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Talk:Heat death of the universe

Statement about rate of cooling of the planet Jupiter
Statement: "Jupiter, for instance, is still too hot for life to arise there for thousands of years, while the Moon is already too cold." Intuitively this seems wrong, as the writer says 'thousands of years'. This implies that in at least 99,999 years the planet Juipter will be at a good temperature for life. Given astronomical time scales I doubt this. The writer should probably have said, "Hundreds of thousands (of years)" or, more likely "millions", possibly billions. Or, if the writer is unsure, they should not mention a time scale. There is a formula given for the cooling of Juipter in the following paper. But accurate appraisal is beyond me. https://www.tcd.ie/Physics/people/Peter.Gallagher/lectures/PY4A03/pdfs/PY4A03_lecture10n11_ineriors.ppt.pdf

Brn wk48 (talk) 13:28, 20 February 2019 (UTC)

I agree. It does seem quite strange that Jupiter would be [possibly] inhabited within the [given] time period MercenaryFeet (talk) 09:47, 11 October 2020 (UTC)
 * That's a historic view from 1777. --mfb (talk) 21:36, 1 May 2021 (UTC)

The intro and “Concept” sections appear to be very wrong (and poorly sourced.)
I don’t know enough about the subject to edit it myself, but I’m hoping an expert can take a look at it and confirm I’m not just nuts. As far as I’m aware, the heat death of the universe doesn’t involve baryons becoming infinitely hot and then everything suddenly “poofs” into the universe’s “original state of heat death.” Only to repeat again every... 13.8 billion years? What? These sections seem to contradict the rest of the article, the “ultimate fate of the universe” page, and the laws of physics. And it looks like the sources are cherry-picked (e.g., the author picked out “augment” at the beginning in order to say that gravity “augments” heat in the universe while ignoring the next word is “diffuse”). It points to one article that says the universe is heating up, but unless something real wild has happened in physics recently, I don’t think this describes heat death. 2601:19C:4600:D10:FCBD:E785:27C0:77C1 (talk) 12:45, 30 April 2021 (UTC)
 * The article was vandalized by one user, it was now reverted to the last version before that. --mfb (talk) 21:34, 1 May 2021 (UTC)

Please, watch the recent changes (Nov 2022): it is now a Big Trip page
Even if well sourced, the new edits have turned this page into a Big Trip page, which is a completely different thing from heat death and more related to Big Rip. It is also a heavily speculative scenario which finds almost no echo in the scientific mainstream / consensus, which makes me wonder whether it should be included on Wikipedia. But as it stands now, this page has nothing to do with heat death = “Lord Kelvin’s theory of entropic exhaustion and cease of entropy production, no residual Helmholtz free energy”. — Preceding unsigned comment added by 79.44.80.223 (talk) 12:02, 8 November 2022 (UTC)
 * Thanks, reverted and I contacted the user. --mfb (talk) 12:18, 8 November 2022 (UTC)

Vandalism by ban evader
User Heatlife is filling this site with incoherent nonsense and pseudoscience. Many has reverted his changes but he keeps reverting them back. Looking back, this page had the same problem a year ago, when Vortex3211 (currently blocked) posted the same nonsense Heatlife is posting. Other accounts that are likely the same person are Oranjelo100, Dlku4d and Antichristos based on their editing pattern on this page. 176.72.172.76 (talk) 14:46, 8 November 2022 (UTC)

Unwarranted removal of references
Under the "Time frame for heat death" section, it originally said this:

(references from before the last two sentences are removed for brevity)

On 16 July 2023, the bottom paragraph and its three references were removed without an explanation.

On 4 November 2023, I noticed and put it back, with the edit summary "Revert unexplained reference & material removal from ~4 months ago".

On 20 November 2023, it was removed again by the same user, with the edit summary "This evidence might not valid or no longer valid, and It's also might be a false argument."

Is there a good reason to remove these references? "May or may not be no longer valid" is extremely vague, and even if a dissenting source exists, it should be added to the section instead of the existing sources removed.

If no objections, I will double-revert the removal in 7 days. Zowayix001 (talk) 17:05, 23 December 2023 (UTC)
 * Reverting the removal and putting back the aforementioned two sentences. Zowayix001 (talk) 03:35, 11 January 2024 (UTC)
 * That information is no longer valid because it might have been debunked or some other changes that broke it down. LongnamXL35 (talk) 04:46, 24 January 2024 (UTC)

Beyond The Fringe
Since this article about cosmology feels the need to clutter itself up with one of those moronic "in popular culture" sections I suspect are all written by the same obsessive-compulsive basement-dwelling nutjob, seeing as they tend to be heavily weighted in favour of pop culture references sufficiently recent for aspergeroidal teenagers to know about, and always include at least one ugly Japanese cartoon, I consider it to be a matter of the utmost important that this article is immediately amended to include the extremely relevant and useful information that the groundbreaking comedy review "Beyond The Fringe" featured a monologue spoken by Jonathan Miller called "The Heat Death Of The Universe". It's not actually about cosmology, being concerned with the problem of losing your trousers on a train, but given the kind of encyclopedia Wikipedia is, I think you ought to mention it. 86.130.233.216 (talk) 14:43, 11 July 2024 (UTC)

title: Talk:Heat death of the universe


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Greg Malone (actor)

David Gregory Malone (born October 19, 1948 in St. John's, Newfoundland) is a Canadian impressionist and actor. He is well known for the CODCO television series and his impersonations of Barbara Frum, Jean Chrétien, and Queen Elizabeth II.

Career
Prior to CODCO, Malone wrote and performed in a number of shows for CBC Television, including The Wonderful Grand Band, The Root Seller and The S and M Comic Book, and appeared in the film The Adventure of Faustus Bidgood.

After the death of his CODCO co-star Tommy Sexton in 1993, he devoted some years of his life to raising awareness of HIV and AIDS, including writing, directing and appearing in a training film for health care professionals. He also directed a docudrama film, The Untold Story of the Suffragists of Newfoundland, in which he appeared as Sir Richard Squires, and acted in the films Rare Birds, Extraordinary Visitor, Messiah from Montreal and Heyday!. He also appeared in a one-man special for Comedy Now!, Pocket Queen, which won an award at the 1999 WorldFest-Houston International Film Festival. More recently, he has had a recurring guest role in Republic of Doyle. He appeared as orphanage headmaster Mr. Hill in the Irish-Canadian co-production Maudie, widely released in 2017.

Along with Sexton and their CODCO co-star Andy Jones, Malone was a recipient of the Earle Grey Award, the lifetime achievement award of Canadian television's Gemini Awards, in 2002.

His first memoir, You Better Watch Out, was published in 2009 by Knopf Canada. He released a book in 2012 entitled Don't Tell the Newfoundlanders: The True Story of Newfoundland's Confederation with Canada, which is a look at how Newfoundland became a province of Canada in 1949. Malone is openly gay. He is also an amateur theologian.

Politics
Malone participated in the campaign that stopped the privatization of Newfoundland and Labrador Hydro, and has championed other environmental causes, including a campaign to ban shipping of garbage to Newfoundland. He ran as a candidate for the New Democratic Party in the St. John's West by-election in 2000, losing narrowly to Loyola Hearn.

Malone supported Elizabeth May and the Green Party of Canada in the 2008 election, and performed at the 2009 Green Party convention in Pictou, Nova Scotia.

In June 2019, Malone was announced as the Green party candidate for the riding of Avalon for the 2019 federal election. Malone finished a distant fourth in the election.

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

title: Greg Malone (actor)


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Fantasy hockey

Fantasy hockey is a form of fantasy sport where players build a team that competes with other players who do the same, based on the statistics generated by professional hockey players or teams. The majority of fantasy hockey pools are based on the teams and players of the ice hockey National Hockey League (NHL).

A typical fantasy hockey league or hockey pool, has 8 - 12 teams but often have as many as 20. Other types of pools may have a greater number of teams, which may dilute the average talent making it more or less fun depending on the league, but also represents more closely the actual NHL, which currently has 32 teams. Other forms of fantasy hockey may allow an unlimited number of teams, whereby any number of owners may draft the same player(s). These typically have a restricted number of "trades" where one player may simply be exchanged for any other in the player pool, typically of the same position.

NHL.com/Fantasy has recently integrated year-round fantasy coverage, featuring rankings, news and advice.

Rules
The most common way for choosing NHL players or teams to comprise a fantasy team is via a draft, either online or in person. However, the method ranges from basic (i.e., the draft has a predetermined number of rounds, and every team has a pick in each round, unless they have traded their picks) to complicated (i.e. 'auction' style).

Some leagues require an entry fee at the start of the season, with the league champion at the end of the year collecting some or all of the money. In other leagues, money is not involved at all and the league is simply for fun.

Team structure
Most office hockey pools keep the teams simple - merely choose 12 or 15 or 20 skaters from any position, most points win. However, fantasy hockey leagues usually use more complicated formats.

One common format of a fantasy team (rotisserie style) is:

 * 2 Centers (Forward)
 * 2 Left Wings (Forward)
 * 2 Right Wings (Forward)
 * 4 Defensemen
 * 2 Goaltenders
 * 5 Bench Players (who can play any position)

Point scoring
Common categories in which fantasy owners collect points include:

 * Points
 * Goals
 * Assists
 * Plus/Minus (+/-)
 * Penalty Minutes
 * Power Play Points
 * Game-Winning Goals
 * Faceoffs Won
 * Shots On Goal
 * Hits
 * Blocked Shots
 * Wins (Goalie)
 * Goals Against Average (Goalie)
 * Save Percentage (Goalie)
 * Shutouts (Goalie)
 * Hat Tricks

"Points" (which is goals plus assists) is the most common measure of a fantasy hockey team's performance. Some pools offer additional scoring based on the player's position (such as points for a goaltender victory) or skill level (such as points for penalties earned by an enforcer). Other pools have much higher levels of complexity, taking into account defensive statistics and +/-. When management of the participant's roster is required (i.e., activating certain players), this type of pool is often referred to as fantasy hockey.

Example
The most common scoring scheme is simply:
 * 1 point per goal
 * 1 point per assist
 * 2 points per win
 * 0 points per loss
 * 1 point per OT loss

Draft
There are two basic kinds of hockey pools: draft and non-draft. In a draft pool, no player can be held by more than one participant. All of the pool participants take turns drafting their players. (The drafts are usually held in serpentine fashion; that is, the team picking first in the odd rounds will pick last in the even rounds.) This type of pool requires considerable in-depth knowledge of players beyond the top tier of NHL stars.

In a non-draft pool, everyone simply picks a set number of players. Thus, multiple participants can have the same player among their set roster.

One variant of a non-draft pool is a "box-style" pool, where players of a similar caliber (i.e., forwards, defencemen, superstars, rookies) are grouped together and a fixed number of players are selected from each group or box.

A hockey pool can also be played using the NHL playoffs, Olympics, World Cup or World Championship tournaments. These pools are extremely popular as they are much shorter in length.

Head-to-Head
In a 'Head-to-Head' league fantasy owners attempt to win the most categories per week, with their weekly points to be added to their cumulative points total for the season. It is the only format that offers a bracket-style playoff format at the end of the regular season. At the end of the season, the teams with the most points make the playoffs (the number of playoff spots varies per league), with the team emerging from this successful being declared the league champion. In this format, the team that has the most points in the regular season does not always win in the playoffs. In fact, a much lower ranked team can win it all if they pull off an upset or two in the playoffs.

There is now a head-to-head points system, that combines the concepts of the two. It provides weekly match ups and opponents where each player tries to accumulate the most points. Points are earned from each stat, which are individually assigned a specific amount. For instance, a goal could be worth 3 points and an assist worth 2 points. Each game will see one win awarded and one loss awarded, except in the event that the competing teams tie in points scored for the week.

Going away from the "points" subsection of head-to-head scoring systems, there are two popular options that use weekly head-to-head match ups and score categories.

The first is commonly referred to as "head-to-head most categories." In leagues that employ this system, each matchup will be contested between two teams, each of which are simply trying to win more scoring categories than its opponent in an effort to get the win for that week. For instance, if a fantasy hockey league uses 13 scoring categories, and Team A wins 8 of those categories to Team B's 5, then Team A will get the win and go 1-0 for the week. Team B will have lost and take an 0-1 record from that week.

The second categorical head-to-head fantasy hockey scoring system is commonly referred to as "head-to-head each category." While two leagues can use exactly the same scoring categories, team records and finish in the league standings can (and almost always will) be very different between the H2H Most and H2H Each systems. This is because in H2H Each leagues, every individual category represents a 'game' to be won or lost in the standings. So, in our example from the paragraph above, if Team A wins 8 categories to Team B's 5 over the week that they play against each other, Team A will have earned an 8-5 record for the week, while Team B will have earned a 5-8 record. This makes for a couple notable differences: 1) it creates wider gaps in the standings as the season progresses, 2) it puts an onus on battling for every single category, rather than creating a situation in which winning the most categories is impossible by mid-week and offering owners no incentive to play out the string, 3) it rewards dominance and proficiency in the most categories. To cite a well-known example, think of it in college football terms. Head-to-head most categories leagues require only that you win the week, no matter the score. Head-to-head each category leagues require that you win the week by as many categories as possible, because a team's record is tied to what would otherwise be considered the score of the game.

There are advantages to each system, and commissioners should consider what kind of a league they want to create for their team owners. In short, the pros and cons of each head-to-head system are as follows:

Head-to-head most categories - The benefit is in the simplicity and also in the parity within the standings. More teams remain in realistic playoff contention longer, because it is easier to make up what would constitute a full game in the standings. The drawback is that teams can load up on half of the categories while leaving the others to chance and still end up winning most games despite possibly not being the most well-rounded team in a rotisserie sense. Another serious drawback to H2H Most Categories leagues is that once it becomes apparent during the week which team will win the most categories, there becomes no incentive to keep up, because a loss is a loss no matter the final score. This can result in the losing manager not setting his lineup in the last few days of the week. Since fantasy hockey was invented for Saturday nights, the busiest night of the NHL schedule, this can leave much to be desired.

Head-to-head each category - The benefit is that the standings should most closely reflect a rotisserie type of overall team strength, with the caveat that the opponent is different every week (rotisserie leagues have no head-to-head match ups and therefore no opponents). Another benefit is the incentive to battle hard for any and all categories that are within reach near the end of the week, by choosing to start players based on which ones are likely to perform best in those specific categories. The drawbacks are that it is not a true rotisserie league, so the possibility of the best team not winning still exists, and also that the better teams can run up the scores regularly and create much separation in the standings. Some owners are not equipped to continue giving their all when they see a record of 30-50, but might otherwise see a record of 3-5 as simply two games under .500.

Head-to-head points - The benefit is that the league can decide how much weight it wants to give to certain actions, or what would be called "categories" in the other leagues. A common complaint about head-to-head category leagues is that it places too much or too little importance on certain aspects of the game of hockey. By assigning a point value to everything that would otherwise be its own equally weighted category, the competitors can decide what kind of players they want to value the highest. The drawback to this setting is that games can frequently get out of hand by the weekend, thus again causing an atmosphere of indifference among many league members during what is supposed to be the most exciting time of the week.

Daily Fantasy Hockey
Daily fantasy hockey is a new niche in the fantasy sports industry. Like traditional fantasy sports, players draft a team of real world athletes who then score fantasy points according to set scoring rules. However instead of being stuck with the same team through a whole season, daily fantasy sports contests last just one day. Daily fantasy sports is quicker and more numbers-driven. Daily fantasy sports websites do not compete for the same players as traditional sports games, but instead market themselves as complementing traditional fantasy sports. Casual fans enjoy daily fantasy hockey leagues because they do not require continued attention from team owners in order for said owners to achieve. A small fee is usually required to enter these contests, with a significantly higher jackpot for the winner. However, the number of participants is often in the hundreds or even thousands.

Points
A "Points" league is one of the most simple and easy systems for beginners to fantasy hockey. Owners begin each season by selecting a team of a pre-determined number of players to fill different roles on the team. The most used positions for a points league are: centers, right wing, left wing, defense, goalie, rookie and enforcer. Respectively each of the different positions accumulate points differently. For example a forward may score points by goals and assists, whereas an enforcer will score points on penalty minutes and hits. Instead of owners competing against a single other team, like in head-to-head, owners gain points throughout the year for their players real time stats and is reflected in the owner's team total. For instance, if for every goal scored in real life, one point is awarded to the respective team, and a player scores 25 goals, then the team will have 25 points for that player. Points are awarded for each of the categories and can be changed by the Commissioner of the league. Points leagues can also be combined with a "keeper leagues" format.

Rotisserie
A 'Rotisserie' league is one in which teams are ranked in order from best to worst. In a ten-team league with ten categories, the maximum number of points a team can earn is 100 (by finishing 1st in each category). The least is ten, by finishing last and collecting only one point per category. Rotisserie leagues are likely the most strategic type of fantasy pool and reward managers whose team has strong, balanced scoring across all categories.

Express League
An 'Express League' offers contests with shorter time frames than traditional season-long fantasy leagues. The rules are usually the same as the 'Points' league. Games time frame could be from one day to one week or even more sometime.

Keeper Leagues
Any fantasy hockey pool that "rolls over" into future years is called a "Keeper" or "Dynasty" league. The leagues can be run each year in any of the above formats with a winner declared at the end of each season. At the end of the year team managers decide which players they wish to protect (the number varies - from protecting and keeping all players, to keeping as few as three or four players). Before the next NHL season begins, a fantasy draft is held to fill out the rest of the roster.

Many keeper leagues, as well as some single season leagues, have adopted salary cap rules similar to the NHL. In a "Salary Cap League", a salary is assigned to each player before the manager selects his team. Salaries are usually determined by the NHL player's real salary. Otherwise a number value is assigned - usually by an online hockey pool program - or it is determined through an auction process. Each manager must ensure that they do not go over the predefined salary cap when selecting players.

Some leagues have also introduced a rookie draft into their fantasy league. By using the rankings from the last season to determine the draft order, last place gets 1st pick and so on. In most leagues trading picks is also allowed.

Running a hockey pool
For a typical hockey pool, there are hundreds of statistical updates occurring every night. Updating statistics accurately and on a timely basis is usually handled by hockey pool software or via an online hockey pool manager like HockeyDraft.ca or OfficePools.com

Simulated Fantasy Hockey
A variant of fantasy hockey that does not rely on day-to-day real world player statistics is simulated fantasy hockey.

In a simulated fantasy hockey league, each team owner builds a roster of players who are represented by a set of ratings for attributes such as scoring prowess and passing ability. The assembled rosters then compete in simulated head-to-head matchups, with the outcome determined by the attributes of the players. Simulation of those games can be conducted manually or using specialized computer software. Because the games are simulated, they do not require any real-world hockey leagues to be in-season, meaning simulated fantasy hockey can be played year-round.

Each simulated hockey league has its own rules for player acquisition, scheduling, and for determining player ratings. While many leagues are focused on active NHL players, some leagues opt to not use real-world players at all, assigning ratings to fictional players, while others build their rosters from historical players.

History
One of the first known fantasy hockey leagues was formed in 1981 by Jay Arbour (son of legendary New York Islanders Coach Al Arbour) and Neil Smith (who served as GM of the NY Rangers from 1989–2000). The league also included sportscasters Howie Rose and Sam Rosen, among others.

The longest documented continuously run hockey pool was formed in 1980 by a group of students from Handsworth Secondary School in North Vancouver, Canada. Known as the "Handsworth Alumni Hockey Pool", it is now in its 44th year of existence as of the 2023/2024 NHL Season. The only year the pool was not active was during the 2004-2005 NHL Season, which was cancelled due to a labour dispute.

title: Fantasy hockey


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Directors Guild of America

The Directors Guild of America (DGA) is an entertainment guild that represents the interests of film and television directors in the United States motion picture industry and abroad. Founded as the Screen Directors Guild in 1936, the group merged with the Radio and Television Directors Guild in 1960 to become the modern Directors Guild of America.

Overview
As a union that seeks to organize an individual profession, rather than multiple professions across an industry, the DGA is a craft union. It represents directors and members of the directorial team (assistant directors, unit production managers, stage managers, associate directors, production associates, and location managers (in New York and Chicago)); that representation includes all sorts of media, such as film, television, documentaries, news, sports, commercials and new media.

The guild has various training programs whereby successful applicants are placed in various productions and can gain experience working in the film or television industry.

, the guild had more than 18,000 members. The DGA headquarters are on Sunset Boulevard in Hollywood, with satellite offices in New York and Chicago and coordinating committees in San Francisco, Chicago, and London.

Composition
According to DGA's Department of Labor records, the guild's reported membership classifications currently account for 1,532 "retirees" (about 10% of total membership), 323 "suspended" members (2%), and 5 "life" members (<1%), compared to 13,577 "active" members. "Suspended" members pay dues but are ineligible to vote in the union. DGA contracts also cover some non-members, known as agency fee payers. These non-members currently number 172, or about 1% of the size of the union's membership.

Membership
The DGA site lists the following for membership:

"Upon the DGA's receipt of a deal memo or commercial project listing form ('CPLF') from a DGA signatory Employer which confirms your bona fide employment in a DGA-covered category, you will be sent an application for membership which will include your required initiation fee and other information. The DGA does not provide applications for membership upon request.

Your membership in the DGA is subject to approval by your category Council. Applications for membership are submitted to the appropriate Council upon submission of a completed application form and payment of the requisite initiation fee. The DGA membership application form requires endorsements from three members within your application category, your resume and brief biography, your home address and other contact information. Your application must be notarized."

Membership categories are:
 * Director: Feature/Television
 * Director: Commercial, Documentary, Low Budget Feature, Staff, Segment
 * Unit Production Manager
 * 1st Assistant Director
 * 2nd Assistant Director
 * AD/UPM Low Budget
 * Associate Director
 * Stage Manager
 * AD/SM Low Budget
 * Production Associate (West)
 * Program Production Assistant (East)

Membership initiation fees in 2022 ranged from $200 for a Production Associate to $13,416 for a feature director.

The DGA site listed the following for dues in 2022:

"DGA membership dues are basic dues of $50 per quarter and income dues based on gross earnings working in all DGA categories. Gross income includes but is not limited to base salary, overtime, residuals, deferments, percentage compensation, completion of assignment, vacation and holiday pay, profit participation and fees of all kinds in any Guild category. DGA members must report all gross earnings from Guild-covered employment and pay the corollary percentage dues quarterly. Dues on gross earnings are calculated at one and one-half percent ($1 1/2$ %) of a member's reported gross earnings from employment in all Guild categories, provided that such dues are payable only on gross annual income between $10,000 and $300,000. In addition to basic and percentage dues, members also pay an additional one percent (1%) of the total residuals they receive in connection with employment under a DGA collective bargaining agreement"

Labor agreements
The agreements signed between the guild and film and television production companies make various stipulations covering pay and working conditions for guild members and require that all those employed in the relevant fields on a film made by that company are guild members. Guild members are generally prevented from working for companies that have not signed an agreement with the DGA. This sometimes leads production companies that have no such agreement to form new companies, purely for the purpose of making a particular film, which do then sign an agreement with the DGA.

The Guild enters into negotiations with the Alliance of Motion Picture and Television Producers (AMPTP), the organization that represents the studios, networks and production companies, approximately every three years to update and renew the Basic Agreement and the Freelance Live and Tape Television Agreement, the DGA's two major agreements. The DGA negotiates minimum compensation levels that must be paid by the companies. Many DGA members have agents who may negotiate rates above the minimums for their clients. The DGA agreements also secure residual payments for the reuse of members' work in film, television and new media.

Other than wages and basic working conditions, the DGA has a particular role in protecting the creative rights of film and TV directors. Such protections that the guild provides include defining the director's role, ensuring, with examples, the principle of "one director to a picture" and the right to prepare a director's cut or edit. Generally, each of these protections is to help offset the power that producers can have over a director during the film-making process.

DGA Awards
The DGA hosts the annual DGA Awards, an important precursor to the Academy Awards. In its 69-year history, the DGA Award for Outstanding Directorial Achievement in Feature Film has been a near perfect barometer for both the Best Director, and in some cases, the Best Picture Academy Award. Only seven times has the DGA Award winner not won the corresponding Best Director Academy Award. Honorees are awarded with a statue manufactured by Society Awards.

Credits
The rule that a film can only have one single director was adopted to preserve the continuity of a director's vision and to avoid producers and actors lobbying for a director's credit, or studios hiring multiple directors for a single film or television episode.

The rule is waived only for directorial teams recognized by the DGA who have a history of working together and sharing a common vision. Examples include The Wachowskis, Jonathan Dayton and Valerie Faris, Hughes brothers, Russo Brothers, Phil Lord and Christopher Miller and the Coen brothers. The Coens for years divided credit, with Ethan taking producing credit, Joel taking directing credit, and both of them sharing the writing credit (even though the two of them shared all three duties between themselves) until The Ladykillers in 2004.

An example of the DGA refusing to recognize a directorial team was Robert Rodriguez and Frank Miller for Sin City; they were rejected because they had never worked together before; Rodriguez quit the DGA so that Miller would share director's credit.

For the film Bohemian Rhapsody, director Bryan Singer was fired due to frequent absences and clashing on the set, with Dexter Fletcher replacing him with two weeks left of filming. Singer still received director credit and Fletcher received executive producer credit.

In the past, the DGA has also engaged in disputes with the Writers Guild of America (WGA) over possessory credits, first used in the 1915 film The Birth of a Nation. The WGA tried to limit possessory credits to writers, but has always been successfully opposed by the DGA, leaving directors free to try to negotiate such credits if they wish.

Non-member directors
Not all Hollywood directors are DGA members. Notable exceptions include George Lucas and Robert Rodriguez. Quentin Tarantino directed six feature films before becoming a DGA member, in 2012. Those who are not members of the guild are unable to direct for the larger movie studios, which are signatories to the guild's agreements that all directors must be guild members.

Leadership

The following are the past Presidents of the Screen Directors Guild and the DGA:

 * 1936–1938 King Vidor
 * 1938–1941 Frank Capra
 * 1941–1943 George Stevens
 * 1943–1944 Mark Sandrich
 * 1944–1946 John Cromwell
 * 1946–1948 George Stevens
 * 1948–1950 George Marshall
 * 1950–1951 Joseph L. Mankiewicz
 * 1951–1959 George Sidney
 * 1959–1961 Frank Capra
 * 1961–1967 George Sidney
 * 1967–1971 Delbert Mann
 * 1971–1975 Robert Wise
 * 1975–1979 Robert Aldrich
 * 1979–1981 George Schaefer
 * 1981–1983 Jud Taylor
 * 1983–1987 Gilbert Cates
 * 1987–1989 Franklin J. Schaffner
 * 1989–1993 Arthur Hiller
 * 1993–1997 Gene Reynolds
 * 1997–2002 Jack Shea
 * 2002–2003 Martha Coolidge – first female president
 * 2003–2009 Michael Apted
 * 2009–2013 Taylor Hackford
 * 2013–2017 Paris Barclay – first black and first openly gay president
 * 2017–2021 Thomas Schlamme
 * 2021–present Lesli Linka Glatter

DGA Director's Finder Series
The Director's Finder Series (or Director's Finder Screening Series), inaugurated in December 1998, provides for the screening of independent films with no U.S. distributor, and no previous TV or other distribution. Selected by a lottery, the films are screened in DGA theatres in Los Angeles and New York City to an audience of DGA members and invited potential distributors. Many films have been picked up by distributors via the series that may not otherwise have been spotted. The series was initiated by the DGA's Independent Directors' Committee, chaired by Steven Soderbergh, initially for U.S. films only, but later expanded to include Australian, Irish, British and New Zealand directors, via the International Association of English-Speaking Directors Organisation (IAESDO). By 2007, the series had screened more than 75 films. The DGA has collaborated with organisations such as the Screen Directors Guild of Ireland (SDGI) and the Australian Directors' Guild (ADG), which nominate one film to participate.

Australian entries, selected for the Finders Series Award by the ADG from a shortlist of four, include Boxing Day (2007), directed by Kriv Stenders; and after a five-year lapse, Tony Krawitz's documentary The Tall Man (2012), and in 2014 Catriona McKenzie's Satellite Boy was selected for the series.

Irish entries include Terry McMahon's Patrick's Day (2014) and Ross Whitaker's Katie (2018).

Directors Guild Foundation
Directors Guild Foundation, founded in 1945, as Directors Guild of America Educational and Benevolent Foundation publishes the Directors Guild of America Oral History series, and provides an interest-free loan program, a Cognitive Wellness Program, and flu shot clinics.

title: Directors Guild of America


text:
Waking Up the Neighbours

Waking Up the Neighbours is the sixth studio album by Canadian singer-songwriter Bryan Adams, released on September 24, 1991. The album was recorded at Battery Studios in London and The Warehouse Studio in Vancouver, mixed at Mayfair Studios in London, and mastered by Bob Ludwig at Masterdisk in New York City.

The album received critical acclaim and reached the number one position on the album charts in at least eight countries, becoming Adams' second best-selling album worldwide. Its first single, "(Everything I Do) I Do It for You", stayed at number one on the UK Singles Chart for a record sixteen consecutive weeks. The album was also notable in Canada for creating controversy concerning the system of Canadian content.

Background and recording
The performance of Adams' 1987 album Into the Fire was felt as somewhat of a disappointment. Although it reached No. 7 on the Billboard album chart and No. 2 in his native Canada, it fell short of the massive commercial success enjoyed by his fourth album Reckless released in 1984. Into the Fire was also Adams' last album recorded together with his longtime collaborator Jim Vallance; their songwriting partnership ended in August 1989.

An attempt to record a new album was made in 1988 with Steve Lillywhite producing, but nothing from these sessions was released. Over a year after that, Adams joined forces with Robert John "Mutt" Lange, previously known for his work with AC/DC, The Cars, Foreigner, and Def Leppard to start work on Adams' next album, recording at Battery Studios in England and the Warehouse Studios in Canada. Recording began in March 1990, and along with mixing, finished in June 1991. According to Adams, Lange changed his way of thinking about the songwriting process making him work meticulously on each song. As a result, the recording process went on for more than a year, and the release of album, originally scheduled for the fall of 1990, had to be postponed several times. Lange is credited on all 15 tracks of the album including four songs whose demos were originally recorded with Vallance.

Release and promotion
Waking Up the Neighbours was released after a number of delays in September 1991. The album peaked at number six on the Billboard 200. The album and lead single topped the charts in a number of countries, with "(Everything I Do) I Do It for You" spending a record 16 weeks at number one on the UK Singles Chart and topping the charts in 17 countries. It sold a record four million copies in the US. Canadian content regulations were revised in 1991 to allow radio stations to credit airplay of the album towards their legal requirement to play Canadian music. The album is Adams' second-bestselling album worldwide.

Singles
Released before the album, "(Everything I Do) I Do It for You" was its most successful single. It has become one of the most successful songs of all time, spending seven weeks at number one on the United States' Billboard Hot 100, sixteen consecutive weeks at number one on the UK Singles Chart, 11 weeks on the Dutch Top 40 and nine weeks at number one on the Canadian singles chart in Canada. The song received a Grammy Award for Best Song Written Specifically for a Motion Picture or Television at the 1992 Grammy Awards, and was nominated for an Academy Award for Best Song of 1991.

Adams was approached to write a theme song by the producers of the upcoming Kevin Costner film, Robin Hood: Prince of Thieves, and received a tape of orchestration written by film-score composer Michael Kamen. He and "Mutt" Lange used a section of Kamen's orchestration and composed "(Everything I Do) I Do It for You", which was placed deep in the film's closing credits when it opened on June 14, 1991. The song rose to number one in the United Kingdom the week before the film's British release, topped the charts in 16 countries, and sold over 10 million copies worldwide (one of the biggest-selling singles of all time). When the BBC asked Adams about the recent acoustic live version from his Bare Bones CD, "Do you ever get bored of hearing your record-breaking hit 'Everything I Do'?" he said: "Of course not. What a silly question." Julien Temple directed the music video for "(Everything I Do) I Do It for You", which was filmed in Sheffield, England on May 17–18, 1991.

"Can't Stop This Thing We Started" was the album's second single. A rock song (in contrast to "(Everything I Do) I Do It for You"), it peaked at number two on the Billboard Hot 100 behind Prince's "Cream". The song was nominated at the 1992 Grammy Awards for Best Rock Song and Best Rock Performance, Solo.

"There Will Never Be Another Tonight" was the third single, whose title came from a fragment Adams and Jim Vallance wrote in the late 1980s. Originally titled "Buddy Holly Idea" because of its resemblance to Holly's "Peggy Sue", it was developed into a song by Lange and Adams.

"Thought I'd Died and Gone to Heaven" was the fourth single from Waking up the Neighbours. It reached number 13 on the Billboard Hot 100 and number 14 on the Mainstream Rock Tracks chart. In the UK, the song reached number eight. "All I Want Is You", "Do I Have to Say the Words?" (number 11 on the Billboard Hot 100) and "Touch the Hand" were also released as singles, but had less rotation than the first four singles.

Canadian content controversy
The album caused controversy in Canada concerning the system of Canadian Content. Although Adams was one of Canada's biggest recording stars at the time, the specific nature of his collaboration with non-Canadians, coupled with his decision to primarily record the album outside Canada, meant that the album and all its songs were not considered Canadian content for purposes of Canadian radio airplay. Under the system then in place, a piece of recorded music had to meet any two of the following four criteria in order to qualify as Canadian content:

 * 1) the artist was Canadian
 * 2) the track was completely recorded in Canada
 * 3) the music was entirely written by a Canadian (or Canadians)
 * 4) the lyrics were entirely written by a Canadian (or Canadians)

As Adams co-wrote both the music and the lyrics with Mutt Lange, who is from Zambia, and he did not primarily record the album in Canada, he only fulfilled one of the criteria. It was noted that if Adams had written all the lyrics, and Lange all the music (or vice versa), the collaboration would have counted as Canadian content. As a result, under CRTC regulations none of the album's songs was considered Canadian content.

In protest, Adams briefly threatened to boycott Canada's annual Juno Awards, where his album had been almost completely ignored by the awards committee. He did end up winning the Entertainer of the Year Award (voted on by the public) and Producer of the Year Award.

Adams publicly criticised the CRTC policy, calling it "a disgrace, a shame...stupidity". He continued his attack with:

"You'd never hear Elton John being declared un-British [...] It's time to abolish the CRTC. Not everyone agrees."

As a result of the controversy, in September of that year, the Canadian Radio-television and Telecommunications Commission announced that Canadian content rules would be changed. The new regulation allows non-Canadians to contribute up to 50% of the finished content to each of both the music and the lyrics of a recorded piece, and still qualify for Canadian content status—provided the recording artist is Canadian, or the song is recorded in Canada. Accordingly, the Adams/Lange songs, and the Adams/Lange/Vallance songs on the album now count as Canadian content, as Jim Vallance is also Canadian. However, the Adams/Lange/Kamen co-written "(Everything I Do) I Do It for You" still does not count as Canadian content, as two of the three writers are non-Canadians, and the track was not recorded in Canada.

Waking Up the Nation tour
Before releasing the album, Adams had already started a tour promoting it, and on June 8, 1991, he held large concerts in Europe co-headlining with ZZ Top. Shortly after the tour started, "(Everything I Do) I Do It for You" was released as the debut single for the album. The single became a worldwide hit. Adams further supported the new album with his tour Waking Up the World, which started in October 1991 and ran through to the end of December 1993. On October 4, 1991, the world tour started in Belfast, Northern Ireland. On December 18, 1991, Adams played his two first-ever shows in Reykjavík, Iceland. After his tour in Europe, as well as a concert at Wembley Stadium attended by more than 72,000 people, Adams left for the United States, where he performed at the Ritz Theatre on January 10. That concert sold out in less than 20 minutes. In attendance were Ben E. King and Nona Hendrix.

The Canadian leg of the 'Waking Up the World' Tour kicked off in Sydney, Nova Scotia on 12 January 1992, and wrapped up with a standing room only concert in Vancouver, British Columbia, on 31 January. In February 1992, he toured New Zealand and Australia for seven dates, kicking off with a press conference in Sydney. On February 21 the tour headed to Japan for close to a dozen shows in six cities. Bryan taped an interview with MuchMusic's Terry Dave Mulligan in Calgary, Alberta and the air date was scheduled for mid-March. The tour continued through several European countries in June 1992, including Italy, Germany, the Netherlands and Scandinavia, and in July 1992, Bryan performed for the first time in Hungary and Turkey. September through December 1992 saw the tour in the U.S. The Asian tour headed to Thailand, Singapore, Japan, and Hong Kong in February, 1993, before returning to the U.S. during March through May.

Adams' visit to South Africa during his Waking Up the World tour, following the release of Nelson Mandela and other political prisoners from prison and the unbanning of black political parties, has been left relatively undocumented. Adams' concert at Cape Town's Green Point stadium during the tour was called one of his most emotional and memorable performances.

Coca-Cola was one of the official partners and sponsors of the tour, and the beverage company released a commercial promoting the tour. It featured the song "House Arrest" with Adams and his band playing the song in a neighborhood and also featured actress Neve Campbell.

Track listing
All tracks written and produced by Bryan Adams and Robert Lange, except where noted.

Personnel

 * Bryan Adams – vocals, rhythm guitars
 * Robbie King – Hammond organ
 * Tommy Mandel – organ
 * Phil Nicholas – keyboards, programming
 * Bill Payne – acoustic piano, Hammond organ
 * Ed Shearmur – keyboards
 * Keith Scott – lead guitars, backing vocals
 * Larry Klein – bass
 * Dave Taylor – bass
 * Mickey Curry – drums
 * The Tuck Back Twins (Bryan Adams and Mutt Lange) – backing vocals

Production

 * Bryan Adams – producer
 * Robert John "Mutt" Lange – producer
 * Nigel Green – recording
 * Ken Lomas – additional recording
 * Yan Memmi – assistant engineer
 * Ron Obvious – technical engineer
 * Bob Clearmountain – mixing
 * Avril Mackintosh – mix assistant
 * Bob Ludwig – mastering
 * Richard Frankel – package design
 * Andrew Catlin – design concept, photography
 * Bruce Allen – management

title: Waking Up the Neighbours


text:
Talk:Shane MacGowan

Fairy Tale of New York
It may already be in the article but I didn`t see it..there should be a link to Fairytale of New York with Kirsty MacColl ..I know it may seem irrelevant to some readers but here in the states it`s about all most people know of him...just a suggestion Anonymous8206 (talk) 15:54, 12 December 2023 (UTC)

 * Eh? I counted five, including one where MacColl is named? Martinevans123 (talk) 15:59, 12 December 2023 (UTC)

 * Never mind then Anonymous8206 (talk) 16:00, 12 December 2023 (UTC)
 * In fact, the first one, in the lead section, also names MacColl in that sentence. I think adding any more would be seen as WP:OVERLINK. Cheers. Martinevans123 (talk) 16:09, 12 December 2023 (UTC)

title: Talk:Shane MacGowan


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Anthony Wilson (musician)

Anthony Wilson (born May 9, 1968) is an American jazz guitarist, arranger and composer. He is the son of bandleader Gerald Wilson.

Education and career
Born in Los Angeles on May 9, 1968, Wilson received his degree in music composition from Bennington College. He counts Duke Ellington, Gil Evans, Wes Montgomery, Ry Cooder, and T-Bone Walker among his influences. His first album Anthony Wilson was nominated for a Grammy Award and his second album, Goat Hill Junket (1998) also received praise. Albums with his nine-piece band include Adult Themes (MAMA, 1999) and Power of Nine (Groove Note, 2006). Diana Krall and mandolinist Eva Scow appear on the latter.

He has also recorded two trio albums with Hammond organist Joe Bagg and drummer Mark Ferber, Our Gang in 2001 and Savivity in 2005 (both on Groove Note). In 2009 he recorded more organ trio music with Jack of Hearts (again for Groove Note) featuring Larry Goldings on Hammond organ, and alternating drummers Jim Keltner and Jeff Hamilton.

As a composer, he has received commissions from the International Association for Jazz Education, the Henry Mancini Institute, Jazz at Lincoln Center, the Los Angeles Philharmonic Association, luthier John Monteleone, and the Jazz Coalition Commission Fund. His guitar quartet song cycle "Seasons" was composed as a vehicle for Monteleone's quartet of guitars called "The Four Seasons" which were included in the Metropolitan Museum of Art's 2011 exhibition "Guitar Heroes." "Seasons" was released as an audio CD and live performance film DVD set on Wilson's label Goat Hill Recordings in November 2011. Another 2011 album, recorded in Brazil, was Campo Belo (Goat Hill), featuring rising Brazilian music stars André Mehmari (piano and accordion), Edu Ribeiro (drums), and Guto Wirtti (bass).

Wilson arranged and orchestrated Ivan Lins' song "Love Dance" for Barbra Streisand, on her 2009 album Love Is the Answer, produced by Diana Krall. Wilson also played guitar on that album.

Wilson can be heard on recordings by Paul McCartney (Kisses on the Bottom, Concord), Willie Nelson (American Standard, Blue Note), Leon Russell (Life Journey, Universal), Aaron Neville (Nature Boy: The Standards Album, Verve), Al Jarreau (Accentuate the Positive, Verve), Mose Allison (The Way of the World, Anti-), Joe Henry (Fuse, Mammoth), Diane Schuur (Midnight, Concord), Gladys Knight (Before Me, Verve), Kenny Burrell (75th Birthday Bash Live!, Blue Note), Randy Crawford and Joe Sample (No Regrets, PRA), Bobby Hutcherson (Wise One, Kind of Blue), Till Brönner (The Good Life, Verve).

He has been a member of Diana Krall's group since 2001, appearing on albums and DVDs, notably the Grammy-winning Live in Paris.

He recorded the album Nova with Brazilian guitarist Chico Pinheiro which was released in Brazil on Pinheiro's label Buriti and in the US on Wilson's label Goat Hill Recordings.

Wilson can also be heard on a number of his father Gerald Wilson's recordings. Since 1986, he has held the guitar chair with the Gerald Wilson Orchestra. Since his father's death in 2014, Wilson has continued the leadership of the Gerald Wilson Orchestra in performances at the SOKA Jazz Festival (2014) and the Playboy Jazz Festival (2015).

Wilson's main guitar is a custom "Radio Flyer" archtop built by luthier John Monteleone; he has also been seen on videos such as "Live in Paris" playing a blond 1958 Gibson Byrdland. Other frequently played guitars include a 1968 Gibson Les Paul Deluxe, and a 1934 Gibson L-30, and a Fender American Vintage series Telecaster with pickups made by Ron Ellis.

Discography

 * Anthony Wilson (Mama, 1997)
 * Goat Hill Junket (Mama, 1998)
 * Adult Themes (Mama, 1999)
 * Our Gang (Groove Note, 2001)
 * Savivity (Groove Note, 2005)
 * Power of Nine (Groove Note, 2006)
 * Nova with Chico Pinheiro (Goat Hill, 2007)
 * Jack of Hearts (Groove Note, 2009)
 * Campo Belo (Goat Hill, 2010)
 * Seasons: Live at the Metropolitan Museum of Art (Goat Hill, 2011)
 * Frogtown (Goat Hill, 2016)
 * Songs and Photographs (Goat Hill, 2018)
 * The Plan of Paris (Goat Hill, 2022)

With Jacintha
 * Autumn Leaves (Groove Note, 1999)
 * Lush Life (Groove Note, 2001)
 * Love Flows Like a River (Harmony, 2005)
 * Jacintha Goes to Hollywood (Groove Note, 2007)

With Diana Krall
 * Live in Paris (Verve, 2002)
 * The Girl in the Other Room (Verve, 2004)
 * Live at the Montreal Jazz Festival (Verve, 2004)
 * Christmas Songs (Verve, 2005)
 * From This Moment On (Verve, 2006)
 * Quiet Nights (Verve, 2009)
 * Turn Up the Quiet (Verve, 2017)
 * This Dream of You (Verve, 2020)

With Gerald Wilson
 * Calafia (Trend, 1985)
 * Jenna (Discovery, 1989)
 * State Street Sweet (MAMA/Summit, 1995)
 * Theme for Monterey (MAMA/Summit, 1998)
 * New York, New Sound (Mack Avenue, 2003)
 * Monterey Moods (Mack Avenue, 2007)
 * Detroit (Mack Avenue, 2009)
 * Legacy (Mack Avenue, 2011)

With others
 * Mose Allison, The Way of the World (Anti-, 2010)
 * Herb Alpert, The Christmas Wish (Herb Alpert Presents, 2017)
 * Eden Atwood, Waves (Groove Note, 2002)
 * Chris Botti, To Love Again (Columbia, 2005)
 * Chris Botti, December (Columbia, 2006)
 * Till Bronner, The Good Life (Masterworks, 2016)
 * Michael Buble, It's Time (143/Reprise, 2005)
 * Kenny Burrell, 75th Birthday Bash Live! (Blue Note, 2007)
 * Terri Lyne Carrington, More to Say (E1, 2009)
 * Pete Christlieb, For Heaven's Sake (CARS, 1999)
 * Randy Crawford, Feeling Good (EmArcy, 2006)
 * Randy Crawford, No Regrets (PRA/EmArcy, 2008)
 * Lorraine Feather, Cafe Society (Sanctuary, 2003)
 * Richard Galliano, Sentimentale (Resonance, 2014)
 * Joe Henry, Fuse (Mammoth/Edel, 1999)
 * Bobby Hutcherson, Wise One (Kind of Blue, 2009)
 * Al Jarreau, Accentuate the Positive (Verve, 2004)
 * Norah Jones, ...Featuring (Blue Note, 2010)
 * Gladys Knight, Before Me (Verve, 2006)
 * Paul McCartney, Kisses on the Bottom (Hear Music/MPL, 2012)
 * Miranda Sex Garden, Suspiria (Mute, 1993)
 * Gaby Moreno & Van Dyke Parks, Spangled! (Nonesuch, 2019)
 * Josh Nelson, Let It Go (Omagatoki, 2007)
 * Josh Nelson, The Sky Remains (Origin, 2017)
 * Willie Nelson, American Classic (Blue Note, 2009)
 * Aaron Neville, Nature Boy (Verve, 2003)
 * Vanessa Paradis, Live (Remark, 1994)
 * Dave Pike, Bophead (Ubiquity, 1998)
 * Leon Russell, Life Journey (Universal, 2014)
 * Diane Schuur, Midnight (Concord, 2003)
 * Kandace Springs, Indigo (Blue Note, 2018)
 * Curtis Stigers, Baby Plays Around (Concord, 2001)
 * Curtis Stigers, Secret Heart (Concord, 2002)
 * Donald Vega, With Respect to Monty (Resonance, 2015)
 * Melody Gardot, Sunset in the Blue (Verve, 2020)
 * Charles Lloyd, Ocean (Blue Note, 2022)

title: Anthony Wilson (musician)


text:
Stefan Uroš

Stephen Uroš (Стефан Урош / Stefan Uroš) is a Serbian royal name, referring to the following members of the Nemanjić dynasty (Serbian Kingdom and Empire):

 * King Stefan Uroš I (1243–1276)
 * King Stefan Uroš II Milutin (1282–1321)
 * King Stefan Uroš III (1321–1331)
 * Emperor Stefan Uroš IV Dušan (1331–1355)
 * Emperor Stefan Uroš V (1355–1371)
 * Stefan Uroš, ruler of Pharsalos (14th century), son of Despot Simeon Uroš

title: Stefan Uroš