)
 * http://www.pisd.edu/parents/registration/documents/Pre-KRegHarringtonSpring2009Chinese.pdf
 * Uses "布蘭諾學區"
 * http://www.pisd.edu/schools/early.childhood/documents/Bilingual.K.Brochure.pdf
 * http://www.pisd.edu/schools/early.childhood/documents/bilingual.pre.k.pdf
 * Uses "布蘭諾學區" as a shorthand
 * http://www.pisd.edu/parents/registration/documents/Pre-KRegistrationFlyerinChinese2008-2009.doc
 * http://www.pisd.edu/schools/early.childhood/documents/Pre-KChinese-Bil.Flyer.doc

Other documents
WhisperToMe (talk) 16:17, 12 February 2012 (UTC)
 * http://www.pisd.edu/schools/maps/documents/2011_Legal_Size_Directory_of_Schools.pdf

Annual reports
English: Spanish: WhisperToMe (talk) 15:03, 12 February 2012 (UTC)
 * http://www.pisd.edu/about.us/annual.report/2011_AR.pdf - http://www.webcitation.org/65OrbBXoq
 * Index: http://www.pisd.edu/about.us/annual.report/index.shtml
 * http://www.pisd.edu/about.us/annual.report/2010_AR.pdf - http://www.webcitation.org/65OpPCNM6
 * http://www.pisd.edu/about.us/annual.report/2009_AR.pdf - http://www.webcitation.org/65OpNjFnt
 * http://web.archive.org/web/20081217095032/http://www.pisd.edu/about.us/annual.report/index.shtml (2008)
 * All pages: http://www.pisd.edu/about.us/annual.report/2008_Annual_Report.pdf - http://www.webcitation.org/65Oqk9wWb
 * Printed booklet version: http://www.pisd.edu/about.us/annual.report/2008.annual.report.PDF.shtml
 * http://www.pisd.edu/about.us/annual.report/2008.Covers.pdf
 * http://www.pisd.edu/about.us/annual.report/2008.Letter.pdf
 * http://www.pisd.edu/about.us/annual.report/2008.Page.1.pdf
 * http://www.pisd.edu/about.us/annual.report/2008.Page.2.pdf
 * http://www.pisd.edu/about.us/annual.report/2008.Page.3.pdf
 * http://www.pisd.edu/about.us/annual.report/2008.Page.4.pdf
 * http://www.pisd.edu/about.us/annual.report/2008.Page.5.pdf
 * http://www.pisd.edu/about.us/annual.report/2008.Page.6.pdf
 * http://www.pisd.edu/about.us/annual.report/2008.Page.7.pdf
 * http://www.pisd.edu/about.us/annual.report/2008.Page.8.pdf
 * http://www.pisd.edu/about.us/annual.report/2008.Page.9.pdf
 * http://www.pisd.edu/about.us/annual.report/2008.Page.10.pdf
 * http://www.pisd.edu/about.us/annual.report/2008.Page.11.pdf
 * http://www.pisd.edu/about.us/annual.report/2008.Page.12.pdf
 * http://www.pisd.edu/about.us/annual.report/2008.Page.13.pdf
 * http://www.pisd.edu/about.us/annual.report/2008.Page.14.pdf
 * http://www.pisd.edu/about.us/annual.report/2008.Page.15.pdf
 * http://www.pisd.edu/about.us/annual.report/2008.Page.16.pdf
 * http://www.pisd.edu/about.us/annual.report/2008.Page.17.pdf
 * http://www.pisd.edu/about.us/annual.report/2008.Page.18.pdf
 * http://www.pisd.edu/about.us/annual.report/2008.Page.19.pdf
 * http://www.pisd.edu/about.us/annual.report/2008.Page.20.pdf
 * http://www.pisd.edu/about.us/annual.report/2008.Page.21.pdf
 * http://www.pisd.edu/about.us/annual.report/2008.Page.22.pdf
 * http://www.pisd.edu/about.us/annual.report/2008.Page.23.pdf
 * http://www.pisd.edu/about.us/annual.report/2008.Page.24.pdf
 * http://www.pisd.edu/about.us/annual.report/2008.Page.25.pdf
 * http://web.archive.org/web/20081026045458/http://pisd.edu/about.us/annual.report/index.shtml (2007)
 * All pages: http://pisd.edu/about.us/documents/2007_Annual_Report.pdf - http://www.webcitation.org/65OrWsgi1
 * http://www.pisd.edu/about.us/documents/2007_Annual_Report_Cover.pdf
 * http://www.pisd.edu/about.us/documents/2007_Annual_Report_Pg1.pdf
 * http://www.pisd.edu/about.us/documents/2007_Annual_Report_Pgs2-3.pdf
 * http://www.pisd.edu/about.us/documents/2007_Annual_Report_Pgs4-5.pdf
 * http://www.pisd.edu/about.us/documents/2007_Annual_Report_Pgs6-7.pdf
 * http://www.pisd.edu/about.us/documents/2007_Annual_Report_Pgs8-9.pdf
 * http://www.pisd.edu/about.us/documents/2007_Annual_Report_Pgs10-13.pdf
 * http://www.pisd.edu/about.us/documents/2007_Annual_Report_Pgs14-17.pdf
 * http://www.pisd.edu/about.us/documents/2007_Annual_Report_Pgs18-19.pdf
 * http://www.pisd.edu/about.us/documents/2007_Annual_Report_Pgs20-21.pdf
 * http://www.pisd.edu/about.us/documents/2007_Annual_Report_Pgs22-23.pdf
 * http://www.pisd.edu/about.us/documents/2007_Annual_Report_Pgs24-25.pdf
 * http://www.pisd.edu/about.us/annual.report/2006_annual_report.shtml (2006)
 * All pages: http://www.pisd.edu/about.us/documents/2006PISDannualreport.pdf - http://www.webcitation.org/65OqgeXBt
 * http://www.pisd.edu/about.us/documents/PISD_AR_cover.pdf
 * http://www.pisd.edu/about.us/documents/PISD_AR_pg1.pdf
 * http://www.pisd.edu/about.us/documents/PISD_AR_pg2-3.pdf
 * http://www.pisd.edu/about.us/documents/PISD_AR_pg4-5.pdf
 * http://www.pisd.edu/about.us/documents/PISD_AR_pg6-7.pdf
 * http://www.pisd.edu/about.us/documents/PISD_AR_pg8-9.pdf
 * http://www.pisd.edu/about.us/documents/PISD_AR_pg10-11.pdf
 * http://www.pisd.edu/about.us/documents/PISD_AR_pg12-13.pdf
 * http://www.pisd.edu/about.us/documents/PISD_AR_pg14-15.pdf
 * http://www.pisd.edu/about.us/documents/PISD_AR_pg16-17.pdf
 * http://www.pisd.edu/about.us/documents/PISD_AR_pg18-19.pdf
 * http://www.pisd.edu/about.us/documents/PISD_AR_pg20-21.pdf
 * http://www.pisd.edu/about.us/documents/PISD_AR_pg22-23.pdf
 * http://www.pisd.edu/about.us/documents/PISD_AR_pg24-25.pdf
 * http://www.pisd.edu/about.us/annual.report/2010_Annual_Report_Spanish.pdf (this is actually the 2009 report) - http://www.webcitation.org/65OqYUQCt
 * I can't find a 2008 report in Spanish
 * http://www.pisd.edu./about.us/documents/2007.Annual.Report.SPANISH.pdf - http://www.webcitation.org/65Oq0Juko
 * http://www.pisd.edu/about.us/documents/2006.Spanish.Annual.Report.pdf - http://www.webcitation.org/65OpMNFT9

Links to PISD Schools
I noticed that some of the links to PISD schools on the section concerning schools redirects back to this page. I think that the links are redundant and need to be removed. — Preceding unsigned comment added by Scotchplano99 (talk • contribs) 22:02, 7 March 2015 (UTC)

title: Talk:Plano Independent School District


text:
Screensaver Project

Welcome to the screensaver project, an effort to expand the reach and popularity of distributed computing projects. Wikiversity research is all about letting normal users such as yourself participate in and learn from scholarly research. Don't know what protein folding is? Don't know what gravitational waves are? You can still help in researching them! More appropriately, your computer's screensaver can!

What is Distributed computing?
Distributed computing is decentralized and parallel computing, using two or more computers communicating over a network to accomplish a common objective or task. Think Seti@Home, only with other research projects.

How can I help?
Pick a distributed computing project from the list below that interests you, download it, install it, and let your computer run constantly. When the screensaver turns on, the software will begin to process data, periodically returning results and getting more instructions from the project's main server.

If you wish join the wikiversity.org team at the project of your choice. Create one if there is not one already. It will be excellent advertising for us with exactly the highly motivated and some highly educated people who might be interested in wikiversity. It will also help us form a nucleus of users and possibly developers who can put together a distributed grid computing solution when we decide we need one to support Wikiversity's servers or scientific research or learning labs.

List of Distributed computing projects

 * Folding@home - performs simulations of protein folding and other molecular dynamics for disease research
 * Rosetta@home - dedicated to protein structure prediction for disease research
 * SETI@home - analyses radio signals in an attempt to find extraterrestrial life
 * Einstein@home - searches for gravitational waves and other astronomical phenomenon
 * World Community Grid - umbrella for a variety of projects

Please see also Wikiversity Distributed Virtual Supercomputer
 * Wikipedia's List of Distributed Computing Projects

Other types of distributed projects

 * herbaria@home  This is apparently not a distributed computing project but is interesting as a potentential prototype for distributed manual projects that might be suitable for Wikiversity teams.

Note
Though it is a Wikiversity research page, all projects are offsite and not affiliated with Wikiversity. This is considered secondary research. The scope of this page is to inform and better coordinate efforts, such as the establishment of offsite teams and promotion. External links can be added to bad sites, though this is normally caught and reversed before any harm is done. Be forewarned.

title: Screensaver Project


text:
Pneumothorax/Haemopneumothorax

A condition in which both blood and air fill the chest cavity. Can cause complications similar to a tension pneumothorax.

title: Pneumothorax/Haemopneumothorax


text:
Capel Street Theatre

Capel Street Theatre was an 18th-century theatre located on Capel Street in Dublin, Ireland.

The Capel Street Theatre had two distinct periods in its history. The first theatre on the site was called the 'New Theatre in Capel Street' or 'City Theatre in Capel Street' and was built by William 'Harlequin' Phillips on a strip of land 50 feet by 100 feet that he leased on the West side of Capel Street between Little Strand Street and Mary's Abbey. In 1744 Phillips and his wife were members of the United Company in Dublin; they and other members of the troupe became increasingly dissatisfied with their treatment, so Phillips, his wife and members of the Company went to the small playhouse he had built and which opened in January 1745. The theatre stood some 50 feet back from the street behind Nos 136 and 137 Capel Street and was reached by way of a passageway. The theatre's auditorium had boxes, lattices, an orchestra pit and first and second floor galleries. However, the theatre had been built hastily causing concerns about its safety, forcing the manager to issue a statement that he would obtain the necessary certificates from Master Builders. This theatre closed in 1749 and the building was appropriated for other uses.

The second theatre was known as the City Theatre and was in the same building as the earlier theatre and opened on 26 February 1770 with the investors being Mr. Dawson, Mr. Mahon, and Mr. Wilkes. The theatre opened with a production featuring William Thomas Lewis. Dawson was the manager of this new erected company, and by the experience he had had, was, in many respects, equal to the task. He was active, industrious, and intelligent, well acquainted with the world, and prompt to improve every opportunity fortune threw in his way. The theatre was elegantly ornamented and beautified; the scenes new painted, by Jolly. The wardrobe, as might be expected, light, but fashionable, and shewy.

Every arrangement being adjusted, in the best manner the times would permit, the new adventurers opened on Monday February 26th, 1770, with a new comedy, never performed in this kingdom, written by Hugh Kelly, Esq and then in reputation in London, called False Delicacy.

The theatre closed in 1784.

Among the actors to appear here were: Charles Macklin, Elizabeth Younge, William Thomas Lewis, and Henrietta Amelia Leeson. The dramatist Robert Houlton wrote works for the theatre for a season, sharing the honours with Walley Chamberlain Oulton.

title: Capel Street Theatre


text:
Errol Bill

Errol Bill (born 16 January 1939) is an Australian former field hockey player. He competed in the men's tournament at the 1960 Summer Olympics.

title: Errol Bill


text:
Talk:Joseph Jenckes Sr./GA1

GA Review
The edit link for this section can be used to add comments to the review.''

Reviewer: Amitchell125 (talk · contribs) 20:49, 20 September 2019 (UTC)

Happy to review the article. Amitchell125 (talk) 20:49, 20 September 2019 (UTC)

Assessment
The only general point I have found so far is the number of small, single paragraph sections in the article: referring to MOS:PARA, I would recommend you remove the subheadings where they head short paragraphs (e.g. 'First fire engine in America (inconclusive)'). Also, Use Template:Convert to convert miles to km, where it occurs.

Further comments on each section to follow shortly. Amitchell125 (talk) 10:34, 27 September 2019 (UTC)

Lead section

 * America - there needs to be clarification about the term - presumably you are referring to the USA, but it can mean different things to non-US readers (see American (word)). //Diogenes99 fixed 2022-10-04
 * Remove all links to London (as directed by MOS:OL) here and throughout the article.	//Diogenes99 fixed 2022-10-04
 * Infobox - link England to Tudor period; for the sake of clarity, consider calling Lynn ' Lynn, Massachusetts' in the lead section, as King's Lynn in the UK was also known as Lynn in those days; there is no need for the 'Other names' (as they are alternative spellings, notably different names, and are already provided in the text). //Diogenes99 fixed 2022-10-04
 * The date of Jenckes' death is not given in the text, and should be included, presumably after Jenckes died the following year..	//Diogenes99 fixed 2022-10-04
 * Without naming them all, a few of Jenckes' most notable descendants should be included in the lead section, (or simply the fact that he had several well-known descendants). //Diogenes99 fixed 2022-10-04

Early life

 * The terms Jr. and Sr. (e.g. John Jenckes Jr.) are anachronistic - nobody in 16th and 17th century England was named in this way (and perhaps also in America too during that period?). When they are taken out of this section, the text still makes sense, and so they should be.
 * The link in new members by patrimony leads to 'Livery companies' - surely this is incorrect?
 * Link: guild; apprenticeship.
 * The surname given in the baptism record is spelt 'Ginkes' - consider adding this information in a note.
 * Reference 3 ( Browne & Colket) cites 11 pages - can the citation refer to a particular page or pages, and not a range?

Sword cutler at Stone's factory

 * The sword image - looking at the information in Wikimedia Commons, it's not clear to me that it's a 'free' image'.

Immigration to New England

 * c/e he petitioned authorities.
 * Consider combining this section and the previous one - (perhaps with a title, 'Early working life and immigration to New England').

Blacksmith at the Saugus Iron Works

 * Remove any duplicated links (e.g. ' Saugus Iron Works').
 * Unlink 'Captain' from Captain Thomas Veale.
 * link - bankruptcy; wrought iron (without the hyphen); tuyere; slitting mill; patent; mint (Mint (facility)); dies (Coining (mint)); punches (Punch (tool)); Boston; Boston Board of Selectmen; air conditioning.
 * If Edward Rawson (politician) is the same as 'Edward Rawson' in the text, he can be linked.
 * What is a 'bale' (possibly my ignorance)?
 * Move link for Saugus River to the first instance of its use.
 * Also link - shackles (Legcuffs); American iron and steel industry (History of the iron and steel industry in the United States);
 * Is 'Brown University' the same as Brown University?
 * c/e 'gave permission to Jenckes' - 'allowed Jenckes'.
 * 'entered bankruptcy' - 'went bankrupt'.
 * Consider moving the 'Archaeology at the Jenckes site' subsection to the Legacy section, as the text refers to events that happened in modern times.
 * Use [sic] to indicate where the badly spelled quotations are correctly transliterated, (e.g. after workes of this nature”.).
 * Reference 32 (Jordan) - is a specific page possible here?
 * Reference 34 (Newhall et al) - the book can be found online: it shows the information is on p. 235 - not sure where you got your page numbers from.

Family

 * b. - because of a possible confusion over births/baptisms, or just for the sake of clarity, consider not using the 'b.' abbreviation in this section (or not abbreviating it in the first occurrence).

Legacy/Notable descendants

 * Notable descendants of Joseph Jenckes Sr. include his son, Joseph Jenckes Jr. - take out the abbreviations here (see above), also in the Notes section.
 * imo it makes sense to combine the Legacy and Notable descendants sections into a single section ('Legacy and notable descendants').

On hold
I've completed the review, bar a check after the above issues are sorted. An enjoyable article to assess! On hold for a week. Regards, Amitchell125 (talk) 15:38, 27 September 2019 (UTC)

 * Thank you for your efforts on this. I have been working on the GA for his son this week, but it was failed because I ran out of time.  I will do my best to make the changes you requested this weekend. Diogenes99 (talk) 13:32, 4 October 2019 (UTC)
 * Hello Diogenes99, good to hear from you, don't rush unnecessarily to complete the article, I can give you time to do it, if I know how much time you need. Let me know.
 * Also, you can renominate Joseph Jenckes Jr. once you have addressed all the points made by Vanamonde, and if Vanamonde or no one else picks up the GAN once it is re-nominated, I will. Amitchell125 (talk) 15:38, 27 September 2019 (UTC)

title: Talk:Joseph Jenckes Sr./GA1


text:
Wikipedia:Articles for deletion/Michael Hannan (composer)

The result was keep. Tone 08:47, 24 August 2020 (UTC)

Michael Hannan (composer)

 * – ( View AfD View log  Stats )

The subject of the article is primarily an academic. Presumably, those who posted and edited the article are associated with the subject.

Whilst the subject is listed primarily as a composer, there are very few citations to support this, nor are there many in the public domain that COULD be used. — Preceding unsigned comment added by Philip Czaplowski (talk • contribs) 11:10, 16 August 2020 (UTC)

 * Keep Australian Music Centre lists 100+ compositions by the subject (see here). A google search provides some possible sources for use in the article.shaidar cuebiyar (talk) 16:31, 17 August 2020 (UTC)
 * Keep He has an entry in Baker's Biographical Dictionary of Musicians, and per shaidar cuebiyar. Also, someone needs to fix this mal-formed nomination. Voceditenore (talk) 18:18, 17 August 2020 (UTC)
 * Note: This discussion has been included in the list of Bands and musicians-related deletion discussions. Shellwood (talk) 18:52, 17 August 2020 (UTC)
 * Note: This discussion has been included in the list of Australia-related deletion discussions. Shellwood (talk) 18:52, 17 August 2020 (UTC)
 * Note: This discussion has been notified to WikiProject Composers and WikiProject Classical music. Voceditenore (talk) 18:28, 18 August 2020 (UTC)

 * Keep per the above and another, bio and works. --Gerda Arendt (talk) 18:31, 18 August 2020 (UTC)
 * + an exhibition. Can this end soon? --Gerda Arendt (talk) 19:00, 18 August 2020 (UTC)
 * Keep. I see no problem here. --Smerus (talk) 19:28, 18 August 2020 (UTC)
 * Keep not sure what the issue is here. Sourcing seems OK, definitely not bad enough to warrant deletion. Seems to have decent coverage, the burning piano thing seems notable as well. Aza24 (talk) 22:54, 18 August 2020 (UTC)
 * Keep. Lets look at the nomination. "The subject of the article is primarily an academic." Academics can be notable. "Presumably, those who posted and edited the article are associated with the subject." Looking at the history apart from one declared minor edit the is nothing to associated editing (unlike most of the nominators editing that is clearly connected to the subjects he edits, double standards.) "Whilst the subject is listed primarily as a composer, there are very few citations to support this,". Um? Academic or composer? Few citations in the article of available? Few citations for just composer? How about for academic? "nor are there many in the public domain that COULD be used." What does being in the public domain have anything to do with anything? Almost a speedy keep. Nomination fails to raise any real reason for deletion. duffbeerforme (talk) 12:34, 19 August 2020 (UTC)
 * Keep per demonstrated encyclopedic relevance. Further, the nominator ought to be slapped with a whale for this edit. -- Michael Bednarek (talk) 09:48, 22 August 2020 (UTC)


text:
El Hombre (El Alfa album)

El Hombre is the second studio album by dominican dembow artist El Alfa, released on November 2, 2018 by the independent label El Jefe Records. It contains 14 tracks of Dembow and Latin Trap and incorporates elements of dancehall, reggae, and hip-hop. It also includes remixes of the hits "Suave" and "Lo que yo diga". It features guest appearances from Cardi B, Anuel AA, Bryant Myers, Jon Z, Miky Woodz, Noriel, Plan B, Miky Woodz, Farruko, La Kikada, Mozart La Para & El Shick. The album was supported by the release of nine singles: "Mi Mami", "Pa Jamaica", "Con Silenciador", "Suave" (remix), "Sientate en ese deo", "Lo que yo diga" (remix), "Puñala de Carne" and "Uzi".

The lead single "Mi mami" featuring Cardi B, produced by Chael, became his first song to debut inside the US Hot Latin Songs at number 42. However, it received backlash by critics and fans alike due to the musical structure. Many observed that the track should have been Dembow instead of dancehall.

El Hombre became his first album to debut inside the Top 10 of the US Billboard Top Latin Albums chart at number 7, and peaked at number 6 at the US Latin Rhythm Albums, selling over 2,000 in the first week. Following the success of the album, El Alfa won Best Urban Artist at the 35th annual Soberano Awards. To promote the album, El Alfa embarked on a US Tour titled El Animal Tour.

title: El Hombre (El Alfa album)


text:
Talk:David Barrett (American football)

Stats Table
This article could use the help of someone familiar with tables, which unfortunately, I am not. :-( --JustAGal 20:32, 5 July 2007 (UTC)

WikiProject class rating
This article was automatically assessed because at least one WikiProject had rated the article as stub, and the rating on other projects was brought up to Stub class. BetacommandBot (talk) 18:39, 5 January 2008 (UTC)

title: Talk:David Barrett (American football)


text:
kerkeä

Etymology 1
From. Cognate to 🇨🇬, 🇨🇬, 🇨🇬, 🇨🇬, 🇨🇬, 🇨🇬 and possibly also 🇨🇬.

Adjective

 * 1) quick, prompt, eager

title: kerkeä


text:
McQueen (film)

McQueen is a 2018 biographical documentary film, directed by Ian Bonhôte, written and co-directed by Peter Ettedgui, and produced by Ian Bonhôte, Andee Ryder, Nick Taussig, and Paul Van Carter under the banner of Misfits Entertainment, and Salon Pictures. The documentary is based on the life and career of British fashion designer Alexander McQueen.

Plot
The film looks into life and career of British fashion designer Alexander McQueen.

Cast
Credits adapted from Rotten Tomatoes.

 * Alexander McQueen
 * Tom Ford
 * Isabella Blow
 * Kate Moss
 * Janet McQueen

Production
Film director Ian Bonhôte, and producer Peter Ettedgui approached Alexander McQueen's family to make a documentary film about McQueen; the family declined the request. In February 2017 Bonhôte, and Ettedgui proposed their idea to several film distributors. The film was financed within three days, and director Ian Bonhôte added, "We wanted to make a really respectful cinematic version of Lee’s story".

The production team took the project, with "zero access and zero original archive at our fingertips", and worked 18-20 hour days for a year to finish the project.

Box office
McQueen grossed $868,544 in the United Kingdom, and grossed $205,045 in Australia, for a total worldwide gross of $2,638,552. On its domestic opening weekend the film grossed $98,873, averaging $24,718 per location. On its second weekend McQueen grossed $83,461, with change of -16%, and averaging $16,692 per location. On its third weekend the film grossed $181,638, which became its highest opening weekend, with +118% change, and averaging $5,342 per 34 theaters.

Critical response
On the review aggregator Rotten Tomatoes, the film holds an approval rating of based on  reviews, with an average rating of. The website's critical consensus reads, "McQueen offers an intimate, well-sourced, and overall moving look at a young life and brilliant career that were tragically cut short." Metacritic, which uses a weighted average, assigned the film a score of 84 out of 100, based on 28 critics, indicating "Universal acclaim".

Peter Travers of the Rolling Stone wrote, "McQueen is an empathetic, ravishing and scorchingly outspoken look at why, eight years after his death, he still leaves us transfixed". Michael O'Sullivan of The Washington Post wrote, "McQueen” makes the case that its subject was an artist whose clay was clothing. It also, despite giving short shrift to psychoanalysis, reminds us that everything you might want to know about the artist can be found in the art". Kenneth Turan of the Los Angeles Times wrote, "If you live and die for fashion, a documentary called “McQueen” could tell only one story, that of designer Alexander McQueen, whose extraordinary gifts, dark preoccupations and tragic death make for a completely engrossing, compulsively watchable film".

title: McQueen (film)


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