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Joyce Summers

Joyce Summers is a fictional character in the action-horror television series Buffy the Vampire Slayer (1997–2003). Played by Kristine Sutherland, Joyce is the mother of the main character, Buffy Summers, and appears in 58 of the 144 episodes.

The premise of the series is that Buffy is the latest Slayer, a young woman endowed by mystical forces with superhuman powers to fight and defeat vampires, demons, and other evil forces in the fictional town of Sunnydale. Like every Slayer before her, she was chosen and informed of her destiny when she was 15 years old. Her mother is unaware of her daughter's powers and responsibilities until Buffy is forced to tell her at the end of the second season of the television series. Although Joyce is shocked at this revelation, she recovers quickly and remains a source of stability for Buffy and Buffy's small circle of friends who assist her, dubbed the Scooby Gang. Eventually Joyce is able to take Buffy's dangerous demon-fighting in stride and even become proud and respectful of her daughter's abilities. Her natural death from an illness in the fifth season forces Buffy to face becoming an adult.

Creation and casting
The television series Buffy the Vampire Slayer (often simplified as Buffy) was created by Joss Whedon, who originally used the concept of a teenage girl who is given superhuman powers to fight evil, in a screenplay that became a film in 1992. Unhappy with the outcome of the film, Whedon created the series, which picks up shortly after the events of the film and is loosely based on its ending. At the end of the film, which was set in Los Angeles, Buffy fights and defeats a gang of vampires in her school's gymnasium. At the start of the television series Buffy and her mother Joyce, who has divorced Buffy's father, move to a new town named Sunnydale where Buffy is to attend Sunnydale High School, which, unknown to her, is situated on a portal to hell, called a Hellmouth. The series explains that she has relocated from Los Angeles after burning down the gymnasium, marking her as a trouble-making student and a worrisome daughter. The series regularly employs the elements of dark fantasy and horror to represent the real problems regularly encountered by adolescents, with many situations also reflecting adult fears and anxieties.

Buffy's parents are barely seen in the film, but her mother Joyce (Kristine Sutherland) plays a prominent role in the series. Sutherland, a fantasy fiction fan who dislikes the horror genre, had recently moved to Hollywood from New York City in 1996 and was not actively looking for acting jobs when her agent called her with the opportunity to play Joyce. Sutherland auditioned the same day as David Boreanaz, Buffy's romantic interest Angel, and was impressed with how naturally she felt at ease with the material in the readings with the writers and casting agents. Sutherland said in an interview that she felt she identified strongly with adolescents. Her empathy for them made her protective not only of the actors, but of their characters as well. A storyline with the premise that Joyce be possessed as the mother from hell was one of Sutherland's favorite possible scripts, but it was cut.

Seasons 1 and 2
Buffy is introduced to her new school as a student who is both emotionally and academically troubled. With the move to Sunnydale, she believes she is starting fresh, a notion her mother also believes and encourages. As Buffy establishes herself in school in early episodes, Joyce, who is recently divorced, is preoccupied with setting up their home and running an art gallery. Initially unwilling to become involved again with her role as the Slayer, Buffy is nevertheless confronted by the school librarian Giles (Anthony Head), her new Watcher, the mentor and teacher assigned to instruct her how to fight vampires and other demons she is destined to face. Buffy does not tell her mother about this development, and Joyce remains ignorant of Buffy's role as the Slayer and of Giles' influence in her life, something she later resents when he seems to be closer to Buffy in ways Joyce is not.

Joyce's initial role in the series is, according to scholar J. P. Williams, very similar to the Superman character Lois Lane, who is unable to discern the likeness between Clark Kent with his glasses on and Superman with his glasses off. Buffy is frequently referred to as a superhero by authors, and Joyce's initial ignorance of Buffy's abilities and responsibilities creates skepticism among both characters in the series and viewers about Joyce's intelligence and motivations. For example, Joyce sees the extremely attentive Giles merely as a teacher concerned about Buffy as a student who has experienced academic problems in the past.

This willful ignorance of Buffy's vocation has been well-analyzed by Buffy studies scholars. A persistent theme in Buffy is the nearly unbreachable generation gap between adolescents and adults. Throughout the series, adults are either unable or unwilling to see the genuine horrors teenagers face. As Buffy's mother, Joyce is repeatedly confronted with evidence of her daughter's role as the Slayer; Sutherland saw this as a form of denial on Joyce's part. The resulting conflict between Joyce and Buffy is both tragic and humorous. When Buffy skips class or stays out late to attend to her Slayer duties, Joyce is left trying to punish her by restricting her to the house. Joyce responds to the dire situations Buffy must face by placing regular and inconvenient restrictions on her, such as grounding her at a time when Buffy must confront and try to kill the Master (the head of a vampire cult who is attempting to fulfill a prophecy that he will kill the Slayer and open the Hellmouth in Sunnydale), saying sarcastically to Buffy, "I know—if you don't go out it'll be the end of the world", when in fact, it just may be, or telling Buffy that she is free to make her own life choices, when Buffy knows exactly what her destiny is, and that it may include dying young. This duality of language reinforces the generation gap between the characters.

Joyce is, according to author Lorna Jowett, a typical "teen-horror parent": loving and supporting, but not really facing or knowing the true extent of reality, therefore ineffective at helping her child. She embodies the expectation that mothers should intuitively understand their children. Buffy confronts her mother's denial in "Becoming", the second-season finale, forcing Joyce to see the reality of what Buffy is and does. As a result of their confrontation, Joyce gives Buffy an ultimatum that she either stay at home or never come back. As Buffy is compelled to thwart the apocalypse, she accepts her mother's decision, leaves the house and, ultimately, Sunnydale. Sutherland read the script for the second-season finale in her car, unable to stop reading until the resolution, where she sat sobbing when it is revealed Buffy leaves. In their heated encounter Buffy says to her mother, "Open your eyes, Mom. What do you think has been going on for the past two years? The fights? The weird occurrences. How many times have you washed blood out of my clothing and you still haven't figured it out?" Joyce responds by trying to restrict Buffy again, then attempting to physically restrain her, at which point Buffy ends Joyce's ideas of parental authority by easily overpowering her and walking out the door.

Despite her difficulty with understanding Buffy, Joyce frequently expresses her love for her daughter and supports her when other adults do not. The love Joyce expresses is interpreted by scholars as an attempt to compensate for having failed to understand intuitively that something was going on with her daughter before the revelation that Buffy is the Slayer. Following that revelation, Joyce makes many attempts to understand what a Slayer does. Many scenes showing Joyce giving love and support to Buffy take place in their home, establishing it as center of motherly devotion, stability, and safety. Shots are usually composed so that the two are not seen in the same frame, or are separated by objects such as tables, or placed in opposite sides of rooms, a visual representation of Joyce's inability to understand her daughter's responsibilities and powers.

Seasons 3 and 4
The third season opens with Buffy returning home from Los Angeles at the end of "Anne". Joyce and Buffy are at first very ill at ease with each other during the next episode, "Dead Man's Party", while Buffy starts to understand how difficult Joyce's time has been without her. Sutherland welcomed the change; she felt the relationship between Joyce and Buffy "became so much richer" after Joyce finally knew of and faced Buffy's role as the Slayer. The overt conflict of "Dead Man's Party" has Joyce bringing home a cursed mask that calls zombies to the house while a party is occurring, killing several people. Author Nikki Stafford sees the zombies at the party as symbolism for the utter confusion of dealing with Buffy's return. During the party, Buffy feels so uncomfortable around her family and friends she considers leaving again. Joyce and Buffy's best friend Willow Rosenberg (Alyson Hannigan) both angrily confront Buffy; Joyce admits that she does not know all the answers and that giving Buffy an ultimatum was a mistake. The episode marks Joyce's return as a parent; her recognition of her own shortcomings in the error of pushing Buffy away is a measure of nobility common among Joss Whedon's characters.

Following her realization that Buffy is the Slayer, Joyce begins to express concern for Buffy's well-being and long-term plans. The third season showcases two episodes in which Joyce is a major character. Both of them posit Buffy as a parent figure over Joyce. With "Band Candy" the episode begins with Buffy being petulant and Joyce working with Giles to create a schedule for studying and slaying, but these roles quickly dissolve in the ensuing chaos. In an attempt to offer a sacrifice to a demon, Sunnydale's shadowy mayor intoxicates the adults of the town with drugged chocolate bars, making them devolve into adolescents. Joyce descends into the behavior of a 16-year-old, a prospect Kristine Sutherland found not only fun, but painful as it brought back memories she had not faced in years. Giles is also affected, turning into his adolescent miscreant self, which Joyce finds irresistible (the two have sex on a police car in the middle of downtown Sunnydale). Giles has become Buffy's father figure following her parents' divorce, and Buffy finds Joyce's attraction to Giles disquieting. Joyce had dated before ("Ted") but Buffy, and consequently the audience, do not see Joyce as a sexual character; she is foremost a mother. According to Lorna Jowett, Joyce is rare among the characters on the series: "Joyce is always and only Buffy's mother, never just another person or a member of the team."

The second instance of role-reversal is in the episode "Gingerbread", where again children demonstrate more wisdom than the adults. The episode is noted as highlighting this motif specifically, as the divide between parents and children is exaggerated and symbolized by Joyce's confusion. In an attempt to learn more about her daughter's Slayer duties, Joyce follows Buffy on patrol at night, bringing snacks and saying she wants to observe Buffy work. Joyce finds two dead children in a playground and is deeply disturbed. After Buffy comforts her mother, the Scoobies discover that the children are the manifestation of a demon whose sole purpose is to tear communities apart by sparking moral panics. Joyce, meanwhile, becomes entirely consumed with finding the culprit of the apparent murders. She starts a parents' activist organization named "Mothers Opposed to the Occult" (or "M.O.O." to Buffy's mortification) with Willow's mother, an academic and parenting expert so self-involved that she virtually ignores her daughter. Both Buffy and Willow—whose skills in witchcraft are growing—are seized by M.O.O., who attempt to burn them at the stake. Joyce takes a leadership role, giving a speech to concerned parents about the unnatural evils in the town, citing the "slayers and witches" among other monsters. Her compulsion to become involved in Buffy's dark world, with its disastrous results, represents her feeling of helplessness in relation to Buffy's calling. She is unable to protect or comprehend what Buffy must endure—another expression of teenage-parent alienation.

In the fourth season, as Buffy and Willow attend college, Joyce's role is scaled back considerably. Kristine Sutherland and her family moved to Italy to live, so she starred in only five episodes in the season, including the first one, "The Freshman," when Buffy comes home during her bewildering first week at college to discover that Joyce has filled her room with packing crates from the art gallery. This sign of her mother's life going on without her increases Buffy's disorientation and underscores Joyce's independent life. Consequent to her mother's distance, Buffy must begin to face some of her problems alone, the least of which is cooking Thanksgiving dinner for Giles and the Scooby Gang in "Pangs". Buffy encounters a female psychology professor at college who challenges and frustrates her, but also validates her intellect, something Buffy has not been well known for. Professor Maggie Walsh becomes, for the first part of the season, a substitute mother for Buffy. The last episode of the season,"Restless", explores the dreams of Willow, Xander Harris (Nicholas Brendon), Giles, and Buffy. Joyce appears as a seductress to Xander (in a red silk nightgown), and appears again in Buffy's dream as Buffy wanders the halls of college. Joyce is stuck inside a wall, saying that she is content making lemonade and learning to play mahjong. The enigmatic nature of "Restless" allows analysts to explain the depth of the characters and their relationships, as well as the foreshadowing of events to come in subsequent seasons. Joyce's confinement in a tight space in Buffy's dream indicates that Buffy considers her mother's life to be very limited. The hole in the wall through which Joyce and Buffy speak briefly shows only Joyce's head and shoulders, which, according to Nikki Stafford, is the prevailing image in the fifth-season episode "The Body", an episode which explores Joyce's death and its immediate aftermath.

Season 5: Joyce's death
As noted by author Roz Kaveney, Joyce becomes central to the fifth season themes of family and Buffy facing forces she is unable to fight or control. A new character is introduced to the Summers family: Buffy gets a 14-year-old sister named Dawn (Michelle Trachtenberg), who is the mystical embodiment of a "key" which opens portals to all dimensions. Prior to Dawn's arrival, Joyce has been experiencing loneliness as Buffy's increasing responsibilities takes over, at one point remarking that her house gets very quiet without Buffy present. She inadvertently invites the Romanian vampire mystic Count Dracula as the result. Although Dawn is unaware of what she is, Buffy learns her true identity after becoming suspicious that Dawn is attempting to harm Joyce. After experiencing debilitating headaches, collapsing, then requiring hospitalization, Joyce learns that she has a brain tumor. A side-effect of the tumor is that Joyce sees Dawn as she truly is: a bright, beautiful, mystical energy that must be protected from harm.

Despite knowing the truth of Dawn's origins, Joyce still loves her, realizing that she is an innocent who belongs in the Summers family, and collaborates with Buffy and Giles to protect her. The spell which made Dawn human also made her biologically related to Joyce and Buffy. To protect Dawn as well as tend to Joyce after she has brain surgery, Buffy moves out of her dorm and returns to the family home. Riley Finn (Marc Blucas), Buffy's boyfriend for the past year, leaves in the episode "Into the Woods". Following his departure, and in the course of the episode "I Was Made to Love You", Buffy comes to feel that she does not need a boyfriend. Her confidence in this decision is immediately shaken at the end of the episode when she comes home to find her mother's lifeless body on the sofa. Joyce's death is fully explored in "The Body" as the entire cast of characters struggles to understand how the once-vibrant Joyce has become a body in the morgue. Scholar Jes Battis writes that in contrast to the way family members are portrayed throughout the series as absent (Willow's), chaotic (Xander's), or highly disruptive (Anya's), Joyce straddles these extremes. The ease of her success at mothering a violent superhero and a mystical key while appearing to enjoy a normal life is eroded by a brain tumor, and only then do she and the other characters come to understand what a complex job she has. To scholars the tumor represents the physical manifestation of not being able to take care of Buffy, or a form of mortality that Buffy will not soon face.

To Joss Whedon, the tumor represented nothing more than cancer. He planned to kill Joyce as early as the third season, and he wrote the episode to reflect what he experienced when he lost his own mother to a brain aneurysm. In 2001, Whedon told an interviewer, "I knew I was going to kill Joyce, and I knew that what I wanted to capture — because I had lost my own mother — was that weird dumb grief and the various reactions that people have to death." "The Body" begins with a Christmas dinner scene presided over by Joyce as the head of her chosen family. At the table are Buffy, Dawn, Giles, Willow, her girlfriend Tara (Amber Benson), Xander, and his ex-demon girlfriend Anya (Emma Caulfield). Pragmatically, the scene was included so the credits would not roll over the dramatic moments of Buffy finding her dead mother and trying to revive her. Whedon did not want to include any element that broke the illusion presented in the episode. In a realm where the main adolescent characters, who are becoming adults, must regularly face horrors and evils, Joyce represents a stable and predictable life. Her death crushes the illusion that real or normal life — which Buffy frequently says she wants but cannot have — is trouble-free. Joyce is mourned by all of the characters in the series. Even the amoral vampire Spike (James Marsters) expresses his condolences. In an earlier episode he had confided in a very sympathetic Joyce about his equally amoral and insane lover Drusilla (Juliet Landau) leaving him. Likewise, Anya, who has very little experience with human emotions and frailties, is confused and unexpectedly saddened by Joyce's death.

Other appearances
Joyce appears in four episodes after her death in "The Body", first as a young woman in season five's "The Weight of the World": Buffy has a recurring but false memory of her parents bringing Dawn home as a newborn. The episode deals with Buffy's inability to cope with her mother's death and her inadequacy at protecting Dawn, and explores Buffy's obsession with her failure and guilt. The sixth-season episode "Normal Again" posits Buffy's world of Sunnydale as a manifestation of psychopathology: after being stabbed by a demon, Buffy becomes convinced that the world in which she is a hero is an illusion. Her parents, who have remained happily married, visit her in a mental institution and encourage her to fight the seductive world she has imagined and return home with them. Joyce appears twice in the seventh season: she haunts Dawn as a face of the First Evil in "Conversations with Dead People", and makes her final appearance again as an incarnation of the First Evil in Buffy's dream in "Bring on the Night".

Influence
Throughout the series, Buffy frequently expresses anxiety about being wanted and accepted. One of the most overt expressions of her concern is in the first-season episode "Nightmares", where characters' nightmares come true. In Buffy's nightmare, her father cruelly tells her he no longer wants to spend any time with her because of her defects as a daughter. She further worries that her ostensible troubled behavior at school and disobedience at home may have been a significant reason for the ending of her parents' marriage. She pushes away her friends and family to protect them from what she must face, while simultaneously depending on their assistance. Psychologists writing about Buffy state that she is a candidate for an anxiety disorder, as most often people diagnosed with anxiety disorders worry and fixate on problems, behaviors which studies suggest are inherited. In this light, they analyze Joyce's actions as overprotective of Buffy in early seasons: her vigilance causes Buffy to need to sneak in and out of the house through her bedroom window. Joyce is also continually encouraging her to avoid badly-behaved classmates. Regardless of this, Joyce's nurturing of Buffy is cited as being one of the reasons Buffy has been able to live as long as she has — much longer than other Slayers, who historically have usually died very young — and is a source of Buffy's strength. Joyce and Giles often work in similar ways to guide Buffy morally and emotionally. Buffy's tragic love affair with Angel, a relationship that could bring neither of them any happiness, was broken off, in part, after Joyce's request that Angel be the one to end it.

According to Lorna Jowett, Joyce is a vehicle through which older viewers can judge the actions of the younger characters. Jowett sees Joyce as a "post-feminist matriarch": she is the head of a household that rarely requires the presence of men. Buffy, according to Jowett, descends from two female lines: the Slayer line and the Summers line. In opposition to Buffy, Joyce never expresses that she has been abandoned by men, and she retains feminine characteristics: she runs an art gallery, has other friends, and dates. Jes Battis argues that Joyce's role as Buffy's mother goes mostly unnoticed because of societal expectations audiences are expected to make about single mothers — at least until her death. Buffy's grief must coincide with Buffy becoming who Joyce was. In this process, Buffy struggles to fill Joyce's role, finding it more difficult than being a Slayer.

Appearances
Joyce appeared in 60 episodes of television, with Kristine Sutherland appearing as the character in 58 of them:
 * Buffy the Vampire Slayer

 * Season 1 (1997): "Welcome to the Hellmouth", "The Harvest","Witch", "Angel", "The Puppet Show", "Nightmares", "Prophecy Girl"
 * Season 2 (1997–98): "When She Was Bad", "School Hard", "Inca Mummy Girl", "Ted", "Bad Eggs", "Surprise", "Innocence", "Bewitched, Bothered, and Bewildered", "Passion", "Killed by Death", "Becoming (Part 1 and 2)"
 * Season 3 (1998–99): "Anne", "Dead Man's Party", "Faith, Hope & Trick", "Band Candy", "Lovers Walk", "Amends", "Gingerbread", "Helpless", "Bad Girls", "Consequences", "Enemies", "Earshot", "Choices", "The Prom", "Graduation Day, Part 1"
 * Season 4 (1999–2000): "The Freshman", "Fear, Itself", "This Year's Girl", "Who Are You", "Restless"
 * Season 5 (2000–01): "Buffy vs. Dracula", "Real Me", "The Replacement", "Out of My Mind", "No Place Like Home", "Fool for Love", "Shadow", "Listening to Fear", "Into the Woods", "Triangle", "Checkpoint", "Blood Ties", "Crush", "I Was Made to Love You", "The Body", "Forever" (uncredited extra), "The Weight of the World" (vision)
 * Season 6 (2001–02): "Normal Again" (vision)
 * Season 7 (2002–03): "Him" (archive footage), "Conversations with Dead People" (vision), "Bring on the Night" (vision)
 * Season 4 (1999–2000): "The Freshman", "Fear, Itself", "This Year's Girl", "Who Are You", "Restless"
 * Season 5 (2000–01): "Buffy vs. Dracula", "Real Me", "The Replacement", "Out of My Mind", "No Place Like Home", "Fool for Love", "Shadow", "Listening to Fear", "Into the Woods", "Triangle", "Checkpoint", "Blood Ties", "Crush", "I Was Made to Love You", "The Body", "Forever" (uncredited extra), "The Weight of the World" (vision)
 * Season 6 (2001–02): "Normal Again" (vision)
 * Season 7 (2002–03): "Him" (archive footage), "Conversations with Dead People" (vision), "Bring on the Night" (vision)
 * Season 6 (2001–02): "Normal Again" (vision)
 * Season 7 (2002–03): "Him" (archive footage), "Conversations with Dead People" (vision), "Bring on the Night" (vision)
 * Season 7 (2002–03): "Him" (archive footage), "Conversations with Dead People" (vision), "Bring on the Night" (vision)

Joyce has also appeared in 5 canonical issues of the Buffy the Vampire Slayer comics.
 * The Origin (1999): "The Origin, Part 1"
 * Season 8 (2007–08): "The Long Way Home, Part 3" (vision), "After These Messages... We'll Be Right Back!" (vision)
 * Season 9 (2013): "The Watcher" (vision)
 * Season 10 (2014): "I Wish, Part 1" (vision)
 * Season 9 (2013): "The Watcher" (vision)
 * Season 10 (2014): "I Wish, Part 1" (vision)
 * Season 10 (2014): "I Wish, Part 1" (vision)
 * Season 10 (2014): "I Wish, Part 1" (vision)

title: Joyce Summers


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Kromer

Kromer or Krömer may refer to:

 * People
 * Aaron Kromer, American football coach
 * George "Stormy" Kromer, creator of the Stormy Kromer cap
 * Kurt Krömer (born 1974), German television presenter, comedian and actor
 * Leon Kromer, American soldier and football coach
 * Marcin Kromer (Martin Cromer; 1512–1589), Prince-Bishop of Warmia (Ermland), cartographer
 * House of Kromer
 * Tom Kromer (1906–1969), American writer

 * Other
 * The Stormy Kromer Pursuit, 2-day cross-country skiing event
 * A nonsense word for money used by the character Spamton in the video game Deltarune
 * A boss enemy in Limbus Company with the same name

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

title: Kromer


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Charles B. Wheeler Downtown Airport

Charles B. Wheeler Downtown Airport is a city-owned, public-use airport serving Kansas City, Missouri, United States. Located in Clay County, this facility is included in the National Plan of Integrated Airport Systems, which categorized it as a general aviation reliever airport.

History

This airport replaced the old Richards Field, located near Raytown, Missouri, as Kansas City's main airport. It was dedicated as New Richards Field in 1927 by Charles Lindbergh and was soon renamed Kansas City Municipal Airport. Its prominent tenant was Trans World Airlines (TWA), which was headquartered in Kansas City. The airport was built in the Missouri River bottoms next to the rail tracks at the Hannibal Bridge. At the time, air travel was considered to be handled in conjunction with rail traffic.

The airport had limited area for expansion (Fairfax Airport across the Missouri River in Kansas City, Kansas, covered a larger area). Airplanes had to avoid the 200 ft Quality Hill and the Downtown Kansas City skyline south of the south end of the main runway. In the early 1960s, an FAA memo called it "the most dangerous major airport in the country" and urged that no further federal funds be spent on it. A new airport was then constructed to serve Kansas City, being the Kansas City International Airport (MCI) which was opened in 1972 with all scheduled passenger airline flights being moved from MKC to MCI at that time.

The April 1957 Official Airline Guide (OAG) listed the following weekday departures from MKC:
 * Braniff International Airways - 40
 * Trans World Airlines (TWA) - 39
 * Continental Airlines - 9
 * United Airlines - 4
 * Delta Air Lines - 2
 * Ozark Airlines - 2
 * Central Airlines - 2

The downtown airport has been renamed for Charles Wheeler who was mayor when Kansas City International opened. Richards Road, which serves the airport, is named for John Francisco Richards II, a Kansas City airman killed in World War I (and whose name was also applied to Richards Field and Richards-Gebaur Air Force Base).

Today the airport is used for corporate and recreational aviation. The terminal building today houses VML, a global advertising and marketing agency headquartered in Kansas City. Its location near downtown has excellent highway access.

It is home to the National Airline History Museum. Though this museum primarily contains artifacts from TWA (due to the fact that most of its volunteers are local retired TWA employees), it is dedicated to airline history in general. A second museum, The TWA Museum, is housed in the original terminal that it was founded in at 10 Richards Road and is dedicated to the history of TWA. The airport also hosts the Aviation Expo (Air Show), most years, usually in August.

Facilities and aircraft
The airport covers 700 acres (283 ha) at an elevation of 757 feet (231 m). It has two runways. Runway 1/19 is 6,827 by 150 feet (2,081 x 46 m) concrete with an EMAS at both ends. Runway 3/21 is 5,050 by 100 feet (1,539 x 30 m) asphalt.

Construction on runway 1-19 is complete and both runways are in use to their full length.

Taxiway H was at one time part of runway 17/35, which was closed after an FAA decision on the required separation between terminal buildings and the runway.

The airport is on the north side of the confluence of the Kansas River and Missouri River. Levees protected the airport relatively well during the Great Flood of 1951 and the Great Flood of 1993 although there was standing water. The 1951 flood devastated the Fairfax airport and caused Kansas City to build what would become Kansas City International Airport away from the river to keep the TWA overhaul base in the area after it had been destroyed in the flood at Fairfax.

On October 17, 2006, the Kansas City, Missouri, Aviation Department announced plans to build a $20 million aircraft hangar complex at the Charles B. Wheeler Downtown Airport including: 122 T-hangars, 13 box hangars, a 40000 sqft terminal building with offices, a pilots' lounge, meeting rooms and a destination restaurant.

In the year ending September 30, 2022, the airport had 114,975 aircraft operations, average 315 per day: 77% general aviation, 21% air taxi, 2.2% military, and <1% commercial. 176 aircraft were then based at the airport: 76 single-engine and 23 multi-engine airplanes, 66 jet airplanes, and 11 helicopters.

Accidents and incidents

 * On March 31, 1931, Notre Dame Coach Knute Rockne was killed on a Transcontinental & Western Air (later TWA) flight from Kansas City to Los Angeles when the Fokker F-10 trimotor broke up in a storm over Bazaar, Kansas. The crash resulted in the grounding of all of the wooden wing Fokker airliners nationwide due to wood rot. It also nearly bankrupted TWA and forced them (and others) to replace their fleet with newer all-metal aircraft.
 * On June 30, 1956, Trans World Airlines flight 2, a Lockheed Super Constellation, was bound for Kansas City Downtown Airport when it collided with a United Airlines Douglas DC-7 over the Grand Canyon. All 128 aboard both aircraft were killed.
 * On May 22, 1962, Continental Airlines Flight 11, a Boeing 707 en route from Chicago O'Hare International Airport to Kansas City Downtown Airport exploded over Unionville, Missouri. All 45 on board were killed.
 * On January 29, 1963, Continental Airlines Flight 290, a Vickers Viscount, crashed on approach at the end of runway 18 because of accretion of ice on the horizontal stabilizer causing a loss of pitch control. All 3 crew and 5 passengers were killed.
 * On July 1, 1965, Continental Airlines Flight 12 Boeing 707 from Los Angeles International Airport landed in heavy rain and was unable to stop due to hydroplaning. It impacted a blast mound and broke into 3 pieces, but all 66 on board survived.
 * On August 6, 1966, Braniff Airways Flight 250 BAC One-Eleven left Kansas City Downtown Airport headed for Omaha and crashed near Falls City, Nebraska, killing all 42 on board.
 * On January 12, 1970, the Kansas City Chiefs' charter flight returning from New Orleans International Airport following their Super Bowl IV victory over the Minnesota Vikings was diverted to the then-unfinished Kansas City International Airport (MCI) due to a runway incursion by fans hoping to greet the Chiefs upon landing at the Downtown airport.
 * On August 20, 2011, pilot Bryan Jensen was killed when his Vertical Unlimited 12 (a modified Pitts 12) crashed during the Kansas City Air Expo.
 * On August 5, 2013, a construction contractor working on a taxiway near runway 1 discovered human remains buried in the ground.

title: Charles B. Wheeler Downtown Airport


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Lancer

A lancer was a type of cavalryman who fought with a lance. Lances were used for mounted warfare in Assyria as early as 700 BC and subsequently by India, Egypt, China, Persia, Greece, and Rome. The weapon was widely used throughout Eurasia during the Middle Ages and the Renaissance by heavy cavalry, but fell out of general use by the late 16th century, before its revival by light cavalry in the early 19th century.

17th-, 18th-, and 19th-century lancers

The lancer (Polish: ułan, German: Ulan, French: uhlan) had become a common sight in the majority of European, Ottoman, and Indian cavalry forces during this time, but, with the exception of the Ottoman troops, they increasingly discarded the heavy armour to give greater freedom of movement in combat. The Polish "winged" lancers were amongst the last European units to abandon their armour. There was debate over the value of the lance in mounted combat during the 17th and 18th centuries, with most armies having very few lancer units by the beginning of the 19th century.

However, during the Napoleonic Wars, lancers were to be seen in many of the combatant nations as their value in shock tactics became clear. During the wars, the Poles became a ready source of recruitment for several armies, willingly or unwillingly. Polish lancers served with distinction in the Austrian, Prussian, Russian, and French armies, most famously in Napoleon's French Imperial Guard as the 1er Regiment de Chevau-Legers-Lanciers de la Garde Impériale.

At the Battle of Waterloo, French lances were "nearly 3 m long, weighed around 3 kg, and had a steel point on a wooden staff," according to historian Alessandro Barbero. He adds that they were "terrifyingly efficient." Commander of the French 1st Corps, 4th Division General Durutte, who saw the battle from the high ground in front of Papelotte, would write later, "I had never before realized the great superiority of the lance over the sword."

Although having substantial impact in the charge, lancers could be more vulnerable to other cavalry units in close quarters combat, where the lance proved to be a clumsy and easily deflected weapon when employed against sabres in a mêlée. By the late 19th century, many cavalry regiments in Eurasian armies were composed of troopers with lances, as primary weapons, in the front rank and horsemen with sabres only in the second: the lances for the initial shock and sabres for the ensuing mêlée.

Lancer equipment
Lancers typically wore a double-breasted jacket (kurtka) with a coloured panel at the front (plastron), a coloured band of cloth (sash), and a square-topped cap (czapka). Their lance usually had a small swallow-tailed flag (pennon), just below the lance head. The pennons were normally removed or wrapped in a canvas cover during active service. With the improved range and accuracy of infantry muskets and rifles, the high profile presented by lancers with their conspicuous weapons became a problem. Lancers were trained to lower their lances when scouting on hilltops, to help avoid detection by enemy combatants.

20th-century lancers

In 1914, lances were still being carried by regiments in the British, Indian, French, Prussian, Italian, Chilean, Portuguese, Japanese, Spanish, Ottoman, Belgian, Argentine, and Russian armies, among others. Almost all German cavalry branches (cuirassiers, hussars, dragoons, and uhlans) retained steel tube lances (stahlrohrlanze) 3.2 m in length, as their primary weapon. As late as 1914, half of the troopers in each Russian regular cavalry regiment (hussars, uhlans, and dragoons) carried lances on active service, as did all cossacks.

The British cavalry lost the lance for all but ceremonial use in 1903, following the Second Boer War; but a conservative revaluation led to its reintroduction as an active service weapon from 1909 to 1928.

The French army did not have lancer regiments as such, but steel lances 2.97 m in length were carried by the twenty-six dragoon regiments and some light cavalry units in 1914. The French had earlier tested the Indian bamboo lances used by the British cavalry, but had rated them as being too fragile for the shock of encounter. The six Italian lancieri regiments still in existence until 1920 carried the 1870 model of ashwood lance, noted for its balance and manageability.

Prior to the outbreak of World War I, there had been controversy as to whether lances or sabres were the more effective armes blanche (i.e. mêlée weapons) for cavalry, but neither proved a match for modern firearms and/or artillery. Some armies continued to use lances throughout the war, but they seldom saw use on the Western Front after initial clashes in France and Belgium in 1914. On the Eastern Front, mounted cavalry still had a role and lances saw limited use by the Russian, German, and Austrian armies.

During the 1920s and 1930s, the use of lances ceased for active service in most armies. The German cavalry retained the lance as a service weapon until 1927, as did the British cavalry until 1928. Some other armies retained lance-armed cavalry units for ceremonial purposes only. The Polish cavalry did not discard the lance as a weapon until 1934 or 1937 and continued to use it for training and ceremonial purposes until the outbreak of World War II.

Current lancer units
Some modern armored cavalry units are still designated as lancer regiments for historical and ceremonial reasons. There are examples in the armies of Spain (the King's Lancers Troop of the Royal Guard's Escort Squadron and the Bourbon's Lancers Group of the 11th Cavalry Regiment), United Kingdom (Royal Lancers), India (2nd Lancers (Gardner's Horse) and 20th Lancers), Belgium (1/3rd Lancers Battalion), Portugal (2nd Lancers Regiment), Pakistan, Italy (5th Lancieri di Novara, 6th Lancieri di Aosta, 8th Lancieri di Montebello), Australia (12th/16th Hunter River Lancers, 1st/15th Royal New South Wales Lancers), Argentina (2nd Tank Cavalry Regiment "General Paz's Lancers"), Canada (Lord Strathcona's Horse), Chile (5th Cavalry Regiment "Lancers"), and the United States (National Lancers, Massachusetts Organized Militia)

Although not classified as lancers, the Brazilian Army's Dragões da Independência (1st Guards Regiment) and the elite soldiers of the Colombian National Army are called Lanceros.

The Portuguese National Republican Guard horse squadrons carry lances on mounted parades, as do many cavalry regiments in South America such as Chile, Argentina, Bolivia, and Peru.

The modern Italian Regiment "Lancieri di Montebello" (8th) parade detachments armed with the lances carried as combat weapons until 1920.

title: Lancer


text:
Laibach (album)

Laibach is the debut album of the Yugoslavian (now Slovenia) industrial group Laibach. It was first released on LP in 1985, and reissued on CD in 1991 with two extra tracks composed by Laibach's sub-group 300.000 V.K. Another CD reissue in 1999 featured further bonus material.

title: Laibach (album)


text:
Leg bye

In cricket, a "leg bye" is a type of extra, a run scored by the batting team without the batsman hitting the ball. Law 23 of the Laws of Cricket specifies that one be scored when the ball is not hit with the bat, but it hits the batsman's body or protective gear.

Scoring leg byes
If the ball deflects off the batter's body, the batsmen can attempt to score runs in a similar manner as if the ball had been hit. The number of runs scored are scored as leg byes – they are added to the team's total, but not to the number of runs scored by the batter nor to the runs conceded by the bowler. If the ball deflects off the batter's body and travels all the way to the boundary, the batting team immediately scores four leg byes, similar to if the ball had been hit to the boundary for a four.

The only part of the batter's body to which the rule does not apply is the hand or hands (that is, the batter's gloves) holding the bat, which are deemed for the sake of the rules to be a part of the bat. If the ball strikes a hand which for whatever reason is not holding the bat, then leg byes may be scored. However, if the batter deliberately allows the ball to hit a hand which is not holding the bat no leg byes can be scored, and he may on appeal be given out obstructing the field.

Leg byes may only be scored if the ball hits the batter who was: If the batter was attempting neither of these, and the ball hits his body, it is a dead ball and runs may not be scored. If the batsmen attempt to score runs in this instance, the fielding team may attempt to run either of them out. If the batting pair complete such a "run" when the ball is dead, the umpire signals dead ball, the run is not scored, and the batters must return to their wickets as before the run attempt.
 * attempting to hit the ball with his bat, or
 * attempting to evade being hit by the ball.

If it appears that the ball would have hit the stumps were it not for the batter's legs, the batter may be dismissed leg before wicket.

Leg byes are the most common form of extras scored in Test cricket. The average number of leg byes scored in a Test match is about 20; in a 50 over game it is about 10. The most leg byes in a single test innings is 35, conceded by England against South Africa in the Proteas' tour of England, on 1 August 2008.

Scoring notation
The conventional notation for a single leg bye is a triangle with a point at the base and horizontal edge at the top (an inverted bye symbol). If more than one leg bye is taken the number scored is written within the triangle - in practice it is easier to write the number down and then draw the triangle around it.

Validity
Prior to his retirement from Test cricket Australian captain Steve Waugh called for leg byes to be removed from the sport, commenting: "I don't think you should get runs when you miss the ball."

Umpire's signal
Umpires signal a leg bye with a hand touching their raised knee.

title: Leg bye


text:
Piper J-3 Cub

The Piper J-3 Cub is an American light aircraft that was built between 1938 and 1947 by Piper Aircraft. The aircraft has a simple, lightweight design which gives it good low-speed handling properties and short-field performance. The Cub is Piper Aircraft's most-produced model, with nearly 20,000 built in the United States. Its simplicity, affordability and popularity invokes comparisons to the Ford Model T automobile.

The aircraft is a high-wing, strut-braced monoplane with a large-area rectangular wing. It is most often powered by an air-cooled, flat-4 piston engine driving a fixed-pitch propeller. Its fuselage is a welded steel frame covered in fabric, seating two people in tandem.

The Cub was designed as a trainer. It had great popularity in this role and as a general aviation aircraft. Due to its performance, it was well suited for a variety of military uses such as reconnaissance, liaison and ground control. It was produced in large numbers during World War II as the L-4 Grasshopper. Many Cubs are still flying today. Cubs are highly prized as bush aircraft.

The aircraft's standard chrome yellow paint came to be known as "Cub Yellow" or "Lock Haven Yellow".

Design and development
The Taylor E-2 Cub first appeared in 1930, built by Taylor Aircraft in Bradford, Pennsylvania. Sponsored by William T. Piper, a Bradford industrialist and investor, the affordable E-2 was meant to encourage greater interest in aviation. Later in 1930, the company went bankrupt, with Piper buying the assets, but keeping founder C. Gilbert Taylor on as president. In 1936, an earlier Cub was altered by employee Walter Jamouneau to become the J-2 while Taylor was on sick leave. Some believed the "J" stood for Jamouneau, while aviation historian Peter Bowers concluded the letter simply followed the E, F, G and H models, with the letter "I" skipped because it could be mistaken for the numeral "1". When he saw the redesign, Taylor was so incensed that he fired Jamouneau. Piper, however, had encouraged Jamouneau's changes and hired him back. Piper then bought Taylor's share in the company, paying him $250 per month for three years.

Although sales were initially slow, about 1,200 J-2s were produced before a fire in the Piper factory, a former silk mill in Bradford, Pennsylvania, ended its production in 1938. After Piper moved his company from Bradford to Lock Haven, Pennsylvania, the J-3, which featured further changes by Jamouneau, replaced the J-2. The changes integrated the vertical fin of the tail into the rear fuselage structure and covered it simultaneously with each of the fuselage's sides, changed the rearmost side window's shape to a smoothly curved half-oval outline and placed a steerable tailwheel at the rear end of the J-2's leaf spring-style tailskid, linked for its steering function to the lower end of the rudder with springs and lightweight chains to either end of a double-ended rudder control horn. Powered by a 40 hp (30 kW) engine, in 1938, it sold for just over $1,000.

Several alternative air-cooled engines, typically flat-fours, powered the J-3 Cubs, designated J3C when using the Continental A series, J3F using the Franklin 4AC, and J3L with the Lycoming O-145. Very few examples, designated J3P, were equipped with Lenape Papoose 3-cylinder radial engines.

The outbreak of hostilities in Europe in 1939, along with the growing realization that the United States might soon be drawn into World War II, resulted in the formation of the Civilian Pilot Training Program (CPTP). The Piper J-3 Cub became the primary trainer aircraft of the CPTP and played an integral role in its success, achieving legendary status. About 75% of all new pilots in the CPTP (from a total of 435,165 graduates) were trained in Cubs. By war's end, 80% of all United States military pilots had received their initial flight training in Piper Cubs.

The need for new pilots created an insatiable appetite for the Cub. In 1940, the year before the United States entered the war, 3,016 Cubs had been built. Wartime demands soon increased that production rate to one Cub being built every 20 minutes.

Flitfire
Prior to the United States entering World War II, J-3s were part of a fund-raising program to support the United Kingdom. Billed as a Flitfire, a Piper Cub J3 bearing Royal Air Force insignia was donated by W. T. Piper and Franklin Motors to the RAF Benevolent Fund to be raffled off. Piper distributors nationwide were encouraged to do the same. On April 29, 1941, all 48 Flitfire aircraft, one for each of the 48 states that made up the country at that time, flew into La Guardia Field for a dedication and fundraising event which included Royal Navy officers from the battleship HMS Malaya, in New York for repairs, as honored guests. At least three of the original Flitfires have been restored to their original silver-doped finish.

World War II service

Minutes before the 1941 Attack on Pearl Harbor, Machinist Mate 2nd Class Marcus F. Poston, a student pilot, was on a solo flight through K-T Flying Service, piloting a Piper Cub J-3 over the valley of Oahu. Poston was flying just as the Japanese planes began appearing over the island and was subsequently shot down. Poston managed to bail out and parachute to safety. The Piper J-3 Cub was the first American plane to be shot down in World War II.

The Piper Cub quickly became a familiar sight. First Lady Eleanor Roosevelt took a flight in a J-3 Cub, posing for a series of publicity photos to help promote the CPTP. Newsreels and newspapers of the era often featured images of wartime leaders, such as Generals Dwight Eisenhower, George Patton and George Marshall, flying around European battlefields in Piper Cubs.

Civilian-owned Cubs joined the war effort as part of the newly formed Civil Air Patrol, patrolling the Eastern Seaboard and Gulf Coast in a constant search for German U-boats and survivors of U-boat attacks.

Piper developed a military variant ("All we had to do," Bill Jr. is quoted as saying, "was paint the Cub olive drab to produce a military airplane"), variously designated as the O-59 (1941), L-4 (after April 1942) and NE (U.S. Navy). The L-4 Grasshopper was mechanically identical to the J-3 civilian Cub, but was distinguishable by the use of a Plexiglas greenhouse skylight and rear windows for improved visibility, much like the Taylorcraft L-2 and Aeronca L-3 also in use with the US armed forces. It had accommodations for a single passenger in addition to the pilot. When carrying only the pilot, the L-4 had a top speed of 85 mph, a cruise speed of 75 mph, a service ceiling of 12000 ft, a stall speed of 38 mph, an endurance of three hours, and a range of 225 mi. Some 5,413 L-4s were produced for U.S. forces, including 250 built for the U.S. Navy under contract as the NE-1 and NE-2.

All L-4 models, as well as similar, tandem-cockpit accommodation aircraft from Aeronca and Taylorcraft, were collectively nicknamed "Grasshoppers", though the L-4 was almost universally referred to by its civilian designation of Cub. The L-4 was used extensively in World War II for reconnaissance, transporting supplies, artillery spotting duties and medical evacuation of wounded soldiers. During the Allied invasion of France in June 1944, the L-4's slow cruising speed and low-level maneuverability made it an ideal observation platform for spotting hidden German armor waiting in ambush in the hedgerowed bocage country south of the invasion beaches. For these operations, the pilot generally carried both an observer/radio operator and a 25 lb communications radio, a load that often exceeded the plane's specified weight capacity. After the Allied breakout in France, L-4s were also sometimes equipped with improvised racks, usually in pairs or quartets, of infantry bazookas for ground attack (actually a form of top attack) against German armored units. The most famous of these L-4 ground attack planes was Rosie the Rocketer, piloted by Maj. Charles "Bazooka Charlie" Carpenter, whose six bazooka rocket launchers were credited with eliminating six enemy tanks and several armored cars during its wartime service, especially during the Battle of Arracourt. L-4s could also be operated from ships, using the Brodie landing system.

After the war, many L-4s were sold as surplus, but a considerable number were retained in service. L-4s sold as surplus in the U.S. were redesignated as J-3s, but often retained their wartime glazing and paint.

Postwar

An icon of the era and of American general aviation, the J-3 Cub has long been loved by pilots and nonpilots alike, with thousands still in use. Piper sold 19,073 J-3s between 1938 and 1947, the majority of them L-4s and other military variants. After the war, thousands of Grasshoppers were civilian-registered under the designation J-3. Sixty-five pre-war Taylor and Piper Cubs were assembled from parts in Canada (by Cub Aircraft Corporation Ltd.). After the war, 130 J-3C-65 models were manufactured in Hamilton, Ontario. Sixteen L-4B models, (known as the Prospector), were later manufactured. The last J-3 model was assembled from parts at Leavens Bros. Toronto in 1952. J-3 Cubs were also assembled in Denmark and Argentina and by a licensee in Oklahoma.

In the late 1940s, the J-3 was replaced by the Piper PA-11 Cub Special (1,500 produced), the first Piper Cub version to have a fully enclosed cowling for its powerplant and then the Piper PA-18 Super Cub, which Piper produced until 1981 when it sold the rights to WTA Inc. In all, Piper produced 2,650 Super Cubs. The Super Cub had a 150 hp (110 kW) engine which increased its top speed to 130 mph (210 km/h). Its range was 460 mi.

Korean War service
On 26 June 1950, one day after the Korean War broke out, the Republic of Korea Air Force flew L-4s to Dongducheon to support the ROK 7th Infantry Division against North Korean military by dropping two bombs from an observer in the rear seat. A total of 70 bombs were dropped until the following day, then aircraft were switched back to reconnaissance mission as bombs were depleted. South Korea lost 25 L-4s throughout the Korean War.

The United States Army also operated small numbers of L-4s, but were replaced by L-16 during the war. The L-4 was in service in many of the same roles it had performed during World War II, such as artillery spotting, forward air control and reconnaissance. Some L-4s were fitted with a high-back canopy to carry a single stretcher for medical evacuation of wounded soldiers.

Modern production
Modernized and up-engined versions are produced by Cub Crafters of Washington and by American Legend Aircraft in Texas, as the Cub continues to be sought after by bush pilots for its short takeoff and landing (STOL) capabilities, as well as by recreational pilots for its nostalgia appeal. The new aircraft are actually modeled on the PA-11, though the Legend company does sell an open-cowl version with the cylinder heads exposed, like the J-3 Cub. An electrical system is standard from both manufacturers.

The J-3 is distinguished from its successors by having a cowl that exposes its engine's cylinder heads — the exposed cylinders of any J-3's engine were usually fitted with sheet metal "eyebrow" air scoops to direct air over the cylinder's fins for more effective engine cooling in flight. Very few other examples exist of "flat" aircraft engine installations (as opposed to radial engines) in which the cylinder heads are exposed. From the PA-11 on through the present Super Cub models, the cowling surrounds the cylinder heads.

A curiosity of the J-3 is that when it is flown solo, the lone pilot normally occupies the rear seat for proper balance, to balance the fuel tank located at the firewall. Starting with the PA-11, as well as some L-4s, fuel was carried in wing tanks, allowing the pilot to fly solo from the front seat.

Civil

 * J-3
 * Equipped with a Continental A-40, A-40-2, or A-40-3 engine of 37 hp, or A-40-4 engine of 40 hp

 * J3C-40
 * Certified 14 July 1938 and equipped with a Continental A-40-4 or A-40-5 of 40 hp

 * J3C-50
 * Certified 14 July 1938 and equipped with a Continental A-50-1 or A-50-2 to -9 (inclusive) of 50 hp

 * J3C-50S
 * Certified 14 July 1938 and equipped with a Continental A-50-1 or A-50-2 to -9 (inclusive) of 50 hp, equipped with optional float kit

 * J3C-65
 * Certified 6 July 1939 and equipped with a Continental A-65-1 or A-65-3, 6, 7, 8, 8F, 9 or 14 of 65 hp or an A-65-14, Continental A-75-8, A-75-8-9 or A-75-12 of 75 hp or Continental C-85-8 or C-85-12 of 85 hp or Continental C-90-8F of 90 hp

 * J3C-65S
 * Certified 27 May 1940 and equipped with a Continental A-65-1 or A-65-3, 6, 7, 8, 8F, 9 or 14 of 65 hp or an A-65-14, Continental A-75-8, A-75-8-9 or A-75-12 of 75 hp or Continental C-85-8 or C-85-12 of 85 hp or Continental C-90-8F of 90 hp, equipped with optional float kit

 * J3F-50
 * Certified 14 July 1938 and equipped with a Franklin 4AC-150 Series 50 of 50 hp

 * J3F-50S
 * Certified 14 July 1938 and equipped with a Franklin 4AC-150 Series 50 of 50 hp, equipped with optional float kit

 * J3F-60
 * Certified 13 April 1940 and equipped with a Franklin 4AC-150 Series A of 65 hp or a Franklin 4AC-171 of 60 hp

 * J3F-60S
 * Certified 31 May 1940 and equipped with a Franklin 4AC-150 Series A of 65 hp or a Franklin 4AC-171 of 60 hp, equipped with optional float kit

 * J3F-65
 * Certified 7 August 1940 and equipped with a Franklin 4AC-176-B2 or a Franklin 4AC-176-BA2 of 65 hp

 * J3F-65S
 * Certified 4 January 1943 and equipped with a Franklin 4AC-176-B2 or a Franklin 4AC-176-BA2 of 65 hp, equipped with optional float kit

 * J3L
 * Certified 17 September 1938 and equipped with a Lycoming O-145-A1 of 50 hp or a Lycoming O-145-A2 or A3 of 55 hp

 * J3L-S
 * Certified 2 May 1939 and equipped with a Lycoming O-145-A1 of 50 hp or a Lycoming O-145-A2 or A3 of 55 hp, equipped with optional float kit

 * J3L-65
 * Certified 27 May 1940 and equipped with a Lycoming O-145-B1, B2, or B3 of 65 hp

 * J3L-65S
 * Certified 27 May 1940 and equipped with a Lycoming O-145-B1, B2, or B3 of 65 hp, equipped with optional float kit

 * J3P
 * Variant powered by a 50 hp Lenape LM-3-50 or Lenape AR-3-160 three-cylinder radial engine

 * J-3R
 * Variant with slotted flaps powered by a 65 hp Lenape LM-3-65 engine.

 * J-3X
 * 1944 variant with cantilever wing powered by a 65 hp Continental A-65-8 engine.

 * L-4B Prospector
 * Canadian manufactured model, with removable rear seat and control, additional capacity, optional extra fuel tank and painted in a PA-12 color scheme.

 * Cammandre 1
 * A French conversion of J-3 Cub/L-4 aircraft

 * Poullin J.5A:Five L-4 Cubs converted by Jean Poullin for specialist tasks.
 * Poullin J.5B:A single L-4 Cub converted by Jean Poullin for specialist tasks
 * Wagner Twin Cub:A twin fuselage conversion of the J-3

Military

 * YO-59
 * Four US Army Air Corps test and evaluation J3C-65

 * O-59
 * Production version for the USAAC; 140 built later redesignated L-4

 * O-59A
 * Improved version, powered by a 65-hp (48-kW) Continental O-170-3 piston engine; 948 built, later redesignated L-4A

 * L-4
 * Redesignated YO-59 and O-59

 * L-4A
 * Redesignated O-59A.

 * L-4B
 * As per L-4A, but without radio equipment; 980 built

 * L-4C
 * Eight impressed J3L-65s, first two originally designated UC-83A

 * L-4D
 * Five impressed J3F-65s

 * L-4H
 * As per L-4B but with improved equipment and fixed-pitch propeller, 1801 built

 * L-4J
 * L-4H with controllable-pitch propeller, 1680 built

 * UC-83A
 * Two impressed J3L-65s, later redesignated L-4C

 * TG-8
 * Three-seat training glider variant, 250 built

 * LNP
 * United States Navy designation for three TG-8s received.

 * NE-1
 * United States Navy designation for dual-control version of J3C-65, 230 built

 * NE-2
 * As per NE-1 with minor equipment changes, 20 built

Civil
The aircraft has been popular with flying schools — especially from the pre-World War II existence of the Civilian Pilot Training Program using them in the United States — and remains so with private individuals, into the 21st century.

Military

 * Dutch East Indies
 * Royal Netherlands East Indies Army Air Force
 * Indonesian Air Force
 * Republic of Korea Air Force: Received 10 L-4s from the Army to create the Air Force in 1 October 1949. 8 L-4s were operational at the beginning of the Korean War. Lost 25 vehicles during the war.
 * Military of Paraguay - L-4
 * 🇹🇭 Thailand
 * Royal Thai Navy
 * Royal Air Force
 * United States Air Force
 * United States Army
 * United States Army Air Forces
 * United States Navy
 * Civil Air Patrol
 * United States Air Force
 * United States Army
 * United States Army Air Forces
 * United States Navy
 * Civil Air Patrol

title: Piper J-3 Cub


text:
Laingsburg

Laingsburg may refer to:

South Africa

 * Laingsburg Local Municipality, in the Western Cape province
 * Laingsburg, Western Cape, a town in the Laingsburg Local Municipality, Western Cape

United States

 * Laingsburg, Michigan, a city in Shiawassee County, Michigan

title: Laingsburg


text:
Leroy Jenkins (musician)

Leroy Jenkins (March 11, 1932 – February 24, 2007) was an American composer and violinist/violist.

Early life
Jenkins was born in Chicago, Illinois, United States. As a youth, he lived with his sister, his mother, two aunts, his grandmother, and, on occasions, a boarder, in a three-bedroom apartment. Jenkins was immersed in music from an early age, and recalled listening to Charlie Parker, Dizzy Gillespie, and singers such as Billy Eckstine and Louis Jordan. When Jenkins was around eight years old, one of his aunts brought home a boyfriend who played the violin. After hearing him play a difficult Hungarian dance, Jenkins begged his mother for a violin, and was given a red, half-size Montgomery Ward violin that cost twenty-five dollars. He began taking lessons, and was soon heard at St. Luke's Baptist Church, where he was frequently accompanied on piano by Ruth Jones, later known as Dinah Washington. Jenkins eventually joined the church choir and orchestra, and performed on the violin at church banquets, teas, and social events.

As a teenager, Jenkins entered DuSable High School, where he switched to clarinet and alto saxophone due to the fact that the school did not have an orchestra, limiting his opportunities to play the violin. During this time, he came under the influence of bandleader "Captain" Walter Dyett. After graduating, Jenkins attended Florida A&M University, where he resumed study of the violin. In 1961, he graduated with a degree in music education, then moved to Mobile, Alabama, where he taught music in the public school system for four years.

Career
In the mid-1960s, Jenkins moved back to Chicago, and took a job in the public school system. At one point, he attended an AACM event featuring music by Roscoe Mitchell, performed by Maurice McIntyre, Charles Clark, Malachi Favors, Alvin Fielder, and Thurman Barker. Jenkins recalled being both confused and excited, and was thrilled to be included in a collective improvisation after taking out his violin. He began participating in AACM rehearsals led by Muhal Richard Abrams, recalling: "it was something different, something where I could really be violinistic... I discovered that I would be able to play more of my instrument and I wouldn't have to worry about the cliches... I found out that I could really soar, I found out how I could really play." Jenkins would rehearse and perform with the group for roughly four years, and made his recording debut in 1967 on Abrams's Levels and Degrees of Light.

During this time, Jenkins began playing in a trio format with fellow AACM members Anthony Braxton and Leo Smith, recording the album 3 Compositions of New Jazz in 1968. (Abrams also appears on the album.) In 1969, the trio moved to Paris, where they began playing with drummer Steve McCall, who had moved to Europe several years prior, in a group that became known as the Creative Construction Company. While in Paris, Jenkins had to opportunity to perform with a wide range of musicians, including Archie Shepp and Philly Joe Jones, with whom he recorded, Alan Silva, on whose album Luna Surface he appeared, and Ornette Coleman, who at one point organized a joint Paris concert featuring the Creative Construction Company, the Art Ensemble of Chicago, and Coleman's own group. That same year, Jenkins participated in the recording of Braxton's album B-Xo/N-0-1-47a for BYG Actuel.

In 1970, Jenkins left Paris, later stating that he did not feel comfortable with the fact that he did not speak French, and moved to New York City. Upon his arrival, he reconnected with Coleman and moved into Coleman's Artists House loft, where he lived for several months. He recalled: "We stayed downstairs... It was cold down there, where we slept. Ornette gave us a mattress but he didn't realize how cold it was." Coleman served as Jenkins's mentor, introducing him to the many musicians who frequented his loft. Meanwhile, Jenkins continued performing and rehearsing with the Creative Construction Company, culminating in a concert at Greenwich Village's "Peace Church" on May 19, 1970. The concert, which also featured Muhal Richard Abrams and bassist Richard Davis, was recorded thanks to Coleman, who arranged for an engineer to be present, and was released by Muse Records in two volumes.

Following the May concert, Braxton joined Chick Corea's group, which became known as Circle. Jenkins went on to form the Revolutionary Ensemble with bassist Sirone and percussionist Jerome Cooper, a group that would last roughly six years. During the early and mid-1970s, he also performed and recorded with Alice Coltrane, Don Cherry, Carla Bley, Grachan Moncur III, Rahsaan Roland Kirk, Paul Motian, Dewey Redman, and Archie Shepp. In 1974, the Jazz Composer's Orchestra commissioned Jenkins to compose a large-scale work, resulting in the album For Players Only. In 1975, he recorded Swift Are the Winds of Life, an album of duets with drummer Rashied Ali. These albums would be followed by over a dozen releases under his name over the next thirty years.

During the late 1970s, Jenkins performed and recorded with pianist/composer Anthony Davis and drummer Andrew Cyrille, and in the early 1980s, he formed a band called Sting, with two violins, two guitars, electric bass, and drums. During this time, in addition to placing in reader and critic polls in Jazz Magazine and DownBeat, he began receiving greater recognition as a composer, garnering commissions and grants from the New York State Council on the Arts, the New York Foundation for the Arts, and the National Endowment for the Arts, and performances from groups like the Kronos Quartet, the Brooklyn Philharmonic, the New Music Consort, the Pittsburgh New Music Ensemble, and the Cleveland Chamber Symphony, among others. In the late 1980s, Jenkins toured and recorded with Cecil Taylor, and received a commission from Hans Werner Henze, artistic director of the Munich Biennial New Music Theatre Festival, enabling him to compose Mother of Three Sons, a dance-opera based on African mythology, in collaboration with choreographer/director Bill T. Jones and librettist Ann T. Greene. The work was premiered in Munich in 1990, and was also performed by the New York City Opera (US premiere, 1991) and the Houston Grand Opera (1992).

The 1990s and 2000s saw a continuation of Jenkins's success as a composer. New works included Fresh Faust, a jazz-rap opera, written for Boston's Institute of Contemporary Art; The Negro Burial Ground, a cantata presented by The Kitchen and workshopped at UMass Amherst; the opera The Three Willies, presented at the Painted Bride in Philadelphia and at the Kitchen; and Coincidents an opera with librettist Mary Griffin, performed at Roulette in New York. He also participated in a reunion of the Revolutionary Ensemble, and performed and recorded with the group Equal Interest, which featured Jenkins on violin, Joseph Jarman on woodwinds, and Myra Melford on piano. He collaborated and toured with various choreographers, and formed a world-music improvisation ensemble. In 2004, he was awarded a Guggenheim Fellowship. Jenkins also held residencies at a number of American universities, including Duke, Carnegie Mellon, Williams, Brown, Harvard, and Oberlin.

Death
Jenkins died from lung cancer on February 24, 2007, in New York City, at the age of 74. At the time of his death he was working on two new operas: Bronzeville, a history of South Side Chicago, and Minor Triad, a music drama about Paul Robeson, Lena Horne, and Cab Calloway.

As leader/co-leader

 * For Players Only (JCOA Records, 1975, LP)
 * Swift Are the Winds of Life (Survival, 1976, LP)
 * Solo Concert (India Navigation, 1977, LP)
 * Lifelong Ambitions (Black Saint, 1981, LP; 1993, CD)
 * The Legend of Ai Glatson (Black Saint, 1978, LP; 1993, CD)
 * Space Minds, New Worlds, Survival of America (Tomato, 1979, LP; 1989, CD)
 * Mixed Quintet (Black Saint, 1983, LP; 1997, CD)
 * Straight Ahead/Free at Last (Red Record, 1980, LP)
 * Urban Blues (Black Saint, 1984, LP; 1997, CD)
 * Leroy Jenkins Live! (Black Saint, 1993, CD)
 * Themes & Improvisations on the Blues (CRI eXchange, 1994, CD) with Soldier String Quartet, Henry Threadgill, Marty Ehrlich
 * Out of the Mist (Ocean, 1997, CD) with Joseph Jarman
 * Solo (Lovely Music, 1998, CD)
 * Equal Interest (Omnitone Records, 1999, CD) as Equal Interest: with Joseph Jarman and Myra Melford
 * The Art of Improvisation (Mutable Music, 2005, CD) with Driftwood

With the Revolutionary Ensemble
 * Vietnam (ESP-Disk, 1972)
 * Manhattan Cycles (India Navigation, 1973)
 * The Psyche (RE Records, 1975)
 * The Peoples Republic (A&M/Horizon, 1976)
 * Revolutionary Ensemble (Enja, 1977)
 * And Now... (Pi Recordings, 2004)
 * Beyond the Boundary of Time (Mutable Music, 2008)
 * Counterparts (Mutable Music, 2012)

With others
With Muhal Richard Abrams
 * Levels and Degrees of Light (Delmark, 1968)
 * Mama and Daddy (Black Saint, 1980)

With Carla Bley With Joe Bonner With Anthony Braxton
 * Escalator over the Hill (JCOA Records/ECM, 1971, 3LPs)
 * Angel Eyes (Muse, 1976)
 * 3 Compositions of New Jazz (Delmark, 1968, LP; Delmark, 1991, CD)
 * Silence (Freedom Records, 1975, LP)
 * Anthony Braxton (BYG Actuel, 1969, LP)
 * This Time... (BYG Actuel, 1970, LP)
 * New York, Fall 1974 (Arista, 1975, LP)

With Thomas Buckner
 * Sign of the Times (Lovely Music, 1994, CD)

With Don Cherry
 * Relativity Suite (JCOA Records, 1973, LP)

With Alice Coltrane
 * Universal Consciousness (Impulse!, 1971)
 * World Galaxy (Impulse!, 1972)

With Creative Construction Company
 * Creative Construction Company (Muse, 1970 [1975])
 * Creative Construction Company Vol. II (Muse, 1970 [1976])

With Anthony Davis
 * Of Blues and Dreams (Sackville 3032, 1979)

With James Emery
 * Artlife (Lumina Records, 1982, LP)

With Carl Hancock Rux
 * Apothecary Rx (Giant Step, 2004)
 * Good Bread Alley (Thirsty Ear, 2006)

With Rahsaan Roland Kirk
 * Rahsaan Rahsaan (Atlantic, 1970)

With George E. Lewis
 * Shadowgraph (Black Saint, 1978, LP; 1998, CD)

With Grachan Moncur III
 * Echoes of Prayer (JCOA Records, 1974, LP [1975])

With Paul Motian
 * Conception Vessel (ECM, 1973)

With Mtume
 * Allkebu-Lan (Land of the Blacks) at the East (Strata East, 1972, 2LPs)

With Dewey Redman
 * Coincide (Impulse!, 1974)

With Jeffrey Schanzer
 * Vistas (Music Vistas, 1987, LP)

With Archie Shepp
 * Archie Shepp & Philly Joe Jones (Fantasy Records, 1975, LP)
 * Pitchin Can (American Records, 1970, LP)
 * Things Have Got to Change (Impulse Records, 1971, LP)
 * Attica Blues (Impulse, 1972, LP)
 * Black Gipsy (Prestige Records, 1977, LP)
 * The Cry of My People (Impulse, 1973, LP)

With Alan Silva
 * Luna Surface (BYG, 1969)

With Cecil Taylor
 * Live in Bologna, Leo Records (1988, 2 LPs; 1988, CD)
 * Live in Vienna, (Leo Records, 1988, 2 LPs-Limited edition; 1991, CD)

With Henry Threadgill
 * Too Much Sugar for a Dime (Axiom, 1993, CD)

Grants

 * Fromm Music Foundation, Harvard University, commission, 2003
 * New York State Council on the Arts, Nyasaland, 2002; Jenkins Squared, 2000
 * Meet the Composer, Color Eugoloid for the Relâche Ensemble, 2002; Three Willies, 1996
 * The Aaron Copland Fund for Music, Coincidents, 2002
 * Ford Foundation, Three Willies, 2001
 * Animating Democracy, Americans for the Arts (funded by the Ford Foundation and the NEA), Three Willies, 2001
 * Mutable Music, brass quartet and voice piece, 1998; trio and voice piece, 1991
 * Rockefeller Foundation, The Negros Burial Ground, 1996; Fresh Faust, 1992
 * Mary Flagler Cary Trust, The Negros Burial Ground, 1995
 * New York Foundation for the Arts, music fellowship, 1992, 1986
 * Munich Biennial New Music Theatre Festival, The Mother of Three Sons, 1990
 * National Endowment for the Arts, special projects grant, 1990, 1988, 1984
 * National Endowment for the Arts, jazz composition fellowship, 1987, 1979, 1973
 * Creative Arts Program, service grant, 1974

Awards

 * The ASCAP Foundation Rudolf Nissim Prize, Concerto for Improvised Violin and Orchestra, 2006
 * Nominated for United States Artists Fellowships, 2006
 * John Simon Guggenheim Memorial Foundation Fellowship, 2004
 * The New York Dance and Performance Bessie Awards, The Mother of Three Sons, 1992
 * Downbeat Magazine International Critics’ and Readers’ Poll, awardee, 1987, 1972
 * Jazz Magazine Poll for violin, awardee, 1979
 * Downbeat Magazine Talent Deserving Wider Recognition, awardee, 1974

Teaching

 * Artist in Residence, California Institute of the Arts, Valencia, CA, 2002 spring
 * Composer in Residence, Other Minds Festival, San Francisco, CA, 2000
 * Artist in Residence, Harvestworks, New York, NY, 2000
 * Master Artist in Residence, Atlantic Center for the Arts, New Smyrna Beach, FL 1993
 * Artist in Residence, Atlanta Virtuosi, Atlanta, GA, 1991
 * Composer in Residence, Oberlin Conservatory, Oberlin, OH, 1975 and 1990
 * Visiting Professor, Carnegie-Mellon University, Pittsburgh, PA, 1989 spring

Professional memberships

 * Board of Directors, Meet The Composer (founding member)
 * Association for the Advancement of Creative Musicians (AACM)
 * SESAC
 * Atlantic Center for the Arts

Education

 * Florida A&M University, Tallahassee, Florida – B. A. in Music Education (full music scholarship)
 * American Conservatory of Music, Chicago, Illinois
 * DuSable High School, Captain Walter Dyett, Chicago, Illinois

title: Leroy Jenkins (musician)


text:
Wikipedia:Featured article candidates/Ian McKellen/archive1

Ian McKellen
This is a superb example of a pithy contemporary biography. It hits the high points without lingering on inanities (length does not necessarily equal quality), and the quotes bring the subject to life. My only quibble—and it's a minor one—is the forced quality of the final paragraph of the lead. --TreyHarris 09:20, 5 Jun 2004 (UTC)
 * I'm a fan of Sir Ian, but while it's interesting, this article needs a little work yet. Contractions need to be repaired (not "wasn't," but "was not"), the writing needs tweaking in some areas, and some information needs fleshing out (for example, why was his portrayal of King Edward controversial?). It's also a bit strange that halfway through the article the noun changes from 'homosexual' to 'gay' (and gay is the preferred word, according to Wikipedia's relevant manual of style). I think this could be a FA, but perhaps not quite yet. Exploding Boy 09:36, Jun 5, 2004 (UTC)
 * These objections have been dealt with except for "writing needs tweaking in some areas." Will you define that objection actionably, please? --TreyHarris 17:13, 15 Jun 2004 (UTC)
 * Since the remaining objection is not actionable, I'm moving this back to articles without objection. --TreyHarris 17:12, 16 Jun 2004 (UTC)

 * It really needs a picture of Sir McKellen as Gandalf. (Not a vote against.) Fredrik (talk) 15:01, 5 Jun 2004 (UTC)
 * It now has one (thanks to Lupin). --TreyHarris 17:12, 16 Jun 2004 (UTC)

 * Object. First, the lead's too short (honesty: This is my fault, I've moved a paragraph out of the lead section into the early life section, because it wasn't very lead-section-like. I do think we need a better lead section, though.) Secondly, a comment, and not technically an objection (because it won't be "actionable"), I get the impression that the article is a little short on information — TreyHarris commends the article for this ("without lingering on inanities"), and to an extent I agree, but I think it might be on the sparse side, fact-wise. I don't know much about McKellen (except Gandalf), but glancing through some Google biographies, I see details there that we don't include; if Wikipedia is to be a decent reference resource, I think we should try to be relatively complete (without going to extremes of detail and making it boring). The only "actionable" detail in this regard is a discussion of his role in Richard III, which is mentioned here and there in other online biographies, even "mini-biographies". — Matt 22:32, 16 Jun 2004 (UTC)
 * I have expanded the intro by a sentence and have added a paragraph on his American-release film roles, including Richard III. But honestly I think the great amount of detail lavished on Richard III in many of the bios online is slightly bizarre.  It was a good role, but I don't see any reason to "discuss" it, per se, beyond what I've done in the article. It wasn't anything earth-shattering for him—he'd done plenty of Shakespeare on stage and screen before. --TreyHarris 07:02, 23 Jun 2004 (UTC)

 * Support. James F. (talk) 17:45, 24 Jun 2004 (UTC)

'Sir Ian' or 'McKellen'?

 * The article refers to Sir Ian McKellan as "McKellan," but should not references be instead to "Sir Ian," as is perhaps appropriate for knights? -- Emsworth 18:10, Jun 5, 2004 (UTC)
 * I think "McKellen" is correct. Looking within Wikipedia, I've been unable to find a biography of a knighted person that consistently refers to "Sir" or "Dame", instead preferring last name. Most news articles in a Google News search of "Ian McKellen" (including most non-British ones, and virtually all non-Commonwealth ones) refer to him only as "McKellen".  Of the remaining, most used "Sir Ian" once or twice, and then switched to "McKellen".--TreyHarris 09:00, 6 Jun 2004 (UTC)
 * It's usual British practice to refer to knights as "Sir Firstname" after the first reference (on the BBC News website, for instance, he's always "Sir Ian McKellen" then "Sir Ian"). It's only natural that people in countries without knighthoods don't know how to use them in referring to people. That doesn't mean their practices are more correct than those within countries with knighthoods. Proteus (Talk) 10:26, 6 Jun 2004 (UTC)
 * According to the Manual of Style, we go with British usage on this--I'll change it. Meelar 16:01, 6 Jun 2004 (UTC)
 * There is nothing in the Manual of Style about references to knighted individuals, I'm not sure what you're talking about. If you're saying that "standard British usage is Sir Ian, therefore since this article is about a British subject the Manual of Style says we should use British usage," you're making an assumption?that 'Sir Ian' is a standard British usage.  Take a look at this Telegraph article, for instance?where the headline contains 'Sir Ian', but none of the editorial writing does.
 * Or better yet, just look at this?the Google News listing of all news articles from UK sources. For this purpose, we should be looking only at editorial usage, not usage in quotations. At the moment I write this, there are 25 articles listed.  Of those (referring only to second and following references in editorial content rather than quotations):
 * 1 uses Sir Ian exclusively:
 * 7 use McKellen exclusively:
 * 10 don't refer to Ian McKellen by name a second time:
 * 3 don't refer to Ian McKellen as 'Sir' even the first time:   (though the last refers to him in 1987, when he wasn't knighted yet)
 * 4 require a paid subscription, which I didn't pay:
 * My point is, I'm not claiming that American usage should win the day?I'm saying that British usage isn't consistent here. The assumption that we need to change "McKellen" to "Sir Ian" en masse needs to be reconsidered, I think.  Don't be so quick to see something "broken" that needs "fixing." --TreyHarris 03:31, 8 Jun 2004 (UTC)

 * Well, you're lucky Wikipedia crashed before I could get to it ;) Meelar 05:40, 8 Jun 2004 (UTC)

 * I strongly disagree that "It's usual British practice to refer to knights as "Sir Firstname" after the first reference". It looks very cheesy to me. Please leave it! Markalexander100 06:29, 8 Jun 2004 (UTC)

 * Umm, whut? Whether or not you think it flows neatly, the correct semi-informal salutation is "Sir Ian", not "McKellan", nor "Ian", nor "Mr. Beardie", yes? And we at Wikipedia strive to be correct in all things, now don't we? ;-)
 * James F. (talk) 09:38, 8 Jun 2004 (UTC)

 * I don't understand. Where do you get that it's "correct"?  See my statistics above? if you're saying that "Sir Ian" rather than "McKellen" is "correct", you need to explain why the British press is "incorrect", seven to one. --TreyHarris 15:16, 8 Jun 2004 (UTC)

 * Correct form (in the UK at least) is not determined by popularity, and the British press are absolutely incapable of getting it right most of the time. (The most respectable paper, The Times, consistently refers to Knights as "Sir Firstname" in its articles.) If you want evidence, I suggest you look at Debrett's Correct Form rather than a survey of Google News. Proteus (Talk) 16:37, 8 Jun 2004 (UTC)

 * I agree with Proteus on the British press. I'm sure that a survey would show that many use absurd styles such as "Prince Charles" or "Baroness Helena Kennedy." -- Emsworth 20:35, Jun 8, 2004 (UTC)

 * "Debrett's Correct Form" has something of an interest in perpetuating cheesy class distinctions.  The idea that the Times must be right because Proteus considers it respectable is... interesting. Markalexander100 00:52, 9 Jun 2004 (UTC)

 * For the second time in the discussion, you call the honours system 'cheesy' with nothing other than your assertion that it's either a bad thing for us to use it or that it not doing so would be a good thing. Wikipedia isn't the place to push a republican POV, really; the Crown's decisions as to protocol are, in a way, POV, yes, but they are 'higher', more neutral, POV than others. It's a bit like the SI's definition of the metre being a 'higher' POV that the US government's (were they to disagree). I fully agree with Proteus, Emsworth, FWIW.
 * 01:24, 9 Jun 2004 (UTC)

 * My point was just that in the absence of any authority, there's no reason not to use the most common British usage.  The idea that the Crown's POV on questions of nobility is NPOV because you like it is POV. ;-) What any of this has to do with this being a featured article I don't know. :-( Is anyone actually worried enough about this to object to the article being featured in its current state?  If not, we can talk about something less trivial. Markalexander100 03:01, 9 Jun 2004 (UTC)

Wait wait wait. Firstly, what newspapers do, or formal usage, is not necessarily what wikipedia should do. Sir Robert Peel, for instance, is always referred to as "Peel". His ministry is always "Peel's ministry", and never "Sir Robert's ministry". I'd say this is true for just about every knight or baronet who's ever been in government. If this is true for 19th century figures, then it seems silly to be more formal for a contemporary actor like Ian McKellen. On the other hand, I'd note that the formal styles and titles of nobility are not "the Crown's POV". Noble titles and so forth are regulated by law. It's not just that the crown says one thing, and people say another. There are formal rules about it. But I don't think that's a reason to use "Sir Ian" in an encyclopedia article. See Columbia's articles on Peel, Walpole, Campbell-Bannerman. I've never seen a historical write up that refers to these people as "Sir Robert," "Sir Robert," and "Sir Henry." john '''k 04:07, 9 Jun 2004 (UTC)

 * 1911 Britannica: Sir Robert Peel, Sir Henry Campbell-Bannerman. The articles refer to "Sir Robert" and "Sir Henry" for the time the individual in question held the baronetcy or knighthood. -- Emsworth 10:34, Jun 9, 2004 (UTC)

 * But 1911 also refers to everyone as "Mr. Lastname." I think this reinforces my point that "Sir Firstname" is the equivalent not of "Lastname" but of "Mr. Lastname", which Wikipedia does not use. john k 21:49, 9 Jun 2004 (UTC)

 * Not necessarily. Consider Stephen Grover Cleveland -- Emsworth 22:02, Jun 9, 2004 (UTC)

 * Hmm...so perhaps the use of "Mr." is confined to Brits... At any rate, I don't see why we should follow the style guidelines of an encyclopedia from 1911. john k 02:00, 10 Jun 2004 (UTC)

Let me add that "Sir Ian" is equivalent to "Mr. McKellan" (if he were not a knight), and not to use of the last name only, which is used for both knights and non-knights. If we were the New York Times, I'd be all for "Sir Ian", but we are not. john '''k 04:09, 9 Jun 2004 (UTC)
 * Noble titles and so forth are regulated by law. Are you saying that there's a law on the British statute book that says how a knight must be referred to?  If so, I would find that surprising.  If not, I don't see the relevance. Markalexander100 05:04, 9 Jun 2004 (UTC)

 * One must point out that British law is not composed just of statutes. One must also note common law, the Royal prerogative, custom and tradition. Now, it has been suggested that referring to knights as "Sir X" is POV. This assertion is completely without basis: the individual in question is a knight, insofarasmuch as the law is concerned, and in legal documents would be referred to as "Sir X." -- Emsworth 21:59, Jun 9, 2004 (UTC)
 * in legal documents would be referred to as "Sir X." I very much doubt that any legal document would be so imprecise.  It's also completely irrelevant: an encyclopedia is not a legal document, legal terminology is almost by definition not the usual terminology, etc. etc.  So until we end up drunk in a pub together, when we might want to continue this fascinating discussion, Is anyone actually worried enough about this to object to the article being featured in its current state?  If not, we can talk about something less trivial.  Markalexander100 01:53, 10 Jun 2004 (UTC)
 * Then what, pray, would you suggest for a legal document, if Sir X is insufficient? -- Emsworth 10:24, Jun 10, 2004 (UTC)
 * My answer is both obvious and correct, but it's not relevant to this discussion, so I'll tell you in the pub. Markalexander100 01:17, 11 Jun 2004 (UTC)

Noble titles are certainly regulated by law. The Duke of Westminster is the Duke of Westminster legally - it is not an affectation which can be disputed as "the Royal POV." I believe that much of the rest of it is also regulated by law - that sons of Dukes and Marquesses can preface their names with "Lord," that daughters of Dukes, Marquesses, and Earls with "Lady," and so forth. Certainly these people get passports, and other official documents, under such names. Some of it is not, of course, a matter regulated by law, but it is no more POV to say that there is a correct and an incorrect way of referring to people than it is to insist on correct spelling, or something like that. Just because the media is too lazy to get it right doesn't meant that there isn't a correct way to refer to people. But, at any rate, I don't think this applies to the question at hand. You would not refer to Ian McKellen as "Mr. McKellen." That would be incorrect - if you wished to do that, you should call him "Sir Ian" instead. But calling him "McKellen" is perfectly correct, and is just like calling somebody who is not a knight (or baronet) by their last name, which is done all the time. john k 06:34, 9 Jun 2004 (UTC)


text:
Lem

Lem may refer to:

Places

 * 3836 Lem, an asteroid named after Stanisław Lem
 * Lem, Denmark, a municipality in Jutland

Given name or nickname
(Alphabetical by surname)
 * Lemuel Lem Barney (born 1945), American football player
 * Lem Billings (1916–1981), John F. Kennedy's friend
 * Lem Burnham (born 1947), American football player
 * Lem Cross (1872–1930), American Major League Baseball player
 * George Lewis Lem Davis (1914–1970), American jazz saxophonist
 * Lemuel Davis (born 1953), American software engineer
 * Anton Lemuel Lem Dobbs (born 1959), British-American screenwriter
 * Henry Honiball (born 1965), nicknamed "Lem", South African rugby player
 * Lemuel Lem Johnson (1909–1989), American jazz saxophonist
 * Lem T. Jones, Jr. (1924–1995), American politician
 * Thomas Lemuel Lem Johns (1925–2014), American Secret Service agent present during the assassination of John F. Kennedy
 * Lem Overpeck (1911–2003), American politician, Lieutenant Governor of South Dakota
 * Lem Tucker (1938–1991), American journalist
 * Lem Winchester (1928–1961), American jazz vibraphone player

Pen name

 * Huw Davies, aka Lem, British artist and author of the webcomic Bunny
 * Charles Antoine Lemaire (1800–1871), author typically referred to as Lem

Surname

 * George Ho Lem (1918–2005), Canadian politician
 * Gerard van der Lem (born 1952), Dutch footballer
 * Hans Lem (1875–?), Norwegian gymnast
 * Nguyễn Văn Lém (died 1968), Vietnamese communist guerrilla fighter
 * Peter Mandrup Lem (1758–1828), Danish violin virtuoso
 * Stanisław Lem (1921–2006), Polish science fiction writer

Fictional entities

 * Lem, the main character in the animated science fiction comedy film Planet 51 (2009)
 * Curtis Lemansky, nicknamed Lem, a fictional character in the television series The Shield
 * Lem Nikodinoski, the protagonist in Zhivko Chingo's children's book The Great Water
 * The Lem, a fictional alien race in the Marvel Universe
 * Lem Van Adams, a fictional character in the television series Soul Food
 * Vladimir Lem, a fictional character in Max Payne 1 and 2

Space constructions

 * Lem (satellite), the first Polish scientific satellite, named after Polish science fiction writer Stanisław Lem
 * Apollo Lunar Module, of the NASA Moon missions, better known as the Lunar Excursion Module (LEM)

Other uses

 * lem, ISO 639-3 code for the Mandi language of Cameroon

title: Lem


text:
Maurice Johnston

Maurice Johnston may refer to:

 * Maurice Robert Johnston (born 1929), British Army general
 * Mo Johnston (born 1963), Scottish footballer

title: Maurice Johnston