text:
- The definition of fat is plump, obese or containing grease or oil.
- An example of fat is the nature of a 500 pound person.
- An example of fat is the nature of greasy french fries.
- Fat is defined as the semisolid or solid fatty acids found in animal tissue.
An example of fat is the greasy, white substance found on the edges and inside the meat on a piece of steak.
A man measures his fat belly.
fat definition by Webster's New World
- containing or full of fat; oily; greasy
- having much fat in relation to lean: said of meat
- containing volatile oil: fat coal
- containing much resin: fat wood
- fleshy; plump
- too plump; corpulent; obese
- thick; broad: the fat part of the bat
- containing something valuable in great quantity; fertile; productive: fat land
- profitable; lucrative: a fat job
- prosperous
- supplied plentifully; ample
- stupid; dull
- Slang desirable because large or important: a fat role for an actor
Origin: Middle English ; from Old English fætt, past participle of fætan, to fatten, akin to German feist, plump ; from Old High German feizzen, to make fat ; from Indo-European an unverified form poid- ; from base an unverified form pi-, to be fat, distended from source Classical Greek pimelē, lard, Sanskrit pīná-, fat
- any of various mixtures of solid or semisolid triglycerides found in adipose animal tissue or in the seeds of plants: they are insoluble in water but soluble in organic solvents
- any such substance used in cooking
- fleshiness; plumpness; corpulence
- the richest or finest part of anything
- anything unnecessary or superfluous that can be trimmed away
- Chem. a class of neutral lipids consisting of the various triglycerides: they are called oils if in the liquid state
fat definition by American Heritage Dictionary
- a. The ester of glycerol and one, two, or three fatty acids.b. Any of various soft, solid, or semisolid organic compounds constituting the esters of glycerol and fatty acids and their associated organic groups.c. A mixture of such compounds occurring widely in organic tissue, especially in the adipose tissue of animals and in the seeds, nuts, and fruits of plants.d. Animal tissue containing such substances.e. A solidified animal or vegetable oil.
- Obesity; corpulence.
- The best or richest part: living off the fat of the land.
- Unnecessary excess: "would drain the appropriation's fat without cutting into education's muscle" (New York Times).
- Having much or too much fat or flesh; plump or obese.
- Full of fat or oil; greasy.
- Abounding in desirable elements.
- Fertile or productive; rich: "It was a fine, green, fat landscape" (Robert Louis Stevenson).
- Having an abundance or amplitude; well-stocked: a fat larder.
- a. Yielding profit or plenty; lucrative or rewarding: a fat promotion.b. Prosperous; wealthy: grew fat on illegal profits.
- a. Thick; large: a fat book.b. Puffed up; swollen: a fat lip.
Origin: Middle English, from Old English fǣtt, fatted; see peiə- in Indo-European roots.
Related Forms:
- fatˈly adverb
- fatˈness noun
fat - Computer Definition
(File Allocation Table) The mechanism that keeps track of files stored on disk in the FAT file system, which originated in DOS and was used in Windows prior to the NTFS file system. However, the FAT32 format is widely used with external devices for compatibility on all platforms (see FAT32). The FAT Table When a disk is high-level formatted, the FAT table is recorded twice and contains an entry for each cluster on the disk. The file system's directory list, which contains file name, extension, date, etc., points to the FAT entry where the file starts. If a file is larger than one cluster, the first FAT entry points to the next FAT entry where the second cluster of the file is stored and so on to the end of the file. If a cluster becomes damaged, its FAT entry is marked as such, and that cluster is never used again. The original 16-bit version of (FAT16) supported hard disk partitions up to 4GB and files as large as 2GB. The 32-bit version dramatically increased capacity. See FAT32, NTFS, inode and file system.
fat - Medical Definition
- Any of various soft, solid, or semisolid organic compounds constituting the esters of glycerol and fatty acids and their associated organic groups.
- A mixture of such compounds occurring widely in organic tissue, especially in the adipose tissue of animals and in the seeds, nuts, and fruits of plants.
- Adipose tissue.
- Obesity; corpulence.
Related Forms:
- fat adjective
fat - Phrases/Idioms
a fat chance
âa fat lot
chew the fat
live off (or on) the fat of the land
Etymology: after LL(Ec) medulla terrae, Gen. 45:18
the fat is in the fire
a fat lot
fat chance
fat - Science Definition


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USA Judo
JUDO: USA Judo Announces U.S. Armed Forces Initiative
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For Immediate Release January 29, 2008 Contact: Nicole Jomantas, 719.866.4732 firstname.lastname@example.com (Colorado Springs, Colo.)-As a continuing effort to expand the support base and growth of Judo in the United States, USA Judo is pleased to announce that Rick Donnelson (Lansing, Kans.), head coach of the United States Military Judo Team, has been appointed to the position of U.S. Military Liaison for USA Judo. Donnelson will be assisted by a newly formed Military Judo Ad-hoc committee made up of Sgt. Major Mayfield (Jacksonville, N.C.), Leo White (Lilburn, Ga.), Chester Evans (Franklinton, N.C.) and Major Hector Morales (Tallahassee, Fla). As the Liaison for USA Judo with the U.S. Armed Forces, Donnelson will be responsible for the implementation and oversight of judo programs on military bases throughout the United States and abroad. Already six military bases have started judo program for both the members of the Armed Forces and family members living on the base."I am excited about this new opportunity to develop grassroots judo programs on military bases throughout the country,"Donnelson said."With the support of USA Judo, this program is proving to be a tremendous success in helping to reinvigorate the sport of judo in the United States."Presently, Donnelson instructs the judo program in Ft. Leavenworth and Ft. Riley, Kans. with new programs beginning soon in Ft. Still, Okla. and Ft. Carson, Colo."We are excited to have Rick heading this new program and we hope that this will help grow the sport of judo throughout the United States,"said USA Judo Director of Athlete Performance Eddie Liddie (Colorado Springs, Colo.) "In the past, we've had many successful athletes come out of our military programs, including Leo White who not only won four world military titles, but was one of the best athletes in the era, competing on two Olympic Teams as well. It is our hope, that, with the help of this new committee, we can develop new military athletes who will have success on both the international and national level."For more information, contact Nicole Jomantas, USA Judo Director of Communications and Media Relations, at 719.866.4732 or firstname.lastname@example.com. -END-

subset: commoncrawl


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Last updated on 03/16/14 UTC
Bloomingdale Overview
Coldwell Banker Helps You Learn More About Bloomingdale, Georgia Real Estate
Bloomingdale, Georgia is located in Chatham. Nearby cities and towns include Garden City, Henderson, Pooler, Port Wentworth and Savannah. Bloomingdale is a suburban community with a population of 2,830. The median household income in Bloomingdale is $50,420. 64% of residents are married and families with children reside in 32% of Bloomingdale households. Half the population of Bloomingdale commutes 23 minutes or more to work, with 64% of residents holding white collar jobs and 36% residents holding blue collar jobs.
The median age of homes in Bloomingdale, GA is 25 years, with 61% of those homes owned, 29% rented and 9% not occupied. In the previous year, 0 Bloomingdale properties were sold. The median sale price of a home in Bloomingdale in the previous year was $106,846. Find a Coldwell Banker real estate agent in Bloomingdale, Georgia today.
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We have created a cruise experience that is not only for the amateur or professional historian but also for people who simply want to understand the history, art, myths and culture of the ancient world. A Voyage to Antiquity cruise to the Mediterranean aims to open a window into the origins and genius of western civilization.
The people at Voyages to Antiquity were also pioneers of cruising in the Far East. Using this local knowledge, we have created a winter cruise-tour program which reveals the fascinating past and exotic landscapes of this extraordinary part of the world.
Our journeys, however, are not only about history. As well as visiting breathtaking archaeological treasures you will also see some of the most beautiful scenery in the world and experience the magnificent food of the Mediterranean and The Orient.
THE EXTRAORDINARY VALUE OF our cruise tours
Voyages to Antiquity features:
In contrast to the massive vessels cruising to and from the major ports of the Mediterranean and Southeast Asia, we have a mid-sized ship adapted for island and coastal cruising. This means that Aegean Odyssey can visit smaller, less crowded harbors and sail closer the coast enabling you to really appreciate the magical views. Our ship's size also allows us to navigate the great rivers of Southeast Asia and berth in the heart of Bangkok, Yangon (Rangoon) and Ho Chi Minh City (Saigon).
As we carry only an average of 350 passengers, our ship is ideal for those who dislike traveling around with hordes of people. Boutique-style cruising with Voyages to Antiquity is an extraordinary value, as fares include over $2,000 per person in out-of-pocket expenses, making the experience very inclusive. If you like to avoid crowds, wander around beautiful islands, cruise remote inlets, visit charming villages and explore ancient sites that are inaccessible to others, then Aegean Odyssey is the ideal ship.
All our voyages have been meticulously planned by the Voyages to Antiquity staff in conjunction with Lord Norwich and other noted historians. Experience tells us that combining the best of cruising and land tours is the ideal way to explore these fascinating sites and get the most from your chosen itinerary.
Shore excursions and pre- and post-cruise packages are included in all major ports where suitable, including the spectacular "Golden Triangle" tour in India and the overnight visit to the wonder of the temples of Angkor. In certain places additional visits will be available at a supplementary cost. In places such as Burma, where the trips to the exotic royal capital of Mandalay and the magnificent pagodas of Bagan are not included, we have ensured that these wonderful excursions are offered at advantageous prices.
During all shore excursions, the expert guides will share their knowledge with the group using Quiet Vox. Through your individual headset, this remarkable device allows you to hear the tour leader clearly.
Our sightseeing itineraries are outstanding but can be strenuous therefore a reasonable level of fitness is recommended and some passengers may decide to take a break on certain days. Our daily programme will always indicate the level of walking required on excursions. Comfortable shoes and light clothing are advised. Wherever possible we have ensured that the ship is in port at night so that you have many free evenings to go ashore and explore or enjoy an after-dinner drink in a local café.
The lecturers and celebrated speakers who accompany you on the cruise are all first class. They have been carefully selected for their knowledge of the areas we visit and their ability to bring the history of these remarkable civilizations and cultures to life. Their informative and enlightening talks will also charm and entertain you.
Assisting the main speakers aboard ship and on land will be our team of young and keen classical history graduates. They will be on hand to answer your questions and assist the guides on sightseeing trips.


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U.S. MNT Faces Mexico at Estadio Azteca on Wednesday
Before the U.S. Men's National Team resumes its 2014 FIFA World Cup qualifying, the group will try to make history in its international friendly against Mexico at 7 p.m. CT (8 p.m. ET) on Wednesday, Aug. 15, at Estadio Azteca in Mexico City.
Aug. 14, 2012
© John Todd/isiphotos.com
U.S. Men's National Team vs. Mexico – International Friendly
Estadio Azteca; Mexico City, Mexico
Aug. 15, 2012
U.S. FACES MEXICO AT ESTADIO AZTECA: Before the U.S. Men's National Team resumes its 2014 FIFA World Cup qualifying, the group will try to make history in its international friendly against Mexico at 7 p.m. CT (8 p.m. ET) on Wednesday, Aug. 15, at Estadio Azteca in Mexico City. The USA's attempt to win for the first time against Mexico on its own soil will be broadcast live on ESPN2, ESPN3 and Univision. Fans can follow the match on ussoccer.com's MatchTracker for live updates and join the discussion around the game via Twitter @ussoccer.
The friendly serves as an important chance to get back in the swing of international competition in advance of the USA's return to qualifying competition when it faces Jamaica at 9:30 p.m. ET on Sept. 7 at National Stadium in Kingston, Jamaica. Four days later the teams square off again at 8 p.m. ET on Sept. 11 in front of what is expected to be a capacity crowd at Columbus Crew Stadium in Columbus, Ohio. That match will be broadcast live on ESPN2, ESPN3 and Univision (TICKETS). The U.S. will host a public training session at 10:30 a.m. ET on Sept. 9 at Crew Stadium. Admission and parking are free.
U.S. midfielder MAURICE EDU
On taking stock of the atmosphere provided by Estadio Azteca:
"We're all aware of that. It's part and parcel of this fixture and it's something we get excited for. It's going to be a crazy environment. It's one of the
biggest games for us and we use that as our own personal motivation. If we get a win here, it's a big deal for us and that's what we're all looking to do
on Wednesday night."
U.S. midfielder DaMARCUS BEASLEY
On what it would mean to beat Mexico on Wednesday:
"It would be amazing if I could be a part of that. Just being around the guys again is great for me. To beat them and being the first team to ever do it
would be pretty special. Hopefully we can do that Wednesday and get a good result."
U.S. goalkeeper TIM HOWARD
On the gap between the success of Mexico and the U.S.:
"It depends who you ask. I think ourselves and Mexico are always very close. Depending on six months or one year, either team can go ahead. Because both
teams are so talented, it doesn't take much to shift the balance. That's why we play these games and it's important to not only win the head-to-head
competition but also when it comes to qualifying to finish first because they're going to want to finish first. Those things are important to say who the
best is. When you have two great teams, everyone is going to have an opinion on who is better."
For more U.S. player comments previewing Wednesday's game, visit ussoccer.com.
Date |
Opponent |
Result/Time (ET) |
U.S. goalscorers/TV |
Venue |
Jan. 21 |
Venezuela |
Ricardo Clark |
Univ. of Phoenix Stadium; Glendale, Ariz. |
Jan. 25 |
Panama |
Graham Zusi |
Estadio Rommel Fernandez; Panama City, Panama |
Feb. 29 |
Italy |
Clint Dempsey |
Stadio Luigi Ferraris; Genoa |
May 26 |
Scotland |
L. Donovan (3), M. Bradley, J. Jones |
EverBank Field; Jacksonville, Fla. |
May 30 |
Brazil |
Herculez Gomez |
FedExField; Landover, Md. |
June 3 |
Canada |
None |
BMO Field; Toronto, Canada |
June 8 |
Antigua & Barbuda* |
Carlos Bocanegra, Clint Dempsey, Herculez Gomez |
Raymond James Stadium; Tampa, Fla. |
June 12 |
Guatemala* |
Clint Dempsey |
Estadio Nacional Mateo Flores; Guatemala City |
Aug. 15 |
Mexico |
8 p.m. |
ESPN2/ESPN3/Univision |
Estadio Azteca; Mexico City, Mexico |
Sept. 7 |
Jamaica* |
9:30 p.m. |
National Stadium; Kingston, Jamaica |
Sept. 11 |
Jamaica* |
8 p.m. |
ESPN2/ESPN3/Univision |
Columbus Crew Stadium; Columbus, Ohio |
Oct. 12 |
Antigua & Barbuda* |
7 p.m. |
Sir Vivian Richards Stadium; North Sound, Antigua |
Oct. 16 |
Guatemala* |
7 p.m. |
ESPN2/ESPN3/Univision |
LIVESTRONG Sporting Park; Kansas City, Kan. |
*2014 FIFA World Cup Qualifying
: Tim Howard (Everton), Sean Johnson (Chicago Fire), Nick Rimando (Real Salt Lake)
: Steven Beitashour (San Jose Earthquakes), Matt Besler (Sporting Kansas City), Geoff Cameron (Stoke City), Edgar Castillo (Club Tijuana), Michael Orozco
Fiscal (San Luis), Fabian Johnson (Hoffenheim)
: DaMarcus Beasley (Puebla), Kyle Beckerman (Real Salt Lake), Joe Corona (Club Tijuana), Maurice Edu (Rangers), Jermaine Jones (Schalke 04), Jose Torres
(Pachuca), Brek Shea (FC Dallas), Danny Williams (Hoffenheim), Graham Zusi (Sporting Kansas City)
): Terrence Boyd (Rapid Vienna), Landon Donovan (LA Galaxy), Herculez Gomez (Santos), Alan Gordon (San Jose Earthquakes), Chris Wondolowski (San Jose
- Six players on the U.S. roster play professionally in Liga MX in Mexico: DaMarcus Beasley, Edgar Castillo, Joe Corona, Herculez Gomez, Michael Orozco Fiscal and Jose Torres.
- Gomez became the first U.S. player to win both an MLS Cup title and Mexican League title as Santos defeated Monterrey in the Liguilla final. Gomez had 19 goals in all competitions for Santos last season.
- Jermaine Jones leads the U.S. this year in games (7), minutes played (609) and assists (3). He scored his second international goal in the 5-1 victory against Scotland on May 26, heading home the USA's fifth on the night. Jones helped Schalke 04 to a third-place finish in the German Bundesliga and a spot in this season's UEFA Champions League.
- Landon Donovan made his return to the National Team for the first time since September of 2011 when he scored three goals and assisted another during the USA's win against Scotland on May 26. Donovan has 49 goals and 143 caps following the Guatemala match.
- MLS contributes the most players of any league, sending 10 to Mexico City: Kyle Beckerman, Steve Beitashour, Matt Besler, Donovan, Alan Gordon, Sean Johnson, Nick Rimando, Brek Shea, Chris Wondolowski and Graham Zusi.
- The five players on the U.S. strike force have posted impressive number of goals in their respective league campaigns. The trio of MLS strikers have 35 between them
- Wondolowski of the San Jose Earthquakes leads MLS with 17 goals – three more goals than Western Conference foe Chivas USA has scored as a team.
- Wondolowski scored the opening goal for the MLS All-Stars in their 3-2 win against Chelsea. Four other rostered U.S. players were on the field that day: Kyle Beckerman, Steven Beitashour, Donovan and Zusi.
- Terrence Boyd and Gomez have already contributed goals in the new seasons with their club. Boyd has tallied a pair of league goals and one in Europa League qualifying for Rapid Vienna, while Gomez has deposited two in four games for Santos.
- Sporting Kansas City defender Matt Besler and midfielder Graham Zusi recently won the 2012 Lamar Hunt U.S. Open Cup with a 3-2 shootout victory against three-time defending U.S. Open Cup champion Seattle Sounders FC on Aug. 8 (HIGHLIGHTS). Besler, called up to the U.S. MNT for the first time, had one of the team's penalty kick conversions en route to the win.
- Zusi became the 14th U.S. player since 1986 to score a goal in his first cap when he tallied the game-winner in the USA's 1-0 victory against Panama on Jan. 25 of this year.
- Twenty players on the USA's current roster have played in less than 40 international games and three (Besler, Beitashour and Alan Gordon) are in search of their first cap.
- Gordon was a late addition to the U.S. MNT roster on Sunday, Aug. 12. He is enjoying a career year in MLS with nine goals in 16 games. He, Wondolowski and Beitashour are playing for an Earthquakes team that leads the Western Conference with a 14-5-5 record heading into the week.
- Geoff Cameron arrives after completing his transfer to Stoke City in the English Premier League.
- Joe Corona makes his second appearance on the MNT roster. The midfielder and Development Academy product debuted for the senior team in the 5-0 win against Scotland on May 26 in Jacksonville.
- The era of Jurgen Klinsmann began with the last meeting between the United States and Mexico, a 1-1 draw on Aug. 10, 2011, in Philadelphia
- This Wednesday marks the first international friendly between the teams on Mexican soil since the U.S. played to a 2-1 loss on Oct. 17, 1984, at Estadio Neza 86. Perry Van Der Beck provided the USA's lone goal, which also was Van Der Beck's first international tally.
- The U.S. has a 15-32-12 all-time record against Mexico in 59 games.
- Since 2000, the USA has posted a 10-5-3 record against Mexico.
- Mexico is 23-0-1 against the U.S. in its home country, with the lone draw being a scoreless FIFA World Cup qualifying match on Nov. 2, 1997.
- In that 0-0 draw, the U.S. was reduced to 10 men when Jeff Agoos was shown a red in the 32nd minute for elbowing Mexico's Pavel Pardo. The USA also was without four regular starters in goalkeeper Kasey Keller (thumb) and midfielders Claudio Reyna (suspension), Tab Ramos (ACL) and Earnie Stewart (calf).
- The biggest meeting in series history was the USA's 2-0 victory in the Round of 16 at the 2002 FIFA World Cup in Korea on June 17. Brian McBride and Landon Donovan scored goals in that match.
- Donovan has five goals in 14 games against Mexico.
Construction on the 105,000-seat Estadio Azteca was completed in 1966, making the behemoth the largest stadium in Latin America and one of the largest in the world. Several notable events have taken place at Estadio Azteca over the last 46 years, including the 1968 Summer Olympics, 1970 and 1986 FIFA World Cups and recently the 2011 FIFA U-17 World Cup.
The stadium, which features a natural grass surface, also witnessed the first international regular-season National Football League game on Oct. 2, 2005, between the Arizona Cardinals and San Francisco 49ers. Since 1972, the U.S. has played Mexico at the Estadio Azteca nine times with a 0-8-1 overall record.
U.S. Record at Estadio Azteca (0-8-1)
- Sept. 3, 1972 – L, 1-3
- Aug. 24, 1975 – L, 0-2
- Nov. 9, 1980 – L, 1-5
- July 25, 1993 – L, 0-4
- Nov. 2, 1997 – T, 0-0
- Aug. 1, 1999 – L, 0-1
- July 1, 2001 – L, 0-1
- March 27, 2005 – L, 1-2
- Aug. 12, 2009 – L, 1-2
Before 1966, Mexico contested its international games at Estadio Olimpico Universitario and before that at Estadio Olimpico de la Ciudad de los Deportes. This Wednesday marks the first international friendly at Estadio Azteca since Aug. 24, 1975.
The USA has scored 15 goals during the team's head-to-head series in Mexico. Alexander Rae leads the list with three goals in three games in 1937. John McEwan had two goals in Mexico during the 1937 campaign. Ten other players have tallied a goal across the border:
- Sept. 12, 1937 – L 2-7 (Alexander Rae, John McEwan) at Mexico City, Mexico
- Sept. 19, 1937 – L 3-7 (George Nemchick, Rae, McEwan) at Mexico City, Mexico
- Sept. 26, 1937 – L 1-5 (Rae) at Mexico City, Mexico
- Sept. 18, 1949 – L 2-6 (Ben Wattman, John Souza) at Mexico City, Mexico
- Jan. 14, 1954 – L 1-3 (William Looby) at Mexico City, Mexico
- Sept. 3, 1972 – L 1-3 (Willie Roy) at Mexico City, Mexico
- Sept. 5, 1974 – L 1-3 (Dennis Vaninger) at Monterrey, Mexico
- Nov. 9, 1980 – L 1-5 (Rick Davis) at Mexico City, Mexico
- Oct. 17, 1984 – L 1-2 (Perry Van der Beck) at Mexico City, Mexico
- March 27, 2005 – L 1-2 (Eddie Lewis) at Mexico City, Mexico
- Aug. 12, 2009 – L 1-2 (Charlie Davies) at Mexico City, Mexico
- DaMarcus Beasley: Beasley made the move to Mexico and Puebla FC in the summer of 2011. Since then, the 30-year-old midfielder has scored seven goals in more than 30 league appearances for La Franja. During his career, he has played in MLS, the Netherlands, England, Scotland and Germany before taking on a new challenge in Mexico.
- Edgar Castillo: The 25-year-old defender is the only current player to have played for both the U.S. Men's National Team and Mexico's senior team. Born in Las Cruces, N.M., Castillo made his debut for the Mexican national team in 2007 in a friendly against Colombia, but under a change in FIFA regulations became eligible to play for the U.S. MNT because he had yet to play in a competitive match at the senior level. Castillo switched allegiances and earned his first cap for the U.S. on Nov. 18, 2009, against Denmark. His entire professional career has been spent in Mexico, beginning with Santos Laguna in 2006 before moving to Club America in 2009. While with America, he was sent on loan to Tigres, San Luis, Puebla and Club Tijuana.
- Joe Corona: The midfielder is a teammate of Castillo's at Club Tijuana. Corona, who was born in Los Angeles and grew up in San Diego, played one year of college soccer for San Diego State in 2008 and was a teammate of U.S. MNT call-up Steven Beitashour with the Aztecs. The 22-year-old made one appearance with Mexico's U-22 side at the 2011 Pan American Games, but that did not tie him to the country because it was not an official FIFA competition. He scored four goals in the USA's unsuccessful effort to qualify for the London Olympics. Corona has played for Tijuana since 2009 and helped the club earn promotion from the Mexican second division by scoring in the promotion playoff final in a 2-1 win against Irapuato on May 21, 2011. Corona also scored Tijuana's first-ever goal in the first division. He continues to live in San Diego and commute to Tijuana.
- Herculez Gomez: Gomez spent seven years in MLS before making the move to Liga MX in January 2010 with Puebla. The 30-year-old striker has bounced from team to team, but always has worked his way into the starting lineup. Following a short spell with Puebla, Gomez moved to Pachuca and Estudiantes Tecos before landing at Santos Laguna where he helped guide the team to the Liga MX 2012 Clausura title by scoring 19 goals in all competitions. Gomez has played club alongside Mexico call-up Edgar Gerardo Lugo at both Santos Laguna and Puebla.
- Michael Orozco Fiscal: The Orange, Calif., native has spent his entire professional career with San Luis, but also gained experience on loan with the Philadelphia Union during the 2010 MLS season. He made his professional debut for the Potosinos in 2006 and made nearly 100 league appearances for the club in the last six years. He was part of the USA's team at the 2008 Olympic Games in Beijing.
- Jose Torres: The Texas native has become a mainstay for Pachuca since coming up through the youth system in 2006. Torres has made more than 100 appearances for the Tuzos since 2006. He was part of the team as Pachuca won the Liga MX 2007 Clausura championship – its last title. Torres broke into the starting XI in 2008 and has been a constant for the squad since then.
- DaMarcus Beasley, in search of his first cap since Nov. 11, 2011, is tied with Earnie Stewart for seventh all-time in goals (17), ranks eighth in assists (13) and tied for 13th place with Alexi Lalas with 96 appearances.
- Landon Donovan surpassed Jeff Agoos for the most starts in U.S. history with his 125th during the USA's 5-1 victory against Scotland on May 26. Donovan currently holds U.S. records in career starts (129), goals (49), assists (48) and points (146). He is second in career appearances (143), trailing only 2011 National Soccer Hall of Fame inductee Cobi Jones (164).
- This year's USA team is currently on pace to have its best defensive campaign in the modern era. The U.S. has allowed only four goals in eight games (0.5 goals allowed per match). The second-best performance came in 2008, when the USA allowed eight goals in 14 games (0.57), followed by 2004 (nine goals in 15 games; 0.6) and 2005 (12 goals in 20 games; 0.6).
- 0: Caps for three USA players on the current roster: Steven Beitashour, Matt Besler, Alan Gordon
- 3: Career hat tricks for Landon Donovan
- 3: USA players who have played Mexico at the Estadio Azteca: DaMarcus Beasley, Donovan, Tim Howard
- 5: Goals for Donovan against Mexico
- 8: Losses for Mexico at Estadio Azteca. Their lifetime record is 79-8-32
- 18: Mexico's current FIFA ranking
- 19: Goals by Herculez Gomez with Santos last season
- 23: Wins by Mexico against the United States when playing the host country
- 32: Overall wins by Mexico against the USA – the most among all U.S. opponents
- 36: USA's current FIFA ranking
- 2012 MNT Statistics
- Quote Sheet: Jurgen Klinsmann Previews USA-Mexico
- The MNT Blog: U.S. strikers in Form and on Target
- Release: Klinsmann Names 23-Player Roster for Aug. 15 Friendly Against Mexico
- MNT in Italy: Michael Bradley, Part 2
- MNT in Italy: Michael Bradley, Part 1
- MNT in Scotland: Carlos Bocanegra, Part 2
- MNT in Scotland: Carlos Bocanegra, Part 1
- MNT in Netherlands: Behind the Scenes with Jozy Altidore
- MNT in Germany: Behind the Scenes with Steve Cherundolo
- Video: Lamar Hunt U.S. Open Cup Final Highlights – Aug. 8, 2012
- Studio 90: MNT Players Visit WNT Training in Glasgow
- Podcast: Lamar Hunt U.S. Open Cup Conference Call
JURGEN KLINSMANN FACT FILE: Head coach Jurgen Klinsmann is in the midst of his second year and first full calendar year in charge of the U.S. Men's National Team. Below are some of his past accomplishments as a player and coach.
- Klinsmann was named the U.S. Men's National Team head coach on July 29, 2011, making him the 35th coach in the history of the program.
- Klinsmann's record as head coach of the Men's National Team is 7-5-3, and he led the team on a five-game winning streak that started with a 3-2 victory on Nov. 15, 2001, against Slovenia and was capped off by a 5-1 win against Scotland on May 26, 2012.
- Klinsmann's U.S. coaching debut was a 1-1 draw against Mexico on Aug. 10, 2011, at Lincoln Financial Field in Philadelphia. During Klinsmann's abbreviated 2011 tenure, opponents outscored the USA by a 7-5 margin. The USA's two victories during the Klinsmann era in 2011 include a 1-0 win against Honduras (Oct. 8) and a 3-2 victory against Slovenia (Nov. 15).
- Klinsmann was named the Germany National Team manager in 2004 and guided Germany to a 20-6-8 record and a third-place finish in the 2006 FIFA World Cup. He earned Coach of the Year honors in Germany, and two years later, he took over the head coaching position at Bayern Munich.
- As a player, Klinsmann played 17 club seasons from 1981 to 1998 with the following teams: Stuttgarter Kickers (1981-84), VfB Stuttgart (1984-89), Internazionale (1989-92), Monaco (1992-94), Tottenham Hotspur (1994-95, 97-98), Bayern Munich (1995-97) and Sampdoria (1997-98). During that time, he scored 226 goals in 506 appearances. He was named German Player of the Year in 1988 and 1994 and FWA Footballer of the Year in 1995.
- Klinsmann earned 108 caps with the German National Team, scoring 47 goals. He participated in three World Cups (1990, 1994 and 1998) and won the 1990 World Cup.
- Klinsmann was born on July 30, 1964, in Goppingen, Germany.
- Federación Mexicana de Fútbol Asociación A.C. (Mexican Football Federation)
- Founded: 1927 (Joined FIFA in 1929)
- Head Coach: Jose Manuel De La Torre
- FIFA Ranking: 18
- Highest FIFA Ranking: 4 (1998, 2006)
- Lowest FIFA Ranking: 33 (2009)
- Best World Cup Finish: Quarterfinals (1970, 1986)
- Héctor Moreno scored his first international goal to lift Mexico to a 2-1 road victory against El Salvador on June 12 to maintain the Group B lead in 2014 FIFA World Cup qualifying. Moreno also assisted Jesús Zavala's tally earlier in the match.
- Javier "Chicharito" Hernández has scored 23 Premier League goals in 55 matches in his first two seasons with Manchester United. He was the leading scorer of the 2011 CONCACAF Gold Cup with seven goals as Mexico went on to beat the U.S. 4-2 in the championship on June 25 in the Rose Bowl in Pasadena, Calif.
- Mexico is 6-1-0 in international competition this year, with the one loss coming against Colombia (a 2-0 defeat) on Feb. 29 at Sun Life Stadium in Miami Gardens, Fla.
- Mexico's U-23 team defeated Brazil 2-1 on Saturday, Aug. 11, at Wembley Stadium in London to capture the country's first and only Olympic gold medal in the London Games.
Guillermo Ochoa (Ajaccio, France), Alfredo Talavera (Toluca)
Francisco Javier Rodríguez (Stuttgart), Héctor Moreno (Espanyol), Severo Meza (Monterrey), Hugo Ayala (UANL Tigres), Jorge Torres Nilo (UANL Tigres),
Enrique Pérez (Morelia), Adrian Aldrete (Club América)
Jesús Zavala (Monterrey), Manuel Viniegra (UANL Tigres), Edgar Gerardo Lugo (Santos Laguna), Pablo Barrera (Cruz Azul), Andrés Guardado (Valencia), Ángel
Reyna (Monterrey)
Elías Hernández (UANL Tigres), Aldo de Nigris (Monterrey), Javier Hernández (Manchester United)
Following Wednesday's match, the USA and Mexico look ahead to the remainder of the Semifinal Round of 2014 FIFA World Cup qualifying. For CONCACAF, this
qualifying process consists of three groups of four teams each, comprised of the top six seeds (USA, Mexico, Honduras, Jamaica, Costa Rica, Cuba) being
split into three groups and joined by six previous group winners from the second round (Panama, Canada, El Salvador, Antigua & Barbuda, Guyana,
Guatemala). The top two teams from each group advance to the Final Round, with that stage to be played from February through October 2013. The top three
teams automatically qualify for the 2014 FIFA World Cup, while the fourth-place team would then play a two-game playoff against the champion of the Oceania
region to determine the other World Cup-bound team.
The U.S. currently leads Group A with four points and holds the goal differential edge over Jamaica following a group-opening 3-1 victory against Antigua & Barbuda and a 1-1 draw against Guatemala . Mexico is atop Group B with six points after defeating Guyana and El Salvador.
Team |
Pts |
2 |
1 |
0 |
1 |
4 |
2 |
+2 |
4 |
Jamaica |
2 |
1 |
0 |
1 |
2 |
1 |
+1 |
4 |
Guatemala |
2 |
0 |
1 |
1 |
2 |
3 |
-1 |
1 |
Antigua & Barbuda |
2 |
0 |
1 |
1 |
1 |
3 |
-2 |
1 |
Group A Schedule
June 8
USA 3, Antigua & Barbuda 1
Jamaica 2, Guatemala 1
June 12
USA 1, Guatemala 1
Antigua & Barbuda 0, Jamaica 0
Sept. 7
USA at Jamaica
Antigua & Barbuda at Guatemala
Sept. 11
Jamaica at USA
Guatemala at Antigua & Barbuda
Oct. 12
USA at Antigua & Barbuda
Jamaica at Guatemala
Oct. 16
Guatemala at USA
Antigua & Barbuda at Jamaica
Team |
Pts |
Mexico |
2 |
2 |
0 |
0 |
5 |
2 |
+3 |
6 |
Costa Rica |
2 |
1 |
0 |
1 |
6 |
2 |
+4 |
4 |
El Salvador |
2 |
0 |
1 |
1 |
3 |
4 |
-1 |
1 |
Guyana |
2 |
0 |
2 |
0 |
1 |
7 |
-6 |
0 |
Group B Schedule
June 8
Mexico 3, Guyana 1
Costa Rica 2, El Salvador 2
June 12
Costa Rica 4, Guyana 0
Mexico 2, El Salvador 1
Sept. 7
Mexico at Costa Rica
Guyana at El Salvador
Sept. 11
El Salvador at Guyana
Costa Rica at Mexico
Oct. 12
Costa Rica at El Salvador
Mexico at Guyana
Oct. 16
Guyana at Costa Rica
El Salvador at Mexico
On the field for USA:
June 12, 2012 – Estadio Mateo Flores – Guatemala City, Guatemala – 2014 FIFA World Cup Qualifying Semifinal Round
USA 1 Clint Dempsey 40
Guatemala 1 Marco Pappa 83
1-Tim Howard; 6-Steve Cherundolo, 21-Clarence Goodson (20-Geoff Cameron, 46), 3-Carlos Bocanegra (capt.), 23-Fabian Johnson; 7-Maurice Edu, 4-Michael
Bradley, 13-Jermaine Jones; 10-Landon Donovan (14-Kyle Beckerman, 90+3), 8-Clint Dempsey, 9-Herculez Gomez (17-Jozy Altidore, 64)
Subs not used: 2-Michael Parkhurst, 5-Oguchi Onyewu, 11-Joe Corona, 12-Brad Guzan, 16-Jose Torres, 19-Chris Wondolowski
Head coach: Jurgen Klinsmann
1-Ricardo Jerez Jr.; 4-Erwin Morales, 5-Carlos Gallardo, 14-Luis Rodriguez, 3-Elias Vasquez; 6-Wilfred Velasquez, 11-Jose Manuel Contreras (15-Manuel Leon,
46), 18-Carlos Figueroa (16-Marco Pappa, 46); 10-Mario Rodriguez (17-Dwight Pezzarossi, 46), 20-Carlos Ruiz, 19-Marvin Avila
Subs not used: 2-Rafael Morales, 7-Jose del Aguila, 8-Gonzalo Romero, 9-Jairo Arreola, 12-Paulo Cesar Motta, 13-Alejandro Galindo, 21-Juan Paredes,
22-Minor Lopez, 23-Jonathan Lopez
Head coach: Ever Hugo Almeida
Vs. Mexico
Aug. 10, 2011 – Lincoln Financial Field – Philadelphia, Pa. – International Friendly
USA 1 Robbie Rogers 73
Mexico 1
Oribe Peralta 17
: 1-Tim Howard; 6-Steve Cherundolo, 5-Michael Orozco Fiscal, 3-Carlos Bocanegra (capt.), 2-Edgar Castillo; 7-Kyle Beckerman 4-Michael Bradley (16-Robbie
Rogers, 72), 8-Jermaine Jones (17-Brek Shea, 60) ,10-Landon Donovan, 11-Jose Torres (15-Ricardo Clark, 84); 9-Edson Buddle (18-Juan Agudelo, 60)
Subs not used: 12-Bill Hamid, 13-Zach Lloyd, 14-Heath Pearce
Head coach: Jurgen Klinsmann
: 1-Guillermo Ochoa, 16-Efrain Juarez (22- Paul Aguilar, 75), 4-Rafael Marquez (2-Francisco Javier Rodriguez, 69), 15-Hector Moreno, 3-Carlos Salcido; 7-
Pablo Barrera (21-Christian Bermudez, 72), 6-Gerardo Torrado, 17-Antonio Naelson (10-Giovani dos Santos, 55), 8-Israel Castro, 18-Andres Guardado; 19-Oribe
Peralta (9-Omar Arellano, 62)
Subs not used: 11-Javier Aquino, 12- Alfredo Talavera, 13-Jesus Zavala, 20-Jorge Torres Nilo
Head coach: Jose Manuel de la Torre


text:
Synonyms: | illustration, drawing, illo | |
See also: | Art Show, Zine Art, Fan Comic, Icon, Manip, Chibi, Landscape, Still Life, Model Building, Fanart Challenges, Fillo, History of Fanart, Portrait | |
Click here for related articles on Fanlore. | ||
Previously, a fanartist was anyone who drew for a genre because they were a fan of the genre rather than a professional employed to create art for the genre. In the earlier fandom years, artists like Wendy (Fletcher) Pini who produced amateur original fantasy art for fanzines would be deemed a "fanartist" because they produced art for a genre they were fans of. While a fanartist could make fanart for any genre, generally the most common were the science fiction and fantasy genres.
However, in modern usage, the word "fanart" means any amateur art for a specific TV show, movie, book, or other media event not owned or created by the artist. Original genre art is generally no longer considered "fanart."
Technically, the term "fanart" encompasses art in every medium just as the word "art" does, including but not limited to drawing, painting, sculpture, photography, photo manipulation, videos, crafts, textiles, metal smithing, and fashion. Within these broad media types, fanart has also created types of art almost specific to itself, such as icons.
Colloquially, fanart most commonly refers to the art for a canon that is drawn or painted either traditionally or digitally. However, colloquial use can also depends on the fandom. For example, in a fandom where photo manipulation is the dominant form of art, "fanart" for the fandom often implies "photo manipulation," not traditional art. Some fandoms refuse to consider icons or banners as "fanart."
Feedback for Fanart
Traditionally, there have been many more comments for fanfiction than for fanart, something that many fanartists find frustrating.
Comments and LoCs about fanart in zines are relatively scarce when compared to the number that discuss fanfiction. While the reasons for this lack of fannish comment vary, one common reason is that fans often remarked they did not know enough about art and/or its vocabulary to make educated and interesting comments.
In 2008, a fanartist referred to the "pride and gratitude" she felt "when someone takes a few minutes to tell me they enjoyed one of my photo manipulations. Yes, I prefer a detailed explanation of why the picture appeals to them, that they appreciate the clarity, the color, the way the guys are posed. But not everyone can express their appreciation in such a way -- it is very difficult for me to review art because I don't know why I like it, it, I just know that it makes me feel good inside. So, let me tell you that if all you can say is "Wow!" or that made me feel good," that will be just fine with me." [1]
Fanart as Its Own Story
Sometimes it's the art that tells the story, rather than the other way around:
This summer, when I was at Shore Leave, I was strolling through the dealer's room and thumbing through a stack of 'zines. Most of them were slash 'zines - G/B, a bunch of K/S, some from other fandoms (Chips? heaven help me <G>). I'm not a slash fan, so I didn't pay much attention, until I came across this one cover...oh, *man*. It was for a K/S 'zine (don't ask me what it was, all I saw was the cover art, which blinded me for about 3 hours afterward). Words fail to do it justice, but I'll try: Kirk and Spock, obviously, both shirtless, Spock is standing behind Kirk. Spock has one arm wrapped around Kirk's upper chest and is doing god-knows-what to his ear. Both their eyes are closed in what I can only describe as bliss. Y'all, I don't read TOS, and I don't read slash without a *really* good reason, but that one illustration, in just one 2-second glance, told a story far better and far more poignantly than anything I've come across in verbal format. And it damn near converted me to K/S on the spot. Whoever drew that illustration obviously put just as much loving tenderness and hard work into his/her 'visual fiction' as I've put into any of my 'verbal; fictions'. Using pictures rather than words, a story was told, and this unwary viewer was moved to heart palpitations :-) So, yes, I am a vocal and passionate supporter of artwork in 'zines. Illustrations that accompany stories can enhance the inherent visual content within the stories, but I also think they tell their own stories. Whether it's verbal or visual, to me it's just another form of storytelling. [2]
Another fan writes that art for a story can make all the difference:
For me, art can make or break a piece of fiction (make a fair story good or a good story terrific, or severely diminish the impact of a well-written work). Okay, I admit it, I'm a child of the TV tube. But from my perspective, art is never simply "embellishment." [3]
History of Fanart
- Main article: History of Fanart
In the USA and other Western countries fanart in the modern sense of the word dates to at least the 60s and 70s, if not earlier. It was especially prevalent in the Star Trek and Star Wars fandoms. Other TV shows, such as Starsky & Hutch, The Professionals, Beauty and the Beast, and other 80s and early 90s TV series (and some movies) had a noticeable fanart presence. Fanart was also created for highly popular books like The Lord of the Rings.
Fanart was part of zines, traded on its own, auctioned at conventions, or sold through the mail. In zine fandom, fanart was often used as cover illustrations for fanzines and as story illustrations.
When media fandom moved online, it was mostly fanfiction that developed an online presence. The split between fanart and fanfiction that occurred when western, live-action media fandoms, moved to the net gave some fans, who first encountered these fandoms online, the impression that in the English-speaking world fanart lagged behind fanfiction in general, although it was only true for online media fandom where fanart was not as prevalent as fanfiction.
In contrast, many Asian countries, notably Japan, had a highly visible fanart culture, most notably in the form of small fan comics called doujinshi. Anime series of the 80s and 90s that had a considerable doujinshi following in Japan included Samurai Troopers, Saint Seiya, Sailor Moon, Fushigi Yuugi, and others. Doujinshi was also produced for western television shows such as Star Trek: The Next Generation and The A-Team. Often the characters were drawn in a more "Traditional" manga style and there was little attempt made toward the more portrait realism seen in western fanart for these series.
In the early and mid 90's Japanese cartoons increased in popularity in the USA and fanart began to be created for these shows. These fandoms did not have an expectation of a 'realistic' portrayal of characters, which may help explain why fanart began to be not only drawn more often, but drawn by younger fandom members, especially teens and pre-teens. This is not to say the teenagers had not previously drawn fanart, but there was a noticeable increase in fanartist numbers in this age bracket.
The first time anime fandom and western media fandom met was in Star Wars: The Phantom Menace, which was the fandom that swallowed all of (media slash) fandom before Harry Potter became big, and The Phantom Menace fanart documents this meeting of different styles and traditions. With the rise of Harry Potter fandom and fanartists moving from the anime and Harry Potter fandoms into other fandoms, fanart became increasingly visible again in both older and newer TV, movie, and book fandoms. Giving these "live action" characters a more 'cartoon' look became more accepted among fans.
Currently, fanart is a highly visible and popular part of many fandoms across the genres. It is still most noticeable in anime and Harry Potter fandoms. However, it is also seen in a diverse range of fandoms including Stargate SG-1, Stargate Atlantis, Supernatural, Merlin, Marvel comics, and other popular TV series, books, comics, and movies.
Recently, newer online posting formats such as Big Bangs and Reverse Bangs (akin to Big Bangs but with the artwork created first and inspiring the fic) show a return to the old zine tradition of collaboration between artists and writers.
Types of Fanart
Drawings and Paintings
Fanart that has been drawn or painted is broken down further into two groups. Traditional art, meaning the art was primarily drawn or painted with material such as paint, markers, color pencil or other physical media, and digital art, meaning the art was primarily created using one of the many computer art programs such as Open Canvas, Photoshop or Painter. 3D rendering programs can also be used to create fanart, in the past most often technical fanart, such as spaceship designs[4] but modern 3D art has technology has fewer limitations, even on personal computers. (See also machinima.)
This is the oldest form of fanart, pre-dating the modern use of the word, and stretching back to at least the fanzine and fan publications of the 1930's. Initially most fanart of this type was black and white due to the limitations of publishing fan publications, but with the advent of cheaper color printing methods and cheaper distribution methods, notably the internet, color illustrations and paintings are now seen more often than black and white illustrations.
Fanart of this type is most often illustrative. So the most visible influences are illustration traditions and styles rather than from fine art, and fanart only relatively rarely branches into art styles such as abstract art[5], especially if it is non-representational abstraction[6], surrealism[7], impressionism[8], or some other modern art styles. However, modern graphic art and design are an influence more often, for example in minimalist fanart poster and cover design. [9][10][11]
Cartooning is another common form of abstraction and in recent years, cartooning has become more accepted in previously photorealistic-dominated fandoms, such as those relating to TV shows like Star Trek. Chibi art and icons are another type of cartoon-related fanart, and have become quite common even in Western media fandoms. In most fandoms character portraits and illustrations of scenes with characters are more common than still lifes or landscapes.
Generally, traditional and digital drawings and paintings tend to dominate the various anime fandoms as well as novel-based fandoms, most notably Harry Potter.
Photo Manipulations
Photo manipulation refers to any image that has been digitally manipulated (through combining images, warping, recoloring, repositioning, resizing, etc.) in order to achieve the artist's desired effect in a new end product. The fandom term for this art is usually photomanips or simply manips. This artistic medium also includes icons (small images digitally manipulated and used for blogs such as Livejournal), banners (often seen as decorations for blogs and other online spaces), and computer wallpapers. Icons and banners tend to be almost exclusive to the arena of fanart, while wallpapers may still be either original- or fanart-based.
As with painting and drawing, photo manipulation fanart tends to be more illustrative than abstract, with emphases put on creating realistic blends of diverse photo elements.
This is a newer form of fanart that has become more prevalent with the availability of computer graphics programs that allow artists to manipulate photos in many ways; such as cutting out characters from the background of one image and adding them to another, changing light and color of certain image elements, resizing entire areas, or creating an entirely new scene with elements extracted from a multitude of other images. Because the beginning manipper tends to start with easy-to-learn cut and paste techniques, their fanart may be easily recognized as manipulations, and can be unintentionally comical or even grotesque. This has led to a backlash against this fanart media from some fanart circles, similar in nature to the backlash against photography that occurred in artistic circles. Detractors often point to the simple techniques used by beginning manippers as evidence that manips are "simply cut-and-paste collages" or "simple recolorings of pre-existing photos" and, therefore, should not be considered art.
Whether manips, icons, wallpapers, or graphics should be considered "fanart" continues to be debated among fans.[12] [13] Another topic of debate is the whether manips cross a line into RPF and RPS. One fan in 2001 writes: "I have... seen some really explicit shots where the very recognisable actors' heads have been superimposed on bodies in very, very explicit poses. This really is beginning to worry me, as it seems an extension of actor slash. Somehow artwork never seems so bad, as it is obviously a work of imagination and creation... The dividing line seemed so much clearer. What do others think, especially given that the photo manipulations could be picked up by outsiders? Is it fair to the actors?" [14]
At this time, there is no common consensus and some art archives, notably the Harry Potter Archive Artistic Alley allow fanart of this type to be posted. On the other hand, the art archive deviantArt, for copyright reasons, has taken an official stance against such art, unless it can be proven that there is no copyright conflict.
Previously, photo manipulation was the prevalent art form in online movie and TV Show fandoms [15], though drawing, painting, and multimedia are starting to be shared online as well.
For more, see Manip.
3D Art
"3D" (or Three Dimensional) Art is a rarity in fandom. While dioramas do exist, combining drawn fan art with craft-style methods is even rarer. An exception is Laura Quiles "Star Wars:30 Years" art piece that offers three different views of Star Wars characters depending on where the viewer is positioned. The "Light Side" of the Force, the "Dark Side" of the Force and the combined straight on view. It won multiple awards at the 2007 MediaWest art show, including 'Best In Show,' 'Best SF,' and 'Best 3D."
Laura Quiles 3D art piece: "Star Wars: 30 Years." Full on view. Winner of multiple Art Show Awards at MediaWest 2007
Crafts, Textiles, and Metal Smithing
Fannish crafts are very diverse: They can be dioramas recreating canon (or fanfic) scenes[16][17][18], model building, sculptures[19] and dolls of characters, especially if there is no official merchandise such as in Calvin and Hobbes fandom[20], mobiles [21], even silicone sextoys[22], and of course all kinds of textile arts, such as cross-stitch[23] and fannish knitting.
An 10" x 8" cross stitched representation of a small section of the Atlantis Gate Room main window from a pattern designed by the stitcher
Paper cut outs by AshleyWolf featuring Team Free Will from the TV show Supernatural
Sculpture is not a very common fannish activity. Still, there are a few examples of this form of art.
from the 1982 MediaWest program book, some busts for sale
Allistair Gourlay is the artist; this bust of Spock won a prize in 1985 at Sol III
Photography is not commonly used as fanart in and of itself. In order to be fanart, the photograph is usually related to either Photomanipulation or fandom-specific costumes and is therefore more a part of those categories than fanart media in its own right. However, many fanartists find photographs and photography to be a valuable art tool.
- Creating costumes based on TV Shows, movies and cartoons is often termed "Cosplay" among fandom members. This form of fashion fanart tends to be especially prevalent among both anime- and sci-fi fandoms. Usually costumes are made to be worn at fandom specific conventions. Of the various fanart types, this is one of the least controversial when bought and sold. Typically, a studio will issue a Cease and Desist if a person is selling an unauthorized replica that is felt to be too exact.
- Some fans create fashion items to wear such as sweatshirts, vests, sweaters, t-shirts and hats.
There are many different kinds of fan videos.
- Vids are short videos composed of scenes taken from a movie or TV show and set to music. Vidding started in 1975, but really took off as an art form in the early 1980s with the rise of the home VCR. Fan videos were often shown as part of themed conventions; the other way to get vids was to send away in the mail for videocassettes. Vids were made with VCRs through the 1990s and into the 2000s, but recently advances in computer technology have resulted in an explosion of vids. Distribution has gotten easier as well; password-protected download sites have given way to more open modes of file distribution, and streaming sites like youtube and imeem are popular. Vids are less common among book-based fandoms; however, occasionally a fan vid will put fanart to music.
- Anime Music Videos, are similar in format to vids, but evolved as a separate tradition. AMV footage is most often taken from anime or game cut-scenes, but may be constructed with stills or fanart.
- Machinima videos are rendered in real-time by game engines.
- Fan films are videos in which the artist is actually creating footage to tell a story; in certain fandoms, notably the Star Trek ToS fandom, actual fan-made TV episodes have been produced and put online.
- Multimedia art is now becoming popular; examples include credit sequences, trailers[26], animated visual art [27], and multimedia-enriched fan fiction (fan fiction that integrates words, pictures, music, and video)[28].
Of all the fanart forms, fan videos, especially the ones composed of video clips set to music, have met with the most resistance from copyright holders. Viacom especially has taken exception to this fanart form, and as a result, streaming sites have taken vids down for violating copyright. However, not all media companies have taken this stance; e.g. the makers of Forever Knight included three vids by Kristin Harris as bonus materials on their Season 3 DVD release.
Fan comics
Fan comics have typically been more prevalent in Asia (as doujinshi) than in the USA; however, they are increasing in popularity each year. Typically a fan comic run is a limited run, often with only around 50 issues produced. This is to help avoid copyright conflict with the owner of the material the fan comic is based upon.
In live action fandoms fan comics are not always drawn, but are sometimes photo comics made from rearranged and cropped screencaps combined with text and speech balloons. These are usually published on the web, not as print comics. The same is often true for drawn fan comics in these fandoms, although they can have the same format and layout as print comics.[29] Online comics in live action fandoms often tell their story on a single page and parodies rarely need more than one panel.[30] Some live action fandoms have produced online comic strips that ran for several years.[31]
Counter-intuitively, fan comics are not noticeably more common in comics fandom, with the exception of pornographic het and femslash, produced by and for heterosexual male fans.
Selling Fanart
- See also Purchasing Fanworks.
Another fan notes that some ST artists were getting high prices from the sale of their art for fanfic when sold at conventions:Artwork! Am I the only person to think it's a tad unfair that fan artists make a packet out of their illos, while writers don't earn anything? Not that I'm in fandom to become stinking rich, I hasten to add! [32]
Another fan writes of what she felt to be a double-standard and how that propelled her to write a zine:[It seems] unfair and frankly quite discouraging that a good fan artist can make excellent money for his efforts and an equally good fan writer who sweats just as hard and long over a story gets nothing." [33]
One fan writes a letter about what she has heard about another zine, Energize!:Okay, I'll try to explain how this story came about. I suppose it's a lesson on the pitfalls of being a smartass. A long time ago (the spring of 1986), at IDICon in Houston, I thought it would be cute and clever to put a piece of art in the artshow. My artistic abilities are nonexistent, so this seemed an amusing way to make a point about inequity in fandom. So I drew two stick figures on a piece of typing paper, matted and entered it in the artshow under the title "Sour Grapes." Attached was a little note explaining that, as a writer, I could not legally sell my fan stories outright, but if anyone saw the deep, underlying passion and romance in the above illo, I might feel compelled to write them a short story. [34]
Some fans argue that the reason fanart has more perceived 'value' than fan writing (and therefore is a skill that can be sold) is that many fans do not see themselves as capable of doing fanart:Sure, it's a good zine, but I'd like to put in an anti-plug. The zine has a beautiful Kraith portfolio by Connie Faddis which all by itself make it worth buying. However, contrary to the usual fannish practice of returning the work to the artist (and a highly commendalbe one it is, too) [name redacted], didn't return Connie's originals. In fact, she even refused to answer letters about it, apparently feeling that they had become her property. Rumor has it (and this is only rumor) that she may have even destroyed the originals. Now, if nothing else, Connie could have sold those for a good deal of money, and she should certainly have the right to reprint the art as she desires. But [name redacted] printed her zine for one reason -- to make money, and having [the art] reprinted might cut down on her profits. [35]
Others disagree. In this excerpt from a discussion in early 1993, one fan says we should not confuse respect with the ability to charge money for fanworks:"There is much more value placed on jobs that we (personally) don't know how to do, than there is on jobs that we imagine we could step in and handle easily. The most common place this shows up in fandom is in the writer/ artist dichotomy. People put artists on pedestals, pay zillions of dollars for [prints] (essentially) xerox copies of their work, and very few people (myself included) see any problem with this. On the other hand, people think (and I have heard this said) "Well, anyone can write. That's not so special." Therefore, writers get only a trib copy for their story (in most cases), and not lot of respect.[36]
"It is true that most fans have a least started one story, and most fans haven't tried to draw T'Binky (ask me later) but I don't think the line between artists and writers is that clear cut. For one thing, really only the top couple of tiers of artists get that much respect. In media, that's Suzie, and Marty S. and Jean Kluge and Caren Parnes, maybe a couple of others on the top tier, and maybe 10 or so on the next tier, and that's all of media fandom. (since most 'slash' art is actually just redrawings of photos, and few of our boys have ever posed in the right way, artists don't have to be slash artists to make money from slash fans--but that's another discussion altogether). I think the top writers, M.Fae, Pam Rose, both lezlies, O Yardley, Ann & Leah, Melody, H.G., Meg Lewtan, people both prolific and good who write in big fandoms, get a comparable respect. (Not comparable money--but that's like saying, why is it easier to spend $400's on a couch that is just some padding over wood, and probably took a couple of days to make, than it is to pay $400 for a software program that took months if not years to develop. Why, because it is too damn easy to copy, as much as anything.)"[37]
Whether a fanart sale is accepted within a fandom usually depends on the question if the artist is acting within the bounds of acceptable fan behavior, or violating them. What is deemed "acceptable" can vary from fandom to fandom. [38] However, even pro-sale fans were shocked when Suzan Lovett sold her Starsky & Hutch art from the zine Timeless for $3,000 at the Zebracon art auction in 2003.
The same discussions about different standards for art and fic continue into the present. This fandom secret from 2009 reads"I hate that it's okay for fan artists to sell their art at anime conventions, or do commissions, but it's not okay for fan authors to do the same thing. Even selling it at cost is some sort of horrible taboo. Why the double standard fandom? Haven't fanfic writers worked just as hard as the fan artists? Is it because fan art is just more visually pleasing? Why is it okay for fan artists to sell art of characters they don't own, but it's not okay for fan authors to use characters and worlds that aren't their own and sell it. I'm not talking about publishing a fanfiction novel, just creating nice booklets to sell at conventions or online to those who want them. I think there are plenty of people who would like to have real copies of good fanfiction. Secret because I don't need the wank and drama voicing this opinion would bring me"[39]
In May 2011 the discussion was revived in Homestuck fandom when the webcomic's creator, Andrew Hussie, asked fans not to sell fanart without his explicit permission.[40]
Artistic Controversy
In the artistic community, fanart is often not seen as a legitimate form of artistic expression. This has led some fanartists to feel resentful of the art world.
The argument against fanart made by some artists, as well as from some other fans, is that the artwork is derivative and not original. Therefore, it does not show as much individuality and artist sensibilities as original artwork would.
The counter claim by fanartists is that fanart often contains an original expression and original idea by the artist even if the specific subject matter is not original and is no more derivative than, for example, artwork based on the Bible, on mythology, or historical events and people. They claim the negative bias is based more on the subject of their art than any artistic principles.
Some fan artists, at least in the past, felt that their art was treated in an inferior manner compared to fiction by zine eds, and as a result, also by fans. There is an essay titled "The Starving Artist Syndrome" by an uncredited author in Spectrum #33 (1977):
For some reason, artists in fandom do not have the status fanfic writers have. Treklit is the main staple of the Star Trek genzine and thus, a proportional amount of honor is paid to the authors in terms of kudos, notoriety, and rank... Artists have never quite figured in at the top of the status chart since art is usually secondary in a fanzine, sad to say, rather than working hand in hand..." She goes on to list of how fandom's artists are badly treated; poor printing of their work in zines, original artwork not returned to the artists, art published without permission in other places such as shirts and such, zine eds who use whiteout and other editing procedures on art... She recommends that fan artists band together and require that an informal contract between zine eds and artists be drawn up. "Although the contract idea does not solve all of the problems of art/artist abuse and handling of art, it does offer artists a defense against flagrant indifference on the part of faneds who never had any reason to give a damn one way or another...
Another fan sees an opposite problem, that of artists being treated "better" than writers due to the fact that their work is rarely "edited":
Remember that with a zine, an editor will often ask for changes to be made to stories submitted; that is not often done with artwork. I refuse to accept the latter as something sacred that must be included whatever its shortcomings. [41]
Legal Controversy
Fanart is not often the subject of legal controversy; however, it can be considered a form of copyright infringement, especially when sold. A copyright owner will often overlook small, one-time shows such as conventions. However, in 2006, Otakon attempted to ban fanart from the Artist Alley[42], which was the first major convention move against the selling of fanart.
Another highly visible incident of a company moving against a fanartist involved a Japanese doujinshi artist whose adult Pokémon doujinshi prompted Nintendo to take legal action against her. [43]
Such legal cases are still the exception rather than the rule; however, they serve as a reminder that the fanart is not necessarily the legal property of the fanartist and that copyright law and fair use and transformative defenses vary from country to country.
Still, more policing of fanart tends to be done by the fandom itself than by the property owners themselves.
Sharing Fan Art
- See Sharing Fanart.
In the days before digital fan art, sharing of fan art was limited to photocopies and the occasional print run. The steep costs of reproduction and low production quality available meant that the redistribution of fan art, both authorized and unauthorized, was highly restricted. To see fan art you either had to buy the zine, borrow a copy of the zine, or spend money to attend a convention where the art was displayed.
By the mid 2000s, more and more fan art, both scanned and born-digital, was appearing on fan websites. Without the fanzine publisher or convention art show as an intermediary, fan artists could, for the first time, communicate directly with their fan audience and get feedback about their fan art. However, easier access to fan art meant that there were no longer technological restrictions against sharing fanart. Instead, fannish norms in media fandom dictated that reposting or sharing fan art without permission was Not Done. In practice, fans did it anyway. This issue has been hotly debated.
Notable Fanart Shows and Auctions
Most fan conventions will have art shows and auctions. Notable ones include:
- Escapade
- A-kon
- Anime Expo
- DragonCon
- The HPEF Harry Potter conventions
Related Links
- Yuletart (external link)
- Deviantart (external link)
- Sheezyart (external link)
- Artisticalley (external link)
- Fanart: A guide to terminology by littlewolfstar
- What is Fan Art? by sockii
- ↑ from The K/S Press #139
- ↑ Laura's post in the alt.startrek.creative thread Fanzines and the Internet or Economy Outside dated 8 November 1998, accessed 17 June 2012
- ↑ from Not Tonight Spock! #11 (1985)
- ↑ WOLF 359, an archive and resource for SF 3D fanart, last updated 1997, accessed 21 Feb 2010
- ↑ Gnatkip. The Dragon, a HP fanart inspired by Pablo Picasso's Le Taureau series, created for the HP Fringeart imitation challenge. (accessed 20 Feb 2010). WebCite.
- ↑ Gnatkip. Dementoid, an abstract Harry Potter fanart in the style of Jackson Pollock's drip paintings, created for the HP Fringeart imitation challenge. (accessed 20 Feb 2010). WebCite.
- ↑ Example for a surrealist Snape/Harry piece by Froggie NSFW (accessed 12 Dec 2009). WebCite.
- ↑ Gnatkip. Sunday Afternoon on the Grounds of Hogwarts School, example for a pointillist Harry Potter fanart in the style of Seurat, created for the HP Fringeart imitation challenge. (accessed 20 Feb 2010). WebCite.
- ↑ minimalist TV series posters (accessed 21 Feb 2010)
- ↑ minimalist Star Wars posters (accessed 21 Feb 2010)
- ↑ tv/movie book cover designs(accessed 21 Feb 2010). WebCite.
- ↑ Glockgal. The WHAT IS FANART Poll. Posted 28 May 2007. (Accessed 3 October 2008). WebCite
- ↑ Beet. Fan art and Manipping. Posted 4 June 2007. (Accessed 3 October 2008). WebCite.
- ↑ from Discovered in a Letterbox #18
- ↑ Media fandom has a long history of art shows at conventions that pre-dates the internet.
- ↑ Laurelwood. A Quiet Evening at Home, a diorama showing Snape and Wormtail at Spinner's End. (accessed 20 Feb 2010). WebCites: artist notes and Diorama.
- ↑ Gnatkip. HP Art: Diorama: Classroom Eleven, a diorama of Firenze's Divination classroom (accessed 20 Feb 2010). WebCite.
- ↑ Tofty. Snape diorama (accessed 20 Feb 2010). WebCite.
- ↑ lymanalpha. various NSFW Star Trek sculptures in progress
- ↑ Several Calvin and Hobbes sculptures (accessed 20 Feb 2010). WebCite.
- ↑ Astridv. Stargate Atlantis: The Mobile. (accessed 20 Feb 2010). WebCite.
- ↑ Naked Bee. Batman's Utility Belt. (accessed 20 Feb 2010). WebCites: Journal post and Gallery
- ↑ Dalek Propaganda by Shae (accessed 1 June 2010). WebCite.
- ↑ Firefly Crew Sculptures on TervorGrove's DeviantArt page. accessed June 3, 2012.
- ↑ See other sculpture by Keropian here.
- ↑ Grrrindhouse, by Danegen
- ↑ Distance, Long by Bingeling and Dogeared, and The Tree by Newkidfan
- ↑ Missed the Saturday Dance by Zoetrope
- ↑ Chrome-Magnon. Artwork by Astrid, story by Shannon Fisher. This X-Files example from the 90's is a 30-page online comic book. (Accessed October 13 2008).
- ↑ Example: Stargate SG-1 Cartoons by Leah Rosenthal. (Accessed October 13 2008). WebCite.
- ↑ The Xena fan comic Battle On! by Jeanette Atwood ran from 1997 to 2000 and Little Xena and Little Gabrielle by Lucia Nobrega ran from 1999 to 2006. (Accessed 13 October 2008). WebCite and WebCite.
- ↑ from Discovered in a Letterbox #19
- ↑ from Interstat #22 (August 1979)
- ↑ from the author's preface of Arabian Nights
- ↑ a dust-up in the pages of Warped Space #21
- ↑ Megan Kent's post to the Virgule-L mailing list dated Feb 18, 1993, quoted with permission.
- ↑ Sandy Herrold's response to [Megan Kent]]'s statement, also posted to the Virgule-L mailing list, dated Feb 19, 1993, quoted with permission.
- ↑ An example for a post with a poll about the different opinions and some discussion of these positions in the comments is here: Miriam Heddy. Show Me The Money (a poll). Posted 23 July 2008. (Accessed 3 October 2008), now offline.
- ↑ fandomsecrets. Posted July 7th, 2009. (Accessed August 10, 2011.). WebCite.
- ↑ 28.5.2011, ANNOUNCEMENT: REGARDING THE SELLING OF MSPA STUFF by Lexxy, post explaining the new rules with quotes from Andrew, accessed 3.11.2011 and 28.5.2011, No Selling MSPA Stuff Without Andrew's Permission clarification and opinion on Lexxy's tumblr, accessed 3.11.2011
- ↑ from The Hatstand Express #14 (1987)
- ↑ Otakon Enforces Copyright at Artists' Alley; WebCte. See also Copyright Law for Dummies (and anime con attendees) dated Sept 15, 2005; (reference link).
- ↑ Regulating the Fringe: Waisetsu (Obscenity) Rules Doujinshi? (now offline)


text:
RFE: Conference Listings
This service is joint project of RFE and EconBiz.
- European Institute for Advanced Studies in Management EIASM
Dates: | December 08-09, 2011 |
Description: | 2ND WORKSHOP ON IN-DEPTH STUDIES IN ENTREPRENEURSHIP |
Location: | Brussels, Belgium |
Subject: | We invite papers in the broad field of in-depth studies on entrepreneurship and small-business management. Themes include: - Findings of studies on entrepreneurship and smallbusiness management using qualitative research methodology - Innovative approaches in qualitative research - In-depth studies and mixed methods - How to gain good theory out of qualitative in-depth studies? The challenge of theory building - Position of the researcher in the research process - Reflexivity and the production of the research subject - Subjectivity, rich data and analysis - The research community and the legitimization process of the study - Companies as partners: challenge and ethical questions - Using in-depth interviews - Diversity aspects: gender, ethnicity, age, culture as a basis of diversity - Female managers as leaders in small business - Cultures of companies as a in-depth study object - Triangulation and other sources for reliability - Study process: Thoughts on data collection, analysis, interpretation, and conclusions [gemäß den Informationen des Anbieters - according to site editor's information] |
JEL Code: | L |
URL: | http://www.eiasm.org/frontoffice/event_announcement.asp?event_id=813 |


text:
Minnesota Reflections
*hk lews ISIuptials Saturday RECEPTION GIVEN. C0-5A Popular Young People On a Motor Trip to the Yelloiv-) stone National Park.j on The wedding of Miss Helen Tews, daughter of Mr. and .Mrs F'. b\ Tews" of this place, and Dr, Almaii |Hagen, aIg,o of this- city, took place before an altar of greens and ca¬ thedral, candles in the living room of. tlie TewB Hotel on Saturday, Aug-i )Ust 10, at-four o'clock in the after- Jioon. ¦ , I The Bridal Chorus from Lohengfrin was played by Miss Elsie Gla^mer > pt Plainview, and' Mrs C B'Fawcett; <>f'this'city, sang 'I Love You Tru-i V ^ The brK^ was attended by Mrs Charles C Currier J4 (nee' Thelma .Tubbs,) who wore orange .chiffon "With a bouquet of roses and daisies. (iFhe bride was dressed in gold taf- ^ta catrying a' colonial bouquet-of xoaes, lilies • of the valley, sweet 'pe&s and babies breath; and a hand kerchief that was worn 75 years i before .by.iier grandmother. . The groom's gift, of a platinum pendant. with a diamond set in crystal ^as worn by' the bride. i • . F. Avt)'y Tews, brother of the' bride, was groomsman. The ceremony was solemnized be-' fore., members of the immediate fam-' ily and a few close friends, with thel Rev. C. E Mead of Dover.- officia¬ ting, assisted by the Rev. S L Rich¬ ards of thife Hty. ¦' " ' Immediately folIoTOng the serv-J ice a reception for tWo hundred) guests was held in the dining room of the hotel, served by>Mrs. F. Av- Jiry Tews,-Mrs W--^. Tysselirfg',^'*Mrs 'jRussell Johnson, Mrs Homer Wool- "c^dge, Mrs. Edward Wagner, -Mrs fG. E Fawcett, and the Misses • > I_ ;'' -;. a'- ^'^^j f^Iaxine Tews. ^Esther Benedict, T "Mr ard*liKs'''^fifai^Ta#artgd fjCatherine Cussons, Hel«n Hogenson,}a wedding trip which includes a vis-1 'and, Elmor, Engel, all of Stewart- iit,-to ¦' Yellowstone irNational ' ^ Park, ,viiie, , and Mrs Andrew-Siman, an^and after a/month;they, will-estab-' .aunt of the bnde from Sioux City, .jigh their; home in-Stewartville, in la., and Santa Monica,-California, .'thfe residence of Mrs H'S Patterson The dining roonf was decorated qj^ Lake^viewi-; ' -: ; n^ • ' : )» ^v(ith'asparagus fernsj baskets' of < ' ¦ - '' :; - • :; 7; - ..,v ^gardeniasj'i daisies and mangolds. 1 ' t' Both the bride and groom are j !'gEaduat«s ¦ of the University ot ', Minnesota, Mrs Hagen being a mem¬ ber of' the Kappa Delta Sorority. The groom has enjoyed a very successful practise of dentistry in our city for a number of years, andj the happy young - people •- have a| veify' large acquairitan
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text:
Buy Today: UnitedHealth Group Inc's Buy Recommendation Reiterated
Editor's Note: Any reference to TheStreet Ratings and its underlying recommendation does not reflect the opinion of TheStreet, Inc. or any of its contributors including Jim Cramer or Stephanie Link.NEW YORK (TheStreet) -- UnitedHealth Group (NYSE:UNH) has been reiterated by TheStreet Ratings as a buy with a ratings score of A. The company's strengths can be seen in multiple areas, such as its revenue growth, solid stock price performance, growth in earnings per share, largely solid financial position with reasonable debt levels by most measures and notable return on equity. We feel these strengths outweigh the fact that the company shows weak operating cash flow.Highlights from the ratings report include:
- UNH's revenue growth has slightly outpaced the industry average of 4.0%. Since the same quarter one year prior, revenues rose by 11.5%. Growth in the company's revenue appears to have helped boost the earnings per share.
- Investors have apparently begun to recognize positive factors similar to those we have mentioned in this report, including earnings growth. This has helped drive up the company's shares by a sharp 36.40% over the past year, a rise that has exceeded that of the S&P 500 Index. Regarding the stock's future course, although almost any stock can fall in a broad market decline, UNH should continue to move higher despite the fact that it has already enjoyed a very nice gain in the past year.
- UNITEDHEALTH GROUP INC has improved earnings per share by 10.2% in the most recent quarter compared to the same quarter a year ago. The company has demonstrated a pattern of positive earnings per share growth over the past two years. We feel that this trend should continue. During the past fiscal year, UNITEDHEALTH GROUP INC increased its bottom line by earning $5.28 versus $4.72 in the prior year. This year, the market expects an improvement in earnings ($5.50 versus $5.28).
- The current debt-to-equity ratio, 0.53, is low and is below the industry average, implying that there has been successful management of debt levels. Despite the fact that UNH's debt-to-equity ratio is low, the quick ratio, which is currently 0.64, displays a potential problem in covering short-term cash needs.
- The company's current return on equity has slightly decreased from the same quarter one year prior. This implies a minor weakness in the organization. Compared to other companies in the Health Care Providers & Services industry and the overall market, UNITEDHEALTH GROUP INC's return on equity exceeds that of both the industry average and the S&P 500.
--Written by a member of TheStreet Ratings Staff.STOCKS TO BUY: TheStreet Quant Ratings has identified a handful of stocks that can potentially TRIPLE in the next 12-months. Learn more.
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text:
This one has got me stumped. I stumbled upon this issue while I was trying to connect my wife's EEE PC Seashell series 1015PEM to our WD TV Live box through Samba. I successfully connected a Dell Inspiron B130 and a Toshiba Portege M500 to the WD TV Live through Samba (when I say I connected them, I mean I have setup the /etc/samba/smb.conf files on both machines with a network share that the WD TV Live player can "see" and connect to and play files from). When I realized the WD TV Live player couldn't see the EEE PC samba share, I started investigating it with the other machines, and I've come to realize that the Toshiba and Dell computers can see and connect to each other's shares, however the EEE PC can only see and connect to it's own shares (this is through the network view in the Unity and LXDE DE's). However, if I run the smbclient -L [ip_address_of_EEE_PC_machine] it can sometimes see the shares and sometimes not. What makes this problem even stranger is that I cannot ping the EEE PC machine from either the DELL or Toshiba (I get a "DESTINATION HOST UNREACHABLE" error), UNTIL I first ping either computer from the EEE PC (which does work). Once I ping one of the other computers from the EEE PC, then if I retry pinging the EEE PC from either computer, it works...but only for a limited amount of time (like > 5 minutes).
I've looked at the /etc/dhcp/dhclient.conf file, thinking it may be a problem with dhcp somehow. I've even modified my /etc/network/interfaces file so that the ip address is static and doesn't need dhcp at all, neither of these things helped.
I have copied over the smb.conf file from the DELL (which is working) to the EEE PC, but it didn't fix anything. The network interface for wireless on the EEE PC is eth2 whereas it is wlan0 on the Toshiba and the DELL. I'll put the output of ifconfig and my smb.conf file on the EEE PC below.
I should specify that all 3 machines are running the same version of Ubuntu - Ubuntu 12.04 LTS and Samba is the same version on all 3 as well, 3.6.3
eth0 Link encap:Ethernet HWaddr bc:ae:c5:05:d1:a4
UP BROADCAST MULTICAST MTU:1500 Metric:1
RX packets:0 errors:0 dropped:0 overruns:0 frame:0
TX packets:0 errors:0 dropped:0 overruns:0 carrier:0
collisions:0 txqueuelen:1000
RX bytes:0 (0.0 B) TX bytes:0 (0.0 B)
eth2 Link encap:Ethernet HWaddr 48:5d:60:55:71:34
inet addr:192.168.1.3 Bcast:192.168.1.255 Mask:255.255.255.0
inet6 addr: fe80::4a5d:60ff:fe55:7134/64 Scope:Link
UP BROADCAST RUNNING MULTICAST MTU:1500 Metric:1
RX packets:23033 errors:40 dropped:0 overruns:0 frame:91216
TX packets:14809 errors:114 dropped:0 overruns:0 carrier:0
collisions:0 txqueuelen:1000
RX bytes:29038633 (29.0 MB) TX bytes:1824731 (1.8 MB)
Interrupt:17 Base address:0xc000
lo Link encap:Local Loopback
inet addr:127.0.0.1 Mask:255.0.0.0
inet6 addr: ::1/128 Scope:Host
UP LOOPBACK RUNNING MTU:16436 Metric:1
RX packets:1460 errors:0 dropped:0 overruns:0 frame:0
TX packets:1460 errors:0 dropped:0 overruns:0 carrier:0
collisions:0 txqueuelen:0
RX bytes:180424 (180.4 KB) TX bytes:180424 (180.4 KB)
# Sample configuration file for the Samba suite for Debian GNU/Linux.
# This is the main Samba configuration file. You should read the
# smb.conf(5) manual page in order to understand the options listed
# here. Samba has a huge number of configurable options most of which
# are not shown in this example
# Some options that are often worth tuning have been included as
# commented-out examples in this file.
# - When such options are commented with ";", the proposed setting
# differs from the default Samba behaviour
# - When commented with "#", the proposed setting is the default
# behaviour of Samba but the option is considered important
# enough to be mentioned here
# NOTE: Whenever you modify this file you should run the command
# "testparm" to check that you have not made any basic syntactic
# errors.
# A well-established practice is to name the original file
# "smb.conf.master" and create the "real" config file with
# testparm -s smb.conf.master >smb.conf
# This minimizes the size of the really used smb.conf file
# which, according to the Samba Team, impacts performance
# However, use this with caution if your smb.conf file contains nested
# "include" statements. See Debian bug #483187 for a case
# where using a master file is not a good idea.
#======================= Global Settings =======================
name resolve order = bcast
## Browsing/Identification ###
# Change this to the workgroup/NT-domain name your Samba server will part of
workgroup = WORKGROUP
# server string is the equivalent of the NT Description field
server string = %h server (Samba, Ubuntu)
# Windows Internet Name Serving Support Section:
# WINS Support - Tells the NMBD component of Samba to enable its WINS Server
# wins support = no
# WINS Server - Tells the NMBD components of Samba to be a WINS Client
# Note: Samba can be either a WINS Server, or a WINS Client, but NOT both
; wins server = w.x.y.z
# This will prevent nmbd to search for NetBIOS names through DNS.
dns proxy = no
# What naming service and in what order should we use to resolve host names
# to IP addresses
; name resolve order = lmhosts host wins bcast
#### Networking ####
# The specific set of interfaces / networks to bind to
# This can be either the interface name or an IP address/netmask;
# interface names are normally preferred
; interfaces = 127.0.0.0/8 eth2
# Only bind to the named interfaces and/or networks; you must use the
# 'interfaces' option above to use this.
# It is recommended that you enable this feature if your Samba machine is
# not protected by a firewall or is a firewall itself. However, this
# option cannot handle dynamic or non-broadcast interfaces correctly.
; bind interfaces only = yes
#### Debugging/Accounting ####
# This tells Samba to use a separate log file for each machine
# that connects
log file = /var/log/samba/log.%m
# Cap the size of the individual log files (in KiB).
max log size = 1000
# If you want Samba to only log through syslog then set the following
# parameter to 'yes'.
# syslog only = no
# We want Samba to log a minimum amount of information to syslog. Everything
# should go to /var/log/samba/log.{smbd,nmbd} instead. If you want to log
# through syslog you should set the following parameter to something higher.
syslog = 0
# Do something sensible when Samba crashes: mail the admin a backtrace
panic action = /usr/share/samba/panic-action %d
####### Authentication #######
# "security = user" is always a good idea. This will require a Unix account
# in this server for every user accessing the server. See
# /usr/share/doc/samba-doc/htmldocs/Samba3-HOWTO/ServerType.html
# in the samba-doc package for details.
security = user
# You may wish to use password encryption. See the section on
# 'encrypt passwords' in the smb.conf(5) manpage before enabling.
encrypt passwords = true
# If you are using encrypted passwords, Samba will need to know what
# password database type you are using.
passdb backend = tdbsam
obey pam restrictions = yes
# This boolean parameter controls whether Samba attempts to sync the Unix
# password with the SMB password when the encrypted SMB password in the
# passdb is changed.
unix password sync = yes
# For Unix password sync to work on a Debian GNU/Linux system, the following
# parameters must be set (thanks to Ian Kahan <<email@example.com> for
# sending the correct chat script for the passwd program in Debian Sarge).
passwd program = /usr/bin/passwd %u
passwd chat = *Enter\snew\s*\spassword:* %n\n *Retype\snew\s*\spassword:* %n\n *password\supdated\ssuccessfully* .
# This boolean controls whether PAM will be used for password changes
# when requested by an SMB client instead of the program listed in
# 'passwd program'. The default is 'no'.
pam password change = yes
# This option controls how unsuccessful authentication attempts are mapped
# to anonymous connections
map to guest = bad user
########## Domains ###########
# Is this machine able to authenticate users. Both PDC and BDC
# must have this setting enabled. If you are the BDC you must
# change the 'domain master' setting to no
; domain logons = yes
# The following setting only takes effect if 'domain logons' is set
# It specifies the location of the user's profile directory
# from the client point of view)
# The following required a [profiles] share to be setup on the
# samba server (see below)
; logon path = \\%N\profiles\%U
# Another common choice is storing the profile in the user's home directory
# (this is Samba's default)
# logon path = \\%N\%U\profile
# The following setting only takes effect if 'domain logons' is set
# It specifies the location of a user's home directory (from the client
# point of view)
; logon drive = H:
# logon home = \\%N\%U
# The following setting only takes effect if 'domain logons' is set
# It specifies the script to run during logon. The script must be stored
# in the [netlogon] share
# NOTE: Must be store in 'DOS' file format convention
; logon script = logon.cmd
# This allows Unix users to be created on the domain controller via the SAMR
# RPC pipe. The example command creates a user account with a disabled Unix
# password; please adapt to your needs
; add user script = /usr/sbin/adduser --quiet --disabled-password --gecos "" %u
# This allows machine accounts to be created on the domain controller via the
# SAMR RPC pipe.
# The following assumes a "machines" group exists on the system
; add machine script = /usr/sbin/useradd -g machines -c "%u machine account" -d /var/lib/samba -s /bin/false %u
# This allows Unix groups to be created on the domain controller via the SAMR
# RPC pipe.
; add group script = /usr/sbin/addgroup --force-badname %g
########## Printing ##########
# If you want to automatically load your printer list rather
# than setting them up individually then you'll need this
# load printers = yes
# lpr(ng) printing. You may wish to override the location of the
# printcap file
; printing = bsd
; printcap name = /etc/printcap
# CUPS printing. See also the cupsaddsmb(8) manpage in the
# cupsys-client package.
; printing = cups
; printcap name = cups
############ Misc ############
# Using the following line enables you to customise your configuration
# on a per machine basis. The %m gets replaced with the netbios name
# of the machine that is connecting
; include = /home/samba/etc/smb.conf.%m
# Most people will find that this option gives better performance.
# See smb.conf(5) and /usr/share/doc/samba-doc/htmldocs/Samba3-HOWTO/speed.html
# for details
# You may want to add the following on a Linux system:
# socket options = TCP_NODELAY
# The following parameter is useful only if you have the linpopup package
# installed. The samba maintainer and the linpopup maintainer are
# working to ease installation and configuration of linpopup and samba.
; message command = /bin/sh -c '/usr/bin/linpopup "%f" "%m" %s; rm %s' &
# Domain Master specifies Samba to be the Domain Master Browser. If this
# machine will be configured as a BDC (a secondary logon server), you
# must set this to 'no'; otherwise, the default behavior is recommended.
# domain master = auto
# Some defaults for winbind (make sure you're not using the ranges
# for something else.)
; idmap uid = 10000-20000
; idmap gid = 10000-20000
; template shell = /bin/bash
# The following was the default behaviour in sarge,
# but samba upstream reverted the default because it might induce
# performance issues in large organizations.
# See Debian bug #368251 for some of the consequences of *not*
# having this setting and smb.conf(5) for details.
; winbind enum groups = yes
; winbind enum users = yes
# Setup usershare options to enable non-root users to share folders
# with the net usershare command.
# Maximum number of usershare. 0 (default) means that usershare is disabled.
; usershare max shares = 100
# Allow users who've been granted usershare privileges to create
# public shares, not just authenticated ones
usershare allow guests = yes
#======================= Share Definitions =======================
# Un-comment the following (and tweak the other settings below to suit)
# to enable the default home directory shares. This will share each
# user's home director as \\server\username
; comment = Home Directories
; browseable = no
# By default, the home directories are exported read-only. Change the
# next parameter to 'no' if you want to be able to write to them.
; read only = yes
# File creation mask is set to 0700 for security reasons. If you want to
# create files with group=rw permissions, set next parameter to 0775.
; create mask = 0700
# Directory creation mask is set to 0700 for security reasons. If you want to
# create dirs. with group=rw permissions, set next parameter to 0775.
; directory mask = 0700
# By default, \\server\username shares can be connected to by anyone
# with access to the samba server. Un-comment the following parameter
# to make sure that only "username" can connect to \\server\username
# The following parameter makes sure that only "username" can connect
# This might need tweaking when using external authentication schemes
; valid users = %S
# Un-comment the following and create the netlogon directory for Domain Logons
# (you need to configure Samba to act as a domain controller too.)
; comment = Network Logon Service
; path = /home/samba/netlogon
; guest ok = yes
; read only = yes
# Un-comment the following and create the profiles directory to store
# users profiles (see the "logon path" option above)
# (you need to configure Samba to act as a domain controller too.)
# The path below should be writable by all users so that their
# profile directory may be created the first time they log on
; comment = Users profiles
; path = /home/samba/profiles
; guest ok = no
; browseable = no
; create mask = 0600
; directory mask = 0700
comment = Evie's SMB share folder
browseable = yes
path = /home/evie/Desktop/smb-evie
guest ok = no
read only = no
create mask = 0755
directory mask = 0755
comment = All Printers
browseable = no
path = /var/spool/samba
printable = yes
guest ok = no
read only = yes
create mask = 0700
# Windows clients look for this share name as a source of downloadable
# printer drivers
comment = Printer Drivers
path = /var/lib/samba/printers
browseable = yes
read only = yes
guest ok = no
# Uncomment to allow remote administration of Windows print drivers.
# You may need to replace 'lpadmin' with the name of the group your
# admin users are members of.
# Please note that you also need to set appropriate Unix permissions
# to the drivers directory for these users to have write rights in it
; write list = root, @lpadmin
# A sample share for sharing your CD-ROM with others.
; comment = Samba server's CD-ROM
; read only = yes
; locking = no
; path = /cdrom
; guest ok = yes
# The next two parameters show how to auto-mount a CD-ROM when the
# cdrom share is accesed. For this to work /etc/fstab must contain
# an entry like this:
# /dev/scd0 /cdrom iso9660 defaults,noauto,ro,user 0 0
# The CD-ROM gets unmounted automatically after the connection to the
# If you don't want to use auto-mounting/unmounting make sure the CD
# is mounted on /cdrom
; preexec = /bin/mount /cdrom
; postexec = /bin/umount /cdrom