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Tony Jackson (pianist)

Antonio Junius "Tony" Jackson (October 25, 1882 – April 20, 1921) was an American pianist, singer, and composer.

Early life
Jackson was born to a poor African American family in Uptown New Orleans, Louisiana on October 25, 1882. While some sources claim birth dates back to 1876, and a June 5 date, this was likely an error made by his sister Luvina in a later interview, when she appears to have quoted their sister Ida's birth information. Tony did not appear in the 1880 Federal census unlike his older sisters. He was born a twin, along with Prince Albert Jackson, who died in New Orleans on January 5, 1884, at fourteen months of age, further reinforcing the October 1882 birth date as correct. The 1900 Federal census further reinforces the year and month of birth as October 1882, and his 1918 draft record shows a birth date of October 25, although the year reads 1884. His parents were freed slaves. Jackson was epileptic from birth.

Tony showed musical talents at a young age. At about the age of 10 he reportedly constructed a type of crude but working and properly tuned harpsichord out of junk in his back yard, since his family lacked the money to buy or rent a piano. On this contraption young Tony was able to reproduce hymns he heard in church; news of this accomplishment soon spread around the neighborhood and he was offered use of neighbors' pianos and reed organs to practice on. Jackson got his first musical job at age 13, when he began playing piano during off hours at a Tonk run by bandleader Adam Olivier.

Career
Jackson became the most popular and sought after entertainer in Storyville. He was said to be able to remember and play any tune he had heard once, and was hardly ever stumped by obscure requests. His repertory included ragtime, cakewalks (one of his show stopping tricks was to dance a high kicking cakewalk while playing the piano), popular songs of the day from the United States and various nations of Europe and Latin America, blues, and light classics. He was also "openly, almost defiantly homosexual." After hours, he would go with friends to The Frenchman's saloon, which catered to musicians and cross-dressers.

His singing voice was also exceptional, and he was said to be able to sing operatic parts from baritone to soprano range. Fellow musicians and singers were universal in their praise of Jackson, most calling him "the greatest", and even the far-from-modest Jelly Roll Morton ranked Jackson as the only musician better than Morton himself. Morton met Jackson in 1906. Jackson became a mentor to Morton. Jackson also wrote many original tunes, a number of which he sold rights to for a few dollars or were simply stolen from him; some of the old time New Orleans musicians said that some well known Tin Pan Alley pop tunes of the era were actually written by Jackson.

Clarence Williams noted "He was great because he was original in all his improvisations... We all copied him." More than Jackson's music was copied: he was always well dressed. Jackson dressed himself with a pearl gray derby, checkered vest, ascot tie with a diamond stickpin, with sleeve garters on his arms to hold up his cuffs as he played. This became a standard outfit for ragtime and barrelhouse pianists; as one commented "If you can't play like Tony Jackson, at least you can look like him".

Later career and death
Jackson moved to Chicago hoping to have more of an influence on his career. He was also looking for more freedom in his personal life, since being gay was difficult in New Orleans. He lived in an apartment on Wabash Avenue with several members of his family and later they all moved to South State Street.

One of the few tunes published with Jackson's name on it, "Pretty Baby" came out in 1916, although he was remembered performing the song before he left New Orleans and may have written it in 1911. The original lyrics of "Pretty Baby" were said to refer to his male lover of the time. The song inspired the 1978 eponymous film by Louis Malle.

Jackson was resident performer at the De Luxe and Pekin Cafes in Chicago, although in his later years, his voice and dexterity were impaired by disease. Although it has been cited by some as syphilis, the diagnosis at the time of his death was the more likely cirrhosis of the liver which had been progressing for years, in addition to chronic epilepsy. His friends knew that his health was poor and they held a benefit for him on February 17, 1921, calling it the "All Star Tony Jackson Testimonial" and raising $325 for Jackson. He died in Chicago on April 20, 1921.

Jackson's piano rolls can still be heard today and portions of his style are no doubt found in the recordings of younger musicians he influenced, like Jelly Roll Morton, Clarence Williams, and Steve Lewis. In 2011, the Chicago Gay and Lesbian Hall of Fame inducted Jackson into the hall. Jackson was honored for his musical contributions and for living "as an openly gay man when that was rare".

Fictional portrayals
The play Don't You Leave Me Here by Clare Brown, which premiered at West Yorkshire Playhouse in September 2008, deals with his relationship with Jelly Roll Morton.

Jackson appears as a minor character in David Fulmer's Storyville novel Chasing the Devil's Tail.

title: Tony Jackson (pianist)


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United Artists

United Artists Corporation (UA) was an American production and distribution company founded in 1919 by Charlie Chaplin, D.W. Griffith, Mary Pickford and Douglas Fairbanks as a venture premised on allowing actors to control their own financial and artistic interests rather than being dependent upon commercial studios.

After numerous ownership and structural changes and revamps, United Artists was acquired by media conglomerate Metro-Goldwyn-Mayer (MGM) in 1981 for a reported $350 million ($ billion today). On September 22, 2014, MGM acquired a controlling interest in One Three Media and Lightworkers Media and merged them to revive the television production unit of United Artists as United Artists Media Group (UAMG). MGM itself acquired UAMG on December 14, 2015, and folded it into their own television division.

MGM briefly revived the United Artists brand name under United Artists Digital Studios for the Stargate Origins web series as part of its Stargate franchise but retired it after 2019 and used their eponymous MGM brand instead for its new subsequent content releases.

A local joint distribution venture between MGM and Annapurna Pictures launched on October 31, 2017 was rebranded as United Artists Releasing on February 5, 2019, in honor of its 100th anniversary. However, the new parent company of MGM, Amazon, folded it into MGM on March 4, 2023, citing "newfound theatrical release opportunities" following the box-office opening success of Creed III. The company exists largely in-name-only.

Early years

In 1918, Charlie Chaplin could not get his parent company First National Pictures to increase his production budget despite being one of their top producers. Mary Pickford and Douglas Fairbanks had their own contracts, with First National and Famous Players–Lasky respectively, but these were due to run out with no clear offers forthcoming. Sydney Chaplin, brother and business manager for Charlie, deduced something was going wrong, and contacted Pickford and Fairbanks. Together they hired a private detective, who discovered a plan to merge all production companies and to lock in "exhibition companies" to a series of five-year contracts.

Chaplin, Pickford, Fairbanks, and D. W. Griffith incorporated United Artists as a joint venture company on February 5, 1919. Each held a 25 percent stake in the preferred shares and a 20 percent stake in the common shares of the joint venture, with the remaining 20 percent of common shares held by lawyer and advisor William Gibbs McAdoo. The idea for the venture originated with Fairbanks, Chaplin, Pickford and cowboy star William S. Hart a year earlier. Already Hollywood veterans, the four stars talked of forming their own company to better control their own work.

They were spurred on by established Hollywood producers and distributors who were tightening their control over actor salaries and creative decisions, a process that evolved into the studio system. With the addition of Griffith, planning began, but Hart bowed out before anything was formalized. When he heard about their scheme, Richard A. Rowland, head of Metro Pictures, apparently said, "The inmates are taking over the asylum." The four partners, with advice from McAdoo (son-in-law and former Treasury Secretary of then-President Woodrow Wilson), formed their distribution company. Hiram Abrams was its first managing director, and the company established its headquarters at 729 Seventh Avenue in New York City.

The original terms called for each star to produce five pictures a year. By the time the company was operational in 1921, feature films were becoming more expensive and polished, and running times had settled at around ninety minutes (eight reels). The original goal was thus abandoned.

UA's first production, His Majesty, the American, written by and starring Fairbanks, was a success. Funding for movies was limited. Without selling stock to the public like other studios, all United had for finance was weekly prepayment installments from theater owners for upcoming movies. As a result, production was slow, and the company distributed an average of only five films a year in its first five years.

By 1924, Griffith had dropped out, and the company was facing a crisis. Veteran producer Joseph Schenck was hired as president. He had produced pictures for a decade, and brought commitments for films starring his wife, Norma Talmadge, his sister-in-law, Constance Talmadge, and his brother-in-law, Buster Keaton. Contracts were signed with independent producers, including Samuel Goldwyn, and Howard Hughes. In 1933, Schenck organized a new company with Darryl F. Zanuck, called Twentieth Century Pictures, which soon provided four pictures a year, forming half of UA's schedule.

Schenck formed a separate partnership with Pickford and Chaplin to buy and build theaters under the United Artists name. They began international operations, first in Canada, and then in Mexico. By the end of the 1930s, United Artists was represented in over 40 countries.

When he was denied an ownership share in 1935, Schenck resigned. He set up 20th Century Pictures' merger with Fox Film Corporation to form 20th Century Fox. Al Lichtman succeeded Schenck as company president. Other independent producers distributed through United Artists in the 1930s including Walt Disney Productions, Alexander Korda, Hal Roach, David O. Selznick, and Walter Wanger. As the years passed, and the dynamics of the business changed, these "producing partners" drifted away. Samuel Goldwyn Productions and Disney went to RKO and Wanger to Universal Pictures.

In the late 1930s, UA turned a profit. Goldwyn was providing most of the output for distribution. He sued United several times for disputed compensation leading him to leave. MGM's 1939 hit Gone with the Wind was supposed to be a UA release except that Selznick wanted Clark Gable, who was under contract to MGM, to play Rhett Butler. Also that year, Fairbanks died.

UA became embroiled in lawsuits with Selznick over his distribution of some films through RKO. Selznick considered UA's operation sloppy, and left to start his own distribution arm.

In the 1940s, United Artists was losing money because of poorly received pictures. Cinema attendance continued to decline as television became more popular. The company sold its Mexican releasing division to Crédito Cinematográfico Mexicano, a local company.

Society of Independent Motion Picture Producers (1940s and 1950s)
In 1941, Pickford, Chaplin, Disney, Orson Welles, Goldwyn, Selznick, Alexander Korda, and Wanger—many of whom were members of United Artists—formed the Society of Independent Motion Picture Producers (SIMPP). Later members included Hunt Stromberg, William Cagney, Sol Lesser, and Hal Roach.

The Society aimed to advance the interests of independent producers in an industry controlled by the studio system. SIMPP fought to end what were considered to be anti-competitive practices by the seven major film studios—Loew's (MGM), Columbia Pictures, Paramount Pictures, Universal Pictures, RKO Radio Pictures, 20th Century Fox, and Warner Bros./First National—that controlled the production, distribution, and exhibition of motion pictures.

In 1942, SIMPP filed an antitrust suit against Paramount's United Detroit Theatres. The complaint accused Paramount of conspiracy to control first-and subsequent-run theaters in Detroit. This was the first antitrust suit brought by producers against exhibitors that alleged monopoly and restraint of trade. In 1948, the U.S. Supreme Court Paramount Decision ordered the major Hollywood movie studios to sell their theater chains and to end certain anti-competitive practices. This court ruling ended the studio system.

By 1958, SIMPP had achieved many of the goals that led to its creation, and the group ceased operations.

Krim and Benjamin
Needing a turnaround, Pickford and Chaplin hired Paul V. McNutt in 1950, a former governor of Indiana, as chairman and Frank L. McNamee as president. McNutt did not have the skill to solve UA's financial problems and the pair was replaced after only a few months.

On February 15, 1951, lawyers-turned-producers Arthur B. Krim (of Eagle-Lion Films), Robert Benjamin and Matty Fox approached Pickford and Chaplin with a wild idea: let them take over United Artists for ten years. If UA was profitable in one of the next three years, they would have the option to acquire half the company by the end of the ten years and take full control. Fox Film Corporation president Spyros Skouras extended United Artists a $3 million loan through Krim and Benjamin's efforts.

In taking over UA, Krim and Benjamin created the first studio without an actual "studio". Primarily acting as bankers, they offered money to independent producers. UA leased space at the Pickford/Fairbanks Studio but did not own a studio lot. Thus UA did not have the overhead, the maintenance, or the expensive production staff at other studios.

Among their first clients were Sam Spiegel and John Huston, whose Horizon Productions gave UA one major hit, The African Queen (1951) and a substantial success, Moulin Rouge (1952). As well as The African Queen UA also had success with High Noon in their first year, earning a profit of $313,000 compared to a loss of $871,000 the previous year. Other clients followed, among them Stanley Kramer, Otto Preminger, Hecht-Hill-Lancaster Productions, and actors newly freed from studio contracts and seeking to produce or direct their own films.

With the instability in the film industry due to theater divestment, the business was considered risky. In 1955, movie attendance reached its lowest level since 1923. Chaplin sold his 25 percent share during this crisis to Krim and Benjamin for $1.1 million, followed a year later by Pickford who sold her share for $3 million.

In the late 1950s, United Artists produced two modest films that became financial and critical successes for the company. The company made Marty which won 1955's Palme d'Or and Best Picture Oscar. 12 Angry Men (1957) which according to Krim before home video, was being seen on TV 24 hours a day, 365 days a year some place in the world. By 1958, UA was making annual profits of $3 million a year.

Public company
United Artists went public in 1957 with a $17 million stock and debenture offering. The company was averaging 50 films a year. In 1958, UA acquired Ilya Lopert's Lopert Pictures Corporation, which released foreign films that attracted criticism or had censorship problems.

In 1957, UA created United Artists Records Corporation and United Artists Music Corporation after an unsuccessful attempt to buy a record company. In 1968, UA Records merged with Liberty Records, along with its many subsidiary labels such as Imperial Records and Dolton Records. In 1972, the group was consolidated into one entity as United Artists Records and in 1979, EMI acquired the division which included Blue Note Records.

In 1959, after failing to sell several pilots, United Artists offered its first ever television series, The Troubleshooters, and later released its first sitcom, The Dennis O'Keefe Show.

In the 1960s, mainstream studios fell into decline and some were acquired or diversified. UA prospered while winning 11 Academy Awards, including five for Best Picture, adding relationships with the Mirisch brothers, Billy Wilder, Joseph E. Levine and others. In 1961, United Artists released West Side Story, which won ten Academy Awards (including Best Picture).

In 1960, UA purchased Ziv Television Programs. UA's television division was responsible for shows such as Gilligan's Island, The Fugitive, Outer Limits, and The Patty Duke Show. The television unit had begun to build up a profitable rental library, including Associated Artists Productions, owners of Warner Bros. pre-1950 features, shorts and cartoons and 231 Popeye cartoon shorts purchased from Paramount Pictures in 1958, becoming United Artists Associated, its distribution division.

In 1963, UA released two Stanley Kramer films, It's A Mad, Mad, Mad, Mad World and A Child Is Waiting. In 1964, UA introduced U.S. film audiences to the Beatles by releasing A Hard Day's Night (1964) and Help! (1965).

At the same time, it backed two expatriate North Americans in Britain, who had acquired screen rights to Ian Fleming's James Bond novels. For $1 million, UA backed Harry Saltzman and Albert Broccoli's Dr. No in 1963 and launched the James Bond franchise. The franchise outlived UA's time as a major studio, continuing half a century later. Other successful projects backed in this period included the Pink Panther series, which began in 1964, and Spaghetti Westerns, which made a star of Clint Eastwood in the films of A Fistful of Dollars, For a Few Dollars More and The Good, The Bad and The Ugly.

In 1964, the French subsidiary, Les Productions Artistes Associés, released its first production That Man from Rio.

In 1965, UA released the anticipated George Stevens' production of The Greatest Story Ever Told and was at the time, the most expensive film which was budgeted at $20 million. Max Von Sydow, in the role of Jesus Christ, led an all-star cast which included Charlton Heston, Roddy McDowell, Martin Landau, Dorothy McGuire, Sal Mineo, Ina Balin, Joanna Dunham, David McCallum, Nehemiah Persoff, Donald Pleasence, José Ferrer and Ed Wynn. The film did not make back its budget and was released to mixed critical receptions. But it has since been acclaimed as a classic by audiences around the world for being admirably inspired in its attempt to be faithful to the four books of the New Testament in the Holy Bible as well as the book of the same name by Fulton Oursler and the radio program which ran from 1947 to 1956. The Greatest Story Ever Told received five Academy Award nominations in 1965 and was also listed among the "Top 10 Films of the Year" by the National Board of Review.

Transamerica subsidiary
On the basis of its film and television hits, in 1967, Transamerica Corporation purchased 98 percent of UA's stock. Transamerica selected David and Arnold Picker to lead its studio. UA debuted a new logo incorporating the parent company's striped T emblem and the tagline "Entertainment from Transamerica Corporation". This wording was later shortened to "A Transamerica Company". The following year, in 1968, United Artists Associated was reincorporated as United Artists Television Distribution. In 1970, UA lost $35 million, and the Pickers were pushed aside for the return of Krim and Benjamin.

UA released another Best Picture Oscar winner in 1967, In the Heat of the Night and a nominee for Best Picture, The Graduate, an Embassy production that UA distributed overseas.

Other successful pictures included the 1971 screen version of Fiddler on the Roof. However, the 1972 film version of Man of La Mancha was a failure. New talent was encouraged, including Woody Allen, Robert Altman, Sylvester Stallone, Saul Zaentz, Miloš Forman, and Brian De Palma. With UA being the distributor for Woody Allen's Bananas (1971), it started as the distributor for a series of Woody Allen films. With the James Bond, Pink Panther, and Woody Allen films, UA had a series of films based on well known characters in the 1970s.

In 1973, United Artists took over the sales and distribution of MGM's films in Anglo-America. Cinema International Corporation assumed international distribution rights for MGM's films and carried on to United International Pictures (made from CIC and UA's International assets being owned by partner MGM) in the 1980s. As part of the deal, UA acquired MGM's music publishing operation, Robbins, Feist, Miller.

In 1975, Harry Saltzman sold UA his 50 percent stake in Danjaq, the holding-company for the Bond films.

UA released One Flew Over the Cuckoo's Nest in 1975, which won the Best Picture Academy Award and was UA's highest-grossing film, with a gross of $163 million. UA followed with the next two years' Best Picture Oscar winners, Rocky and Annie Hall, becoming the first studio to win the award for three years running and also to become the studio with the most Best Picture winners at that time, with 11.

However, Transamerica was not pleased with UA's releases such as Midnight Cowboy and Last Tango in Paris that were rated X by the Motion Picture Association of America. In these instances, Transamerica demanded the byline "A Transamerica Company" be removed on the prints and in all advertising. At one point, the parent company expressed its desire to phase out the UA name and replace it with Transamerica Films. Krim tried to convince Transamerica to spin off United Artists, but he and Transamerica's chairman could not come to an agreement. Finally in 1978, following a dispute with Transamerica chief John R. Beckett over administrative expenses, UA's top executives, including chairman Krim, president Eric Pleskow, Benjamin and other key officers walked out. Within days they announced the formation of Orion Pictures, with backing from Warner Bros. The departures concerned several Hollywood figures enough that they took out an ad in a trade paper warning Transamerica that it had made a fatal mistake in letting them go. Later that year, it entered into a partnership with Lorimar Productions, whereas United Artists would distribute Lorimar's feature films theatrically, while Lorimar was planning to produce television series and miniseries adaptations from UA's feature film library.

Transamerica inserted Andy Albeck as UA's president. United had its most successful year with four hits in 1979: Rocky II, Manhattan, Moonraker, and The Black Stallion.

The new leadership agreed to back Heaven's Gate, a project of director Michael Cimino, which vastly overran its budget and cost $44 million. This led to the resignation of Albeck, who was replaced by Norbert Auerbach. United Artists recorded a major loss for the year due almost entirely to the box-office failure of Heaven's Gate. It destroyed UA's reputation with Transamerica and the greater Hollywood community. However, it may have saved the United Artists name; UA's final head before the sale, Steven Bach, wrote in his book Final Cut that there had been talk about renaming United Artists to Transamerica Pictures.

In 1980, Transamerica decided to exit the film making business, and put United Artists on the market. Kirk Kerkorian's Tracinda Corp. purchased the company in 1981. Tracinda also owned Metro-Goldwyn-Mayer.

United Artists Classics
In 1981, United Artists Classics, which formerly re-released library titles, was turned into a first-run art film distributor by Nathaniel T. Kwit, Jr. Tom Bernard was hired as the division director, as well as handling theatrical sales, and Ira Deutchman was hired as head of marketing. Later the division added Michael Barker and Donna Gigliotti. Deutchman left to form Cinecom, and Barker and Bernard formed Orion Classics and Sony Pictures Classics. The label mostly released foreign and independent films such as Cutter's Way, Ticket to Heaven and The Grey Fox, and occasional first-run reissues from the UA library, such as director's cuts of Head Over Heels. When Barker and Bernard left to form Orion Classics, the label was briefly rechristened in 1984 as MGM/UA Classics before it ceased operating in the late 1980s.

MGM/UA Entertainment Company
The merged studios became known as the MGM/UA Entertainment Company and in 1982 began launching new subsidiaries: the MGM/UA Home Entertainment Group, MGM/UA Classics and MGM/UA Television Group. Kerkorian also bid for the remaining, outstanding public stock, but dropped his bid, facing lawsuits and vocal opposition.

In 1981, Fred Silverman and George Reeves via InterMedia Entertainment struck a deal with the studio to produce films and TV shows.

After the purchase, David Begelman's duties were transferred from MGM to MGM/UA. Under Begelman, MGM/UA produced unsuccessful films and he was fired in July 1982. Of the 11 films he put into production, by the time of his termination only Poltergeist proved to be a hit.

As part of the consolidation, in 1983, MGM closed United Artists' long time headquarters at 729 Seventh Avenue in New York City. MGM/UA sold the former UA music publishing division to CBS Songs in 1983.

WarGames and Octopussy made substantial profits for the new MGM/UA in 1983, but were not sufficient for Kerkorian. It did not help that WarGames was briefly caught in a legal dispute with EMI Films concerning the film's funding and international rights. A 1985-restructuring led to independent MGM and UA production units with the combined studio leaders each placed in charge of a single unit. Speculation from analysts was that one of the studios, most likely UA, would be sold to fund the other's (MGM) stock buy-back to take that studio private. However, soon afterwards, one unit's chief was fired and the remaining executive, Alan Ladd, Jr., took charge of both.

Turner
On August 7, 1985, Ted Turner announced that his Turner Broadcasting System would buy MGM/UA. As film licensing to television became more complicated, Turner saw the value of acquiring MGM's film library for his superstation WTBS. Under the terms of the deal, Turner would immediately sell United Artists back to Kerkorian.

In anticipation, Kerkorian installed film producer Jerry Weintraub as the chairman and chief executive of United Artists Corporation in November 1985; former ABC executive Anthony Thomopoulos was recruited as UA's president. Weintraub's tenure at UA was brief; he left the studio in April 1986, replaced by former Lorimar executive Lee Rich. In anticipation, during the split, SLM Production Group moved its distribution deal to United Artists, after having left MGM/UA temporarily for 20th Century Fox.

On March 25, 1986, Turner finalized his acquisition of MGM/UA in a cash-stock deal for $1.5 billion and renamed it MGM Entertainment Co. Kerkorian then repurchased most of United Artists' assets for roughly $480 million. As a result of this transaction, the original United Artists ceased to exist. Kerkorian, for all intents and purposes, created an entirely new company implementing the inherited assets; thus, the present day UA is not the legal successor to the original incarnation, though it shares similar assets. United Artists has plans to launch its new headquarters on Beverly Hills, which was set to take effect on November 1, 1985, shortly before the Turner deal was finalized. On April 23, 1986, United Artists and Hoyts, the Australian cinema chain and distribution company, signed a three-picture deal to co-produce films.

MGM/UA Communications Company
Due to financial community concerns over his debt load, Ted Turner was forced to sell MGM's production and distribution assets to United Artists for $300 million on August 26, 1986. The MGM lot and lab facilities were sold to Lorimar-Telepictures. Turner kept the pre-May 1986 MGM film and television library, along with the Associated Artists Productions library, and the RKO Pictures films that United Artists had previously purchased. On August 21, 1986, United Artists announced its re-entry into film production; Baby Boom and Real Men were the first new films to commence production, with a slate of 26 films to follow in development.

United Artists was renamed MGM/UA Communications Company and organized into three main units: one television production and two film units. David Gerber headed up the television unit with Anthony Thomopoulous at United Artists, and Alan Ladd, Jr. at MGM. Despite a resurgence at the box office in 1987 with Spaceballs, The Living Daylights, and Moonstruck, MGM/UA lost $88 million. That November, Hoyts and United Artists decided to end their co-production partnership.

In April 1988, Kerkorian's 82 percent of MGM/UA was up for sale; MGM and UA were split by July. Eventually, 25 percent of MGM was offered to Burt Sugarman, and producers Jon Peters and Peter Guber, but the plan later fell through. Rich, Ladd, Thomopoulous and other executives grew tired of Kerkorian's antics and began to leave. By summer 1988, the mass exodus of executives started to affect productions, with many film cancellations. The 1989 sale of MGM/UA to the Australian company Qintex/Australian Television Network (owners of the Hal Roach library, which both MGM and United Artists had distributed in the 1930s) also fell through, due to the company's bankruptcy later that year; Ted Turner attempted to buy the assets again but failed. UA was essentially dormant after 1990 and released no films for several years.

The 1990s
In November 1990, Italian financier Giancarlo Parretti purchased MGM/UA. He'd previously purchased Cannon Films and renamed it Pathé Communications, anticipating a successful purchase of Pathé, the famed French film company. But his attempt failed – largely from the French government looking into Parretti's shady past – and instead he merged MGM/UA with his former company, resulting in MGM-Pathé Communications Co. During the transaction, Parretti overstated his own financial condition and obtained a loan under false pretenses; this was a harbinger of the chaos the studio fell into under his ownership. Debts went unpaid, forcing the delay of several films, as Parretti looted the company, fired most of the financial staff and feuded with Alan Ladd Jr. over control. To prevent any further damage (and in part to prevent their own financial misdeeds from coming to light), Crédit Lyonnais, Parretti's primary lender, foreclosed on the studio in 1992. This resulted in Parretti defaulting on his loans and subsequently being convicted of securities fraud. On July 2, 1992, MGM-Pathé Communications was again named Metro-Goldwyn-Mayer, Inc. In an effort to make MGM/UA saleable, Credit Lyonnais ramped up production and convinced John Calley to run UA. Under his supervision, Calley revived the Pink Panther and James Bond franchises and highlighted UA's past by giving the widest release ever to a film with an NC-17 rating, Showgirls. Credit Lyonnais sold MGM in 1996, again to Kirk Kerkorian's Tracinda, leading to Calley's departure.

In 1999, filmmaker Francis Ford Coppola attempted to buy UA from Kerkorian who rejected the offer. Coppola signed a production deal with the studio instead.

The 2000s to the 2020s
In 1999, UA was re-positioned as a specialty studio. MGM had just acquired The Samuel Goldwyn Company, which had been a leading distributor of arthouse films. After that name was retired, MGM folded UA into Metro-Goldwyn-Mayer Pictures. G2 Films, the renamed Goldwyn Company and MGM's specialty London operations, was renamed United Artists International. The distributorship, branding, and copyrights for two of UA's main franchises (Pink Panther, and Rocky) were moved to MGM, although select MGM releases (notably the James Bond franchise co-held with Danjaq, LLC and the Amityville Horror remake) carry a United Artists copyright. The first arthouse film to bear the UA name was Things You Can Tell Just by Looking at Her.

United Artists hired Bingham Ray to run the company on September 1, 2001. Under his supervision, the company produced and distributed many art films, including Bowling for Columbine, 2002's Nicholas Nickleby, and the winner of that year's Academy Award for Best Foreign Language Film, No Man's Land; and 2004's Undertow, and Hotel Rwanda, a co-production of UA and Lions Gate Entertainment, and made deals with companies like American Zoetrope and Revolution Films. Ray stepped down from the company in 2004.

In 2005, a partnership of Comcast, Sony and several merchant banks bought United Artists and its parent, MGM, for $4.8 billion. Though only a minority investor, Sony closed MGM's distribution system and folded most of its staff into its own studio. The movies UA had completed and planned for release—Capote, Art School Confidential, The Woods, and Romance and Cigarettes —were reassigned to Sony Pictures Classics.

In March 2006, MGM announced that it would return again as a domestic distribution company. Striking distribution deals with The Weinstein Company (TWC), Lakeshore Entertainment, Bauer Martinez Entertainment, and other independent studios, MGM distributed films from these companies. MGM continued funding and co-producing projects released in conjunction with Sony's Columbia TriStar Motion Picture Group on a limited basis and produced tent-poles for its own distribution company, MGM Distribution.

Sony had a minority stake in MGM, but otherwise MGM and UA operated under the direction of Stephen Cooper (CEO and minority owner of MGM).

United Artists Entertainment
On November 2, 2006, MGM announced that Tom Cruise and his long-time production partner Paula Wagner were resurrecting UA. This announcement came after the duo were released from a fourteen-year production relationship at Viacom-owned Paramount Pictures. Cruise, Wagner and MGM Studios created United Artists Entertainment LLC and the producer/actor and his partner owned a 30 percent stake in the studio, with the approval by MGM's consortium of owners. The deal gave them control over production and development. Wagner was named CEO, and was allotted an annual slate of four films with varying budget ranges, while Cruise served as a producer for the revamped studio and the occasional star.

UA became the first motion picture studio granted a Writers Guild of America, West (WGA) waiver in January 2008 during the Writers' Strike.

On August 14, 2008, MGM announced that Wagner would leave UA to produce films independently. Her output as head of UA was two films, both starring Cruise, Lions for Lambs and Valkyrie. Wagner's departure led to speculation that a UA overhaul was imminent.

Since then, UA has served as a co-producer with MGM for two releases: the 2009 remake of Fame and Hot Tub Time Machine—these are the last original films to date to bear the UA banner.

A 2011 financial report revealed that MGM reacquired its 100 percent stake in United Artists. MGM stated that it might continue to make new films under the UA brand. Currently, however, UA itself functions in-name-only, although it occasionally re-releases (via MGM) most of its films theatrically under the UA banner.

United Artists Media Group and United Artists Digital Studios
On September 22, 2014, MGM acquired a 55 percent interest in One Three Media and Lightworkers Media, both operated by Mark Burnett and Roma Downey and partly owned by Hearst Entertainment. The two companies were consolidated into a new television company, United Artists Media Group (UAMG), a revival of the UA brand. Burnett became UAMG's CEO and Downey became president of Lightworkers Media, the UAMG family and faith division. UAMG became the distributing studio for Mark Burnett Productions programming such as Survivor. UAMG was to form an over-the-top faith-based channel.

On December 14, 2015, MGM announced that it had acquired the remaining 45 percent stake of UAMG it did not already own and folded UAMG into its own television division. Hearst, Downey and Burnett received stakes in MGM collectively valued at $233 million. Additionally, Burnett was promoted to president for MGM Television, replacing the outgoing Roma Khanna. The planned over-the-top faith service (later to be branded as a combined OTT/digital subchannel service known as Light TV, now the TheGrio) became a separate entity owned by MGM, Burnett, Downey and Hearst.

On August 14, 2018, The Hollywood Reporter reported that MGM revived the brand as United Artists Digital Studios for the Stargate Origins web series as part of an attempted relaunch of its Stargate franchise which also included a dedicated streaming media platform known as Stargate Command, thus following in the footsteps of Paramount Global's CBS All Access platform (now Paramount+).

Film library
A majority of UA's post-1952 library is now owned by MGM, while the pre-1952 films (with few exceptions) were either sold to other companies such as National Telefilm Associates (now a part of the Melange/Republic Pictures holdings owned by Paramount Global, with Paramount Pictures handling their distribution) or are in the public domain. However, throughout the studio's history, UA acted more as a distributor than a film studio, crediting the copyright to the production company responsible. This explains why certain UA releases, such as High Noon (1952) and The Final Countdown (1980), are still under copyright but not owned by MGM. The MGM titles which UA distributed from 1973 to 1982 are now owned by Turner (under Warner Bros.).

UA films on video
UA originally leased the home video rights to its films to Magnetic Video, the first home video company. Fox purchased Magnetic in 1981 and renamed it 20th Century-Fox Video that year. In 1982, 20th Century-Fox Video merged with CBS Video Enterprises (which earlier split from MGM/CBS Home Video after MGM merged with UA) giving birth to CBS/Fox Video. Although MGM owned UA around this time, UA's licensing deal with CBS/Fox (which also included sublabels Key Video and Playhouse Video) was still in effect. However, the newly renamed MGM/UA Home Video started releasing some UA product, including UA films originally released in the mid-80s. Prior to MGM's purchase, UA licensed foreign video rights to Warner Bros. through Warner Home Video, in a deal that was set to expire in 1991. In 1986, the pre-1950 WB and the pre-May 1986 MGM film and television libraries were purchased by Ted Turner after his short-lived ownership of MGM/UA, and as a result CBS/Fox lost home video rights to the pre-1950 WB films to MGM/UA Home Video, which licensed them from Turner. When the deal with CBS/Fox (inherited from Magnetic Video) expired in 1989, the UA released films were released through MGM/UA Home Video.

Before the Magnetic Video and Warner Home Video deals in 1980, United Artists had exclusive rental contacts with a small video label called VidAmerica in the US, and another small label called Intervision Video in the UK. for the home video release of 20 titles from the UA library (e.g. The Great Escape, Some Like It Hot, and Hair, along with a few pre-1950 WB titles).

United Artists Broadcasting
United Artists owned and operated two television stations under the "United Artists Broadcasting" name: WUAB in Cleveland, Ohio (nominally licensed to Lorain, Ohio) which the studio built and sign on in 1968, WRIK-TV in San Juan, Puerto Rico, which was purchased in 1969, and held a construction permit for a station in Houston, Texas. In 1970, United Artists purchased radio station WWSH in Philadelphia, Pennsylvania.

United Artists left the broadcasting business starting in 1977 by selling WUAB to the Gaylord Broadcasting Company and WWSH to Cox Enterprises, followed by WRIK-TV's sale to Tommy Muñiz in 1979.

United Artists Releasing
United Artists Releasing, LLC (UAR) was a local film distribution joint venture between MGM and Annapurna Pictures founded by former MGM CEO Gary Barber, businessman and Open Road Films founder Eric Hohl and Annapurna founder Megan Ellison on 31 October 2017, it rebranded as United Artists Releasing on 5 February 2019 to commemorate 100 years since the founding of United Artists, it operated within with offices of the headquarters of the respective companies in West Hollywood and Los Angeles in California and offered alternative services to the major film studios and streaming media companies with 10–14 films released annually.

On 26 May 2021, online shopping and technology company Amazon acquired MGM Holdings, the parent company of MGM, for $8.45 billion which was completed on 17 March 2022 and consequentially placed United Artists Releasing under the control of Amazon Studios. Amazon then folded United Artists Releasing into MGM on 4 March 2023 in a push towards cinematic/theatrical film distribution alongside their staple media releases on their video on demand service Amazon Prime Video following the box-office success of Creed III.

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

title: United Artists


text:
Iveco

Iveco S.p.A., an acronym for Industrial Vehicles Corporation, is an Italian multinational transport vehicle manufacturing company with headquarters in Turin, Italy. It designs and builds light, medium, and heavy commercial vehicles. The name IVECO first appeared in 1975 after a merger of Italian, French, and German brands. Its production plants are in Europe, China, Russia, Australia and Latin America and it has about 5,000 sales and service outlets in over 160 countries. The worldwide output of the company amounts to around 150,000 commercial vehicles with a turnover of about €10 billion.

The company was spun off from CNH Industrial on 1 January 2022. It is a subsidiary of Iveco Group N.V., a holding company incorporated in Amsterdam, Netherlands, and is listed on Borsa Italiana.

History
Iveco (stylized in all caps as IVECO) was incorporated on 1 January 1975, with the merger of five different brands: FIAT Veicoli Industriali (with headquarters in Turin), OM (Brescia, Italy), Lancia Veicoli Speciali (Italy), Unic (France), and Magirus-Deutz (Germany).

Following the merger, the newly founded Iveco began rationalizing its product range, manufacturing plants, and sales network, while keeping the original brands. From 1975 to 1979, the Iveco range included 200 basic models and 600 versions spanning from 2.7 tons of GVW for light vehicles to over 40 tons for heavy vehicles, as well as buses and engines. In 1977, the light- to medium-weight Iveco Zeta range was introduced, replacing the 20-year-old OM Lupetto. Integrating the Fiat-OM range with the Unic and Magirus lineups was completed by 1980. IVECO moved in to work on increasing productivity and engine development. In 1978, IVECO launched the first product in the range of IVECO-branded light vehicles, the Daily.

In 1980, Iveco built a turbo diesel engine for heavy industrial vehicles.

In 1984, Iveco launched the TurboStar, a heavy on-road vehicle that became a best-seller in Italy and also successful in the European market, selling a total of 50,000 units in seven years.

In 1985, Iveco made the first light diesel engine with direct injection.

From 1986, Iveco S.p.A. held a 52% stake in Iveco Ford Truck Ltd, a joint venture (and effectively a merger) with Ford of Europe's truck division. Ford plants took over production and sales of the major vehicles in the Iveco range and continued production of the Ford Cargo. In the mid-1980s, Astra Veicoli Industriali, which produces dumpers and construction site/quarry vehicles in Piacenza, became part of Iveco Group.

In 1989, the first diesel engine with EGR to reduce polluting emissions compatible with commercial vehicles was produced, and the new Daily launched that same year was fitted with it.

In 1990, the group purchased 60% control of Spanish industrial company ENASA, which owned the industrial vehicle builder Pegaso. In the 1990s, the EuroCargo, EuroTech, EuroTrakker, and EuroStar vehicles represented a total facelift for the range. The EuroCargo and the EuroTech were named "Truck of the Year" in 1992 and 1993, respectively, and for the first time, this recognition was awarded to the same manufacturer for two years in a row. English company Seddon Atkinson was purchased in 1991 and brought its long heritage of special vehicles for the construction and refuse-collection industries. That same year, the first TurboDaily assembly line was inaugurated at the Nanjing Motor Corporation in China. In 1991, IVECO announced that they were withdrawing from the North American market at the end of the calendar year; they had been selling the midrange Iveco Z/Euro there since 1978.

In 1992, Iveco took over the primary constructor of industrial vehicles in Australia to form Ital, originally called International Trucks Australia. In 2000 it was renamed Iveco Trucks Australia Limited. In 1996 firefighting activities in Germany were structured under the company Iveco Magirus Brandschutztechnik GmbH. The following year, these activities were boosted by the arrival of an Austrian company, Löhr, which then became Löhr Magirus.

In 1998, the Cursor 8 was launched, followed the next year by the Cursor 10, the first diesel engine with a variable-geometry turbine and the first common-rail diesel engine for heavy industrial vehicles. The 125th anniversary of the presentation of the first Magirus ladder was celebrated together with the delivery of the 5000th Magirus aerial ladder produced since the Second World War.

In 2003, Iveco entirely bought out Irisbus, originally part of a joint venture with Renault. In 2004, the Iveco Motors brand was introduced, which became an umbrella for the production of engines; the following year, it was incorporated into the newly founded Fiat Powertrain Technologies. At the end of 2004, an agreement was reached between Iveco and the Chinese company SAIC Motor to form SAIC Iveco Hongyan.

On 1 January 2011, Fiat Industrial was formed, incorporating CNH, Iveco, and FPT Industrial. In September of the same year, the Fiat Industrial Village was inaugurated in Turin, a multipurpose centre belonging to Fiat Industrial and created for the sales, assistance, and product presentation for the Iveco, New Holland, and FPT Industrial brands.

On 11 November 2021, Iveco published the prospectus in order to split from CNH Industrial which will be operated as a publicly separated company named Iveco Group N.V. After the completion of the demerger, on 1 January 2022 Iveco became a part of Iveco Group N.V., the parent company of the trucks and speciality vehicles, powertrain and related financial services businesses previously held by CNH Industrial.

As of 2023, the company forms part of the Dow Jones Sustainability Indices.

Facilities
Iveco has 27 production plants and 6 research centres located in 16 countries. Outside of Europe, the company operates in China, Russia, Australia (factory ceased production in June 2022), South Africa and Latin America. All the plants have obtained ISO 9001-vision 2000 (quality management by process) and ISO 14000 (environmental management) certification.

Joint-ventures

 * Naveco (Nanjing, China), production trucks by Naveco brand
 * SAIC-Iveco Hongyan (Chongqing, China), production trucks by Hongyan brand

Euro VI engines with SCR technology
Iveco engines from the Cursor and Tector ranges observe the Euro VI standards by adopting High Efficiency SCR (HI-eSCR) technology. This technology optimises the processes of exhaust combustion and after-treatment, reducing consumption and enabling achievement of greater efficiency in the conversion of NOx emissions.

Electric drive
Iveco developed and built the first Daily with electric propulsion in 1986; Later, the range was broadened to include trucks and city buses. Iveco introduced the New Daily with electric propulsion and zero exhaust emissions, in which a battery system powers an electric three-phase asynchronous motor – through the aid of an inverter – in charge of moving the vehicle directly while recovering energy during braking. The vehicle runs on two to four batteries made with Na/NiCl2 (sodium-nickel chlorine) technology at a nominal 278 Volts. The maximum velocity is electronically limited to 70km/h, while the vehicle's range is from 90 to 130km on a fully charged battery, depending on the number of batteries and the mission.

Diesel-electric parallel hybrid traction
The parallel hybrid solution incorporates both a diesel engine and an electric motor that can be used individually or simultaneously, which makes for greater operating flexibility and allows the vehicle to work under both urban and non-urban conditions. In 2010 Iveco introduced this technology on the Eurocargo Ibrido, a commercial vehicle for the European market with electri-diesel parallel propulsion for distributing and collecting goods in city centres. The payload capacity decreases by 200kg in comparison to diesel-engine models, but it is possible to save up to 30% on the urban cycle. The Eurocargo hybrid range is made up of two versions:
 * The 7.5-ton version uses a Tector Diesel FPT Industrial engine with 16 valves and 4 Euro V cylinders, with a maximum power of 160hp (118 kW); this is paired with a drive system made of an electric motor-generator with 60hp (44kW), a 6-speed automated gearbox and a lithium-ion battery pack (Li-Ion) of rated capacity 1.8kWh.
 * The 12-ton version uses the FPT Industrial Tector engine with 16 valves and 4 EEV cylinders with a maximum power of 180hp (132kW), paired with an electric motor-generator with 60hp (44kW), a 6-speed automated gearbox and a lithium-ion battery pack (Li-Ion) of rated capacity 1.8kWh.

Diesel-electric hybrid
Iveco has been active in this sector since 1990 with 6, 7, 4 and 12 metre buses for urban and suburban transportation. The series hybrid technology features a diesel engine – smaller than that of a traditional vehicle – that acts as a battery charger.

CNG – compressed natural gas
Iveco's range of light, medium and heavy vehicles and buses can run on methane. Methane makes it possible to save on consumption by 38% per kg transported as compared to that consumed by diesel engines for the same payload and distance travelled. In addition, compared to EuroVI diesel engines, methane engines reduce NOx emissions by approximately 60% and particulate emissions by approximately 70%.

Liquefied natural gas
In April 2012 Iveco presented its first vehicle with this technology, the Stralis LNG. As opposed to vehicles with compressed natural gas (CNG) technology, liquefied natural gas (LNG) technology takes the vehicle farther on a full tank (up to 750km) and reduces the vehicle's tare thus increasing the load. The main difference between the two technologies lies in the type of natural gas storage employed, which in this case is kept in a liquid state at −161°C in cryogenic tanks; it is then heated in a heat exchanger so that once it reaches the engine it is a gas. Also, the noise emitted decreases by 3 to 6 decibels over an analogous diesel engine vehicle.

Iveco Trakker Bifuel – diesel-ethanol prototype
Iveco created the first prototype of a bifuel, diesel and ethanol-run vehicle. The technology was developed by Iveco together with FPT Industrial and Bosch. The prototype uses a Trakker truck with Common Rail Cursor9 engine with 360HP that may be powered by a 40–60% ethanol-diesel blend. The prototype was tested by Raízen, a joint venture between the cane sugar producer Cosan and Shell. In 2011, this prototype earned Iveco the "Prêmio Top Etanol" – for the alternative fuel technology.

Heating and air-conditioning systems
A prototype of a heat pump system for electric and hybrid vehicles was installed on the Iveco Daily vehicle. The system cools or heats the passenger compartment by transferring low-temperature heat generated by the drive systems. At the same time, the control strategies minimise the energy demand in order to achieve a low impact on consumption.

Iveco vehicles
The brand's range of products include the Daily, a vehicle that covers the 3.3 – 7.2 ton vehicle weight segment, the Eurocargo from 6 – 19 tons and, in the heavy segment above 16 tons, the Iveco Way range with the on-road Iveco S-Way, the off-road Iveco T-Way and the Iveco X-Way for light off-road missions.

In 2023, Iveco announced their new Driveway Bodybuilder Programme, allowing customers to have a choice of stock tippers and tipper grabs available on X-Way chassis.

Current models

 * Daily
 * eDaily
 * EuroCargo
 * GFF4
 * LMV
 * Metro
 * MTV
 * NJ-series

 * S-Way
 * Trakker
 * Turbo Daily
 * VM 90

Former models

 * Campagnola
 * CityClass
 * Effeuno
 * EuroClass

 * EuroRider
 * EuroStar
 * EuroTrakker
 * Massif
 * MyWay
 * PowerStar
 * Stralis
 * T-series
 * TurboCity
 * X-series
 * Zeta

Sponsorships
Iveco sponsored the 1980 Olympic Games in Moscow, the Davis Cup in 1982, the Jacques Cousteau expeditions in the Amazon basin in 1983 and the Raid Pigafetta, during which the Iveco-Fiat 75 PC 4x4 was first to make a full circle of the globe. Two new divisions were also formed: bus diesel engines and firefighting vehicles. It also sponsored the first of two fights between Sugar Ray Leonard and Tommy Hearns and between Aaron Pryor and Alexis Arguello.

In 2006, Iveco sponsored the 2006 Winter Olympic Games in Turin with a fleet of 1,200 Irisbus buses. The year after, Iveco became sponsor of the All Blacks, New Zealand's rugby team. In 2009, Iveco became the truck and commercial vehicle supplier for the Moto GP, together with the historical sponsorship to the Scuderia Ferrari.

Iveco won the 2012 Dakar Rally with the Petronas De Rooy team and Dutch driver Gerard De Rooy, behind the wheel of an Iveco Powerstar. De Rooy was followed by drivers Stacey and Biasion behind the wheel of two Iveco Trakker Evolution 2 vehicles, equipped with an FPT Industrial C13 engine with over 900 hp. De Rooy won the 2016 Dakar Rally for Iveco, whereas Janus van Kasteren won the 2023 Dakar Rally.

title: Iveco


text:
Talk:Style guide

____

Notice and request for participation
There is an RfC a Requested move in which the participation of editors/watchers of this article would be greatly appreciated:
 * Talk:Assault weapons legislation

Thank you. --Lightbreather (talk) 22:46, 5 May 2014 (UTC)

It was an RfC, but I realized this is the appropriate process. Lightbreather (talk) 05:02, 10 May 2014 (UTC)

House style in illustration
House style redirects here, but this article doesn't cover that concept as it applies to illustration. Companies that produce comics and animation often have a house style that's used in their published work, so that not only are specific characters such as Bugs Bunny or Archie Andrews drawn the same way, but other characters, settings, etc are drawn consistently. Some of this is a reflection of corporate identity (it isn't covered there either) but it's closer in spirit and practice to the use of a writing style guide. -Jason A. Quest (talk) 16:19, 29 January 2015 (UTC)
 * Hearing no further input, I've changed the redirect into a disambig page. -Jason A. Quest (talk) 19:04, 18 February 2015 (UTC)

Sizes section list
Shouldn't the list items be followed instead by a mere comma, considering the list itself lacks any commas? Otherwise, the semi-colons are technically being used incorrectly. o.o Just want(ed) to ask before changing them. ~ gotjane 00:49, 3 October 2015 (UTC)

 * It's because the list items are freehanging. There's wide precedent for such use. But freehanging list items don't really need any terminal punctuation (and that is the more common style), so I'll just delete them. Quercus solaris (talk) 23:45, 3 October 2015 (UTC)

Use of 'cascade' in 1.1
I don't think this usage is correct or clear.Does the smaller object cascade into the larger? I will edit unless there are objections. DavidCh0 (talk) 07:36, 16 June 2016 (UTC)

 * No, it is already correct as is. It is already explained at the top of the section. The concept is directly analogous to Cascading Style Sheets, where inline styles in HTML cascade over CSS styles. For example, is Heading 1 element (h1) italic or not italic? If CSS instructs that it is italic, but inline style instructs that it is not italic, the inline wins. The same principle is at work on the human-readable level of style guides. If a project style sheet says "Use APA style unless otherwise indicated," then the editor edits to APA style except for the exceptions defined in the project style sheet (say, for example, that APA hyphenates a certain term but the editorial office of journal XYZ prefers open styling for it). Quercus solaris (talk) 00:58, 17 June 2016 (UTC)

 * In your example the italic specified in the Cascading Style Sheet cascades over HTML inline styles, unless the inline style specifies that it is not italic. The word cascade implies top to bottom, larger to smaller. Think waterfall. This is why I find the analogy confusing, and why I think the references to cascading and web design need to be removed. DavidCh0 (talk) 11:40, 21 July 2016 (UTC)

Editing Canadian English
I believe there is a newer edition, but haven't read it myself -- online and print. Although only bibliographic, as I haven't seen any of it beyond press releases I don't feel qualified to update it (particularly as core content of this article, rather than more usually modest role of references). Any editors out there (lol!) who have want to update its bullet here? DanTrent (talk) 11:02, 27 November 2017 (UTC)

Photo
Why in heaven's name would we want to illustrate an article on style guides with a photo of a dictionary? That makes as much sense as illustrating an article on aardvarks with a photo of an anteater. 137.83.219.6 (talk) 20:44, 17 September 2021 (UTC)

Isn’t this article lacking credible sources?
This article seems almost like entirely an original research essay. I’m very new to Wikipedia, and I don’t have general knowledge in this field, so it’s beyond my ability to improve it a lot. ChishaWolf (talk) 16:04, 26 July 2022 (UTC)

 * The article as of today is a short exposition of basic facts about its topic, providing dozens of concrete examples (via inline mention of them, with links to their articles). See WP:BLUE for more help regarding how Wikipedia handles basic facts. Of course it is true that where it states basic facts such as "style guides often give advice about usage" or "style guides often give advice about punctuation", this article could cite specific chapters of specific MOSs (such as the CMOS chapter on punctuation, for example) so that it would have a numbered reference list. That can be done whenever anyone has time to do such a self-evident backfilling. But in the meantime, it does not translate to any idea that any of the basic information in the article is "original", or "research", or an "essay". Quercus solaris (talk) 06:25, 9 February 2023 (UTC)
 * Agreed. Most of WP's articles could use some improvement, but this one is nothing like "an original research essay".  — SMcCandlish ☏ ¢ 😼  18:46, 9 November 2023 (UTC)
 * Hello, I'm also new, but I was wondering what both of you thought about the first and only reference. Although it is a good source, I'm not sure if the definition of a style guide should be coming from The Guardian. 2020sEra (talk) 18:33, 9 November 2023 (UTC)
 * The Guardian and Observer style guide [sic] is one of the major style guides for British news writing. It may not be a comprehensive one, or one that agrees with other style guides (especially academic ones) on everything, but it seems reasonable when it says its purpose is to provide a set of standards for the writing, formatting, and design of documents.  Similar statements are probably findable in other style guides laying out what their purpose is. There doesn't seem to be anything incorrect about the statement that a style guide provides a set of standards for the writing, formatting, and design of documents, so what is the issue?  — SMcCandlish ☏ ¢ 😼  18:46, 9 November 2023 (UTC)

Wiki Education assignment: Introduction to Technical and Professional Communication
— Assignment last updated by Savmanbanans (talk) 17:29, 7 November 2023 (UTC)

 * As part of my assignment, I made multiple copy edits throughout the entire article. I mostly removed repetitive information and refined word choices to allow for an easier read through. I made sure to leave comments for my edits under the "View History" page for more experience Wiki editors to review as well. I also added a few citations, but I noticed one of them appears broken. I tried fixing it, but I was unsuccessful. If anyone can help with that, I'd be appreciative. Below, I describe an additional section I made and whether or not this article should keep it. 2020sEra (talk) 16:20, 18 November 2023 (UTC)
 * Some of that was an improvement, but some of it was not, including making claims not supported by the source material, not following our own style guide, using redundant wording, moving words or changing them in ways that completely changed the meaning of the material, etc. Rather than do a mass revert (which would be rude since you put significant work into it and some of your changes were constructive) or re-work it all in one potentially confusing pass, I tweaked it bit by bit with eplanatory edit summaries. (And a few improvements made in that series of edits don't relate to your changes).  — SMcCandlish ☏ ¢ 😼  19:17, 18 November 2023 (UTC)

Website Style Guide
Hello Everyone, I added a small section concerning the specific use of website style guides. I'm not exactly sure whether or not the information belongs here or not, but I thought there should be a section acknowledging the difference. I thought it might be useful to audience members wondering what the difference might be between a website's style guide over a book publisher's style guide. What does everyone else think? And if maybe you don't agree with the exact information I have, do you think there should there be any information dedicated to web style guides only? Please let me know, thank you! 2020sEra (talk) 16:13, 18 November 2023 (UTC)
 * Needs copyediting for clarity. And Wikipedia uses sentence case not title case for headings (MOS:HEADINGS).  — SMcCandlish ☏ ¢ 😼  18:18, 18 November 2023 (UTC)

title: Talk:Style guide


text:
Kid Gavilán

Gerardo González (January 6, 1926 – February 13, 2003), better known in the boxing world as Kid Gavilan, was a Cuban boxer. Gavilán was the former undisputed world welterweight champion from 1951 to 1954 having simultaneously held the NYSAC, WBA, and The Ring welterweight titles. The Boxing Writers Association of America named him Fighter of the Year in 1953. Gavilán was voted by The Ring magazine as the 26th greatest fighter of the last 80 years. Gavilán was a 1966 inductee to The Ring magazine's Boxing Hall of Fame (disbanded in 1987), and was inducted into the International Boxing Hall of Fame in the inaugural class of 1990.

Early career
Gavilan was managed by Yamil Chade, a boxing manager (based in Puerto Rico) who directed the careers of Wilfredo Gómez, Wilfred Benítez, Carlos De León and Félix Trinidad. He started as a professional boxer on the evening of June 5, 1943, when he beat Antonio Diaz by a decision in four rounds in Havana. His first 10 bouts were in Havana, and then he had one in Cienfuegos, but soon he returned to Havana for three more wins. After 14 bouts, he left Cuba for his first fight abroad, and he beat Julio César Jimenez by a decision in 10 rounds in his first of three consecutive fights in Mexico City. It was there that he suffered his first defeat, at the hands of Carlos Macalara by a decision. They had an immediate rematch, this time in Havana, and Gavilan avenged that loss, winning by decision too. Gavilan had a record of 25 wins, 2 losses and 1 draw already when he had his first fight on American soil. This happened on November 1, 1946, when he beat Johnny Ryan by a knockout in five rounds at New York City.

Move to the United States
He would split his time between the Eastern coast of the United States and Havana in 1947, a year in which he went 11-1-1 with 3 knockouts. However, by 1948 he had decided to stay in the United States indefinitely. That year, he met some very important fighters, like former world champion Ike Williams, who beat him by decision in ten, Tommy Bell, against whom Gavilan won by decision, Sugar Ray Robinson, who beat him by decision in ten, and Tony Pellone, with Gavilan obtaining a decision against Pellone.

After beating Williams twice by decision, he met Robinson with Robinson's world Welterweight title on the line. He lost his first title try, when Robinson won a decision in 15 rounds. Back to the drawing board, he beat Rocky Castellani, the then lightweight world champion Beau Jack, and Laurent Dauthuille (the latter of whom fought Gavilan in Montreal, Quebec). All of them were beaten by decision in 10. In 1950, he went 10-4-1, beating Billy Graham, Sonny Horne, Robert Villemain, Eugene Hairston, and Tony Janiro among others.

World champion
In 1951 after beating Tommy Ciarlo twice, once in Caracas, Venezuela, and Hairston once again, he finally became a world champion when he beat Johnny Bratton for the world Welterweight title by a decision in 15 on May 18. He defended that title for the first time against Graham, winning by a decision, and promptly made four non-title bouts before the end of the year, including another win over Janiro and a draw in ten with Bratton.

In 1952 he defended the title with success against Bobby Dykes, Gil Turner, and with Graham in a third encounter between the two. All those fights were won by decision in 15. He also had five non-title bouts, including three that were a part of an Argentinian tour. His third fight with Graham was his first world title defense in Havana and his fight with Dykes marked the first time that a black man and a white man had a boxing fight in then-segregated Miami, Florida. In 1953, Gavilan retained the title by a knockout in ten against Chuck Davey, by a decision in 15 against Carmen Basilio and by a decision in 15 against Bratton. He had seven non-title bouts, losing to Danny Womber, but beating Ralph Tiger Jones. In 1954 Gavilan went up in weight. After two more points wins, he challenged world Middleweight champion Bobo Olson for the world title, but lost a decision in 15. Then, he went down in weight, and lost his world Welterweight championship, by a decision in 15 to Johnny Saxton. That same year, he appeared on a Telemundo Puerto Rico poster that promoted that country's first television transmission.

Personal life
Gavilan's wife, Leonor, gave birth to their daughters, Elena 1950,Victoria 1954, and son Gerardo in 1953. After retiring from boxing Gavilán became one of Jehovah's Witnesses and was jailed under the Castro regime for preaching. In the 1980s he made a living selling sausages in Chicago.

Later career and retirement
From that point until 1958, when he retired, he had a career of ups and downs. He lost to Dykes, Jones, Eduardo Lausse, former world champion Tony DeMarco, Vince Martinez and Gaspar Ortega, but he also beat Ortega, Jones and Chico Vejar, among others. After losing to Yama Bahama by decision in ten on June 18, 1958, he never fought again, announcing his retirement on September 11 of that year. Gavilan was never knocked out in his professional career. He had a record of 107 wins, 30 losses and 6 draws, with one no contest and 27 wins by knockout in a career that spanned 143 professional fights.

Death
Gavilan died in Miami, Florida of a heart attack at age 77.

title: Kid Gavilán


text:
Talk:List of diseases (C)

I
I don´t quite see why carpal tunnel syndrom is listed as a rare disease. It is indeed quite common.

title: Talk:List of diseases (C)


text:
MPA

MPA or mPa may refer to:

Academic degrees

 * Master of Performing Arts
 * Master of Professional Accountancy
 * Master of Public Administration
 * Master of Public Affairs

Schools

 * Mesa Preparatory Academy
 * Morgan Park Academy
 * Mounds Park Academy
 * Mount Pisgah Academy

Science and medicine

 * Megapascal, SI unit of pressure
 * Marine protected area
 * MeerKAT Precursor Array for the MeerKAT radio telescope in South Africa
 * Microscopic polyangiitis, a disease
 * Minor physical anomalies
 * Movement pattern analysis, for assessing motivations

Chemicals

 * Medroxyprogesterone acetate
 * 3-Mercaptopropionic acid
 * Methiopropamine, (N-methyl-1-(thiophen-2-yl)propan-2-amine)
 * Methylphosphonic acid
 * Mycophenolic acid, an immunosuppressant drug
 * 4-Nonanoylmorpholine or morpholide pelargonic acid

Legislation

 * Marriage Protection Act, 2003–2004 US federal bill

Organizations and companies

 * Macedonian Press Agency, Greece
 * Maine Principals' Association, governing school sports, Maine, US
 * Manipur People's Army, India
 * Manufacturing Perfumers' Association, the original name of the Personal Care Products Council from 1894 to 1922
 * Max Planck Institute for Astrophysics, near Munich, Germany
 * Medical Products Agency (Sweden)
 * Metropolitan Police Authority, London, UK (2000–2012)
 * Mineral Products Association, UK
 * Motion Picture Association, US
 * Movement for the Autonomies, Sicily, Italy
 * MPA – the Association of Magazine Media, US
 * Music Publishers Association, US
 * Music Publishers Association (UK)

Transportation

 * Katima Mulilo Airport, Namibia; IATA airport code
 * Maritime patrol aircraft
 * Maritime and Port Authority of Singapore
 * Maryland and Pennsylvania Railroad, US
 * Maryland Port Administration, US
 * Mauritius Ports Authority
 * Massachusetts Port Authority, US
 * Mid Pacific Airlines, a defunct US airline; ICAO airline code
 * Mooroopna railway station, Australia
 * Mount Pleasant Airport, Falkland Islands
 * Myanma Port Authority, Myanmar

Other uses

 * Mario Party Advance, a 2005 video game
 * Member of the Provincial Assembly, Pakistan
 * MPA submachine gun

title: MPA


text:
Talk:Brownfield land

Wikipedia Ambassador Program assignment
This article was the subject of an educational assignment at Indiana University supported by WikiProject United States Public Policy and the Wikipedia Ambassador Program during the 2011 Spring term. Further details are available on the course page.

Above message substituted from on 15:01, 7 January 2023 (UTC)

separating brown field and contaminated land
i think these articles should be separated as they are separate (though related) things. Contaminated land is land effected by contamination this could be green-field sites which have been subject to fly tipping or accidental spills

Brownfield land is a planning term relating to sites which have had a previous use. Not all Brownfield sites are contaminated.--Joylessdave (talk) 14:54, 16 November 2011 (UTC)

'Such land has been contaminated with hazardous waste or pollution or is feared to be so' I am changing this to 'may'. The US reference gives the contamination as a fact but even the UK reference says 'Brownfields are sites that: have been affected by the former uses of the site and surrounding land • are derelict and underused • may have real or perceived contamination problems • are mainly in developed urban areas •and require intervention to bring them back to beneficial use’¹' Novalia (talk) 11:44, 15 June 2015 (UTC)

Proposed changes
Hello, I am currently enrolled in an environmental policy course and as a class project we are to create or expand Wikipedia articles. My topic is brownfield regulation and development and feel that this current article, brownfield land, is a great starting point. I would like to propose expanding the regulation and development sections to include more information on how this might occur and to also add a public policy section. I am up for suggestions on anything else. My current resources are of course the EPA website and a journal article by Anna Alberini et.al. titled "The role of liability, regulation and economic incentives in brownfield remediation and redevelopment: evidence from surveys of developers." Any feedback would be greatly appreciated. Dnpatton (talk) 15:28, 2 March 2011 (UTC)
 * I don't have access to that journal article, but the EPA website is a good source; I see it contains the full text of the laws. That's not going to be very easy to integrate into the article, though -- it's a primary source -- but it will be very useful.  There's a "laws and statutes" page at the EPA that could be used to create a list of the relevant laws.  It might also be possible to search news archives, using the names of the statutes, and find relevant stories about the passage of the bills -- the "Small Business Liability Relief and Brownfields Revitalization Act" appears to be the main one.  (Although it does have its own article, so we shouldn't have too much about the bill itself here, just summary information.)  Here is one reference that talks about legal consequences.  Google Books also shows previews of Brownfields by Todd S. Davis, which might be helpful.  State government websites might have information about state brownfield statutes -- see this NY query for example -- and some state-by-state information about what the states currently provides would be great information for this article. Mike Christie (talk – library) 01:10, 3 March 2011 (UTC)

Hi, I am a student in Professor Ken Richards class, Dnpatton and me are in the same group. I plan to add two parts in this article. The first one is Economics of Brownfield land, it may include some practical trading examples,applying the economic theories,the area wide economic transformation using integrated approaches and augmentative practices.(EPA resources might be available) The second one is Society and Culture, the main ideas are about different countries with their specific interests in brownfield innovation, natural, historical context, and political reality, photography might be available. For example, in England, New homes on Brownfield land. Also, any feedback would be appreciated. --Silverbullet527 18:17, 3 March 2011 (UTC)

A bibliography of sources

 * Environmental Restoration Program
 * Brownfield Cleanup Program
 * Brownfield Opportunity Areas Program

Economics of Brownfield land

 * New York State
 * NYS Brownfield opportunity Areas (BOA)
 * NYS Paper Mill Island Park

 * New Jersey
 * NJ Environmental Infrastructure Trust Smart Growth Financing Program

 * California
 * Revolving Loan Fund Program
 * Brown fields Loan Program - Applications for ISCP/CLEAN Loans

International Brown fields Redevelopment

 * Germany
 * BMBF funding program

 * England
 * Pilot Spawns an Environmental Clearinghouse and City Development Corporation

 * Japan
 * Current status of the Brownfields Issue in Japan Interim Report

 * 1) Japanese Knotweed Treatment
 * 2) Inert Soil Importation
 * 3) Hospital Building Demolition
 * 4) Wasteland Tree Clearance
 * 5) Brownfield Site Remediation
 * 6) Japanese Knotweed Removal

--Silverbullet527 05:18, 4 March 2011 (UTC)

Suggestions
Hi Brownfield group! It looks like the page you're starting with is a pretty good framework and I think you have some good suggestions. If you are looking for more sources, Prof. Rubin's economic development class did a big project on Pittsburgh's revitalization and a component was their brownfield redevelopment success (some of those folks are in our econ class now). Also you could talk about the CERCLA liability/due diligence process and how that plays out when trying to redevelop land. Cool topic! Gwaleko (talk) 01:51, 19 April 2011 (UTC)gwaleko

Hello, Wikipedians! Your article seems to be coming along well! Regarding content, that which is currently included in the page is actually really nice. More discussion of economic implications could definitely add depth to the material. There are a ton of internal links on your page, some of which don't seem terribly necessary (gas stations, financial, highways, etc). But there also seem to be lots of GOOD internal links and also lots of references, which is great! One thing that could be added is additional graphics. In the Location section "Old maps assist in identifying areas to be tested", it would be helpful if you included an actualy Brownfield map that would allow readers to get the visual idea more clearly. Similarly, adding images to the Innovation section could aid in the visual ideas, too! I really like the innovation section and think it's an important part of this topic. Your page looks like it's coming along, great job, all of you! BloomingtonWriter (talk) 08:37, 19 April 2011 (UTC)BloomingtonWriter

Parks and Open Space
Hello Brownfield Wikipedians! I have a few additions to the article that I hope will be improvements. The current article has a focus on commercial redevelopment of brownfield land, but there are a number of parks and open spaces that are also the result of redevelopment. I have found 6 ASLA award winning projects that are examples of redevelopment that are not businesses or housing. One of these parks is in Korea, two are in China, and three are in the United States. This will also help to give the article a more global perspective. In addition, I propose changing the headings throughout the article. The current United States heading makes it difficult for small edits from international projects. After more than 5 years, I would also suggest that the content lacking citations in the "Post Re-Development" and "Barriers to Re-Development" sections be removed along with the maintenance templates. These are my reasons for making my upcoming changes and additions. Jesslerner (talk) 04:14, 29 November 2016 (UTC)

Globalize
The article does NOT represent a worldwide view of the subject. The U.S. part is well written (but needs more sources). There is something about the UK (in the LEAD and in the Brownfield_land section, which is a sub-section of Brownfield_land), and a few words about Australia, but, in my opinion, this is not enough. Please, try to improve it by adding more general information and/or by moving some sub-sections, if possible. I also think it would be great if we could have laws and info from Europe and developing countries such as China, India, Brazil, Mexico and etcetera. Thanks. –p joe f (talk • contribs) 10:30, 6 May 2011 (UTC)
 * Please take the initiative to improve the article with the information you believe is missing. If the article does not address "brownfield"(a word in english) from a global perspective, it is because people from around the globe(you) have not taken the initiative to add information about their country of residence. Drn8 (talk) 18:17, 27 June 2013 (UTC)

"Brown Field"
The usage and primary topic of is under discussion, see talk:Brown Field (Valparaiso University) -- 70.51.44.60 (talk) 07:00, 21 November 2015 (UTC)

External links modified
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Proposed merge with Brownfield status
Two articles on slightly different aspects of same topic. Would be stronger together. No clear advantage for keeping them separate at this time. DA Sonnenfeld (talk) 12:11, 4 February 2017 (UTC)
 * Agree 100%, DA Sonnenfeld and will start the process.--Wuerzele (talk) 13:12, 16 February 2017 (UTC)

Hello,

I am currently enrolled in a university class on environmental justice: "race, class, equity and the environment," and as part of an assignment I am to critique an article of my choice. While this article had a great amount of important information that educated me a lot on the topic, with a bunch of reliable sources and scholarly journals, there are a couple of pointers I would like to add:

1) In the beginning of the article, there is mention of "mothballed brownfields," sites that are not cleaned up or put to productive use. This term along with general information about the land should definitely have its own separate section.

2) There is very little mention of other places in the world where these sites pop up; there is a small section dedicated to regulations in the United Kingdom, as well as the United Kingdoms variation of the term "Brownfield land" but nothing on the rest of Europe or Asia or anywhere else in the world. I believe you could improve the strength and validity of your article by comparing and contrasting a couple of different countries from different parts of the world.

3) Where is the section on environmental risks of these fields contaminated with hazardous waste? This article has so much potential with its credible sources and neutral standpoints, however, there are certain topics that are extremely underrepresented, (some that haven't even been mentioned at all) and perhaps including what kind of damage these sites have on soil, water, the atmosphere and just the environment as a whole, would make this a much stronger piece of writing.

4) Lastly but most importantly, a factor of great significance that is missing in this article is detailed information on where these sites are located both within the United States as well as internationally; what types of cities with what types of demographics? Where are the "mothballed brownfields" and are they located in poorer areas that aren't prioritized for redevelopment? Also, who funds the redevelopment and who assesses the contaminations? (You mention state and federal programs, but no information on which ones). I can only assume that environmental racism would be a huge factor in determining the sites that are left unused, and I believe it would make for a great, informative section in this article.

Other than these pointers, I would like to mention that I knew practically nothing about the topic until I stumbled upon this article, and now I have a desire to learn more about them because of this reading this! Best regards.Ilonamantachian (talk) 22:34, 10 February 2017 (UTC) Ilona

Defence Infrastructure Organisation
I removed the reference to the Defence Infrastructure Organisation because its primary purpose is building, maintaining and servicing the infrastructure needed to support the military. While it does have some role in the development of brownfield land, it is only in as much as it relates to land for military purposes.

External links modified
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External links modified (January 2018)
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Citation date format
The first version which contained a non-numeric date in a citation was https://en.wikipedia.org/w/index.php?title=Brownfield_land&direction=next&oldid=328675021, which introduced "July 10, 2006" → MDY format. --User:Ceyockey ( talk to me ) 15:12, 3 February 2019 (UTC)

Turenscape
Who or what is Turenscape? And why do they get all this free advertising in this article? --217.239.14.79 (talk) 22:08, 23 May 2019 (UTC)
 * Thanks for bringing this to attention. Removed. Vaselineeeeeeee★★★ 22:28, 23 May 2019 (UTC)

Wiki Education assignment: ERTH 4303 Resources of the Earth
— Assignment last updated by ChloejWard (talk) 03:40, 15 April 2023 (UTC)

Student editor, a few changes
Hello,

I will be making some edits to this article for a class. I will try to keep this updated as I go. I want to start by removing the NPPF quote in the lead because the lead is for the general definition of the topic and not just one specific place. Also, there is a definition section in this article for different countries anyways, it should go there. Vansam823 (talk) 21:25, 16 March 2023 (UTC)

Wiki Education assignment: Communicating Science
— Assignment last updated by Maeflowerbailey16 (talk) 14:14, 20 March 2023 (UTC)

title: Talk:Brownfield land


text:
Talk:High crimes and misdemeanors (version 2)

I removed the strange list of high crimes because several were examples of treason or bribery. Can we replace this list with some actual examples of "High Crimes and Misdemeanors". --rmhermen


text:
DJ Spooky

Paul Dennis Miller (born September 6, 1970), known professionally as DJ Spooky, That Subliminal Kid, is an American electronic and experimental hip hop musician whose work is often called by critics "illbient" or "trip hop". He is a turntablist, record producer, philosopher, and author. He borrowed his stage name from the character The Subliminal Kid in the novel Nova Express by William S. Burroughs. Having studied philosophy and French literature at Bowdoin College, he has become a professor of Music Mediated Art at the European Graduate School and is the executive editor of Origin magazine.

Career
Spooky began writing science fiction and formed a collective called Soundlab with several other artists.

In the mid-1990s, Spooky began recording a series of singles and EPs. His debut LP was Songs of a Dead Dreamer. Spooky contributed to the AIDS benefit albums Offbeat: A Red Hot Soundtrip (1996) and Onda Sonora: Red Hot + Lisbon (1998) produced by the Red Hot Organization. Riddim Warfare included collaborations with Kool Keith and other figures in indie rock, including Sonic Youth's Kim Gordon and Thurston Moore. In 2001, he released the CD Under the Influence.

He returned in 2002 with Modern Mantra. That same year saw the release of Optometry, a collaboration with avant-jazz players Matthew Shipp, William Parker, Guillermo E. Brown and Joe McPhee. In a classical vein, he collaborated with the ST-X Ensemble in performances of the music of Iannis Xenakis.

DJ Spooky collaborated with Ryuichi Sakamoto on projects including The Discord Symphony. The concert and album were released as an enhanced CD containing both a full audio program and multimedia computer files. It features spoken-word performances by Laurie Anderson, David Byrne, Patti Smith, David Sylvian, DJ Spooky, David Torn, and Bernardo Bertolucci.

He collaborated with Iannis Xenakis on the recording of Kraanerg, with the STX-Ensemble in 1997.

2005 saw the release of Drums of Death, DJ Spooky's CD based on sessions he recorded with Dave Lombardo of Slayer. Other guest artists include Chuck D of Public Enemy and Vernon Reid of Living Colour. The record was co-produced by Jack Dangers of Meat Beat Manifesto.

DJ Spooky joined the ninth and eleventh annual Independent Music Awards judging panel to assist independent musicians' careers. He was also a judge for the third Independent Music Awards.

DJ Spooky has said that much of his work "deals with the notion of the encoded gesture or the encrypted psychology of how music affects the whole framework of what the essence of 'humaness' [sic] is... To me at this point in the 21st century, the notion of the encoded sound is far more of a dynamic thing, especially when you have these kinds of infodispersion systems running, so I'm fascinated with the unconscious at this point."

Other work
His work as an artist has appeared in a variety of contexts such as the Whitney Biennial; the Venice Biennale; the Museum Ludwig in Cologne, Germany; Kunsthalle, Vienna; The Andy Warhol Museum; Paula Cooper Gallery; the Museum of Contemporary Art, Chicago, and many other museums and galleries. In 2007, his work appeared in the Africa Pavilion at the 52nd Venice Biennial. This remix of music from Africa was also distributed freely online, and promoted by the blog Boing Boing. "You give away a certain amount of your stuff, and then the cultural economy of cool kicks in", DJ Spooky said.

In 2006, the song "Battle of Erishkigal", co-written by DJ Spooky and Frank Fitzpatrick, was featured in the anime-inspired film The Rebel Angel. In August 2009, DJ Spooky visited the Republic of Nauru in the Micronesian South Pacific to do research and gather material for a project in development, with a working title of The Nauru Elegies: A Portrait in Sound and Hypsographic Architecture.

DJ Spooky's multimedia performance piece Terra Nova: Sinfonia Antarctica was commissioned by BAM for the 2009 Next Wave Festival; the Hopkins Center for the Arts/Dartmouth College; UCSB Arts & Lectures; Melbourne International Arts Festival; and the Festival dei 2 Mondi in Spoleto, Italy.

DJ Spooky's Rebirth of a Nation, a remix of D. W. Griffith's 1915 film The Birth of a Nation, was commissioned in 2004 by the Lincoln Center Festival, Spoleto Festival USA, Wiener Festwochen, and the Festival d'Automne a Paris.

In 2010, Miller formed The Vanuatu Pacifica Foundation, a contemporary arts organization dedicated to exploring dialog between Oceania and the rest of the world.

In 2011, Miller collaborated with Ballet Austin Artistic Director Stephen Mills on a ballet work titled Echo Boom as part of The Mozart Project.

In 2016, DJ Spooky composed a New Forms duet for carillon and a computational re-synthesis of the Tsar Bell, a Russian bell which broke before it was ever rung.

In 2017, DJ Spooky started composing the music for Intercepted, a podcast produced by news publication The Intercept.

Family
Miller was born in Washington, D.C. to Paul E. Miller, who headed a panel of 12 African American law professors who assisted defense lawyers in the California trial of Angela Davis, and Rosemary Reed Miller, historian and former owner, Toast and Strawberries, a Washington, D.C. boutique. DJ Spooky has a daughter born in 2011 to Fumika Yamamoto.

title: DJ Spooky


text:
Single Cell Orchestra

Single Cell Orchestra is the performing name of Miguel Angelo Fierro, a San Francisco-born musician who has worked for many years in the electronic music scene. His first successful single was "Transmit Liberation", an underground ambient music hit that proved influential in the development of trip hop. His first full-length release was Dead Vent 7 (1995), followed by Single Cell Orchestra (1996). Later that year, he collaborated with the band Freaky Chakra to release an album entitled Freaky Chakra vs Single Cell Orchestra.

title: Single Cell Orchestra


text:
User:Kosebamse

ETERNAL TRUTHS

I would have every man write what he knows, and no more. Michel de Montaigne What can be said at all can be said clearly. Ludwig Wittgenstein Read not to contradict and confute, nor to believe and take for granted, nor to find talk and discourse, but to weigh and consider. Sir Francis Bacon

SLIGHTLY LESS ETERNAL, YET MORE USEFUL TRUTHS

A new scientific truth does not triumph by convincing its opponents and making them see the light, but rather because its opponents eventually die, and a new generation grows up that is familiar with it. Max Planck

When a candidate for public office faces the voters he does not face men of sense; he faces a mob of men whose chief distinguishing mark is the fact that they are quite incapable of weighing ideas, or even of comprehending any save the most elemental — men whose whole thinking is done in terms of emotion, and whose dominant emotion is dread of what they cannot understand. So confronted, the candidate must either bark with the pack or be lost... All the odds are on the man who is, intrinsically, the most devious and mediocre — the man who can most adeptly disperse the notion that his mind is a virtual vacuum. The Presidency tends, year by year, to go to such men. As democracy is perfected, the office represents, more and more closely, the inner soul of the people. We move toward a lofty ideal. On some great and glorious day the plain folks of the land will reach their heart's desire at last, and the White House will be adorned by a downright moron. Henry Louis Mencken

* * *

please see my my talk page for messages more about my work on Wikipedia a few thoughts about Wikipedia

* * *

- Disclaimer: I am not associated with any other website, organisation, or person that uses the word "kosebamse".

title: User:Kosebamse