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Maghrebi Jews

 * See Mizrahi Jews for more information about the Eastern Jews.

Maghreb (orthographic projection).svg countries.

Due to proximity, the terms Maghrebi Jews (Moroccan Jews, Algerian Jews, Tunisian Jews, and Libyan Jews) are frequently used in reference to Egyptian Jews as well.]]

Maghrebi Jews ( or, Maghrebim) or North African Jews ( Yehudei Tzfon Africa) are an ethnic group of Jews who had traditionally lived in the Maghreb region of North Africa (al-Maghrib, Arabic for "the west") under Arab rule during the Middle Ages. Established Jewish communities had existed in North Africa long before the arrival of Sephardi Jews, expelled from Portugal and Spain. The term Musta'arabi was also used by medieval Jewish authors to refer to Jews who had traditionally lived in the Maghreb. Due to proximity, the term 'Maghrebi Jews' (Moroccan Jews, Algerian Jews, Tunisian Jews, and Libyan Jews) sometimes refers to Egyptian Jews as well, even though there are important cultural differences between the history of Egyptian and Maghrebi Jews. These Jews originating from North Africa constitute the second largest Jewish diaspora group. Maghrebi Jews lived in multiple communities in North Africa for over 2,000 years, with the oldest Jewish communities present during Roman times and possibly as early as within Punic colonies of the Ancient Carthage period. Maghrebi Jews largely mixed with the newly arrived Sephardic Jews, beginning from the 13th century until the 16th century, eventually being overwhelmed by Sephardim and embracing the Sephardic Jewish identity in most cases.

The mixed Maghrebi-Sephardic Jewish communities collapsed in the mid-20th century as part of the Jewish exodus from Arab countries, moving mostly to Israel, France, Canada and Venezuela. Today, descendants of Maghrebi-Sephardic Jews in Israel have largely embraced the modern Israeli Jewish identity and in many cases intermix with Ashkenazi and Mizrahi Jewish communities there. Most of the Maghrebi-Sephardic Jews (Western Jews) also consider themselves as part of Mizrahi Jewish community (Eastern, or Babylonian Jews), even though there is no direct link between the two communities. They have similar histories of Arabic-speaking background and a parallel exodus and expulsion from Arab and Muslim countries: the Mizrahim left nations of the Middle East, and the Maghrebi-Sephardics left nations of North Africa in the mid-20th century. Among Arab countries, the largest Jewish community now exists in Morocco with about 2,000 Jews and in Tunisia about 1,000.

Pre-1492
Some Jewish settlements in North Africa date back to pre-Roman times, possibly correlating with the late Punic settlements in the area. Earlier mentions of Jewish presence go back to Cyrenaica, a Greek colony of eastern Libya and home to an early Jewish community. Notable Cyrenaic Jews of that era includes Simon of Cyrene mentioned in the New Testament. After Jewish defeat in the First Jewish-Roman War in 70 CE, Roman General Titus deported many Jews to Mauretania, which roughly corresponds to the modern Maghreb, and many of them settled in what is now Tunisia. These settlers engaged in agriculture, cattle-raising, and trade. They were divided into clans, or tribes, governed by their respective heads, and had to pay the Romans a capitation tax of 2 shekels.

During the Kitos War, Jews must have suffered losses, but they continued to thrive in parts of North Africa under the Late Roman Empire. After 429 CE, with the fairly tolerant Vandals, the Jewish residents of the North African province increased and prospered to such a degree that African Church councils decided to enact restrictive laws against them. Berber lands east of Alexandria were relatively tolerant and were historically very welcoming for Christians and Jews during the Roman Empire notably. After the overthrow of the Vandals by Belisarius in 534 CE, Justinian I issued his edict of persecution, in which the Jews were classed with the Arians and s.

A community settled in Djerba island off the coast of southern Tunisia during the Roman period. Mainly composed of Cohanim, they notably built the Ghriba synagogue with stones coming directly from Jerusalem. 'La Ghriba' is still to this day annually visited by many North African Jews.

Under Muslim domination Jewish communities developed in important urban centers such as Kairouan and coastal cities of Tunisia, in Tlemcen, Béjaïa and Algiers in the Central Maghreb and as far as in the extreme Maghreb (modern Morocco) especially Fes and in the Atlas Mountains among the Berber populations. The relationships between Muslims and Jews in the Maghreb were relatively good thanks to the Al Andalus peaceful era, until the ascension of the Almohades, who persecuted non-Muslims to a large extent during their early reign. Later Jews were relatively well treated by the Berber Muslim dynasties, namely the Merinids, Zianides and Zirides.

In the seventh century, the Jewish population was augmented by Iberian Jewish immigrants, who, fleeing from the persecutions of the Visigothic king Sisebut and his successors, escaped to the Maghreb and settled in the local Byzantine Empire. The much greater immigration of Sephardic Jews took place between 1391 and 1492, due to the Alhambra decree edict of expulsion and persecution in Spain and Portugal.

Fez and Tunis, respectively in Morocco and Tunisia, became important Sephardic rabbinical centers, well until the early 20th century, when most Jewish populations emigrated to Israel, France, Canada and Latin America.

Expulsion from Spain after 1492
While there has been a presence of Jews in the Maghreb region of North Africa in both Berber and Arabic speaking communities for millennia, many Spanish Jews were driven out of Spain during the Spanish Inquisition of 1492.

The Spanish Inquisition was ultimately a religiously motivated movement that strove to maintain and strengthen the Catholic presence in Spain. The rulers, Ferdinand and Isabella, ordered the expulsion of the Spanish Jews in January 1492, and on 30 July 1492, hundreds of thousands of Spanish Jews were driven out of Spain, relocating primarily to the Maghreb region due to its close proximity to Spain, but also to other places such as Greece, Italy, and Turkey.

Around the time of the Spanish Inquisition the Counter-Reformation was taking place. The Counter-Reformation was the Catholic response to the Protestant Reformation, a movement in Europe that strived to popularize the newer sect of Christianity, Protestantism, throughout Europe. The Counter-Reformation mostly took place in Southern Europe, which is a large reason as to why Southern Europe is, for the most part, far more Catholic and far less Protestant than the majority of Northern Europe. The Counter-Reformation, being a movement to preserve and strengthen the Catholic influence on society, was opposed not only to Protestantism but to any non-Catholic belief that was seen as a threat to the Catholic society. Thus, the Jews of Spain overwhelmingly moved directly south to the Maghreb Region of North Africa and quickly prospered.

World War II and the Holocaust
On the eve of World War II, 400,000 Jews resided in the Maghreb; throughout this time, each country differed in its treatment of its respective Jewish population.

Algerian Jews (approximately 35,000) had been granted French citizenship by the Cremieux Decree in 1870. France's Vichy Regime, then, oversaw the Jewish community in Algeria during World War II and imposed anti-Semitic measures such as stripping Jews of their civil rights, forcing them to wear identification markers, and putting quotas on their admission to primary schools.

Tunisia was the only country with direct contact with the German army; Germany occupied the country for six months from 1942 to 1943 until it was recaptured by the Allied forces. Under German occupation, the Jewish population, then 89,000, endured the Nazi regime and were subjected to harsh mistreatment.

In Morocco, there were anti-Jewish laws put into effect and at least 2,100 Jews were forcibly interned in work camps.

Emigration
The creation of the state of Israel in 1948 led to many countries promoting anti-Jewish behavior especially in Muslim-majority areas. This contributed significantly to the emigration of Jews from the countries of the Maghreb. This exodus was a combination of push and pull, augmented with the independence of the Maghreb countries in the 1950s and early 1960s, as Jews were seen as being supportive of the previous colonial French.

Tunisia was a French protectorate since 1881, and the country fought for independence from 1952 to 1956, after which many of the 105,000 Jews within the community emigrated. In recent decades, the Jewish community has continued to shrink as many emigrated to Israel, France, and other countries.

After Morocco declared independence in 1956, most of the 225,000 Jews in Morocco emigrated to Israel, France and Canada.

In Algeria, the National Liberation Front fought and won independence from France in 1961. After Algeria won independence, the Jewish population of 140,000 began a massive and definitive exodus mainly to France due to increased animosity towards Jews.

Maghrebi Jews in Israel
The early Zionists were majority Ashkenazi Jews who affiliated themselves strongly with Theodor Herzl, the founder of modern Zionism. Maghrebi Jews, along with other Mizrahi Jews and Sephardi Jews, did not begin to arrive in masses, though some of the Maghrebi Jews were already in Israel by the 18th century and onwards, like Aharon Moyal who had laid the foundations to Tel-Aviv; in Israel until after Israel was established as a state. The early Zionists tended to be secular, as Zionism (as Herzl founded it) was a secular nationalist movement that recognized Jews as a whole Nation, and saw the Land of Israel as the ancestral homeland of the Jews.

In the mid 20th Century, the Arab World (in this case North Africa) began to undergo some vast internal changes. The notion of Pan-Arabism came about in the earlier years of the 20th Century, and the cultural, linguistic, and political influences of European colonial powers in the region began to sharply decline. As Arab unity increased, so did the opposition to any form of colonialism. With this new sentiment, the 20th century North African and Arab countries heavily opposed Zionism and many Arab leaders saw the movement as simply a continuation of European colonialism, due to the vast majority of early Zionist migrants coming from Europe.

Maghrebi Jews have an enormous cultural influence in Israel. Falafel is widely known as the National Food of Israel, and due to falafel's origins in the Middle East and North Africa, Maghrebi Jews, along with other Sephardic and Mizrahi Jews from the Middle East and North Africa, played an enormous role in making falafel an Israeli staple. Mizrahi music, one of Israel's most popular genres, carries a lot of influence from Maghrebi Jews. Some popular Mizrahi music singers of Maghrebi descent include: Eyal Golan, Sarit Hadad, Moshe Peretz, Dana International, Zehava Ben, and Kobi Peretz, all of Moroccan descent.

Religiously, Maghrebi Jews (along with Sephardic/Mizrahi Jews as a whole) are heavily classified as Masortim, contrasting Israelis of Ashkenazi Jewish descent, whom are more secular. Politically, Maghrebi Jews tend to vote Likud.

Morocco
Morocco, the North African nation with the largest Jewish population both at the start of the 20th Century and today, had a Jewish population of ~275,000 at its peak around the time of the establishment of Israel. A significant number of Moroccan Jews are descendants of the Berber-speaking Jews who once lived in the Atlas Mountains. Today, the Jewish population in Morocco is estimated to be just about 2,000. Since the expulsion from Spain after 1492, Moroccan Jews shared many customs of everyday life and a common spoken language (Berber or Moroccan Arabic) with their Muslim neighbours, which led to a rich mutual cultural heritage of music, poetry, food and crafts.

After the establishment of Israel, a mass exodus of the Jewish population began and the vast majority of Moroccan Jews emigrated to Israel, as very few Moroccan Jews had left before to Mandatory Palestine. Israel launched a series of operations to bring Jews, who were facing persecution, to Israel from various Middle Eastern and North African countries. A famous operation that brought nearly 100,000 Moroccan Jews to Israel from 1961 to 1964 was Operation Yachin.

Today, Jews of Moroccan descent in Israel tend to identify with their background and remain in touch with their traditional culture. A part of Moroccan Jewish culture revolves around Sephardic music and food. Shakshouka, a traditional Maghrebi dish, has become popular in Israel through the influence of Moroccan Jews.

Algeria
Algerian Jews are quite similar to Moroccan Jews in many regards due to the proximity of Algeria and Morocco. Both communities were intertwined linguistically, culturally, and historically. A Jewish presence in Algeria existed since before the Roman-era, but most Algerian Jews trace a significant amount of their history back to the culture of al-Andalus.

Since 1848, Algeria had been part of the French motherland, and with the 1870 Crémieux Decree Algerian Jews were granted French citizenship. Meanwhile, the indigenous Muslim Arab and Berber populations remained under second-class status, giving rise to Muslim friction that culminated in the 1934 Constantine riots. After the German invasion of France, Algeria came under Vichy rule: Jews had their French citizens’ rights taken away, were sacked from public service jobs and subject to quotas and restrictions.

The Crémieux Decree and thereby Jewish citizenship were reinstated after World War II, keeping Algerian Jews committed to their French status throughout the Algerian War, in which an estimated 1.5 million Algerians were killed. In the wake of the war, while most Algerian Muslims supported the independence, the majority of the Algerian Jews tied their fate to France with many of them supporting and even joining the OAS. In the last 15 months of the war, over 130 attacks against Jews or Jewish establishments occurred; the two most symbolically significant being the looting of the Great Synagogue of Algiers in December 1960, and the assassination of popular singer Cheikh Raymond on a public market in Constantine in June 1961. These two incidents in particular gave the impetus for Jewish immigration from Algeria, albeit subsumed into the great mass of pieds-noirs leaving Algeria for France.

At the time of World War II, there were around 130,000 Jews living in Algeria. More recently, their number is estimated by the United States Department of State at less than 200. Algerian Jews are unique in that they are the only community of North African Jews that did not overwhelmingly emigrate to Israel during the Jewish exodus from Arab and Muslim countries; instead, the majority of Algerian Jews chose France as their destination. Their "repatriation" represents a unique case in the history of Jewish migration given that even though they were psychologically uprooted, they "returned" to France as citizens and not as refugees.

Tunisia
Like its neighboring Algeria, Tunesia came under Vichy rule in July 1940, subjecting Tunesian Jews to the same antisemitic Statut des Juifs as in mainland France which restricted Jews in the public service, in educational institutions and journalism, and in liberal professions. In May 1941, the worst outbreak of violence against Jews in North Africa during World War II occurred in Gabès in a riot that killed seven Jews and wounding twenty.

After the Allied invasion of North Africa, Tunisia was directly occupied by German forces in November 1942. The Nazis immediately arrested Moise Borgel, the president of the Tunis Jewish community, along with other prominent Jews, before implementing a regime of forced-labor, property confiscation, hostage-taking, mass extortion, deportations, and executions. Thousands of countryside Jews were forced to wear the yellow badge, but none were transported to the extermination camps in Eastern Europe due to the distance from Tunisia as well as the short time span of the German occupation, which ended in May 1943.

The population of Tunisian Jews stood at around 105,000 in 1948. Shortly after independence in 1956, a government decree meant to eliminate all confessional tribunals, including courts based on Sharia law, also abolished rabbinical tribunal and Jewish community councils, which the Jewish community understood as a curtailment of their autonomy. While Habib Bourguiba continuously worked to reassure the Jews of their safe and equal position within Tunisian society, going so far as to include a Jewish nationalist, Albert Bessis, in his first cabinet, he failed to curb the increasing instances of violent anti-Jewish outburst, particularly following the Six-Day War in 1967, when the Grand Synagogue of Tunis was looted and burned to the ground. The number of Tunisian Jews decreased to around 20,000 by 1967. A further 7,000 Jews immigrated to France. As of 2021, the population of Jews in Tunisia is numbered at around 1,000.

In 2018, the first Jewish minister since Bessis, René Trabelsi, was appointed to lead the Ministry of Tourism.

Libya
Libyan Jews are the smallest community of all Maghrebi Jews, yet the community is still rich in history, tradition, and culture. The history of Libyan Jews is one that is approximately 2,300 years old, and the population of Jews in Libya peaked at around 40,000 in 1945.

As Libya was occupied by Italy throughout most of the first half of the 20th century, the racial laws that targeted Jews and minimized their freedoms were enacted in Libya. As the Italians enacted laws that directly exploited and suppressed Jews, the Jews of Libya were more welcoming to the arrival of the Allies of World War II's entering Libya. Italy saw the Jews as enemies, and Mussolini sought to cleanse Libya of its Jewish population, a movement called Sfollamento. Through the movement of Sfollamento, Libyan Jews were sent to concentration camps; the location of those camps depended on if they had British, French, or Libyan-Italian citizenship.

Libya was liberated by the Allies in January 1943, but even with the eradication of the racial laws, the conditions for Jews did not improve a whole lot. Anti-semitism was widespread amongst a Libyan culture that had just been heavily influenced by fascism; as a result, the vast majority of Libyan Jews emigrated, primarily to Israel once it was established as a state. The 1945 Anti-Jewish riots in Tripolitania sparked a pogrom that killed 140 Jews. Riots and anti-semitic violence did not subside, leaving the Jews of Libya with very little choice but to leave. Today, there are no more Jews living in Libya.

Genetics
In 2012, a study by Campbel et al. found that North African Jews were more closely related to each other and to European and Middle Eastern Jews than to their non-Jewish host populations.The genome-wide ancestry of North African Jewish groups was compared with respect to European (Basque), Maghrebi (Tunisian non-Jewish), and Middle Eastern (Levant) origins. The Middle Eastern component was found to be comparable across all North African Jewish and non-Jewish groups (around 40%), while North African Jewish groups showed increased European (35-40%) and decreased level of North African (Maghrebi) ancestry (20%) with Moroccan and Algerian Jews tending to be genetically closer to Europeans than Djerban Jews, the latter being a highly endogamous group.

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University of the Third Age

The University of the Third Age (U3A) is an international movement whose aims are the education and stimulation of mainly retired members of the community — those in their third 'age' of life.

There is no universally accepted model for the U3A. Its original conception in France as an extramural university activity was significantly modified in the United Kingdom where it was recognised that most people of retirement age have something to contribute and the emphasis has been on sharing, without formal educational links.

Many English-speaking countries have followed this geragogic model, whereas continental European countries have mostly followed the French model. For historical reasons, lifelong learning institute is the term used in the United States for organisations that are similar to U3A groups.

A British U3A website reports this about "The Third Age" membership eligibility: "The 'third age' is defined by a time in your life (not necessarily chronological) where you have the opportunity to undertake learning for its own sake. There is no minimum age, but a focus on people who are no longer in full-time employment or raising a family."

France
U3A started in France at the Faculty of Social Sciences in Toulouse in 1973. It was started by Prof. Pierre Vellas. In France, each University of the Third Age University group is mostly associated with a local university. This academic model is used in many other countries, in particular in continental Europe. The university affiliation generates various opportunities such as highly qualified teaching personnel, a variety of subject choices, opportunity for students and faculty to conduct research based on the professional, cultural or historical experiences of the elderly, etc. U3As do not issue diplomas but rather certificates and teach in many fields according to the interests of the groups of older students (usually 55+) such as computer skills, languages, entrepreneurship, hereditary law, religion, politics, etc. Sometimes U3As provide groups with vocational training and formal continuous education opportunities.

In the 1990s the concept was broadened in France to the notion of the University of All Ages (UTA - université tous âges) or University of Free Time (UTL - université du temps libre). The UFUTA changed its name to Union Française des Universités de Tous Ages (retaining the acronym). Some French university departments have adopted the title of Université du Temps Libre.

AIUTA (Association Internationale des Universités du Troisième Âge) is the global international organization and network of Universities of the Third Age, including such institutions from most continental European countries, Central and East Europe, China, Russia, Latin America, etc., including Mauritius and other destinations.

United Kingdom
By the early 1980s, the concept reached the United Kingdom, where its nature was radically changed to be more a self-help organisation under the influence of its founders, Peter Laslett, Michael Young and Eric Midwinter.

The UK network comprises in excess of 1,000 groups, in towns and cities; as of January 2020 total membership exceeded 450,000.

Each U3A is formally structured as an independent self-financing and self-managing charity with links to the Third Age Trust, a national coordinating body. Each individual U3A comprises a number of activity groups which may cover a wide range of different topics - e.g. arts, languages, physical activity, discussion, and games. Most U3A's are centred on a particular town or region and their activity groups meet in a hired hall or small groups meet in a member's house. Although primarily for the retired, many U3As open their membership to any people not in full-time employment.

In 2009 the Virtual University of the Third Age (vU3A) was launched with the intention of offering the same friendship, support and learning enjoyed by off-line groups. vU3A is affiliated to the Third Age Trust in the UK. vU3A is open to anyone, in particular those who, by circumstances of isolation, health problems or other restrictions, cannot get to a U3A group.

Some groups in other countries affiliate to the Third Age Trust. For example, in Cyprus there are C3A (Cyprus Third Age) and P3A (Paphos Third Age).

Central and Eastern Europe
Some Central (and Eastern) European countries were introduced to the U3A quite early: Poland, Czech Republic (formerly part of Czechoslovakia) and Slovenia. The Slovenian University of the Third Age was started by two university professors in 1984 and has developed into a network of 40 universities over the entire country. The Italian University of the Third Age is called Università delle Tre Età (UNITRE) with several locations in the country. "UNITRE Milano", the university of the third age in Milan, provides courses as well as educational content such as on line courses and peer-reviewed journal articles.

There is an online University of the Third Age in Russia.

Spain
With a large numbers of immigrants (aka expats) from the UK, the u3a is well represented in Spain. Most groups are centred around coastal areas known for english speaking populations.

Each u3a operates independently, as there is not a single organisation overseeing u3a in Spain. Each u3a usually offer a range of special interest groups to members. List of Spanish u3a groups

Australia
U3A began in Australia in 1984 and as of 2023, has grown to 250 U3As with approximately 100,000 members. These are based in metropolitan, regional and rural areas, and follow the British self-help model of teaching and learning over a wide range of subject areas, dependent upon the membership's own expertise, knowledge and skills.

Each U3A operates independently and takes the needs and interests of their members into consideration when deciding which classes/activities they will offer. U3As offer membership at very low cost so that anyone in their third age (nearing retirement and beyond) can become a member. Each U3A is also a member of a state/territory Network (where available), and can share ideas/tutors and resources.

U3AA (U3A Australia) is the national body formed by state networks to support all U3As in their state or territory with a range of resources.

Canada
The Third Age Network (TAN) is active in Canada, however currently only within the province of Ontario. The head office is located at the G. Raymond Chang School of Continuing Education at Toronto Metropolitan University in Toronto. The network started in 2007 and has grown to 21 groups by 2018. Simon Fraser University was the first university in North America to create a series of courses for seniors at the post-secondary level. Its mandate was to provide educational programs for older adults that were responsive to their psychological and physiological characteristics.

The Third Age Mission: "To foster Third Age Learning and share issues and solutions to common organizational challenges. We do this by promoting the establishment of organizations that provide opportunities for older adults to learn in a friendly, social setting and by supporting adult learning organizations in this process by sharing strategies and techniques to accomplish this goal."

TAN runs a newsletter and hosts organization-wide symposiums and forums. It also provides support to local groups with things like information on speakers, networking with colleagues, data on member operations, including honoraria paid to speakers, board make up, rental costs, affordable group insurance, a regular newsletter, conferences and workshop, guidance for creating a website, internal and external communication.

United States
In the United States, organizations similar to U3A are called lifelong learning institutes.

Courses
Typical courses include Art, Classical Studies, Conversation, Computers, Crafts, Debate, Drama, Film/Cinema Studies, History, Languages, Literature, Music, Sciences, Social Sciences, and Philosophy.

There are also many less educationally-focused activities, such as Games (including bridge tuition and duplicate bridge playing groups), Health, Fitness & Leisure (including countryside walks), Theatre/Concert Clubs, Travel Clubs, and Dance in all its forms.

Some study groups work to a formal syllabus, but others draw on current affairs or specific interests of group members. Some groups are designed to cross disciplinary boundaries, for example, combining Society, Technology and Science in a fashion not practical in more formal academic environments.

U3A groups are well positioned to conduct serious research into local history and genealogy. For example, a group in Eyemouth collected and exhibited many photographs of life and work in the district over the years. Some groups aim to bridge the generation gap in the field of information technology.

Newsletter
Many U3As publish local newsletters as do some of their special interest networks. In the UK the Third Age Trust, the coordinating body in the UK, publishes a national magazine. Third Age Matters publishes five times per year plus an educational bulletin called Sources, for subscribing U3A members three times annually.

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

title: University of the Third Age


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Talk:University of the Third Age

U3A redirects to University of the Third Age.

Untitled
When this page was created, no links into it were made -- SGBailey 22:45, 2004 May 20 (UTC)

I have added a paragraph and a link from university to U3A. Although U3A does not conform to the modern Western model of a university, a state-approved and richly funded institution permitted to award honours and academic degrees, it does reflect the original sense of universitas magistrorum et scholarium - a gathering of teachers and scholars - in the instance of the U3A - with the aggregated experience of many years of life and a desire to teach and learn just for the pleasure of those activities. Fenton Robb 23:37, 10 April 2006 (UTC)

Links and text from lifelong learning, communication and conversation added. Fenton Robb 18:11, 13 April 2006 (UTC)

Links to U3A in Scotland and the International Network have been added. In time, there will be links to Special Interest Networks as well, but, In spite of these links to metasystemic institutions, it is important to remember that the UK model is focussed on the individual local subject Group and its ability to sustain itself as an independent and autonomous entity. It is this concept that endows the movement with its unique virility. Groups of groups,distinguished either by geographical location, or by area of interest, facilitate and support, but do not control or influence the individual Groups. Fenton Robb 00:24, 29 April 2006 (UTC)

I've added a reference to the model being used in South Africa and also added SA to the list of references at the end. I act as the webmaster for the common internet site host u3a.org.za through which all SA groups can be found. Colinvlr (talk) 22:55, 13 December 2008 (UTC)

Defining what is "The Third Age" for Us3A
I suggest that this Article might benefit from the addition of a brief definition of what is taken to be "The Third Age" by the various Us3A.

 * A simple Link as a reference to http://en.wikipedia.org/wiki/Ages_of_Man apparently would NOT serve ?
 * Moreover, perhaps NOT to any of Shakespeare's seven, including -
 * The sixth age shifts
 * Into the lean and slipper'd pantaloon,
 * With spectacles on nose and pouch on side,
 * His youthful hose, well saved, a world too wide
 * For his shrunk shank; and his big manly voice,
 * Turning again toward childish treble, pipes
 * And whistles in his sound.

 * To me, the U3A Third Age is related to "life-long-learning".
 * U3A is intended predominatly for mature-age people; with some U3A prospectuses making reference to being 'retired', and by implication being eligible after paid-employment.
 * Or perhaps it is getting into one's third-generation - being a grand-parent.
 * What it means seems only a vaguely defined consensus, with many women participating who were of an age to have been unpaid engaged in "home-duties", as well as for mature people who had no children, or grand-children.
 * Perhaps there are National differences in the respective Us3A participants ?180.200.142.254 (talk) 00:36, 26 February 2014 (UTC)

ONE ANSWER This is one BRITISH 'definition' of what is "The Third Age":-

 * "U3A membership is not related to a specific age but to a period in one’s life (the third age) after the second age of full-time employment and parental responsibility. Anybody in their third age can join U3A and this includes people who are working part time.  There is no lower age for membership."
 * source - http://www.u3a.org.uk/component/content/article/79-public-area/81-how-to-join.html

203.129.61.159 (talk) 06:56, 26 February 2014 (UTC)

Added links to U3A websites in Spain 14 Jan 2015. Local sites are shown as there is no central U3A for Spain Mainvision (talk) 20:56, 14 January 2015 (UTC)

Added (to a paragraph on English-speaking U3As) that Lifelong learning institutes is the term used in the United States for organizations that are similar to U3A groups. I have encountered some fuzziness at North American boundaries--at one time a group in Vancouver, B.C., Canada, belonged to ALIROW, a networking organization of Lifelong learning institutes that spanned the Pacific West Coast (ALIROW is no longer active), and I have seen the website of a U3A group in San Diego, California, just north of the US-Mexico border, that is associated with a Catholic university. The first USA Lifelong learning institute began at New School University in New York City in 1962, but the second one, at Harvard College in Cambridge, Massachusetts, was founded several years after the first U3A in France described in this article. Truly the thirst for, rise of, and enjoyment of, learning in the Third Age has been universal worldwide.LM6407 (talk) 04:31, 31 August 2019 (UTC)

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Cats Don't Dance

Cats Don't Dance is a 1997 American animated musical comedy film directed by Mark Dindal (in his feature directorial debut). The film features the voices of Scott Bakula, Jasmine Guy, Matthew Herried, Ashley Peldon, John Rhys-Davies, Kathy Najimy, Don Knotts, Hal Holbrook, Betty Lou Gerson (in her final film role), René Auberjonois, Dindal, and George Kennedy.

The film's musical numbers were written by Randy Newman and includes the contributions of Gene Kelly as choreographer, before his death in 1996. The film was Kelly's final film project and is dedicated to his memory. It is the only fully animated feature produced by Turner Feature Animation, which was merged during the post-production of Cats Don't Dance into Warner Bros. Feature Animation after the merger of Time Warner with Turner Broadcasting System in 1996.

Cats Don't Dance was released in the United States and Canada on March 26, 1997, by Warner Bros. under its Family Entertainment label. It was a box-office failure, grossing $3.5 million domestically due to lack of promotion. Despite this, the film received generally positive reviews from critics, with praise for its animation, humor, characters, voice performances, and musical numbers.

Plot
In an alternate 1939, in a world where humans and anthropomorphic animals coexist, Daniel "Danny" T. Cat, an optimistic orange tabby cat from Kokomo, Indiana, travels to Hollywood in hopes of starting an acting career there. After meeting a young penguin named Pudge, Danny is selected by agent Farley Wink to feature in a film that is in production at Mammoth Pictures called Lil' Ark Angel, alongside Wink's secretary, a cynical Turkish Angora named Sawyer. Upon joining fellow animals—Tilly the hippo, Cranston the goat, Frances the fish, and T.W the tortoise—Danny is dismayed on learning how minor his role is and tries weaseling his way into more time in the spotlight. Danny unwittingly angers Darla Dimple, a popular yet spoiled child actress and star of the film; she promptly has her gigantic gorilla-like butler Max intimidate Danny against further attempts to enlarge his part.

Danny learns from the studio's mascot Woolie the elephant that human actors are normally given more important roles than animals, whereas animals themselves end up getting minor and often thankless roles to the point of having little to no leverage in show business. The next day, Danny reminds the other animals of their past aspirations by instigating a mass musical performance in an alleyway, which draws Darla's attention. Overhearing Danny's intention to make an appeal to Mammoth Pictures head L.B. Mammoth, Darla invites Danny to her mansion and grants him and the animals full use of the Li'l Ark Angel stage on the day of a press conference held by Mammoth, on the condition that Danny not reveal her involvement in this ostensibly charitable act. Danny happily accepts the offer, unaware that Darla is secretly setting the animals up for failure to prevent them from stealing her spotlight. As the animals prepare their performance on the ark, Darla and Max create a catastrophic flood that washes through Hollywood, for which Mammoth blames and dismisses the animals. When the satisfied Darla arrives to thank Danny, he is admonished for his naivety and advised by Woolie to return to Kokomo.

That night, Sawyer takes to heart Danny's attempts to keep the animals' dreams alive and tries catching him at the bus stop, but narrowly misses him. However, after a comment from the bus driver and seeing Pudge wander the streets, Danny stops the bus and secretly invites Sawyer, Woolie, Tillie, Cranston, Frances and T.W. to the Lil' Ark Angel premiere. After the screening, Danny battles Max and sends him flying away by deflating Darla's parade balloon, then calls the audience's attention, only to be mocked by Darla. However, Sawyer brings the others backstage to help Danny and Pudge. After Danny convinces them not to give up on their dreams no matter what the humans have said or done, the eight animals put on a musical performance that entertains and impresses the viewers. Meanwhile, Darla's attempts to sabotage the performance drastically enhance it, bringing a standing ovation from the audience. A frustrated Darla admits responsibility for the flood, inadvertently exposing herself to the public and Mammoth in the process. Darla tries hiding her true colors, but Pudge pulls a lever, which causes her to fall into a trapdoor. Danny and Sawyer admit their feelings for each other, and the animals achieve their dreams for larger roles.

Voice cast

 * Scott Bakula as Danny, an ambitious, optimistically naïve orange tabby from Kokomo, Indiana, who wishes to become a famous Hollywood star.
 * Jasmine Guy as Sawyer, a disenchanted sarcastic Turkish Angora secretary of Farley Wink and Danny's love interest, later girlfriend.
 * Natalie Cole provides her singing vocals.
 * Matthew Herried as Peabo "Pudge" Pudgemyer, a little penguin and Danny's first friend who looks up to him as a big brother. Herried was cast after he asked the animators for directions at a cafe, because of which they instantly thought he was perfect for the role.
 * Ashley Peldon as Darla Dimple, the villainous human child star of Hollywood. She conceals her anger and sinister nature from her fans and superiors through a facade of sweetness and innocence, and is willing to do anything to maintain her star status. She is referred to as "America's sweetheart, lover of children and animals!" Darla is based on Shirley Temple and Norma Desmond.
 * Lindsay Ridgeway provides her singing vocals.
 * Kathy Najimy as Tillie Hippo, an optimistic hippopotamus who tries to find the best in every situation.
 * John Rhys-Davies as Woolie the Mammoth, the aging Asian elephant who portrays the mascot for Mammoth Pictures. He originally came to Hollywood to write and perform music where he acts as a mentor to Danny upon befriending him. Woolie is a parody of Metro-Goldwyn-Mayer's mascot Leo the Lion.
 * Betty Lou Gerson as Frances Albacore, a sarcastic fish who is together with Cranston Goat.
 * Hal Holbrook as Cranston Goat, an elderly, cranky goat. He and Frances are both passionate on dancing.
 * Don Knotts as T.W. Turtle, a neurotic, superstitious turtle.
 * Rick Logan provides his singing vocals.
 * George Kennedy as L.B. Mammoth, the human head of Mammoth Pictures. He is a parody of Louis B. Mayer.
 * René Auberjonois as Flanigan, the human film director of Li'l Ark Angel.
 * Mark Dindal as Max, Darla's gargantuan valet who obeys her every command and will not hesitate to punish anyone who crosses her, serving as the direct force that Darla physically lacks as a child.
 * Frank Welker as Farley Wink, a human agent for animals and Sawyer's boss.
 * David Johansen as Bus Driver, a man whose insults towards the animals getting fired from Mammoth Studios inspire Danny with his last plan to give the animals their long-awaited stardom.
 * Dee Bradley Baker as Kong, a gorilla who appears while Danny and Sawyer are going to the set of Li'l Ark Angel at Mammoth Studios.
 * Tony Pope as Alligator
 * Peter Renaday as Narrator
 * Amick Byram/Bobbi Page/Susan Boyd/Carmen Twillie/Sally Stevens/Bob Joyce/Oren Waters/Andrea Robinson/Terry Wood as "Nothing Is Gonna Stop Us Now" chorus

Development
The film was launched in 1993 as a vehicle for Michael Jackson, who would produce, star, and be a consultant in the music and choreography. It would have been a hybrid live-action/CGI film, but by 1994, Jackson had ceased to be involved in the film. In its earlier stages, the film concerned less anthropomorphic stray cats that live among the sets and studio backlots. At one point, David Shire and Richard Maltby Jr. composed songs for the film before Randy Newman was hired.

Turner Animation was run by David Kirschner, and had originated as the feature division of Hanna-Barbera, where Kirschner was CEO. The Turner Animation writing department added cat characters based on stories about the filming of Warner Bros. Studios productions like Casablanca (1942), East of Eden (1955), and The Music Man (1962); stagehands would feed feral cats, which dominated the back lot for decades. Producers David Kirschner and Paul Gertz then decided to have dance numbers in the vein of classic musical films like Singin' in the Rain (1952). Kershner felt the style would appeal to a wide audience. The 1930s Hollywood backdrop also inspired the premise of anthropomorphic animals being allegories of those who did not look and/or sound mainstream struggling to gain attention in Hollywood in the late 1930s.

Kirschner contacted Mark Dindal to be director of the project a year after the two met and while Dindal was working on The Rocketeer (1991). Around the same time, Brian McEntee joined as art director, Randy Newman joined as composer, and Gene Kelly joined as dance consultant. Dindal, Kirschner, and McEntee noticed the improving animation technology and were excited to see how it would be incorporated with traditional animation in Cats Don't Dance; McEntee himself worked on the computer-animated ballroom scene in Beauty and the Beast (1991). The team watched old musical films for reference before asking Kelly, who instantly joined due to his interest in the story. One meeting took place at Kelly's house between him and Dindal, and he vividly remembered how the films he starred in were choreographed.

During production, management at Turner Feature Animation changed repeatedly and each head that came in attempted to take drastic revisions, including updating the setting to the 1950s rock-and-roll era. Dindal said: "It's pretty hard to try and keep what you have finished so far, and then suddenly transition into a different period of time or introduce a different character or have a completely different ending that doesn't seem to fit the beginning you have".

Dindal's portrayal of Max was initially a scratch track and was never intended to be heard on the film. Dindal wanted Max to be voiced by a professional actor, but as the film started running out of money, he kept his own vocals in.

Music
Steve Goldstein composed much of the score. For the film, Randy Newman composed songs inspired by the classic songs of the Golden Age of Hollywood, including "Danny's Arrival Song", "Little Boat On The Sea", "Animal Jam Session", "Big and Loud", "Tell Me Lies", and "Nothing's Gonna Stop Us Now", while the opening and ending pop song "Our Time Has Come" was written by Martin Page and the end credits song "I Do Believe" was written by Simon Climie and Will Downing. Goldstein and Newman gathered a couple of nominations at the Annie Awards, with the latter winning the award for the musical numbers written and composed by him.

Original songs performed in the film include:

Release
New Line Cinema, which was a sister company to Turner Feature Animation at the time, expressed interest in distributing the film, but when Turner Broadcasting merged with Time Warner in 1996, the film fell into the ownership of Warner Bros. Pictures. Pullet Surprise, a newly produced Looney Tunes short film featuring Foghorn Leghorn, preceded the film's theatrical release, and "The Big Sister", a Dexter's Laboratory What a Cartoon! short, followed the film in its original home video release.

Home media
Cats Don't Dance had its first home video release by Warner Home Video, on VHS and LaserDisc on August 19, 1997, only four months and twenty-four days after its theatrical release. To promote the release, Warner partnered with Continental Airlines, in which the buyer received an in-pack coupon worth $125 in savings on a Continental flight. A $2 instant savings coupon with the additional purchase of either Dennis the Menace (1993), Batman: Mask of the Phantasm, Richie Rich (1994), or the 25th anniversary edition of Willy Wonka and the Chocolate Factory was also included.

The film had also its first DVD release on September 3, 2002 in a pan-and-scan format with bonus features. A re-release of the same DVD, but bundled with Quest for Camelot, was released on May 2, 2006. Internationally, in July 2008, Cats Don't Dance was released on DVD in widescreen in Germany, Spain, and the Benelux countries. A widescreen DVD was released for the first time in North America on November 1, 2016 via the Warner Archive Collection. The original widescreen presentation is also available digitally for rental or purchase through Google Play and also through Amazon Video. The film was officially released on Blu-ray via the Warner Archive Collection on September 26, 2023.

Critical reaction
Cats Don't Dance received a 71% approval rating on Rotten Tomatoes based on 24 reviews, with an average rating of 6.5/10. The site consensus reads: "Cats Don't Dance, but they should easily entertain all-ages audiences thanks to some colorful animation, sharp humor, and a catchy soundtrack".

Todd McCarthy of Variety wrote: "Decked out with sharp and colorful design work, some well-drawn characters and six snappy Randy Newman tunes, this first entry from Turner Feature Animation goes down very easily but lacks a hook". Roger Ebert of the Chicago Sun-Times gave the film three stars out of four. He wrote the film "is not compelling and it's not a breakthrough, but on its own terms, it works well. Whether this will appeal to kids is debatable; the story involves a time and a subject they're not much interested in. But the songs by Randy Newman are catchy, the look is bright, the spirits are high and fans of Hollywood's golden age might find it engaging". John Petrakis, reviewing for the Chicago Tribune, noted Cats Don't Dance would appeal more for adults than children, but provided a good moral lesson on prejudice. He further wrote the film has "the sharp irreverence of the brilliant Who Framed Roger Rabbit. There are plenty of clever asides and witty one-liners, not to mention a few terrific supporting characters".

Lawrence Van Gelder of The New York Times summarized in his review: "While the animated characters, bright colors and an appealing Randy Newman score may keep the children content, Cats Don't Dance is no saccharine fantasy. Its Hollywood references and dark satire constitute its real strengths". Jack Mathews, reviewing for the Los Angeles Times, described the film as a "startling miscalculation". He next wrote: "It has lots of cute animals, some jaunty Randy Newman songs and solid, if uninspired, animation work. But blending parody and nostalgia about an era half a century removed from the lives of the core audience seems a foolish indulgence". Rita Kempley of The Washington Post wrote the film was "colorful, but unimaginatively drawn". Also from The Washington Post, Jane Horwitz felt children "won't get the references to old movies or stars like Bette Davis and Clark Gable. Still, the action (however confusing), the music and the characters should hold even toddlers for a while".

Box office
Cats Don't Dance became a casualty of the merger between Turner and Time Warner. It received a traditional theatrical release on March 26, 1997, but without fanfare and did not draw an audience. The film grossed $3.5 million in the United States and Canada against its $32 million production budget. Dindal and Kirschner told the Los Angeles Times that they were both frustrated with Warner Bros. over the lack of advertising and the failed marketing campaign.

Accolades
Despite mostly positive reception, the Stinkers filed the film under the Founders Award in 1997 (which lamented the year's biggest studio disgraces), citing it as "loud, unfunny, and completely over the heads of its intended audience". On the other hand, when it comes to positive accolades, although failing in gathering any Oscar nominations, it became historically the first non-Disney animated film to win the Best Animated Feature at the Annie Awards.

title: Cats Don't Dance


text:
Calamity

Calamity may refer to:

Arts, entertainment, and media

 * Calamity (album), by The Curtains (2008)
 * Calamity (board game), board game released by Games Workshop in 1983
 * Calamity (film), 1982 Czechoslovak film
 * Calamity, a Childhood of Martha Jane Cannary, 2020 animated film
 * Calamity, the third book in the series The Reckoners by Brandon Sanderson
 * Calamity Coyote, a fictional character in Tiny Toon Adventures
 * Calamity James, a British comic book character from The Beano
 * Calamity Jane (film), a 1953 film based on the person
 * Calamity Town, a 1942 novel by Ellery Queen
 * The Calamity, a central plot point for the 2011 video game Bastion
 * Calamity, a mod for the 2011 video game Terraria
 * "Calamity", a song by Zayn from his 2021 album Nobody Is Listening

Other uses

 * Disaster, a terrible event
 * Al-Qaria (English: the calamity), the 101st sura of the Quran dealing with the end of time
 * Calamity Jane (1852–1903), American frontierwoman
 * Calamity Ganon, or simply Ganon, a character in The Legend of Zelda video game series

title: Calamity


text:
Talk:Voting rights

Why not just redirect to suffrage? - jredmond 22:49, 20 May 2004 (UTC)
 * Good question. I say merge and go for it! (if there's even anything to merge) --Vikingstad 22:52, May 20, 2004 (UTC)

title: Talk:Voting rights


text:
Wikipedia:Articles for deletion/Quantity

 * Dictionary definition. Could be moved to Wiktionary. —Frecklefoot 22:49, May 20, 2004 (UTC)


text:
Lloyd Kaufman

Stanley Lloyd Kaufman Jr., known professionally as Lloyd Kaufman (born December 30, 1945) is an American film director, screenwriter, producer and actor. Alongside producer Michael Herz, he is the co-founder of Troma Entertainment film studio, and the director of many of their feature films, such as The Toxic Avenger (1984) and Tromeo and Juliet (1996). Many of the strategies employed by him at Troma have been credited with making the film industry significantly more accessible and decentralized.

Early life
Kaufman was born to a Jewish family in New York City, the son of Ruth (née Fried) and Stanley Lloyd Kaufman Sr., a lawyer.

Early career
Kaufman graduated from Yale University with the class of 1968, where he majored in Chinese studies. His fellow Yale classmates included Oliver Stone and George W. Bush. Originally intending to become a social worker, he became fast friends with student filmmaker Robert Edelstein and Eric Sherman (son of filmmaker Vincent Sherman), who introduced him to his future lifelong obsession, cinema. Some of Lloyd's favorite filmmakers include John Ford, Kenji Mizoguchi, Ernst Lubitsch, Stan Brakhage and Franklin Schaffner.

In 1966, Lloyd went on a hiatus from his studies and spent a year in Chad for USAID as a pathfinder for the Peace Corps.

Returning to Yale, he produced Robert Edelstein's low-budget film Rappaccini and directed his own first feature film, an experimental black and white film titled The Girl Who Returned (1969). The film was presented at film societies at Yale, Harvard, and other east coast institutions. Following his graduation, Kaufman went on to work for Cannon Films, where he met John G. Avildsen (future Academy Award-winning director of Rocky and The Karate Kid). The two collaborated for several years, making low-budget films including Joe (1970) and Cry Uncle! (1971). During this period, Kaufman also directed and starred in his second feature film, The Battle of Love's Return (1971), which garnered positive reviews in publications such as The New York Times; wrote and co-produced the lesbian thriller Sugar Cookies (1973) with Oliver Stone; and wrote and directed the Israeli comedy flop Big Gus, What's the Fuss? (1973). Kaufman also served as executive in charge of locations for Saturday Night Fever (1977), and was influential in choosing 2001 Odyssey as the nightclub in the film.

From 1973 to 1979, Kaufman produced and directed a handful of adult films in New York under the pseudonym "Louis Su". He directed at least three movies: The Divine Obsession, The Newcomers and Sweet & Sour, and has been credited for producing at least three more.

Troma Studios
In 1974, Kaufman and his business partner Michael Herz founded Troma Entertainment and began producing and distributing independent action and comedy films. In order to pay the bills, Kaufman did some freelance work for major Hollywood productions, including Rocky (edited on Troma's flatbed machines), Saturday Night Fever, and The Final Countdown, which he also produced (Kaufman has said that it was his experience on this film that made him never want to deal with a major studio again). From 1979 to 1981, the two wrote, produced and directed a series of profitable "sexy comedies" including Squeeze Play!, Waitress!, Stuck on You! and The First Turn-On!. On most of these early films, Kaufman is credited as "Samuel Weil." Kaufman also made a small appearance in Rocky and served as the production manager on Louis Malle's My Dinner with Andre.

In 1985, Troma experienced mainstream success with the violent, darkly comic superhero film The Toxic Avenger. Toxic went on to become Troma's most popular movie, inspiring two sequels, a fourth independent film sequel, a Saturday morning children's television show, comic books and tons of merchandise. The Toxic Avenger, or "Toxie", is now Troma's official mascot.

Kaufman's follow-up to The Toxic Avenger was Class of Nuke 'Em High, which he co-directed with Richard W. Haines. Riding on the success of the Toxic Avenger, Nuke 'Em inspired two sequels, a fourth independent film sequel, and a healthy run on late night cable shows such as USA Up All Night. At one time, Class of Nuke 'Em High was the highest-selling VHS for Troma.

Troma's popularity waned after the box office failure of Troma's War, a contributing factor to the company's collapse as a major film studio, forcing the Kaufman to eventually downsize his business into an independent film studio. Kaufman attributed the film's lack of success to cuts made to the movie after the MPAA refused to release it with an R-rating in its intended form. Troma's attempt to regain its popularity with the superhero satire Sgt. Kabukiman N.Y.P.D. was unsuccessful, failing to make an impression at the box office. From 1995 to 2000, Kaufman retrofitted the studio into an independent film company, finding success amongst cult movie fans and critics with the independent film Tromeo and Juliet (1996), a loose parody of Shakespeare's play. Other independent films that followed were the less successful and poorly reviewed. Terror Firmer (1999), a slasher film set on the set of a Troma movie (with Kaufman playing a caricature of himself), and the fourth installment, Citizen Toxie: The Toxic Avenger IV, which proved to be an ultimately unsuccessful revival of the series, both films failing to make an impression at the box office.

It would not be long, however, before Troma would once again experience financial hardship, this time after the expensive botched funding of a low-budget video feature titled Tales from the Crapper, which cost $250,000 despite most of the footage being unusable. Lloyd supervised a reshoot in an attempt to salvage the film, dividing the footage into two parts, and recasting the film as a double-feature. Tales from the Crapper was released on DVD in September 2004.

Troma still produces and acquires independent films. Troma Films has distributed many films from third parties including Trey Parker's Cannibal! The Musical. Lloyd himself encourages independent filmmaking, making cameo appearances in low-budget horror films, often for free. Appearances include screen time in former collaborator James Gunn's directing debut, Slither, as well as Gunn's Super; and Mark Neveldine and Brian Taylor's Gamer.

Kaufman's long-time editor Gabriel Friedman co-directed and wrote the screenplay to his follow-up film, Poultrygeist: Night of the Chicken Dead, a musical zom-com which made its official New York premiere on May 9, 2008 (although the film had previewed numerous times on single screens for over a year). The film opened to positive reviews from Entertainment Weekly and The New York Times. Poultrygeist grossed $22,623 in the United States and Canada.

In September 2008, a staged musical version of The Toxic Avenger opened at the George Street Playhouse in New Brunswick, New Jersey. Directed by Tony Award winner John Rando, The Toxic Avenger Musical features music from Bon Jovi founding member, David Bryan. On September 17, 2009, Kaufman announced he would have a cameo in the remake of the Charles Kaufman/Troma movie Mother's Day alongside his brother Charles.

Kaufman is the subject of the forthcoming book Toxic Schlock: Conversations with Lloyd Kaufman by Andrew J. Rausch and Chris Watson. An author himself, Kaufman has most recently been working on adding to his Your Own Damn Movie! series. Having completed Make Your Own Damn Movie!, Direct Your Own Damn Movie! and Produce Your Own Damn Movie!, he is now working on Sell Your Own Damn Movie!. Kaufman is the subject of the forthcoming book Lloyd Kaufman: Interviews by Mathew Klickstein, an installment of the University Press of Mississippi's long-running Conversations with Filmmakers Series.

In 2010, Troma produced Father's Day, a shocking film from Canadian powerhouse Astron-6. Kaufman appeared on the Discovery Channel series, Oddities, on season 3 episode ten.

In 2012, Kaufman starred in the anthology horror film Horror House, playing Joe the Real Estate Agent in each of the film's five story scenarios.

On April 30, 2013, Kaufman appeared on an episode of Angry Video Game Nerd, reviewing the video game Toxic Crusaders on various consoles. Kaufman also appears in Angry Video Game Nerd: The Movie as himself, and was interviewed by James Rolfe.

In December 2013, Lloyd Kaufman revealed on the podcast Chimichanga Talk that he found lost behind-the-scenes footage of the film Rocky. Kaufman directed this footage and it was shot on Super-8. He also stated that he has completed a commentary of the footage and that it will be included in the 40th Anniversary release of Rocky on Blu-ray and DVD.

In 2013, Troma premiered Return to Class of Nuke 'Em High Vol.1 (2013) at the Cannes Film Festival. Return to Nuke 'Em High: Vol. 1 was a collaboration between Troma and Starz/Anchor Bay, it is also the first film Kaufman has directed on digital. The film has been well received premiering all over the world picking up awards and critical praise along the way. The New York Times stated "Powered by ribald bursts of bad taste and bodily fluids... The overall effect is [sic] joyous." Fangoria said "Return to Nuke 'Em High: Vol. 1 is undeniably funny, brave and so unlike anything else being put out today that it practically demands respect."

The Museum of Modern Art selected Return to Nuke 'Em High: Vol. 1 as part of its prestigious "Contenders" series - a collection of influential, innovative films made in the past 12 months that are believed will stand the test of time - honoring Kaufman along with fellow directors David Lynch, Woody Allen, the Coen Brothers, and Sofia Coppola.

In 2020, Kaufman released #ShakespearesSh*tstorm, his iteration of William Shakespeare's The Tempest, a spiritual sequel to Tromeo and Juliet.

In 2021, Kaufman served as producer on the Troma films, Brandon Bassham's Slashening: The Final Beginning & Mercedes The Muses's Divide & Conquer.

As director
All films from Waitress to Sgt. Kabukiman N.Y.P.D. were co-directed with college friend and Troma Vice President Michael Herz
 * The Girl Who Returned (1969)
 * The Battle of Love's Return (1971)
 * Big Gus, What's the Fuss? (1973) (co-directed by Ami Artzi)
 * The New Comers (1973)
 * Squeeze Play! (1979) (as Samuel Weil)
 * Waitress! (1981) (as Samuel Weil)
 * Stuck on You! (1982) (as Samuel Weil)
 * The First Turn-On! (1983) (as Samuel Weil)
 * The Toxic Avenger (1984) (as Samuel Weil)
 * Class of Nuke 'Em High (1986) (as Samuel Weil; co-directed by Richard W. Haines)
 * Troma's War (1988) (as Samuel Weil)
 * The Toxic Avenger Part II (1989)
 * The Toxic Avenger Part III: The Last Temptation of Toxie (1989)
 * Sgt. Kabukiman N.Y.P.D. (1990)
 * Tromeo and Juliet (1996)
 * Terror Firmer (1999) (based on his book All I Need to Know about Filmmaking I Learned from The Toxic Avenger)
 * Troma's Edge TV (1999–2001) (26 half-hour episodes)
 * Citizen Toxie: The Toxic Avenger IV (2000)
 * All the Love You Cannes! (2002)
 * Parts of the Family (2003) (as Gabriel Lloyd) (co-directed by Léon Paul De Bruyn)
 * Tales from the Crapper (2004)
 * Make Your Own Damn Movie! (2005)
 * Poultrygeist: Night of the Chicken Dead (2006)
 * Splendor & Wisdom (2008)
 * Direct Your Own Damn Movie (2009)
 * Produce Your Own Damn Movie! (2010)
 * Return to Nuke 'Em High Volume 1 (2013)
 * Grindsploitation: segment Untitled  (2017)
 * Return to Return to Nuke 'Em High AKA Volume 2 (2017)
 * Shakespeare's Shitstorm (2020)

As producer only

 * Rappacini (1968)
 * Sugar Cookies (1973)
 * Silent Night, Bloody Night (1972)
 * Mother's Day (1980)
 * The Final Countdown (1980)
 * The Dark Side of Midnight (1984)
 * Screamplay (1985)
 * Igor and the Lunatics (1985)
 * Girls School Screamers (1986)
 * Combat Shock (1986)
 * Fortress of Amerikkka (1988)
 * Dialing for Dingbats (1989)
 * Class of Nuke 'Em High 2: Subhumanoid Meltdown (1991)
 * Class of Nuke 'Em High 3: The Good, the Bad and the Subhumanoid (1994)
 * Blondes Have More Guns (1995)
 * DeCampitated (1998)
 * Sucker: The Vampire (1998)
 * Cannes Tromatized (2000)
 * The Rowdy Girls (2000)
 * Parts of the Family (2003)
 * Slaughter Party (2005)
 * Mother's Day (2010)
 * Teenape vs. the Nazi Monster Apocalypse (2011)
 * Mr. Bricks: A Heavy Metal Murder Musical (2011)
 * Father's Day (2011)
 * Hack Job (2011)
 * B.C. Butcher (2016)
 * Revenge of the Gweilo (2016)
 * Dolphinman Battles the Sex Lobster (2016, video short)
 * Grindsploitation (2016, Presents)
 * Spidarlings (2016, Presents)
 * Troma's Monster Kill (2016-2017, TV Series)
 * Return to... Return to Nuke 'Em High AKA Vol. 2 (2017)
 * Another Yeti a Love Story: Life on the Streets (2017)
 * Heart of Fartness: Troma's First VR Experience Starring the Toxic Avenger (2017, short)
 * F#ck You Lloyd Kaufman: An Interview from Hell (2017, short)
 * Crude (2017, short)
 * Slash Slashes with Guns and Hoe-ses! (2017, short)
 * Sgt. Ka-Spooky-Man's Cray-Cray VR Halloween Extravaganza (2017, video short)
 * Troma Now presents: A Stankmouth New Year's Eve Special (2018, Video short)
 * Kabukiman's Cocktail Corner: Loaded in Las Vegas (2018, video short)
 * Troma Now presents: Tromanda's Tromantic Transformation (2018, video short)
 * Troma Now presents: March Tromamania Madness (2018, video short)
 * Festival to Fascism: Cannes 2017 (2018, short)
 * Troma Presents: Spidarlings Behind the Scenes (2018, documentary short)
 * Mutant Blast (2018)
 * Vampire Hooker Hotel (2018, short)
 * The Toxic Avenger: The Musical (2018)
 * After School Lunch Special (2019)
 * 2 Girls, 1 Duck (2019, making-of documentary for Return to... Return to Nuke 'Em High AKA Vol. 2)
 * Blood Stab (2010, short)
 * #ShakespearesShitstorm (2020)
 * Latched (2020, short)
 * This Night's End (2020, short)
 * Hannya Girl (2020, short)
 * Tromafist (2020, video short)
 * Slashening: The Final Beginning (2021)
 * Jun (2021, short)
 * Divide & Conquer (2022)
 * The Toxic Avenger (2023)

As actor

 * The Battle of Love's Return (1971) - Abacrombie
 * Cry Uncle! (1971) - Hippie #2
 * The Love Thrill Murders (1971) - Squeegee
 * Rocky (1976) - Drunk
 * Slow Dancing in the Big City (1979) - Usher
 * The Final Countdown (1980) - Commander Kaufman
 * Rocky V (1990) - Drunk (Scenes Deleted)
 * Cannes Man (1996) - Troma Chief
 * Tromeo and Juliet (1996) - Bar Patron (Uncredited)
 * Orgazmo (1997) - Doctor
 * Terror Firmer (1999) - Larry Benjamin
 * West Hollywood Stories, Volume One (1999) - The Nun
 * Citizen Toxie: The Toxic Avenger IV (2000) - Man in Public Service Announcement
 * Tomorrow by Midnight (2001) - Video Store Manager
 * Pretty Cool (2002) - Mr. Newman
 * Tales from the Crapper (2004) - The Crap Keeper
 * LolliLove (2004) - Father Lloyd
 * Comic Book: The Movie (2004) - Himself (Uncredited)
 * Harry Knuckles and the Pearl Necklace (2004) - The Man in the Hat
 * Frankenstein vs. the Creature from Blood Cove (2005) - Bar Drunk
 * Slither (2006) - Sad Drunk
 * Attack of the Tromaggot (2006) - blackmailed citizen
 * Poultrygeist: Night of the Chicken Dead (2006) - Old Arbie
 * Misadventures in Space (2007) - Lord Admiral Kaufman
 * Zeppo: Sinners from Beyond the Moon! (2007) - President Kaufman
 * Bryan Loves You (2008) - Jonathan's Helper
 * Crank: High Voltage (2009) - Maintenance Guy #2
 * Gamer (2009) - Genericon
 * Incest Death Squad (2009) - Mr. Reamburg
 * The Uh-Oh! Show (2009) - Pimp
 * Hanger (2009) - Melvina The Tranny
 * The 7 Nightmares Girl (2009) - Mr. Hasselman
 * Klown Kamp Massacre - Vic Vickers
 * Super (2010) - 911 Man
 * Killer Hoo Ha (2010) - Man in road
 * Hatchet II (2010) - Hunter
 * Tetherball: The Movie (2010) - Larry Lewinski
 * Bloodbath in the House of Knives (2010) - Lawyer
 * Caesar and Otto meet Dracula's Lawyer (2010) - Judge Stoker Brown
 * Caesar and Otto's Deadly XMas (2011) - Grandpa Denovio
 * Hack Job (2011) - Rabbi Lloyd
 * Fathers Day (2011) - God
 * The Gunstringer (2011) - Doc Lloyd
 * Creep Van (2012) - Disgruntled Car Wash Customer
 * Evil Head (2012) - Professor Raymond Knowby (Voice Only)
 * Horror House (2012) - Joe the Real Estate Agent
 * LocoCycle (2013) - General Major Serje Krutsnetsoff
 * Guardians of the Galaxy (2014) - Prisoner, cameo
 * Angry Video Game Nerd: The Movie (2014) - Himself
 * Science Team (2014) - Science Team Elder
 * Banjo (2014)
 * Stick 10 Even More Swag: The United League of Stereotypes (2014) - Hoffman
 * Dyke Hard (2014) - Dancer
 * 1 Chance 2 Dance (2014) - Stage presentator
 * The Fappening (2015) - Walter Plinge
 * ABCs of Superheroes (2015) - TV Anchor
 * Killer Rack (2015) - Dr. Foin
 * The Transfiguration (2016) - Hobo
 * Spidarlings (2016) - Mr. Banner
 * Blood Curse: The Haunting Of Alicia Stone (2016) - Alicia's Dad
 * Escaping The Dead - American Tourist, cameo
 * Iron Sky: The Coming Race (2016) - cameo
 * Cell (2016) - cameo
 * Diary of a Fatman (2016) - Steven Haart
 * Graveyard Stories (2017) - The Host
 * I Filmed Your Death (2017)
 * Death House (2017) - Dr. Chalice
 * Drive-In Grindhouse (2018) - Punching Bag / Police Chief (segment: The Big Blind)
 * Another Cinema Snob Movie (2019) - Stanley Golightly
 * The Black Spot (2019) - High Commander Kaufman
 * I Scream on the Beach! (2020) - Dr. Lloyd
 * I Need You Dead! (2020) - Aaron A. Applebee
 * Easter Bunny Bloodbath 2: No More Tears (2020) - Lloyd Kaufman
 * Kirk Squad (2020) - Computer TV Mini-Series
 * Comic Book Junkies (2020) - Toby
 * Toilet Horror (2020) - Lloyd Kaufman
 * The Last Blockbuster (2020) - Himself
 * Celebrity Home Tours (2020) - Lloyd Kaufman
 * Shakespeare's Sh*tstorm (2020) - Prospero/Antoinette Duke
 * Blood Cove 2: Return of the Skull (2020) - Mayor Richards
 * Slashening: The Final Beginning (2020) - Master Dyson
 * Slutty The Clown (2020) - Professor Felatio
 * Amityville Hex (2021) - Hex Reader
 * The Suicide Squad (2021) - Dancing man in bar (uncredited cameo)
 * Carnal Monsters (2021) - Professor Felatio
 * Grindsploitation 10: Milkin' It (2022) - YouTube Sensation (segment: "The Smell of Fear")
 * Toxie Vs Putin (2022) - Narrator
 * Psychic Vampire (2022) - Grocery Store Manager
 * Toxie Goes to the Drive-In (2022) - Narrator
 * Guardians of the Galaxy Vol. 3 (2023) - Gridlemop (voice, cameo)

Books

 * All I Need to Know about Filmmaking I Learned from The Toxic Avenger (with James Gunn)
 * Make Your Own Damn Movie (with Adam Jahnke and Trent Haaga)
 * The Toxic Avenger: The Novel (with Adam Jahnke)
 * Direct Your Own Damn Movie (with Sara Antill and Kurly Tlapoyawa)
 * Produce Your Own Damn Movie (with Ashley Wren Collins)
 * Sell Your Own Damn Movie (with Sara Antill)
 * Death by Umbrella! The 100 Weirdest Horror Movie Weapons (Foreword by Lloyd Kaufman)

title: Lloyd Kaufman


text:
Window covering

Window coverings are considered any type of materials used to cover a window to manage sunlight, privacy, additional weatherproofing or for purely decorative purposes.

Description and design
Window coverings comprise materials used to cover a window to manage sunlight, privacy, additional weatherproofing or for purely decorative purposes. Window coverings are typically used on the interior side of windows, but exterior solutions are also available.

Window coverings may be used to manage overheating and glare issues due to sunlight. Designers may consider these variables in the context of visual comfort indices, which include light quantity (sufficient light to perform tasks), direct sunlight (which may lead to overheating), light uniformity (light distribution over the task plane), and glare. Window coverings can provide a sense of privacy. It is important to consider both privacy in terms of the view from the outside in and from the inside out. Poor privacy is often caused when windows are located on the ground floor, or face nearby neighboring high-rise buildings. Nonetheless, if occupants are not satisfied with the privacy the window provides, window coverings will be used to avoid it. Window coverings can also be applied temporarily to protect windows in storm conditions (such as hurricane shutters) or for extra thermal performance in winter to protect against heat loss through windows (such as insulated blinds or window inserts). Window coverings may be selected by building usage and occupant activity in the room. The amount of daylight needed in the room will differ depending on room type. For information on daylighting metrics that may be affected by window covering use, please reference the daylighting page. Aesthetic qualities of window coverings should also be considered, such as how the color, material, and style match the rest of the interior space.

Window coverings can also affect view quality through the windows. View quality can be expressed through three main variables: content (what an occupant sees), access (how much view can be seen from the occupant's position), and clarity (how clearly an occupant can see the content). Partially closing curtains or pulling shades down part-way would affect view quality by limiting view access. Using small aperture shades such as fabric roller shades would primarily affect view quality through a change in view clarity. View clarity can be assessed by visual acuity, contrast sensitivity, and color perception. The color, as well as aperture size, known as Openness Factor, or OF, are two variables of fabric shades that can change view clarity perception. Darker fabric shades with larger openness factors generally achieve higher view clarity.

The impact of window coverings on view quality is of interest for designers, manufacturers, and researchers. However, there is limited research available on the topic of view quality, “due to its complex nature, insufficient funding, and a lack of coordinated effort to move the field forward.”

Types
Types of coverings include:
 * Curtains and drapes
 * Window blinds, including:
 * Venetian blinds: Natural wood, Faux wood, Vinyl, Aluminum
 * Vertical blinds
 * Mini blinds: Vinyl, Aluminum, Micro blinds
 * Window shutters, including:
 * traditional Colonial style & plantation shutters with larger louver sizes
 * Window shades, including:
 * Roman shades
 * Roller shades
 * Pleated shades
 * Sheer shades
 * Cellular shades
 * Solar screens
 * Various types of boarding, nailed or screwed to the window casing, can be used as temporary window covering.

Dynamic window coverings
Window coverings can be static or dynamic. Static window coverings are fixed in place while dynamic window coverings can change their status manually or automatically. Dynamic window coverings can control daylight and solar energy entering the building. Dynamic window coverings are effective in adapting to changing outdoor and indoor conditions. Optimal control of window coverings can increase occupant comfort (visual and thermal comfort) while saving building energy use (lighting, cooling, and heating energy). Typical dynamic window coverings include automated blinds and automatic shades.

Window blinds and shades can be controlled to avoid glare while introducing daylight to the building. The height of the blind and the angle of the slat can be determined by daylighting demand and solar positions (azimuth, altitude). By controlling the height of shades or blinds, the optimal amount of sunlight can be introduced to meet the target horizontal illuminance (work plane illuminance). The optimal angle of the blind slats can protect occupants from direct sunlight (cut-off angle strategy). Glare can also be controlled by glare index-based models, such as discomfort glare probability (DGP).

Window coverings can be controlled to minimize overheating. When the sunlight is strong, fully closed window coverings can decrease the cooling load while maintaining occupants’ thermal comfort. When the outdoor temperature is extremely low, fully closed drapes or curtains can reduce the heating load.

Control of window coverings can also be determined by occupants’ personal preferences. The occupant may prefer to close the window coverings due to privacy issues. Indoor conditions, such as furniture configuration or occupant position, may also affect the shade or blind control.

Dynamic window coverings are important in the area of building automation.

Alternatives

 * Smart glass is used with high-rise buildings.
 * Window film can be applied to tint glass.

title: Window covering


text: Template:CórasIompairÉireann

title: Template:CórasIompairÉireann


text:
Hairspray

Hairspray may refer to:

 * Hair spray, a personal grooming product that keeps hair protected from humidity and wind
 * Hairspray (1988 film), a film by John Waters
 * Hairspray (1988 soundtrack), the film's soundtrack album
 * Hairspray (musical), a stage musical based on the original film
 * Hairspray (2002 album), the musical's cast album
 * Hairspray Live!, a live television musical version of the stage musical
 * Hairspray (2007 film), a film based on the musical
 * Hairspray (2007 soundtrack), the film's soundtrack album
 * Hairspray: The School Musical, a UK reality TV series
 * Pucker!, a 1995 album by The Selecter released in the US as Hairspray

title: Hairspray


text:
Desflurane

Desflurane (1,2,2,2-tetrafluoroethyl difluoromethyl ether) is a highly fluorinated methyl ethyl ether used for maintenance of general anesthesia. Like halothane, enflurane, and isoflurane, it is a racemic mixture of (R) and (S) optical isomers (enantiomers). Together with sevoflurane, it is gradually replacing isoflurane for human use, except in economically undeveloped areas, where its high cost precludes its use. It has the most rapid onset and offset of the volatile anesthetic drugs used for general anesthesia due to its low solubility in blood.

Some drawbacks of desflurane are its low potency, its pungency and its high cost (though at low flow fresh gas rates, the cost difference between desflurane and isoflurane appears to be insignificant ). It may cause tachycardia and airway irritability when administered at concentrations greater than 10% by volume. Due to this airway irritability, desflurane is infrequently used to induce anesthesia via inhalation techniques.

Though it vaporizes very readily, it is a liquid at room temperature. Anaesthetic machines are fitted with a specialized anaesthetic vaporiser unit that heats liquid desflurane to a constant temperature. This enables the agent to be available at a constant vapor pressure, negating the effects fluctuating ambient temperatures would otherwise have on its concentration imparted into the fresh gas flow of the anesthesia machine.

Desflurane, along with enflurane and to a lesser extent isoflurane, has been shown to react with the carbon dioxide absorbent in anesthesia circuits to produce detectable levels of carbon monoxide through degradation of the anesthetic agent. The absorbent Baralyme, when dried, is most culpable for the production of carbon monoxide from desflurane degradation, although it is also seen with soda lime absorbent as well. Dry conditions in the carbon dioxide absorbent are conducive to this phenomenon, such as those resulting from high fresh gas flows.

Pharmacology
the exact mechanism of the action of general anaesthetics has not been delineated. Desflurane is known to act as a positive allosteric modulator of the GABAA and glycine receptors, and as a negative allosteric modulator of the nicotinic acetylcholine receptor,  as well as affecting other ligand-gated ion channels.

Stereochemistry
Desflurane medications are a racemate of two enantiomers.

Physiologic effects
Desflurane induces a dose dependent reduction in blood pressure due to reduced systemic vascular resistance. However, rapid increases in desflurane may induce a transient sympathetic response secondary to catecholamine release. Even though it is highly pungent, it is still a bronchodilator. It reduces the ventilatory response to hypoxia and hypercapnia. Like sevoflurane, desflurane vasodilatory properties also cause it to increase intracranial pressure and cerebral blood flow. However, it reduces cerebral metabolic rate. It also promotes muscle relaxation and potentiate neuromuscular blockade at a greater level than sevoflurane.

Contraindications
It is contraindicated for induction of general anesthesia in the non-intubated pediatric population due to the high risk of laryngospasm. It should not be used in patients with known or suspected susceptibility to malignant hyperthermia. It is also contraindicated in patients with elevated intracranial pressure.

Global-warming potential
Desflurane is a greenhouse gas. The twenty-year global-warming potential, GWP(20), for desflurane is 3714, meaning that one tonne of desflurane emitted is equivalent to 3714 tonnes of carbon dioxide in the atmosphere, much higher than sevoflurane or isoflurane. In addition to global warming potentials, drug potency and fresh gas flow rates must be considered for meaningful comparisons between anesthetic gases. When a steady state hourly amount of anesthetic necessary for 1 minimum alveolar concentration (MAC) at 2 liters per minute (LPM) for Sevoflurane, and 1 LPM for Desflurane and Isoflurane is weighted by the GWP, the clinically relevant quantities of each anesthetic can then be compared. On a per-MAC-hour basis, the total life cycle GHG impact of desflurane is more than 20 times higher than Isoflurane and Sevoflurane (1 minimal alveolar concentration-hour). One paper finds anesthesia gases used globally contribute the equivalent of 1 million cars to global warming. This estimate is commonly cited as a reason to neglect pollution prevention by anesthesiologists. However, this is problematic. This estimate is extrapolated from only one U.S. institution's anesthetic practices, and this institution uses virtually no Desflurane. Researchers neglected to include nitrous oxide in their calculations, and reported an erroneous average of 17 kg CO2e per anesthetic. However, institutions that utilize some Desflurane and account for nitrous oxide have reported an average of 175–220 kg CO2e per anesthetic. Sulbaek-Anderson's group therefore likely underestimated the total worldwide contribution of inhaled anesthetics, and yet still advocates for inhaled anesthetic emissions prevention.

In March 2023, Scotland became the first country to ban its use due to its environmental impact.

title: Desflurane


text:
DSR

DSR may refer to:

Science and technology

 * Dynamic shear rheometer, used for research and development as well as for quality control in the manufacture of a wide range of materials
 * Doubly special relativity, a proposed modification of Einstein's special relativity theory
 * Dynamic steering response, a car safety technology
 * Design science research, a set of analytical techniques and perspectives for performing IS research

Computing

 * Data Set Ready, an RS-232 signal used by a modem to indicate to the computer that it is ready to receive data
 * Dynamic Source Routing protocol, an on-demand routing protocol for ad hoc networks
 * Dynamic Super Resolution, a feature of Nvidia's Fermi and newer series of graphics cards
 * Device Status Report (ANSI), an ANSI X3.64 escape sequence
 * Data signaling rate, in telecommunication
 * Direct Server Return, in telecommunication

Organizations

 * Dansk Sygeplejeråd, The Danish Nurses' Organization
 * Digital Systems Resources, a private defense contractor acquired by General Dynamics in 2003
 * Donor Sibling Registry, a US organization serving donors
 * Deputy Superintendent Rangers, a Pakistan Rangers Gazetted officer rank equivalent to the Captain rank of Armed forces

Sports

 * Daily Scratch Rating, a component of the Golf Australia Handicap System
 * Don Schumacher Racing, NHRA Top Fuel drag racing team of Tony Schumacher and other drivers
 * Detroit Sports Report, a sports highlight show broadcast on FSN Detroit

Other uses

 * Dark Souls: Remastered, a remaster of the 2011 action role-playing game Dark Souls
 * Demand-side response, a form of energy system demand management
 * Data structure report, an archaeological report, which is the initial report written for an archaeological site in Scotland
 * Designed sanitary relief, a civil engineering structure designed to relieve wet weather flows from municipal sanitary systems
 * Digital Stream/Satellite Rip, in pirated movie release types
 * Consumer Protection (Distance Selling) Regulations 2000 or Distance Selling Regulations
 * Detailed Seller Ratings, a rating system employed by eBay that allows buyers to anonymously rate sellers in four categories while leaving feedback
 * Dating, Sex and Relationships - used by manosphere

title: DSR


text:
Talk:Marwan Barghouti

Diplomatic immunity as a member of the Palestinian Parliament
This part does not make sense, a country may choose to give diplomatic immunity to someone, generally its only for foreign affairs although not always but I can find no record that Israel has ever agreed to give diplomatic immunity in relation to the Palestinian Parliament furthermore other members of the Palestinian Parliament  have been arrested and no-one brought this up. What it is, is he may have diplomatic immunity from arrest and prosecution from the PA. BernardZ (talk)

Actually he was not arrested in Israel, a fact being nonsensical on its own right. peyerk (talk) 12:38, 28 May 2024 (UTC)

Extended-confirmed-protected edit request on 11 October 2023
Remove regarded as a terrorist..suicide bombings as this is a false representation of who Marwan is and disillusions reads into thinking he was a terrorist when this is an unsubstantiated fact with no evidence or references. 120.22.17.77 (talk) 10:09, 11 October 2023 (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. Currently the article only mentions the word "terrorist" where the Israeli government calls him a terrorist. Not sure what you want changed. Cannolis (talk) 10:59, 11 October 2023 (UTC)
 * Remove the section 120.22.2.162 (talk) 09:25, 12 October 2023 (UTC)

Extended-confirmed-protected edit request on 23 October 2023
The Washington post archived its article on Barghouti's declaration, but it is still available but at a different URL.

change

https://www.washingtonpost.com/ac2/wp-dyn?pagename=article&node=&contentId=A51887-2002Jan15

to

https://www.washingtonpost.com/archive/opinions/2002/01/16/want-security-end-the-occupation/6d95b7aa-48bd-43e8-9698-e35331460ffb/

or in other words change

to

ED3202 (talk) 10:20, 23 October 2023 (UTC)
 * ✅ Thank you! Liu1126 (talk) 10:25, 23 October 2023 (UTC)

Replacing Dead Links
I noticed a couple of the footnotes now redirect to a landing page. Would it be possible to replace them with Archive.org links? I don't have enough edits to do it myself but here are working links:

Footnote 23 (The indictment)

Retrieved August 29, 2004

https://web.archive.org/web/20040829072946/http://www.mfa.gov.il/MFA/MFAArchive/2000_2009/2002/12/State%20of%20Israel%20vs%20Marwan%20Barghouti-%20Ruling%20by%20Jud

Source 24 (Indictment Appendix

Retrieved July 5, 2004

https://web.archive.org/web/20040705015004/http://www.mfa.gov.il/MFA/MFAArchive/2000_2009/2002/8/Marwan%20Barghouti%20Indictment%20-%20Appendix-%20Terrorist

Hamster Drink (talk) 00:18, 19 March 2024 (UTC)

Citations section is VERY broken
Lua error in Module:Citation/CS1/Configuration at line 2058: attempt to index a boolean value.

is the error in just about every single citation. 24.4.132.42 (talk) 01:11, 11 July 2024 (UTC)

title: Talk:Marwan Barghouti


text:
List of mayors of Calgary

This is a list of mayors of Calgary, Alberta, Canada.

title: List of mayors of Calgary