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Lae

Lae (German: Preußen-Reede, later Lehe) is the capital of Morobe Province and is the second-largest city in Papua New Guinea. It is located near the delta of the Markham River and at the start of the Highlands Highway, which is the main land transport corridor between the Highlands Region and the coast. Lae is the largest cargo port of the country and is the industrial hub of Papua New Guinea. The city is known as the Garden City and home of the University of Technology.

History
Lucas (1972) divides the history of Lae into four periods; the mission phase (1886–1920), the gold phase (1926 until World War II), the timber and agricultural phase (until 1965) and the industrial boom (from 1965) with the opening of the Highlands Highway.

Between 1884 and 1918 the German New Guinea Company established trading posts in Kaiser Wilhelmsland, German New Guinea and on 12 July 1886, a German missionary, Johann Flierl, a pioneer missionary for the Southern Australian Lutheran Synod and the Neuendettelsau Mission Society, sailed to Simbang in Finschhafen, Kaiser-Wilhelmsland and arrived at Lae shortly after. The mission society provided clergy and religious education for Lutheran settlements in Missouri, Iowa and Ohio, Australia, and anywhere else "free thinking" Lutherans had settled.

After World War I, Eastern New Guinea came under British control (Australia) and many of the Germanic names were replaced by English or indigenous ones. Adolf Haven was then referred to as Morobe Harbour. Australian officials or kiaps were stationed at various locations within the area and in 1921 the military administration transitioned to a civilian administration, a gold prospector named Cecil John Levien was appointed District Officer (Kiap) of Morobe. On 1 January 1923 Levien acquired a mining right for the area and shortly after formed a syndicate called Guinea Gold (No Liability). The Guinea Gold syndicate formed Guinea Airways Limited in November 1927. In 1927 Levien arranged for the construction of the airstrip at Lae to assist the gold mine productions around Wau.

Lae was declared a town under the New Guinea Boundaries Ordinance on 31 March 1931 at the height of the gold rush era and Lae became the prototype for New Guinean towns built up around airstrips. The Europeans lived to the East of Lae Airfield while the New Guineans lived to the West. Cargo arrived in Lae and then was transported by air to the goldfields in Wau.

In July 1937, Lae made world news when American aviator Amelia Earhart was last seen flying out of the airport on her way back to the United States. She was never seen again.

When the volcanic eruptions occurred in Rabaul in 1937, a decision was made to transfer the capital of the Territory of New Guinea to Lae. World War II impeded the transfer and the town was occupied by the Empire of Japan on 8 March 1942. Lae, Rabaul and Salamaua became the major Japanese bases in New Guinea.

The naval Battle of the Bismarck Sea in March 1943 was fought over the Japanese attempt to reinforce Lae with troops sent by sea from Rabaul, an attempt foiled by sustained Allied attack on the Japanese troop transports. In mid-1943, after defeats in the Kokoda Track campaign, the Battle of Buna–Gona and the Battle of Wau, the Japanese retreated to Lae and Salamaua. However, the Salamaua–Lae campaign involved many weeks of fierce fighting, before the town fell to the Allies on 16 September.

In 1971 the Australian Colonial Administration established the first properly constituted Local Government of Lae town and in 1972 Lae was proclaimed a city. Lae's development after the war is directly linked to the development of the highlands. Coffee and tea were being grown and a port was needed. Later priority was given on road access, and the Highlands Highway came into existence. The mineral boom occurred in the 1980s and 1990s.

Geology

Lae is located on the Pacific Ring of Fire and geologic instability has produced numerous faults, resulting in earthquakes.

Lae sits between the larger Indo-Australian Plate and the Pacific Plate on the South Bismarck Plate in the Ramu-Markham Fault Zone where the New Guinea Highlands Deforming Zone and South Bismarck tectonic plates are converging at up to 50 mm/yr. The city is caught in a giant geological vise and the seismic hazard is significant.

More than 15 years of measurements have been analysed with results indicating how rapidly Lae city and its survey network is deforming.

The Ramu-Markham Fault Zone, which follows the northern edge of the Markham Valley, is the active plate boundary between the South Bismarck Plate and tectonostratigraphic terranes within the New Guinea Highlands Deforming Zone. The Ramu-Markham Fault Zone has generated large thrust earthquakes (e.g. 6 April 1999 MW 6.4, 16 km North of Lae, near Hobu, and 22 November 2007 MW 6.8, 110 km North of Lae). Geological evidence suggests that major earthquakes in pre-historic times have occurred in the Lae area, and that there is the potential for another large earthquake to occur anytime within the next 100 years (in).

Mount Lunaman
Mount Lunaman is 96 m high and has a radio tower at the highest point marked by red fixed obstruction lights to assist navigation. At the base of Mount Lunaman at the southern and south-eastern face are the suburbs of Voco Point and Chinatown. The terraces are located to the West of Mount Lunaman.

Mount Lunaman is known to the locals as Lo' Wamung, which means "first hill", Hospital Hill and Fortress Hill by the German settlers.

Mount Lunaman and the Lae urban area have been the subject of several tectonic studies relating to plate shift.

Mount Lunaman was an important landmark for both Japanese and the Allies:
 * "The men of the South Australian battalion hammered and sawed vigorously at the top of the terrace. They were reconstructing, with captured Japanese tools, the skeleton of the cottage formerly used as the Japanese commander's sanctum. A hole beneath the door led by a tunnel to a labyrinth of passages and apertures which honeycombed Mount Lunaman".

After the war it was believed that Mount Lunaman contained the remains of many Japanese soldiers who defended Lae using tunnels:
 * A Japanese tomb believed to contain bodies of hundreds of Lae defenders was bought by two South Australian men for 1 pound. The tomb lies under Mount Lunaman which is said to house a hospital and when the Japanese in tunnels refused to surrender to the Australian 7th Division and 9th Division troops in 1943 all entrances were sealed. In a 1971 NHK interview with the Japanese Army commander of Lae, he stated that the tunnels in the hill were only ever used for storage, and the Army had used the Lutheran Malahang Hospital some 10 km north of the town.

Government
The Lae City Council is also known as Lae Urban Local-Level Government. It is an Urban Municipal Authority, responsible for the policy decisions, management and administration of the city, by way of providing the municipal services to the residents of the city.

 * Lae City Aims to become one of the Garden Cities of Asia Pacific Region by 2012, by creating a modern, safe, vibrant City, with a strong economy, whilst enhancing its cultural heritage, and by developing a Healthy, well Educated, Harmonious Community, which will enjoys a good living environment.

The Lae Urban Local-Level Government is a third-tier government. The political structure consists of the Lord Mayor as the head, who is elected by the people, with five elected, and three nominated Councilors. The six elected Councilors representing the six Wards in the city. The nominated Councilors represented the Chamber of Commerce, the Workers Federation Union, and the Women, Youth and Churches. The Council makes decisions on the policy issues relating to the city, and the Council Management implement the decisions.

Roads
The Lae City has 137 kilometers of roads, which the National Government is responsible for the maintenance of the Independence Drive, the Markham Road, and the Milford Haven Road, while the Lae City Council maintains the rest of the roads in the city. Due to lack of funding, almost all the roads have deteriorated over the years.

Electricity
In recent years PNG, including Lae has been experiencing problems with electricity supply. . In May 2023 a memorandum of agreement between AG Investment and the Marobe Province Development Authority was signed for the Finschhafen District Hydropower Project.

Climate
Lae features a tropical rainforest climate under Köppen's climate classification, more subject to the Intertropical Convergence Zone than the trade winds and with no cyclones so equatorial. The area experiences an extraordinary amount of precipitation, averaging roughly 4500 mm of rainfall annually. In fact in no month does Lae, on average, see less than 200 mm of precipitation. Temperatures show little variance during a typical year in the city, with January temperatures averaging roughly 28 C and July temperatures averaging 25 C.

Industry
Lae is strategically located in that it can supply the Highlands, Islands, Southern and Momase regions. Large businesses include:
 * Mainland Holdings Ltd
 * DuluxGroup (PNG) Ltd
 * Consort Express Lines
 * Paradise Foods Limited
 * Halla Cement
 * HBS PNG Limited
 * iPi Group
 * Trukai Rice
 * SP Brewery
 * Bismark Maritime
 * South Pacific Steel
 * Papindo Group of Companies
 * Prima Smallgoods
 * Lae Biscuit Factory
 * Citylink Motel
 * MMK Transport
 * Barlow Industries Ltd
 * Mapai Transport
 * PNG Metal Fabricators Ltd
 * Araweld Ltd
 * Homestate Co-operation
 * NCI Packaging (PNG) Ltd
 * Esteens Deering (PNG) Ltd
 * Niugini Electrical Ltd

Markets
Lae City boasts of having the best food market in Papua New Guinea. This is due to the fact that the Morobe Province produces the best taros, bananas, sweet potatoes, yams, fruits and vegetables etc., which have been sought after by many Papua New Guineans as well as expatriates. The Lae Main Market also receives and sells foodstuff and vegetables from the Highlands Provinces. Apart from Lae Main Market, wards and mini-markets are also available to cater for the needs of the growing population of the city.

University of Technology
The Papua New Guinea University of Technology is based 8 km outside Lae and is the second largest university in PNG after its 'sister' university the University of Papua New Guinea in Port Moresby. While University of Papua New Guinea concentrates on the arts, pure sciences, law and medicine, the University of Technology focuses on research in technological or applied sciences. It is the only technological university in the South Pacific, outside Australia and New Zealand.

Lae International Hotel
Lae International Hotel is an important conference centre and has hosted some notable political figures over the years. Lae International Hotel (-6.73056°N, 147.00583°W) has 100 rooms, furnished with wooden furnitures and 4 luxury suites. It contains the Vanda Restaurant, Luluai's Italian Restaurant and Kokomo Coffee Shop.

Lae War Cemetery
Lae War Cemetery was established in 1944, and is located adjacent to the Botanical Gardens in the centre of the city. The cemetery holds the remains of over 2,800 soldiers, many of whom died in the Salamaua–Lae campaign, but also those who died in Japanese detention on the Island. It is also the resting place of two Victoria Cross recipients.

Lae Botanic Gardens
Lae Botanic gardens are not always open to the public. There is an old Australian Aeroplane in the centre of the gardens.

The aircraft is a C47 Dakota, RAAF serial number A65-122. It was purchased from the USAAF for the price of $180,000 and delivered to the RAAF on 4 July 1945. From 1947, the aircraft was allocated to No 86 Wing and flew with No 36 and 38 Squadrons from RAAF Bases Schofields, Richmond and Canberra. During this time, it probably flew some of the Japan Courier flights and flights to PNG.

From Feb 1967 until June 1980, the aircraft served with Transport Support Flight, Butterworth Malaysia, where it flew missions to South Vietnam and other countries in SE Asia.

On 30 June 1980, it departed Butterworth for RAAF East Sale where it was prepared for donation to the PNGDF. On 17 Nov 1980, the aircraft was handed over to the PNGDF at Lae for use as a ground training aid.

On 30th June 1999 the PNGDF decided that the aircraft was no longer required for training purposes and needed considerable maintenance with no funds available, it was donated to the National Botanic Garden Management Committee. Under the direction of the Curator at that time, Mr. Rod Spivey, it was moved to a suitable location at the National Botanical Gardens, and funds and manpower were provided by various private sector organisations, to return the Aircraft to much of its former splendour.

Bumbu river
The Bumbu river starts at the Adzera Mountain range, through Taraka to Kamkumung, Hengali, Butibam, and to the Huon Gulf. Following a flood in 1992, the population was relocated to a temporary settlement called Tent Siti (City).

Angau General Hospital
Angau General Hospital is located in the central Lae area next to the old Lae Airfield. It is a main referral hospital for the general Morobe Province area, as well as the other provinces connected by road link. It contains the only Radiotherapy facility in the country and thus serves as the main referral centre for cancer patients.

Lae (Nadzab) Airport
Nadzab Airport is located 35 mi outside Lae City, along the Highlands Highway, next to the Markham River. Local buses operate to and from the city, in addition escorted secured transfers are available for transport into the city.

From Port Moresby, Lae is accessible only by domestic flights. Air Niugini, Airlines of Papua New Guinea (also known as "Airlines PNG") and Travel Air "Mangi lo Ples" services the Port Moresby-Lae route.

Other significant locations

 * Sir Ignatius Kilage Stadium
 * Lae Golf Course
 * National Polytechnic Institute of Papua New Guinea
 * Lae City Hotel
 * Hotel Morobe
 * Lae Yacht Club
 * Lae Showgrounds
 * Papindo Shopping Centre at 7th Street

Healthcare
Visitors must ensure that they have proper health insurance. Lae International Hospital is of good developing world standard. It is a 19-bed facility with 1 emergency bed. It is staffed by 6 doctors, one general practitioner, an anesthesiologist, a surgeon, a radiologist, and two obstetricians. Doctors come from a number of countries, nurses are local nationals. There is also a public hospital called Angau Memorial Hospital located on Markham Road.

Travellers to Lae should seek expert medical advice regarding malaria prophylaxis as well as hepatitis A, hepatitis B, Japanese encephalitis and typhoid vaccinations. There was a significant outbreak of cholera based in the Morobe District in 2009 and consideration of vaccination would be prudent.

Transportation
Three domestic airlines serve the Lae Nadzab Airport, the city's commercial airport.

Twin Towns

 * 🇦🇺 Cairns, Queensland, Australia, since 1984
 * Dili, Timor Leste since 2000

title: Lae


text:
Political Parties

Political Parties: A Sociological Study of the Oligarchical Tendencies of Modern Democracy (Zur Soziologie des Parteiwesens in der modernen Demokratie; Untersuchungen über die oligarchischen Tendenzen des Gruppenlebens) is a book by the German-born Italian sociologist Robert Michels, published in 1911 and first introducing the concept of iron law of oligarchy. It is considered one of the classics of social sciences, in particular sociology and political science.

It was translated to Italian as Sociologia del partito politico nella democrazia moderna: studi sulle tendenze oligarchiche degli aggregati politici by Alfredo Polledro in 1912, and then translated from the Italian to English by Eden Paul and Cedar Paul for Hearst's International Library Co. in 1915.

This work analyses the power structures of organizations such as political parties and trade unions. Michels's main argument is that all organizations, even those in theory most egalitarian and most committed to democracy – like socialist political parties – are in fact oligarchical, and dominated by a small group of leadership.

The book also provides a first systematic analysis of how a radical political party loses its radical goals under the dynamics of electoral participation. The origins of moderation theory can be found in this analysis.

Synopsis
Michels put forward a thesis about incompatibility of democracy and large-scale social organizations. He observed that contrary to democratic and egalitarian principles, both society in general, and specific organizations in particular are dominated by the leadership – the oligarchy. This, according to Michels, was not because of any particular weakness of a particular society or organization in question, but a characteristic of any and all complex social systems. Such social systems have to be organized along bureaucratic lines, managed by departments staffed with non-elected officials, and bureaucracies inevitably develop oligarchies. Michels concluded that in any complex organization, and such dominate the modern world, it is impossible to escape domination of oligarchy - a conclusion which became known as the iron law of oligarchy.

"Who says organization, says oligarchy"

The iron law of oligarchy is based on the following logic. First, any large scale organization will necessitate the development of bureaucracy for efficient administration. Such leaders will amass resources (superior knowledge control over the formal means of communication with the membership, and the skill in the art of politics) giving them power at the expense of rank and file members.

"Large-scale organizations give their officers a near monopoly of power"

Second, Michels expressed doubts about whether the rank and file possess the skills necessary to compete with the leaders, a concept he phrased as the "incompetence of the masses". In order to prevent the development of an oligarchy, the regular members must be involved in various activities of the organizations; however, reality of time constraints due to work, family and leisure will reduce the amount of time that most such members are willing to dedicate to active involvement in organizational activities and politics. This is compounded by the rank and file lack of education, and corresponding sophistication of the leadership.

"The masses are incapable of taking part in the decision-making process and desire strong leadership."

In his case study of his contemporary socialist parties, primarily the German Social Democratic Party. It was radical organization in his time, fighting for novel concepts such as adult suffrage, free speech, and popular participation in the government. Michels described how their political program was overshadowed by the expansion of the organization favoured by the administrative bureaucracy. This, Michels observed, can be explained thus: "it is far from obvious that the interests of the masses which have combined to form the party will coincide with the interests of the bureaucracy in which the party becomes personified." Michels noted that if an organization dedicated to such principles failed to realize its democratic ideals in its own governance, it is unlikely that other organizations, even less concerned with such lofty goals, would be able to function as democracies.

"The socialists might conquer, but not socialism, which would perish in the moment of its adherents' triumph"

Significance
Michels book quickly became a classic of social sciences. His theory was quickly vindicated on a large scale during First World War, when most socialist parties of that time endorsed the war policies of their respective governments, thus showing that their corresponding party leaders put the short-term goals of organizational survival (allying with the state) over doctrinal points of "proletariat against bourgeoisie".

Sigmund Neumann said that "the study of sociology of political parties have been completely dominated by Robert Michels' iron law of [oligarchy]." Michels work significantly influenced the views on political party theory by his friend and one of the founding fathers of sociology, Max Weber. A number of other theorists of political parties acknowledged that this work was a major influence on theirs, including James Bryce, 1st Viscount Bryce, Maurice Duverger, and Robert McKenzie, among others.

Beyond political parties, Michels work was used to explain the functioning of numerous other voluntary organizations from trade unions to medical associations. His theories are also seen as being applicable and influential to the study of all organizations in general, as well as theories of bureaucracy.

Criticism
Michels' argument has been criticized for being over-deterministic and overly critical of bureaucracy.

Quotes

 * "A party of the landed gentry which should appeal only to the members of its own class and to those of identical economic interests, would not win a single seat, would not send a single representative to parliament. A conservative candidate who should present himself to his electors by declaring to them that he did not regard them as capable of playing an active part in influencing the destinies of the country, and should tell them that for this reason they ought to be deprived of the suffrage, would be a man of incomparable sincerity, but politically insane."

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

title: Political Parties


text:
DJ Jazzy Jeff

Jeffrey Allen Townes (born January 22, 1965), known professionally as DJ Jazzy Jeff (or simply Jazz), is an American DJ, record producer and actor. He was one half of the hip hop duo DJ Jazzy Jeff & the Fresh Prince, along with rapper-turned-actor and fellow Philadelphia native Will Smith. He is credited, along with DJs Spinbad and Cash Money, with popularizing the transformer scratch.

Early life and initial career
Townes was born on January 22, 1965, in Philadelphia, Pennsylvania. Raised in the area, Townes developed a reputation and a following as a local school and block party DJ.

He was ten years old when he first became interested in being a DJ. He told author Paul Stenning, "At summer time block parties I wouldn't be the one dancing, I sat where the DJ was set up, watching him. Even when I would go to other block parties in other neighborhoods I was still infatuated with the DJ. He was the guy that played music that everyone in the neighborhood loved. You might not have known his face, you might not have known his name but he was the guy that made everyone move."

He took the stage name DJ Jazzy Jeff. He was one half of the duo DJ Jazzy Jeff & the Fresh Prince, along with Will Smith. The group received the first Grammy Award for Best Rap Performance in 1989 for "Parents Just Don't Understand", though their most successful single was "Summertime" which earned the group their second Grammy and peaked at number 4 on the Billboard Hot 100.

Acting
When Smith branched out into television with the sitcom The Fresh Prince of Bel-Air, Jazzy Jeff played a character named Jazz, Smith's best friend on the show. Jazzy Jeff was initially a recurring character in the first season, but became a regular shortly thereafter. In the early seasons, the two characters always greeted each other with their signature handshake (swinging mid-five, point-back, snap with both characters saying "Pssh!"). A running joke throughout the show's run involved the character being physically ejected from the house by Uncle Phil (James Avery), most often using the same footage for comedic effect, but sometimes filming new footage instead. Jazz had an unrequited crush on Hillary Banks (played by Karyn Parsons).

Music
One of the first records DJ Jazzy Jeff ever appeared on was with the Korner Boyz (Street Artz Records) and their songs "Bust the Move" and "The Saga of Roxanne", which featured legendary Philadelphia rappers MC Parry P and Grand Tone. The instrumental was called "Jazzy Jeff Scratch" (1985).

As a duo, DJ Jazzy Jeff & the Fresh Prince had several gold and platinum-selling albums and singles in the late 1980s and early 1990s, earning them the first rap Grammy Award ever presented in 1989 for "Parents Just Don't Understand".

At the time of winning the Grammy Award, DJ Jazzy Jeff came home crying as he had just $500 in the bank.

DJ Jazzy Jeff & the Fresh Prince also won a second Grammy for "Summertime".

After DJ Jazzy Jeff & the Fresh Prince broke up, Townes went on to become a prominent R&B, soul, and neo soul record producer and actor, establishing the A Touch of Jazz production company in his native Philadelphia. Among the artists that Jazzy Jeff has helped develop are Eric Roberson, Jill Scott, Musiq Soulchild, Eminem, the Roots, Raheem DeVaughn, Darius Rucker, Talib Kweli, Floetry, Rhymefest, and many more. Despite separating from Will Smith as a music partner, they remain close friends and occasionally work together.

Some songs by Smith were produced by Townes, and he has performed on some songs by Smith such as "So Fresh" and "Potnas". In addition, he appeared in several of Smith's music videos such as "Will2K" and "Freakin' It". On some occasions, he made appearances with Smith at live concerts, producing DJ scratches. On July 2, 2005, DJ Jazzy Jeff performed with Smith at the Live 8 concert in Philadelphia. Moreover, Smith acknowledges him in his music such as "Comin' to the Stage" from the album Lost and Found and "Potnas" from his album Willennium.

His 2007 release The Return of the Magnificent featured numerous collaborations with old school and new school artists including CL Smooth, Big Daddy Kane, Pos from De La Soul, Method Man, Peedi Peedi (a remake of "Brand New Funk"), Rhymefest, and Raheem DeVaughn. In 2007, he appeared with Rhymefest in a video directed by Konee Rok, in which he makes music in his home recording studio with Rhymefest.

In 2008, Townes performed with Smith at the premiere of the latter's 2008 film Hancock.

In 2009, he made a mixtape titled He's the King...I'm the DJ in honor of the late entertainer Michael Jackson. Townes was featured in the video game DJ Hero as a playable character. He also has some original mixes in the game.

In 2010, DJ Jazzy Jeff and Mick (formerly known as Mick Boogie) teamed up to release the Summertime: The Mixtape series. The mixes are released every summer.

In 2013, DJ Jazzy Jeff performed with Will Smith on The Graham Norton Show. Also that same year, DJ Jazzy Jeff released Vinyl Destination, a web series documenting his hundred plus DJ shows from all around the world. He also appeared as the lead interview in Paul Stenning's book Success – By Those Who've Made It.

In 2015, he performed the scratch overdubs for the film Straight Outta Compton.

In August 2017, DJ Jazzy Jeff and Will Smith performed two shows in Europe: MTV Summerblast Music Festival in Croatia and the Livewire Festival in Blackpool.

In 2024, he went on tour with New Kids on the Block as a supporting act, alongside Paula Abdul, on The Magic Summer Tour (2024).

Personal life
DJ Jazzy Jeff married Lynette C. Jackson in Jamaica on July 31, 2010. He has four children: two sons from a previous relationship, journalist/DJ Cory Townes and actor/musician Amir Mitchell-Townes, and a son (Pleasant) and daughter (August) with Jackson.

Solo work as DJ Jazzy Jeff

 * Unreleased album from Sony Records (1998)
 * One cut in Battle of DJs
 * The Magnificent (2002)
 * Soulheaven Presents Jazzy Jeff in the House (2004)
 * Hip-Hop Forever II (Rapster Records) (2004)
 * The Soul Mixtape (Groovin' Records USA) (2005)
 * Hip-Hop Forever III (BBE Records) (2006)
 * The Return of The Magnificent EP (2007)
 * The Return of the Magnificent (2007) #55 US (Gold)
 * The Return of Hip Hop EP (2007)
 * House of Tribes (T's Box) (2009)
 * My Faves Volume 1 (mixtape) (2009)
 * DJ Jazzy Jeff presents: Jeff's in the House Vol. 1 (mixtape) (2010)
 * What Happens in Vegas (mixtape) (2011)
 * LRG Life Colors (mixtape) (2012)
 * M3 (album) (2018)

As DJ Jazzy Jeff & the Fresh Prince

 * Rock the House (1987) #83 US (Gold); #97 UK
 * He's the DJ, I'm the Rapper (1988) #4 US (3× Platinum); #68 UK
 * And in This Corner… (1989) #39 US (Gold)
 * Homebase (1991) #12 US (Platinum); #69 UK
 * Code Red (1993) #64 US (Gold); #50 UK
 * Greatest Hits (1998) #144 US, #20 UK
 * Before The Willennium (1999)
 * The Very Best of D.J. Jazzy Jeff & The Fresh Prince (2006)

Miscellaneous

 * 1991: "Work It Out" with Monie Love from the soundtrack Boyz n the Hood
 * 1991: "Deep, Deep, Trouble" (with The Simpsons) and the remixes from The Simpsons Sing the Blues
 * 1997: "Jazzy Jeff's Theme" (from the album Nuyorican Soul)
 * 1998: "When to Stand Up" (featuring Eminem)
 * 1998: "I Don't Know" – Slum Village (scratches; from the album Fantastic, Vol. 2)
 * 1999: "The Next Movement" – The Roots (scratches; from the album Things Fall Apart)
 * 2004: "Mirrorball (DJ Jazzy Jeff Full Sole Remix)" (by Everything but the Girl; from the album Adapt or Die: 10 Years of Remixes)
 * 2005: "Papa Was a Rollin' Stone (DJ Jazzy Jeff & Pete Kuzma Solefull Mix)" (by the Temptations; from Motown Remixed)
 * 2005: Lost & Found (by Will Smith; produced the intro song "Here He Comes" and several DJ scratches on several tracks)
 * 2005: "Watch Me" – Little Brother (scratches; from the album The Minstrel Show)
 * 2006: "Feel It (Jazzy Jeff Soulful Remix)" (by The Black Eyed Peas; from Renegotiations: The Remixes)
 * 2006: "Night in Tunisia (DJ Jazzy Jeff Remix)" (by Duke Jordan)
 * 2006: "Foot in the Door" – Oddisee (mixed by DJ Jazzy Jeff)
 * 2007: "NY Weather Report" – Talib Kweli (scratches; from the album Eardrum)
 * 2007: "A Long Walk" – Jill Scott (made a cameo appearance in the music video)
 * 2008: "Get Busy" – The Roots (scratches; from the album Rising Down)
 * 2008: "Bring It Back" – Rhymefest (producer; from the album El Che)
 * 2009: "Prince in Training" – MaC Renegade (hosted by DJ Jazzy Jeff)
 * 2009: "Stay This Way (Jazzy Jeff Remix)" – by Peter Bjorn and John (featuring Big Pooh, Chaundon, and Phil Nash from the mixtape Re-Living Thing with Mick Boogie)
 * 2010: Summertime: The Mixtape Vol. 1 – DJ Jazzy Jeff & MICK
 * 2011: Back for More – DJ Jazzy Jeff & Ayah
 * 2011: Summertime: The Mixtape Vol. 2 – DJ Jazzy Jeff & MICK
 * 2011: "Shorti Bomb" – DJ Sat-One (with Chief Kamachi and DJ Jazzy Jeff)
 * 2011: "No Strings (DJ Jazzy Jeff Roller Boogie Remix)" – Mayer Hawthorne
 * 2012: Summertime: The Mixtape Vol. 3 – DJ Jazzy Jeff & MICK
 * 2012: "92 Til Infinity" – Mac Miller
 * 2012: "Girl of My Life" – Mint Condition (scratches; from the album Music @ the Speed of Life)
 * 2013: Summertime: The Mixtape Vol. 4 – DJ Jazzy Jeff & MICK
 * 2013: "Classic" – Shad (co-production with Skratch Bastid; from the EP The Spring Up)
 * 2013: "Red Hot Flo (From Kokomo) (DJ Jazzy Jeff Remix)" – from Boardwalk Empire
 * 2013: "Be Free (DJ Jazzy Jeff & James Poyser Remix" – Moonchild
 * 2014: Summertime: The Mixtape Vol. 5 – DJ Jazzy Jeff & MICK
 * 2014: "World is Our Playground (DJ Jazzy Jeff Remix)" – DJ Vice
 * 2014: "We Are One (DJ Jazzy Jeff Remix)" – Terry Hunter (featuring Jay Adams)
 * 2014: "Room Test" – Dayne Jordan (producer)
 * 2014: "All About the Art" – Dayne Jordan and James Poyser (producer)
 * 2014: "I Want It All" – Dayne Jordan (producer)
 * 2014: "Play Dat!" – DJ Jazzy Jeff featuring Dayne Jordan
 * 2014: "Lost" – Dayne Jordan (producer)
 * 2014: "Fellow" – Dayne Jordan (producer)
 * 2015: Summertime: The Mixtape Vol. 6 – DJ Jazzy Jeff & MICK
 * 2016: Summertime: The Mixtape Vol. 7 – DJ Jazzy Jeff & MICK
 * 2017: "Chasing Goosebumps" – The PLAYlist (executive producer)
 * 2017: Summertime: The Mixtape Vol. 8 – DJ Jazzy Jeff & MICK
 * 2020: "Gotta Be Dope" R.A. The Rugged Man feat. A-F-R-O and DJ Jazzy Jeff

title: DJ Jazzy Jeff


text:
Talk:Isis

Isis image
The image shown at the top is that of Isis, the (New Kingdom?) Egyptian goddess. But Isis has been a goddess and then an allegorical figure for good 2000-3000 years beyond, during which time she was not represented nor thought of as the original Egyptian Isis. May I thus suggest that the picture be replaced with a composite of perhaps 4 or 6 pictures showing various representations of Isis, e.g. one or two showing the original Egyptian Isis, another for the Roman or Greek one and finally one or two more recent ones, an 18th century or modern veiled Isis as a figure of nature (see the Wiki article on World War II for the kind of composite I have in mind). This would enable the reader to immediately identify the kind of representation to expect. The Isis you can see in the fountains of Paris or US statues looks nothing like the one from the Egyptian tombs and temples after all. In this respect, Isis is pretty special, contrary to other Egyptian divinities, she not just an Egyptian goddess and so I believe she should not be exclusively presented as such in the introductory image.  Iry-Hor (talk) 07:40, 1 January 2018 (UTC)
 * When I first read Iry-Hor's suggestion, I thought about adding a second image underneath the first, but the problem here is the infobox, which can only incorporate one image at a time. The deity infobox has been standard on Egyptian deity articles since before I joined the project, and the established format—using User:Jeff Dahl's SVG image for each deity to indicate the more or less standard iconography of each one—has always seemed sensible and appealing to me. An infobox can use a single composite image, as Iry-Hor suggests, but I don't care for composite images because they reduce the readability of each image they incorporate. And adding a lead image under an infobox seems strange and awkward to me. I'm open to other opinions, though. A. Parrot (talk) 08:47, 1 January 2018 (UTC)

Problematic wording
"Thus, like Hathor, she sometimes took the form of Imentet, the goddess of the west, who welcomed the deceased soul into the afterlife as her child.[27] But for much of Egyptian history, male deities like Osiris were believed to provide the regenerative powers, including sexual potency, that were crucial for rebirth. Isis merely assisted by stimulating this power.[26] "

This wording supports a patriarchal value system that is not a necessary interpertation of the myth. Could it not be even more accurate and less biased to value the masculine if stated something more like this?

""Thus, like Hathor, she sometimes took the form of Imentet, the goddess of the west, who welcomed the deceased soul into the afterlife as her child.[27] But for much of Egyptian history, male deities like Osiris were believed to provide the regenerative powers, including sexual potency, that were crucial for rebirth while Isis was a catalyst for stimulating this power.[26] "

This language gives Isis a more empowered role. Using wording like "merely assisted" downplays Isis' role and by extension downplays the female sexual/maternal contribution. — Preceding unsigned comment added by 78.52.143.123 (talk) 23:35, 10 March 2018 (UTC)

 * I worded it that way because I'm trying to convey that goddesses' role was secondary. The source that supports this passage—a scholarly paper by Kara Cooney titled "Gender Transformation in Death: A Case Study of Coffins from Ramesside Period Egypt"—says as much. Her interpretation doesn't derive from the myth itself but from how deities are characterized in funerary texts. She says:

 * "Isis provided sexual excitement, but it was Osiris who essentially raised himself from the dead. Isis created the enclosure for Osiris's rebirth—his mummy wrappings—and she acted as the vessel for the conception of his son, Horus. But Isis was not thought to bring Osiris back to life; instead, she manifested a situation in which he could bring himself back to life… In the same Osirian-solar mythologies of rebirth and creation, the female element took on the role of aggressive protector, helper, and empty vessel. Although the goddesses Isis, Nut, and Hathor excited the male with feminine presence, provided sustenance, protected him from harm, reconstituted his shape, and contained him in a womb, they were not believed to be responsible for the spark of creation that gave new life.' (pp. 227–228)"

 * After the New Kingdom, Egyptian theology came to emphasized goddesses more than it once did, and Isis benefited from that development most of all. Late funerary texts took a slightly different angle on the myth of Horus' conception, one that emphasized that Isis was the active partner in the act. Those texts thus made her more important in the rebirth of the deceased soul than early New Kingdom texts did. The passages in the article that follow the one you quote are meant to convey that idea, although they may need tweaking to make them clearer. A. Parrot (talk) 00:23, 11 March 2018 (UTC)

Semi-protected edit request on 2 October 2018
plz accept and what is Isis the god of — Preceding unsigned comment added by 2600:1700:7D30:FFD0:35F9:5576:6BFC:C24D (talk) 21:44, 2 October 2018 (UTC)

 * Isis wasn't the goddess of a clearly defined aspect of the world, as some other Egyptian gods were. Therefore, she can't really be summed up as "goddess of such-and-such", and this article doesn't try to do so. Mourning, motherhood, and protection were her most important characteristics early on, but at the height of her popularity she was credited with—well, nearly everything positive in the world. Read the article for details. A. Parrot (talk) 00:18, 4 October 2018 (UTC)

Semi-protected edit request on 21 May 2019
hi i was wondering if i can edit bc i have new info on isis that no one knows about MR.HACKERZ (talk) 21:11, 21 May 2019 (UTC)
 * Red question icon with gradient background.svg Not done: it's not clear what changes you want to be made. Please mention the specific changes in a "change X to Y" format and provide a reliable source if appropriate. – Þjarkur (talk) 21:38, 21 May 2019 (UTC)

Lead sentence
The list of names and pronunciations in the lead sentence is a bit long. I think it's important to be concise with this kind of thing, as we don't want to put off readers in the first sentence they read. Moreover, the alternate transcription (jst) and the reconstructed pronunciations aren't well supported by the cited source, Quack 2018. Quack only transcribes the name as ꜣst and does not mention jst. He also says "The sound transcribed by Egyptologists as ꜣ is likely to have had an original pronunciation as r or l", which indicates that it hasn't been precisely identified, so rendering it with a specific IPA consonant, such as ʀ, is going beyond the sources. Given the uncertain nature of linguistic reconstructions, I think it safer not to include a phonetic rendering of the ancient Egyptian at all. Thus, I propose a lead sentence that begins: "Isis (Ancient Egyptian: ꜣst; Coptic: Ⲏⲥⲉ Ēse; Classical Greek: Ἶσις Isis; Meroitic:  Wusa) was a major goddess…" A. Parrot (talk) 04:13, 20 July 2019 (UTC)
 * I’m cool with that. As long as we leave the links to wiktionary, where you find the reconstructed pronunciation and the alternate spelling jst (used by Allen, Reintges, and others). Btw the symbol ʀ is a placeholder for the realization of the vulture consonant (some kind of rhotic, probably back) before it disappeared in Egyptian phonetics. The wiktionary appendix on Ancient Egyptian explains this, so we can either link that or make the amendments you propose and let people click on the Egyptian words for more info. TheLateDentarthurdent (talk) 18:38, 21 July 2019 (UTC)
 * I've made the change, while keeping the Wiktionary link in ꜣst. A. Parrot (talk) 23:03, 21 July 2019 (UTC)

Meroitic spelling
I keep meaning to ask this. What is the source for the Meroitic spellings used in the infobox and the lead sentence? A. Parrot (talk) 04:35, 9 October 2019 (UTC)
 * Meroitic spelling of Isis as  pronounced /(w)u:sa/ or /(w)uːɕa/ comes from Rilly and de Voogt's book and the Hintze-based transcriptions of Meroitic hieroglyphic/Meroitic script therein. I'll add the source and more info in the name section.

Semi-protected edit request on 15 November 2019
Could you add a comma after "Texts" in the phrase "In many spells in the Pyramid Texts Isis and Nephthys help the deceased king reach the afterlife"? 208.95.51.53 (talk) 14:32, 15 November 2019 (UTC)

 * ✅ –Deacon Vorbis (carbon • videos) 15:27, 15 November 2019 (UTC)

was a big cat person — Preceding unsigned comment added by 172.75.64.210 (talk) 16:00, 3 April 2020 (UTC)

Vulture
I think the relation between Isis and the vulture as a sacred bird should be addressed; it's mentioned elsewhere on Wikipedia so it's strange to find no mention of it here.

 * Aside from her vulture crown, which is mentioned in the article, not many sources seem to mention the vulture as part of Isis's iconography, and she was more closely connected with the kite. Apparently there is a suggestion that the vulture and cobra on Tutankhamun's funeral mask, which are traditionally interpreted as Wadjet and Nekhbet, represented Isis and Nephthys instead. I've been able to find the source for the suggestion: "Vulture and Cobra at the King's Brow" by Edna R. Russmann, in Chief of Seers: Egyptian Studies in Memory of Cyril Aldred (1997). But I don't have access that paper and can't find a full version of it in Google Books previews. If I can obtain it, I will add it to the article. A. Parrot (talk) 23:59, 9 August 2021 (UTC)

Semi-protected edit request on 28 August 2021
In the introduction, please remove

slain husband, the divine king Osiris

and add

slain brother-husband, the divine king Osiris

Since her relationship with Osiris is highly important, it seems important to mention in the intro that they're depicted as siblings as well as as spouses. No source is needed because this is covered by a sourced statement in the "Wife and mourner" section. 2600:1003:B84E:309D:10AD:5B55:ABD8:1A6F (talk) 21:31, 28 August 2021 (UTC)

 * ✅ A. Parrot (talk) 21:48, 28 August 2021 (UTC)

Where are the Negroid features?
This picture is inaccurate!! She was a black woman! 2600:1700:1240:13A0:C863:21C2:2FD:9588 (talk) 21:00, 2 June 2022 (UTC)

 * Deities are not historical figures, so it makes little sense to say that Isis had one particular appearance. This article gives a sample of how she was portrayed by various cultures that worshipped her, most obviously ancient Egypt. If you're objecting to the image at the top of the article (the lead image), it's based on images the Egyptians themselves made of Isis, particularly her portrayal in the tomb of Horemheb (see this image, where she is the figure on the far left) and the tomb of Nefertari (see this image, where she's the one on the right). All other images in the article are photos of artworks, mostly ancient artworks, that reflect how Isis was portrayed by the cultures in question. If there is an ancient artwork that better fits how you think Isis should look, feel free to suggest adding an image of it. A. Parrot (talk) 00:48, 3 June 2022 (UTC)

Semi-protected edit request on 30 March 2024
'''Interestingly, I've noticed some hesitation around embracing the well-documented connection between Isis and what's popularly referred to as her 'equivalent,' Inanna. It's almost as if this enlightening piece of information is waiting patiently on the sidelines, eager for its turn to be acknowledged. Now, I wouldn't want to disrupt the status quo or ruffle any feathers by pointing out what seems to be an open secret among those who have done their homework. But, wouldn't it be something if we all arrived at this understanding, unambiguously clear, yet seemingly elusive to some? Of course, the readiness to embrace such insights varies, and it’s utterly fascinating to see who’s up for a deeper dive and who prefers the comfort of the surface. It's all in good faith, though—sharing, learning, and sometimes, gently nudging our collective awareness towards the richer nuances of our shared heritage. After all, it's only a matter of time before these connections become impossible to ignore. Until then, let's enjoy the dance of disclosure at its own pace, shall we?'''

 * equivalent1 = Ishtar
 * equivalent1_type = Mesopotamian
 * equivalent2 = Inanna
 * equivalent2_type = Sumerian
 * equivalent3 = Ishara
 * equivalent3_type = Hurrian
 * equivalent4 = Astarte
 * equivalent4_type = Egyptian
 * equivalent5 = Astarte
 * equivalent5_type = Egyptian/Canaanite
 * equivalent6 = Freya
 * equivalent6_type = Norse

title: Talk:Isis


text:
Motorcade of Generosity

Motorcade of Generosity is the debut studio album by American alternative rock band Cake. It was recorded at the Pus Cavern studio in Sacramento, California, and released through Capricorn Records on February 7, 1994.

According to Pitchfork reviewer Madison Bloom, Motorcade of Geneoristy is a lo-fi album with "warm and close" songs that pull from different musical styles, such as honky-tonk and ranchera, and compared its style to "trailing notes down a stairwell into some subterranean tavern, where a cantina band plays over clinking pints." Music critic Daryl Cater deemed it an example of funky, guitar-oriented "quirk-rock" reminiscent of Phish's "genre-hopping jams".

Release
On January 14, 2009, a limited edition orange vinyl re-issue of the album was made available for purchase on the band's official website. It sold out in two days.

Reception
The album has received a mixed-to-favorable response from critics. AllMusic critic Darryl Cater stated that "Cake's minimalist jams occasionally get repetitive", though he concluded that "there are enough standouts here to easily qualify Motorcade as a keeper." Music reviewer Robert Christgau described the album as "unambiguity from the near side of cool."

Legacy
In 2005, the song "I Bombed Korea" was translated into Hebrew and performed by Zeev Tene under the title "Beirut" (ביירות), with "Korea" replaced by "Sidon" and "Beirut" in the lyrics. This version was included on the soundtrack of the film Waltz with Bashir (2008).

Personnel

 * Cake

 * John McCrea – vocals, guitar
 * Greg Brown – guitar, organ
 * Vince DiFiore – trumpet
 * Victor Damiani – bass
 * Todd Roper – drums

 * Additional personnel

 * Frank French – drums on tracks 5, 8, 10, 11
 * Gabriel Nelson – bass on tracks 5, 8, 10, 11
 * Hag – extra background vocals

title: Motorcade of Generosity


text:
MediaWiki talk:Minoreditletter

It's been suggested that a lower case M be used, because it's easier to distinguish from N. So I'm being bold and changing it. Change it back if you don't like it. -- Tim Starling 04:35, Mar 15, 2004 (UTC)

 * What about making the N more clear? "New: " is rather nice, but it means this symbol needs a trailing space, which looks ugly, but one can exploit the fact and use spaces to indent off minor articles, but then indenting by spaces isn't quite the Right Thing to do anyway... Dysprosia 04:40, 15 Mar 2004 (UTC)

 * Using anything other than one letter throws off the indenting in the enhanced RC. -- Tim Starling 04:44, Mar 15, 2004 (UTC)

 * *disheartened look* I had such high ideas... Ok, never mind :) Dysprosia 04:46, 15 Mar 2004 (UTC)

 * I noticed this last night and though it was so much nicer -- and better contrast with the N for new pages. I should have realized it was your handiwork Tim. Jolly good show! BCorr ¤ Брайен 13:50, Mar 15, 2004 (UTC)

Why was this changed back to an upper-case letter? – Jrdioko (Talk)  01:13, 11 Jul 2004 (UTC)

 * I take that back... it seems to still be lowercase, but why is it displaying differently on Recent Changes and History?    – Jrdioko  (Talk)  01:15, 11 Jul 2004 (UTC)

 * Yes, why is it capital now? It makes it much harder to distinguish from N at a glance. Please change it back. Livajo 14:33, 27 Aug 2004 (UTC)

 * Never mind, it seems to have been reverted. Livajo 14:34, 27 Aug 2004 (UTC)

 * And now it's back to uppercase M? What's the deal? Livajo 19:31, 27 Aug 2004 (UTC)
 * It is now in lowercase for the past two years. -- S iva1979 Talk to me  22:26, 31 July 2006 (UTC)

title: MediaWiki talk:Minoreditletter


text:
Magma chamber

A magma chamber is a large pool of liquid rock beneath the surface of the Earth. The molten rock, or magma, in such a chamber is less dense than the surrounding country rock, which produces buoyant forces on the magma that tend to drive it upwards. If the magma finds a path to the surface, then the result will be a volcanic eruption; consequently, many volcanoes are situated over magma chambers. These chambers are hard to detect deep within the Earth, and therefore most of those known are close to the surface, commonly between 1 km and 10 km down.

Dynamics of magma chambers
Magma rises through cracks from beneath and across the crust because it is less dense than the surrounding rock. When the magma cannot find a path upwards it pools into a magma chamber. These chambers are commonly built up over time, by successive horizontal or vertical magma injections. The influx of new magma causes reaction of pre-existing crystals and the pressure in the chamber to increase.

The residing magma starts to cool, with the higher melting point components such as olivine crystallizing out of the solution, particularly near to the cooler walls of the chamber, and forming a denser conglomerate of minerals which sinks (cumulative rock). Upon cooling, new mineral phases saturate and the rock type changes (e.g. fractional crystallization), typically forming (1) gabbro, diorite, tonalite and granite or (2) gabbro, diorite, syenite and granite. If magma resides in a chamber for a long period, then it can become stratified with lower density components rising to the top and denser materials sinking. Rocks accumulate in layers, forming a layered intrusion. Any subsequent eruption may produce distinctly layered deposits; for example, the deposits from the 79 AD eruption of Mount Vesuvius include a thick layer of white pumice from the upper portion of the magma chamber overlaid with a similar layer of grey pumice produced from material erupted later from lower in the chamber.

Another effect of the cooling of the chamber is that the solidifying crystals will release the gas (primarily steam) previously dissolved when they were liquid, causing the pressure in the chamber to rise, possibly sufficiently to produce an eruption. Additionally, the removal of the lower melting point components will tend to make the magma more viscous (by increasing the concentration of silicates). Thus, stratification of a magma chamber may result in an increase in the amount of gas within the magma near the top of the chamber, and also make this magma more viscous, potentially leading to a more explosive eruption than would be the case had the chamber not become stratified.

Supervolcano eruptions are possible only when an extraordinarily large magma chamber forms at a relatively shallow level in the crust. However, the rate of magma production in tectonic settings that produce supervolcanoes is quite low, around 0.002 km3 year−1, so that accumulation of sufficient magma for a supereruption takes 105 to 106 years. This raises the question of why the buoyant silicic magma does not break through to the surface more frequently in relatively small eruptions. The combination of regional extension, which lowers the maximum attainable overpressure on the chamber roof, and a large magma chamber with warm walls, which has a high effective viscoelasticity, may suppress rhyolite dike formation and allow such large chambers to fill with magma.

If the magma is not vented to the surface in a volcanic eruption, it will slowly cool and crystallize at depth to form an intrusive igneous body, one, for example, composed of granite or gabbro (see also pluton).

Often, a volcano may have a deep magma chamber many kilometers down, which supplies a shallower chamber near the summit. The location of magma chambers can be mapped using seismology: seismic waves from earthquakes move more slowly through liquid rock than solid, allowing measurements to pinpoint the regions of slow movement which identify magma chambers.

As a volcano erupts, surrounding rock will collapse into the emptying chamber. If the chamber's size is reduced considerably, the resulting depression at the surface can form a caldera.

Examples
In Iceland, Thrihnukagigur, discovered in 1974 by cave explorer Árni B. Stefánsson and opened for tourism in 2012, is the only volcano in the world where visitors can take an elevator and safely descend into the magma chamber.

title: Magma chamber


text:
Mark E. Smith

Mark Edward Smith (5 March 1957 – 24 January 2018) was an English singer-songwriter. He was the lead singer, lyricist and only constant member of the post-punk group the Fall. Smith formed the band after attending the June 1976 Sex Pistols gig at the Lesser Free Trade Hall in Manchester and was its leader until his death. During their 42-year existence, the Fall's line-up included some sixty musicians, with whom Smith released 32 studio albums and numerous singles and EPs.

Smith had a difficult and complex personality and was a long-term alcoholic. He was known for his biting and targeted wit, evident in interviews, for which he was much in demand by music journalists throughout his career. He was suspicious of the trappings of fame and largely avoided socialising with people associated with the music scene, including other Fall members. The dark and sardonic aspect of his personality often appears in his lyrics; he especially derided music industry people. Smith's approach to music was unconventional and he did not have high regard for musicianship, stating that "rock & roll isn't even music really. It's a mistreating of instruments to get feelings over."

The Fall are regarded as one of the most important and influential post-punk bands of the 1980s, 1990s, and 2000s. Although Smith was difficult to work with, he was revered by fans and critics, and was described as a "strange kind of antimatter national treasure."

Early life
Smith was born to working-class parents Irene (née Brownhill) and Jack Smith, in Broughton, Salford, the eldest of four siblings. He had three sisters: Suzanne (who later painted the front sleeve for the 1980 Fall album Grotesque (After the Gramme)), Caroline, and Barbara. His grandfather, James Brownhill, had been involved at the Dunkirk evacuation and fought in France during the Second World War. Jack was too young to have fought in the war, but joined the army as soon as he was old enough. Smith's parents had moved to nearby Sedgley Park, Prestwich after their marriage in 1955. Smith's father died suddenly in 1989 of a heart attack.

According to Simon Ford, Smith did not become interested in music until he was about 14, when his father "allowed a record player into the house." The first single he bought was Paranoid by Black Sabbath, and his first gig was the Groundhogs at Manchester's Free Trade Hall. He attended Sedgley Park Primary School, and later Stand Grammar School for Boys before leaving aged 16. That year, he left home and moved in with his girlfriend and future Fall keyboardist, Una Baines, later of the Blue Orchids. He subsequently took an evening class in A-level Literature. His first job was in a meat factory before he became a shipping clerk on Salford docks.

The Fall
The Fall were named after the novel by Albert Camus, and initially consisted of Smith and his friends Martin Bramah, Una Baines and Tony Friel. By this time, Smith was unemployed, having dropped out of college at the age of 19. He gave up his job as a shipping clerk at Salford docks shortly afterward to focus on the band. Their early line-up was formed from early members of the punk rock movement. Their music underwent numerous stylistic changes, often concurrently with changes in the group's line-up. The Fall's 40-year career can be broken into five broad periods, based on the band's membership. These include their early late 1970s line-up, the classic Fall period of Riley/Scanlon/Hanley, the Brix years of 1984-89, their early 1990s revival, and everything after the on-stage fight in New York, after which Hanley quit and Smith was arrested (see below).

He married American guitarist and Fall member Brix Smith on 19 July 1983, after they met in April 1983 in Chicago during a Fall American tour. She joined the group on guitar and vocals for the album Perverted by Language and co-wrote some of the best-regarded Fall tracks from the period, and is widely credited for introducing a more mainstream, pop-oriented element to the group's sound. She remained with the Fall until the couple divorced in 1989.

Smith remarried twice after this. His second marriage to Saffron Prior, who had worked for The Fall's fan club, ended in divorce in 1995. He married Eleni Poulou, also called Elenor or Elena, in 2001. Poulou joined the band in September 2002 and left in April 2016. Smith and Poulou divorced in 2016, and Smith's partner at the time of his death was his manager Pamela Vander.

Referring to the Fall's 60-odd former members, Smith said that he had "only" fired around half the number of people he is said to have dismissed, and that some left of their own free will. He would fire musicians for seemingly trivial reasons; he once dismissed a sound engineer for eating a salad, later explaining that "the salad was the last straw." Marc Riley was fired for dancing to Deep Purple's "Smoke on the Water" during their Australian tour, although the two had had many arguments beforehand. Smith said that he often changed musicians so that they would not become lazy or complacent.

After the influential British DJ and Fall supporter John Peel died in 2004, Smith made a notorious appearance on the BBC's Newsnight show in which he seemed stunned and incoherent, which he afterwards put down to a rare incidence of stage fright.

While the Fall never achieved widespread success beyond minor hit singles in the mid-1980s, they have had a loyal cult following throughout their career. Steve Hanley is regarded by many as one of the most talented bassists of his generation, equal to Peter Hook, Andy Rourke or Gary Mounfield.

Solo work and collaboration
Alongside his work with the Fall, Smith released two spoken-word solo albums, The Post-Nearly Man (1998) and ''Pander! Panda! Panzer!'' (2002). Both feature readings of Fall lyrics set to electronic sound collages and samples of Fall songs, as well as contributions from members of The Fall. Smith appeared as a guest vocalist for Edwyn Collins, Elastica, Gorillaz, Long Fin Killie, Mouse on Mars, Coldcut and Ghostigital. His contribution to Inspiral Carpets' 1994 song "I Want You" won UK top 20 recognition, topped John Peel's influential Festive Fifty and resulted in Smith's first appearance on the UK TV show Top of the Pops. He worked with Mouse on Mars on the project Von Südenfed, whose first album, Tromatic Reflexxions, was released in May 2007. Smith provided guest vocals on the song "Glitter Freeze" from the 2010 Gorillaz album Plastic Beach, and made a notable appearance later that year on the Pyramid Stage at Glastonbury 2010, where he joined the band on-stage to perform the song during their headlining set. Smith joined the group Shuttleworth to record the World Cup song "England's Heartbeat."

In 1986, he wrote the play Hey, Luciani, based on the short reign of Pope John Paul I. Smith made a cameo appearance in the Michael Winterbottom film 24 Hour Party People (2002), while his younger self was portrayed by Sam Riley in a section that did not make the final cut of the film, but appears as a deleted scene on the DVD. Smith made an appearance in the BBC Three sitcom Ideal in May 2007, playing a foulmouthed, chain-smoking Jesus. A fuzzy, muted version of Fall song "Hip Priest" (1982) appeared in the 1991 film The Silence of the Lambs.

Death
Smith died on 24 January 2018 after a long illness with lung and kidney cancer, aged 60 years. His health had been particularly bad during 2017, which led to performances in a wheelchair. A heavy smoker, Smith had long suffered from throat and respiratory problems. His work ethic and output never declined and throughout his illness he continued to release a new album close to once a year.

Tributes to Smith came from Brix Smith, Tim Burgess, Liam Gallagher, Andy Bell, Mat Osman, Billy Bragg, Win Butler, Cat Power, Edgar Wright, the Pixies, Garbage, Stuart Murdoch, Terry Christian, Graham Coxon, Irvine Welsh and Gorillaz.

Lyrical and vocal style
Smith sang with a heavy Mancunian accent, and wrote in a cryptic style. His abstruse song titles, often derived from cutting out words and phrases from books and newspapers, reflect the same tendency, with a notable example being "To Nkroachment: Yarbles" (1985). His vocal style was similarly unusual, and his delivery is known for his tendency to end phrases with an "ah"-sound. He often speak-sang or sing-slurred his lyrics, especially from the mid-1990s. His singing voice, particularly when playing live, has been described as "rambling", and he often interjected improvised rants between verses. He tended to write lyrics as free-form prose into one of his many notebooks, and only later set them to pieces of music composed by Fall musicians. He was a prolific writer who often wrote in dense continuous prose, which he would later edit down into lyrics.

A number of Smith's vocal tracks were recorded spontaneously at his home, when he sang into a dictaphone or cassette recorder, most notably sections of "Paintwork" from the Fall's 1985 album This Nation's Saving Grace, which also includes the voice of Alan Cooper discussing main sequence stars, from a documentary Smith happened to be watching at the time. He later adapted the resulting sound effect in the studio; examples include for the intro to "Bad News Girl" (1988).

Smith's ability as a prose writer is evident in songs that abandon the verse/chorus format in favour of a long continuous narrative. Examples include "Spectre Vs Rector" (1979), "The North Will Rise Again" (1980), "Winter (Hostel-Maxi)" and "Winter 2" (1982), and "Wings" (1983). Fall songs written in this style are often not concerned with character or story development, establishing a sense of place and atmosphere instead. By the late 1980s, Smith had largely given up this format. Some early songs concern one of his assumed alter-egos, though always from a third-person point of view. Examples include Roman Totale XVII, "the bastard offspring of Charles I and the Great God Pan", who appears in "The N.W.R.A" (1980), the live album Totale's Turns, "2nd Dark Age" (one of the b-sides to the "Fiery Jack" single), and the sleeve credits for Dragnet, as well as the characters in "Fiery Jack" (1980), "Hip Priest" (1982), "The Man Whose Head Expanded" (1983), and "Riddler" (1986). Rare first person narratives include "Frenz", "Carry Bag Man", and "The Steak Place" from 1988's The Frenz Experiment, as well as "Bill Is Dead" (1990), "Living Too Late" (1986), and "Edinburgh Man" (1991). He did not respond to requests to explain the meaning or sources behind his lyrics. When asked by a journalist as to how much of his self could be found in the song's characters, he replied "dunno, you're the one sitting there in your round glasses and leather jacket. You tell me what you think it's an extension of...for every bloke pulling a pint, there's about ten thousand journalists writing an article about it."

Fragments of Smith's lyrics often appeared as handwritten scribbles on early Fall album and single covers, coupled with collages he had put together. In a 1983 interview with Sounds, Smith said that he liked artwork to reflect the album content and explained how his graphic choices reflected his attitude to music. He mentioned how he was drawn to cheap and misspelled posters, amateur layouts of local papers and printed cash and carry signs with "inverted commas where you don't need them." His technique was often imitated, for example on Pavement's early releases, which heavily resemble the artwork for Hex Enduction Hour (1982), and whom Smith described as "mere Fall copyists."

Smith's lyrics were described by critic Simon Reynolds as "a kind of Northern English magic realism that mixed industrial grime with the unearthly and uncanny, voiced through a unique, one-note delivery somewhere between amphetamine-spiked rant and alcohol-addled yarn." He described his approach as wanting to combine "primitive music with intelligent lyrics." Thematically, his frequently densely layered words often centre around descriptions of urban grotesques, gloomy landscapes, "crackpot history", and are infused with regional slang. In interviews, Smith cited Colin Wilson, Arthur Machen, Wyndham Lewis, Thomas Hardy, M. R. James, Algernon Blackwood, Clark Ashton Smith, and Philip K. Dick as influences, as well as Edgar Allan Poe, Ezra Pound, Raymond Chandler, and H. P. Lovecraft.

Personality
Smith had a difficult and often reactionary personality, and was defiantly Northern English in outlook. Brix said that he carried "a chip on both shoulders. I remember him talking about fucking southern bastards a lot and not wanting to come to London. He hated London intensely. He's quite contrarian as a person and as a writer, which is what gives him his edge." Throughout his career, he clashed with musicians, record producers, sound engineers, record label heads and fellow Manchester scene alumni such as Tony Wilson, Peter Hook, Shaun Ryder and Morrissey, whom he disparagingly referred to as "Steven."

Smith had a working class and anti-intellectual outlook, but a strong interest in literature. As the journalist Andrew Harrison observed, although he wished that a majority of his audience were miners and postmen, a great many were students or Guardian readers.

According to biographer Simon Ford, Smith often treated musicians as would "[a] bad-tempered despot." He was highly charismatic and cultivated a wry and misanthropic personality during interviews and live performances. As an interviewee, his dry and caustic wit was very quotable, especially when he was critiquing other contemporary bands and "music personalities", a favoured pastime. He became a mainstay of the English music press throughout the 1980s and 1990s, and his sharp tongue often turned on the journalists themselves; many reported being nervous before meeting him, and published "war stories" afterwards.

During his later performances, he often walked off stage in frustration, or maliciously interfered with the musicians' instruments. This behavior culminated during a 1998 gig at Brownies in New York, at a low point in his life when he was drinking heavily and band morale was at its lowest. During the performance he got into an onstage fight with the other musicians, leading to long-term bassist Steve Hanley and drummer Karl Burns quitting the band. The night ended with Smith's arrest for assaulting his girlfriend and Fall keyboardist Julia Nagle, and is widely considered the band's nadir and Smith's low point. Smith was ordered to undergo treatment for alcohol abuse and anger management. The police charges were dropped after a period of good behaviour.

Smith said that his favourite things in life were "Scottish people, cats, Coronation Street, and Can." He was a passionate football fan and lifelong Manchester City follower: even appearing on the BBC's Final Score to read the classified football results. He admired mavericks such as George Best, whom he met and drank with, and observed how if Best could have drawn a crowd of 40,000 people a week he should have been able to "do what he liked."

Originally a Labour supporter, Smith left the party during the Falklands War (which he supported), then became further disillusioned with Labour during the Tony Blair era. In the 1997 election, he voted for the Conservative Party in opposition to Blair. Asked during a mid-1980s interview with Smash Hits as to what policies he would adopt if he became Prime Minister, he said: "I'd halve the price of cigarettes, double the tax on health food, then I'd declare war on France." In a 2012 interview, Smith jokingly stated he would put the Queen in charge of Britain when asked the same question. Smith also expressed support for the UK's withdrawal from the European Union. Although a longstanding member of the Musicians Union, he criticised their political outlook, saying, "all they say is vote Corbyn and stay in the European Union".

Legacy
Smith was both resigned and ambivalent about his legacy, especially in terms of the fad-orientated music industry of which he was often harshly critical in his lyrics. He noted, somewhat bitterly, how "every artist wants credibility. A couple of years ago, I read a poll on the hundred best artists of all time. The Fall was in there between Mozart and Puccini. I was very proud of that. Of course, the next day I can pick up a paper and be the guy with no teeth who beats everybody up." Despite this, he was widely influential and critically acclaimed throughout his career, in part because he did not seek to capitalise on current trends which might have dated the band. He was particularly dismissive of the Madchester scene, as well as the post-punk revival bands of the 2000s who cited him and the Fall as an influence, whom he personally felt owed more to Talking Heads.

Similarly, he refused to look backwards; when recording, he was adamant that the Fall not repeat themselves stylistically, and when playing live, he refused to play old songs. The approach is further seen in his strategy of frequently replacing band members. Long-term fan John Peel said that "the Fall are the group against which all others must measure themselves", and when asked which Fall albums he would recommend to newcomers, he replied, "all of them." In January 2005, Smith was the subject of The Fall: The Wonderful and Frightening World of Mark E. Smith, a BBC Four television documentary.

A number of alternative rock artists have mentioned Smith in their songs. The Jazz Butcher released "Southern Mark Smith" in 1983. Barbara Manning's song "Mark E. Smith & Brix" appears on her 1989 album Lately I Keep Scissors. German rock band Tocotronic mentioned him in their song "Ich habe geträumt, ich wäre Pizza essen mit Mark E. Smith" ("I dreamt I went to eat pizza with Mark E. Smith") on their 1996 album Wir kommen um uns zu beschweren (We come to complain). Elastica released the track "How He Wrote Elastica Man" in 2000, a reference to the 1980 Fall song "How I Wrote 'Elastic Man'", while in 2014 Fat White Family released an EP titled "I Am Mark E Smith.", a reference to the 1985 Fall song "I am Damo Suzuki". Sonic Youth covered three Fall songs, as well as the Kinks' "Victoria", which they released in 1990 as the 4 Tunna Brix EP. Cedric Bixler-Zavala, singer for the American groups At the Drive-In and The Mars Volta, described Smith as "one of the pillars of influence for me as lyricist and trouble maker."

Literature

 * Mark E. Smith: Renegade: The Lives and Tales of Mark E. Smith, Viking (2008), ISBN 0-670-91674-9

title: Mark E. Smith


text:
Prediction by partial matching

Prediction by partial matching (PPM) is an adaptive statistical data compression technique based on context modeling and prediction. PPM models use a set of previous symbols in the uncompressed symbol stream to predict the next symbol in the stream. PPM algorithms can also be used to cluster data into predicted groupings in cluster analysis.

Theory
Predictions are usually reduced to symbol rankings. Each symbol (a letter, bit or any other amount of data) is ranked before it is compressed, and the ranking system determines the corresponding codeword (and therefore the compression rate). In many compression algorithms, the ranking is equivalent to probability mass function estimation. Given the previous letters (or given a context), each symbol is assigned with a probability. For instance, in arithmetic coding the symbols are ranked by their probabilities to appear after previous symbols, and the whole sequence is compressed into a single fraction that is computed according to these probabilities. The number of previous symbols, n, determines the order of the PPM model which is denoted as PPM(n). Unbounded variants where the context has no length limitations also exist and are denoted as PPM*. If no prediction can be made based on all n context symbols, a prediction is attempted with n − 1 symbols. This process is repeated until a match is found or no more symbols remain in context. At that point a fixed prediction is made.

Much of the work in optimizing a PPM model is handling inputs that have not already occurred in the input stream. The obvious way to handle them is to create a "never-seen" symbol which triggers the escape sequence. But what probability should be assigned to a symbol that has never been seen? This is called the zero-frequency problem. One variant uses the Laplace estimator, which assigns the "never-seen" symbol a fixed pseudocount of one. A variant called PPMd increments the pseudocount of the "never-seen" symbol every time the "never-seen" symbol is used. (In other words, PPMd estimates the probability of a new symbol as the ratio of the number of unique symbols to the total number of symbols observed).

Implementation
PPM compression implementations vary greatly in other details. The actual symbol selection is usually recorded using arithmetic coding, though it is also possible to use Huffman encoding or even some type of dictionary coding technique. The underlying model used in most PPM algorithms can also be extended to predict multiple symbols. It is also possible to use non-Markov modeling to either replace or supplement Markov modeling. The symbol size is usually static, typically a single byte, which makes generic handling of any file format easy.

Published research on this family of algorithms can be found as far back as the mid-1980s. Software implementations were not popular until the early 1990s because PPM algorithms require a significant amount of RAM. Recent PPM implementations are among the best-performing lossless compression programs for natural language text.

PPMd is a public domain implementation of PPMII (PPM with information inheritance) by Dmitry Shkarin which has undergone several incompatible revisions. It is used in the RAR file format by default. It is also available in the 7z and zip file formats.

Attempts to improve PPM algorithms led to the PAQ series of data compression algorithms.

A PPM algorithm, rather than being used for compression, is used to increase the efficiency of user input in the alternate input method program Dasher.

title: Prediction by partial matching


text:
Talk:Cannibal! The Musical

Horse
Wait a minute, the horse was promiscuous too? M.Neko

For a moment, I got this confused with the (so far unpresented) musical version of Silence of the Lambs. It's not that though. Two halves 05:02, 15 Mar 2004 (UTC)

What the, otherwise very comprehensive, article fails to mention is that Cannibal! is the sweetest film ever made. Ever. The film is shown fairly regularly on UK terrestrial TV so I would imagine that a decent number of people have seen it these days. Certainly everyone I know gets made to watch it.

The Indian Chief
Does anyone know the name of the actor who plays the Indian Chief? He's also a relatively important actor in Orgazmo, so that might make an important trivia point.
 * imdb names him as Masao Maki. He also played G-Fresh in Orgazmo.  Hoof Hearted 17:50, 17 May 2007 (UTC)

Song Lyrics
Although I can't find a Wikipedia policy page addressing it, I thought lyrics were not allowed to be posted in articles. I'll leave it for now, but if anyone else knows of the official stance, please respond below. Hoof Hearted 19:58, 30 August 2006 (UTC)
 * I see the lyrics have already been properly removed, but for future reference here are some policy links: Lyrics and poetry and WikiProject Music/MUSTARD/Lyrics. -- Satori Son 17:58, 13 September 2006 (UTC)

The Plot section should include the songs' titles. WilliamSommerwerck (talk) 12:16, 5 September 2009 (UTC)

Alferd or Alfred
The article refers to the character as both 'Alferd' and 'Alfred' - which is the correct spelling? 207.69.137.27 02:55, 31 August 2006 (UTC)

 * They have the same problem on the Alferd Packer page because he apparently went by both names. Even the credits for this film on imdb list him as "Alfred G. 'Alferd' Packer".  It could be argued that both are "correct", but I think it would be best to be consistent throughout the article.  I changed the first Alfred in the plot summary, but I wasn't sure about the last one in the trivia section.  Does anyone at CU know if the restaurant is really called "Alfred" or "Alferd"? Hoof Hearted 12:24, 31 August 2006 (UTC)

 * Found it. Poor guy, had to change his name because it got misspelled in a tattoo on his arm!  -- Hoof Hearted 17:57, 31 August 2006 (UTC)

Again, it really doesn't matter because it appears either spelling is correct, but | I suggest we keep it 'Alfred', since the alternate spelling is used in the wikilink The Legend of Alfred Packer. The anonymous edit broke that link. Hoof Hearted (talk) 14:06, 6 August 2009 (UTC)

Trivia
The trivia section states that, "Also, when the judge declares that Packer will be 'hung by the neck till you're dead, dead, dead!' is a line taken directly from another episode of Star Trek named 'The Squire of Gothos'." While the line appeared in that episode, it was not taken from it. It is part of the court record, as were all of the judge's lines. Should this be removed or just edited? KomradeDave 05:43, 23 February 2007 (UTC)

 * Based on the trivia section at The Squire of Gothos, I assume you're saying that it could be argued that Star Trek took it from judge Isaac Parker, and therefore we should site it's original source. My opinion, given that judge Parker never uttered those words when giving a death sentence, plus the numerous Star Trek references in Trey & Matt's work, is that the statement should remain as is.  If I've misinterpretted your argument or you feel otherwise, I suggest you be bold and improve the article to what you think fits. Hoof Hearted 20:16, 1 March 2007 (UTC)

External links modified
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Song title
I have changed "Ode to Liane" to "When I was on Top of You" throughout. On my DVD that is the title on both menu options and the end credits, and far better suits the humor of the film anyway. I'm not sure where "Ode" could have been taken from. There are other versions of the DVD (mine is Screenedge) but it seems unlikely the song title would be different on another DVD. If it is, maybe both titles could be given in the article.--Shantavira|feed me 09:56, 29 January 2019 (UTC)
 * it appears that the stage production (or perhaps specific stage productions) may have renamed this song "Ode to Liane", but I'm having trouble finding a reliable source. Hoof Hearted (talk) 18:16, 11 February 2019 (UTC)

title: Talk:Cannibal! The Musical


text:
File:Red Rider Dont Fight It.jpg

Used on Wikipedia under fair use guidelines:
 * Low resolution copy of the album cover

RedWolf 05:07, Mar 15, 2004 (UTC)

title: File:Red Rider Dont Fight It.jpg


text:
Dicta Boelcke

The Dicta Boelcke is a list of fundamental aerial maneuvers of aerial combat formulated by First World War German flying ace Oswald Boelcke. Equipped with one of the first fighter aircraft, Boelcke became Germany's foremost flying ace during 1915 and 1916. Because of his success in aerial combat and analytic mind, he was tasked by Colonel Hermann von der Lieth-Thomsen with writing a pamphlet on aerial tactics.

Completed in June 1916, it was distributed throughout the German Army's Air Service (Die Fliegertruppen des Deutschen Reiches), some two years before the French and British militaries followed suit with their own tactical guides. Air combat tactical manuals based on the Dicta Boelcke have become more elaborate over time, and have become a mainstay for NATO's air combat training of American, German, Dutch, Norwegian, Turkish, Italian, and Greek fighter pilots.

The author
Oswald Boelcke was one of the first German pilots successful in air-to-air combat. During mid-May 1915, he began to fly one of the original fighter aircraft equipped with a synchronized gun. As he began to shoot down opposing French and British airplanes, he became one of the first German fighter aces. Often flying with Max Immelmann, Boelcke gained experience in the new realm of aerial combat as he discovered the utility of having a wingman, of massing fighter planes for increased fighting power, and of flying loose formations allowing individual pilots tactical independence. Based on his successful combat experiences, he used his training as a professional soldier and his powers as an analytic thinker to design tactics for the use of aircraft in battle.

During this period of pioneering aerial warfare, the British Royal Flying Corps air effort could be summed up by "Attack everything". The French Aeronautique Militaire was concentrating its efforts on building up its bomber force. Boelcke tried to interest Immelmann in devising a tactical doctrine for fighters, to no avail. In mid-1916, Boelcke codified his tactics in the Dicta Boelcke, which was the world's first tactical manual for an air force.

During early 1916, Boelcke wrote a brochure entitled "Experiences of Air Fighting", giving tips for attacking any one of three types of opposing aircraft. This was not unique; a few other fliers in the war were sharing such combat tips with one another on a personal level.

After Immelmann's death, Boelcke was withdrawn from combat on 27 June 1916, while he was the war's leading ace, and assigned to Fliegertruppe (Flying Troops) headquarters. His reassignment was in line with the German military doctrine of Auftragstaktik, or order tactics: The belief that the junior officer on the battlefield best knows the tactics needed there. As part of his staff duties revamping the Fliegertruppe into the Luftstreitkräfte (Air Force) in early October 1916, Boelcke wrote the Dicta, which was then distributed throughout the Luftstreitkräfte as the world's first tactical manual. It was two years before the British and French followed suit in 1918. Spurred by the example of the Dicta, many of the world's military air forces eventually developed their own tactical manuals, codified as tactics, techniques, and procedures.

The Dicta Boelcke
According to Boelcke's first biographer, Professor Johannes von Werner, the eight dicta were written for Colonel Hermann von der Lieth-Thomsen.

 * 1) Try to secure advantages before attacking. If possible, keep the sun behind you.
 * 2) Always carry through an attack when you have started it.
 * 3) Fire only at close range, and only when your opponent is properly in your sights.
 * 4) Always keep your eye on your opponent, and never let yourself be deceived by ruses.
 * 5) In any form of attack it is essential to assail your enemy from behind.
 * 6) If your opponent dives on you, do not try to evade his onslaught, but fly to meet it.
 * 7) When over the enemy's lines never forget your own line of retreat.
 * 8) For the Staffel (squadron): Attack on principle in groups of four or six. When the fight breaks up into a series of single combats, take care that several do not go for the same opponent.

There are various versions of the Dicta. One version that differs somewhat from the above:

 * 1) Always try to secure an advantageous position before attacking. Climb before and during the approach in order to surprise the enemy from above, and dive on him swiftly from the rear when the moment to attack is at hand.
 * 2) Try to place yourself between the sun and the enemy. This puts the glare of the sun in the enemy's eyes and makes it difficult to see you and impossible for him to shoot with any accuracy.
 * 3) Do not fire the machine guns until the enemy is within range and you have him squarely within your sights.
 * 4) Attack when the enemy least expects it or when he is preoccupied with other duties such as observation, photography, or bombing.
 * 5) Never turn your back and try to run away from an enemy fighter. If you are surprised by an attack on your tail, turn and face the enemy with your guns.
 * 6) Keep your eye on the enemy and do not allow him to deceive you with tricks. If your opponent seems damaged, follow him down until he crashes to be sure he is not faking.
 * 7) Foolish acts of bravery only bring death. The Jasta (squadron) must fight as a unit with close teamwork between all pilots. The signals of its leaders must be obeyed.
 * 8) For the Staffel (squadron): Attack in principle in groups of four or six. When the fight breaks up into a series of single combats, take care that several do not go for one opponent.

Still another version can be found online.

If followed assiduously, the Dicta tactics often led to an unseen approach for a surprise attack. As historical study has shown, thus getting in the first shot in an engagement guarantees a successful attack over 80% of the time.

Legacy
After writing the Dicta, Boelcke's tactics were taught in the fighter school he had suggested founding. He suggested that fighter planes be organized into squadrons. He also organized and led one of these original German fighter squadrons, Jagdstaffel 2. By the time he died in action after his 40th victory, he had thoroughly schooled his squadron in his tactics. Jasta 2 went on to be one of the two most successful German fighter squadrons during the remainder of the war, scoring 336 victories, and achieving a victory ratio that ran as high as 12 to one.

Eight of Jasta 2 original members became aces. 25 aces served in Jasta 2, scoring 90% of its victories. Four of its members served as generals during World War II. There was a steady rotation of Jasta 2's aces into commands of other squadrons. The most prominent example of this was Manfred von Richthofen, leading ace of the war and assigned to command the most successful German squadron, Jasta 11. As a result of Boelcke's tactical concepts, the Imperial German Air Service exacted an ever greater toll on Allied aircraft right up until war's end. For instance, Jasta 2 was credited with 46 victories for September 1918.

When the next logical step was taken by the Germans in organizing fighter squadrons into a wing in June 1917, Richthofen was picked to lead it. Before his death on 21 April 1918, he wrote his own Dicta for wing tactics. It referred extensively to Boelcke's Dicta.

Similar to the Dicta Boelcke was Mick Mannock's Rules of Combat:

During the early days of World War II, South African ace Sailor Malan espoused his Ten Rules for Air Fighting. These rules closely followed the Dicta Boelcke. For instance, Rule 5's "Always turn and face the attack" could have been borrowed from the Dicta. Malan's Rules were distributed throughout the Royal Air Force.

The simple Dicta Boelcke manual has, over time, evolved into widespread use of tactics, techniques, and procedures manuals for air forces worldwide. The United States Joint Chiefs of Staff (JCS), the United States Navy (USN), and the United States Air Force (USAF) each have their own air tactics manuals. Under the auspices of the North Atlantic Treaty Organization (NATO), the USAF trains German, Dutch, Norwegian, Turkish, Italian, and Greek fighter pilots at Sheppard Air Force Base, using air tactics manuals descended from the Dicta Boelcke.

title: Dicta Boelcke