text:
Talk:Democratic globalization

=Requested move=

Untitled
Both are equivalent neologisms, but Mundialisation is the correct term (Democratic globalization is simply a neologistic synthesis of common words).

Discussion
The neologism "mundialization" is a bit unfortunate because this term seems to have been inspired from the French word mondialisation. However, this French word simply means "globalization", nothing more or less. So those who coined this neologism from the French have intentionally created a linguistic false friend, whereby "mundialization" doesn't mean the same thing as its cognate etymological source. -- Curps 02:55, 3 October 2005 (UTC)
 * That may be, but, as was previously mentioned, the Wikipedia is a secondary source. We're responsible for echoing the world's knowledge, not modifying it to make it better. Regardless, I've realised that a merge may be more appropriate; should I remove it from the RfM? // Pathoschild 13:41, 3 October 2005 (UTC)
 * It was merely an observation on my part, not an argument against the move. If a merge is done, which title would be the merged article and which would be the redirect to it?  If the existing title (corresponding to this talk page), then I guess the WP:RM listing becomes superfluous. On the other hand if the issue is likely to arise again in the future, it might be useful to try to see if there's any feedback from someone else. -- Curps 07:19, 5 October 2005 (UTC)

Descision
For various reasons (including the article already exists!), there seems to be a lack of consensus for moving the page. Ryan Norton T 11:49, 15 October 2005 (UTC)

"mundialization"
''The below is copied from User_Talk:Pathoschild. Please do not comment inside this box.''

"Mundialization" is not an English word, I moved the article back. -- Curps 22:26, 2 October 2005 (UTC)
 * Mundialization is a term coined as a more democratic form of globalization; see a google search. It's a reasonably popular world movement, and as such should be considered a valid word even if it hasn't made it to the paper encyclopedias. However, I'm not the advocate of the change; I just moved it for the unregistered contributor who is. I'll refer him to you, if he wishes to discuss the move. // Pathoschild 22:40, 2 October 2005 (UTC)
 * It seems to be a neologism with limited use. In general, Wikipedia's policy is to use common names, and it's not Wikipedia's job to promote or popularize neologisms... first they have to catch on in the world on their own, and only then Wikipedia takes note of that fact (that is, as an encycopedia, Wikipedia is a secondary source and not a primary source).  I suppose you could list it at Requested moves and gather feedback. -- Curps 00:54, 3 October 2005 (UTC)
 * Neither term is very common. Mundialization is simply the neologism for "Democratic globalization". If you compare, you'll find that the former has 952 results and the latter has 883 results. "Democratic globalization" is, as far as I can tell, simply the synthesis of common words to mean the same thing. // Pathoschild 01:19, 3 October 2005 (UTC)

 * Well, your move was actually from "Democratic globalization" to "Democratic mundialization", rather than to just "Mundialization". So it appeared that you were simply using "mundialization" as a synonym for "globalization", and that would fail the "use common names" test since the latter is much more common than the former.

 * If you now wish to move "Democratic globalization" to just "Mundialization", well, I suppose Requested moves might be a suitable place to gather feedback (you add a one-line listing there for the proposed change, which links back to the discussion page at Talk:Democratic globalization where the actual discussion of the proposed move takes place. See some of the other pages there for examples). -- Curps 01:39, 3 October 2005 (UTC)

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title: Talk:Democratic globalization


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Polar motion

Polar motion of the Earth is the motion of the Earth's rotational axis relative to its crust. This is measured with respect to a reference frame in which the solid Earth is fixed (a so-called Earth-centered, Earth-fixed or ECEF reference frame). This variation is a few meters on the surface of the Earth.

Analysis
Polar motion is defined relative to a conventionally defined reference axis, the CIO (Conventional International Origin), being the pole's average location over the year 1900. It consists of three major components: a free oscillation called Chandler wobble with a period of about 435 days, an annual oscillation, and an irregular drift in the direction of the 80th meridian west, which has lately been less extremely west.

Causes
The slow drift, about 20 m since 1900, is partly due to motions in the Earth's core and mantle, and partly to the redistribution of water mass as the Greenland ice sheet melts, and to isostatic rebound, i.e. the slow rise of land that was formerly burdened with ice sheets or glaciers. The drift is roughly along the 80th meridian west. Since about 2000, the pole has found a less extreme drift, which is roughly along the central meridian. This less dramatically westward drift of motion is attributed to the global scale mass transport between the oceans and the continents.

Major earthquakes cause abrupt polar motion by altering the volume distribution of the Earth's solid mass. These shifts are quite small in magnitude relative to the long-term core/mantle and isostatic rebound components of polar motion.

Principle
In the absence of external torques, the vector of the angular momentum M of a rotating system remains constant and is directed toward a fixed point in space. If the earth were perfectly symmetrical and rigid, M would remain aligned with its axis of symmetry, which would also be its axis of rotation. In the case of the Earth, it is almost identical with its axis of rotation, with the discrepancy due to shifts of mass on the planet's surface. The vector of the figure axis F of the system (or maximum principal axis, the axis which yields the largest value of moment of inertia) wobbles around M. This motion is called Euler's free nutation. For a rigid Earth which is an oblate spheroid to a good approximation, the figure axis F would be its geometric axis defined by the geographic north and south pole, and identical with the axis of its polar moment of inertia. The Euler period of free nutation is

(1) τE = 1/νE = A/(C − A) sidereal days ≈ 307 sidereal days ≈ 0.84 sidereal years

is the normalized Euler frequency (in units of reciprocal years), is the polar moment of inertia of the Earth, A is its mean equatorial moment of inertia, and C − A = 2.61 × 1035 kg m2.

The observed angle between the figure axis of the Earth F and its angular momentum M is a few hundred milliarcseconds (mas). This rotation can be interpreted as a linear displacement of either geographical pole amounting to several meters on the surface of the Earth: 100 mas subtends an arc length of 3.082 m, when converted to radians and multiplied by the Earth's polar radius (6,356,752.3 m). Using the geometric axis as the primary axis of a new body-fixed coordinate system, one arrives at the Euler equation of a gyroscope describing the apparent motion of the rotation axis about the geometric axis of the Earth. This is the so-called polar motion.

Observations show that the figure axis exhibits an annual wobble forced by surface mass displacement via atmospheric and/or ocean dynamics, while the free nutation is much larger than the Euler period and of the order of 435 to 445 sidereal days. This observed free nutation is called Chandler wobble. There exist, in addition, polar motions with smaller periods of the order of decades. Finally, a secular polar drift of about 0.10m per year in the direction of 80° west has been observed which is due to mass redistribution within the Earth's interior by continental drift, and/or slow motions within mantle and core which gives rise to changes of the moment of inertia.

The annual variation was discovered by Karl Friedrich Küstner in 1885 by exact measurements of the variation of the latitude of stars, while S.C. Chandler found the free nutation in 1891. Both periods superpose, giving rise to a beat frequency with a period of about 5 to 8 years (see Figure 1).

This polar motion should not be confused with the changing direction of the Earth's rotation axis relative to the stars with different periods, caused mostly by the torques on the Geoid due to the gravitational attraction of the Moon and Sun. They are also called nutations, except for the slowest, which is the precession of the equinoxes.

Observations
Polar motion is observed routinely by space geodesy methods such as very-long-baseline interferometry, lunar laser ranging and satellite laser ranging. The annual component is rather constant in amplitude, and its frequency varies by not more than 1 to 2%. The amplitude of the Chandler wobble, however, varies by a factor of three, and its frequency by up to 7%. Its maximum amplitude during the last 100 years never exceeded 230 mas.

The Chandler wobble is usually considered a resonance phenomenon, a free nutation that is excited by a source and then dies away with a time constant τD of the order of 100 years. It is a measure of the elastic reaction of the Earth. It is also the explanation for the deviation of the Chandler period from the Euler period. However, rather than dying away, the Chandler wobble, continuously observed for more than 100 years, varies in amplitude and shows a sometimes rapid frequency shift within a few years. This reciprocal behavior between amplitude and frequency has been described by the empirical formula:

(2) m = 3.7/(ν − 0.816)  (for 0.83 < ν < 0.9)

with m the observed amplitude (in units of mas), and ν the frequency (in units of reciprocal sidereal years) of the Chandler wobble. In order to generate the Chandler wobble, recurring excitation is necessary. Seismic activity, groundwater movement, snow load, or atmospheric interannual dynamics have been suggested as such recurring forces, e.g. Atmospheric excitation seems to be the most likely candidate. Others propose a combination of atmospheric and oceanic processes, with the dominant excitation mechanism being ocean‐bottom pressure fluctuations.

Current and historic polar motion data is available from the International Earth Rotation and Reference Systems Service's Earth orientation parameters. Note in using this data that the convention is to define $p_{x}$ to be positive along 0° longitude and $p_{y}$ to be positive along 90°E longitude.

Annual component
There is now general agreement that the annual component of polar motion is a forced motion excited predominantly by atmospheric dynamics. There exist two external forces to excite polar motion: atmospheric winds, and pressure loading. The main component is pressure forcing, which is a standing wave of the form:

(3) p = p0Θ$$(θ) cos[2πνA(t − t0)] cos(λ − λ0)

with p0 a pressure amplitude, Θ$$ a Hough function describing the latitude distribution of the atmospheric pressure on the ground, θ the geographic co-latitude, t the time of year, t0 a time delay, the normalized frequency of one solar year, λ the longitude, and λ0 the longitude of maximum pressure. The Hough function in a first approximation is proportional to sin θ cos θ. Such standing wave represents the seasonally varying spatial difference of the Earth's surface pressure. In northern winter, there is a pressure high over the North Atlantic Ocean and a pressure low over Siberia with temperature differences of the order of 50°, and vice versa in summer, thus an unbalanced mass distribution on the surface of the Earth. The position of the vector m of the annual component describes an ellipse (Figure 2). The calculated ratio between major and minor axis of the ellipse is

(4) m1/m2 = νC

where νC is the Chandler resonance frequency. The result is in good agreement with the observations.

From Figure 2 together with eq.(4), one obtains, corresponding to a Chandler resonance period of

(5) τC = 441 sidereal days = 1.20 sidereal years

, the latitude of maximum pressure, and.

It is difficult to estimate the effect of the ocean, which may slightly increase the value of maximum ground pressure necessary to generate the annual wobble. This ocean effect has been estimated to be of the order of 5–10%.

Chandler wobble
It is improbable that the internal parameters of the Earth responsible for the Chandler wobble would be time dependent on such short time intervals. Moreover, the observed stability of the annual component argues against any hypothesis of a variable Chandler resonance frequency. One possible explanation for the observed frequency-amplitude behavior would be a forced, but slowly changing quasi-periodic excitation by interannually varying atmospheric dynamics. Indeed, a quasi-14 month period has been found in coupled ocean-atmosphere general circulation models, and a regional 14-month signal in regional sea surface temperature has been observed.

To describe such behavior theoretically, one starts with the Euler equation with pressure loading as in eq.(3), however now with a slowly changing frequency ν, and replaces the frequency ν by a complex frequency ν + iνD, where νD simulates dissipation due to the elastic reaction of the Earth's interior. As in Figure 2, the result is the sum of a prograde and a retrograde circular polarized wave. For frequencies ν < 0.9 the retrograde wave can be neglected, and there remains the circular propagating prograde wave where the vector of polar motion moves on a circle in anti-clockwise direction. The magnitude of m becomes:

(6) m = 14.5 p0 νC/[(ν − νC)2 + νD2]$1/2$  (for ν < 0.9)

It is a resonance curve which can be approximated at its flanks by

(7) m ≈ 14.5 p0 νC/|ν − νC|  (for (ν − νC)2 ≫ νD2)

The maximum amplitude of m at becomes

(8) mmax = 14.5 p0 νC/νD

In the range of validity of the empirical formula eq.(2), there is reasonable agreement with eq.(7). From eqs.(2) and (7), one finds the number p0 ∼ 0.2 hPa. The observed maximum value of m yields mmax ≥ 230 mas. Together with eq.(8), one obtains

(9) τD = 1/νD ≥ 100 years

The number of the maximum pressure amplitude is tiny, indeed. It clearly indicates the resonance amplification of Chandler wobble in the environment of the Chandler resonance frequency.

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

title: Polar motion


text:
Beastie Boys Anthology: The Sounds of Science

Beastie Boys Anthology: The Sounds of Science is the first anthology album by American rap rock group Beastie Boys composed of greatest hits, B-sides, and previously unreleased tracks. The retail release comes with a tri-fold sleeve that displays the majority of the band's album covers, as well as a booklet of liner notes. The title of the anthology is from the song of the same name, featured on their second album, Paul's Boutique.

Customers could also purchase through mail order a custom version of the album from Grand Royal featuring the B-sides and rarities.

Omission of "Rock Hard"
The band wanted to include their first major-label single "Rock Hard", which had been out of print since 1985, on this compilation. However, the song was not included because it contained samples from the AC/DC song "Back in Black", which were used without permission. Their desire to include the song was thwarted when AC/DC refused to grant clearance for the sample to be used. Mike D spoke to AC/DC's Malcolm Young personally on the phone when their lawyers refused to clear the sample, to no avail.


text:
User:Yex~enwiki

Haloo. I am Yex. I am a free-thinking radical jew whose interests include Marxism, Hinduism, chess, and history.

Political Views: My political views are based primarily on Trotskyism (Marxism-Leninism as interpreted by Leon Trotsky), though I am also influenced by anarcho-syndicalism and the IWW. Many of my political views are based on those of Voltaire and Thomas Hobbes.

I will expand this page further at a later date.

OM,

Yex

title: User:Yex~enwiki


text:
Bhutto (clan)

Bhutto is a Sindhi tribe  found in Sindh, Pakistan. The Bhuttos along with Bhattis and other subclans are said to be a branch of the Bhati Rajputs. They have been settled in Sindh for over two centuries, having migrated to the area from Jaisalmer in Rajasthan, India under Setho Khan Bhatti (Bhutto in Sindhi) in the seventeenth century.

Background
According to other authors, the family migrated to Sindh (mostly in Larkana and Sehwan) from Sarsa in Hissar. The politically influential Bhutto family of Pakistan hails from this clan.

Clans
Ādha, Ādhani, Ādheja, Āradeen, Āradinja, Ārbani, Allahdadani, Hasnani, Hajani, Khanbhra, Khairani, Khaibani, Kamad, Kamadi, Korar, Korhiani, Moosani, Razai, Sālhani, Sobhezai, Wahujo, Wachhani.

title: Bhutto (clan)


text:
Wikipedia talk:POV check

Misplaced discussion?
The discussion in this section appears to contain at least some discussion about a page other then the one linked to this talk page. --DragonHawk 02:38, 6 January 2006 (UTC)

This starts out saying, "an article which you feel needs to be edited for neutrality", then goes on to say, "articles which you have edited to be neutral". Which is it? – flamuraiTM 03:20, Feb 7, 2005 (UTC)

 * The article is not neutral because whether the saint exsited or not is an opinion. —Preceding unsigned comment added by 212.56.128.186 (talk • contribs)

 * I don't know who the "saint" referred to is, but this article is useful. --wayland 22:44, 13 November 2005 (UTC)

 * great article,very useful. —Preceding unsigned comment added by 80.195.188.159 (talk • contribs)

"may be removed by anyone"?
"In order to ensure the POV check template cannot be used to brand articles as non-neutral without a justification, it may be removed by anyone if they feel that the issue has been resolved." What about situations where a single editor has done a large rewrite and when someone nominates the effectively new version to be checked for neutrality, the same editor who did the large rewrite removes the template? Obviously, if the editor produced a non-NPOV article in the first place, their removal of the template doesn't give much indication that NPOV has now been satisfied. -- Antaeus Feldspar 21:59, 23 February 2006 (UTC)

 * In that case, add the neutrality dispute template and procedure; that's what they are there for. --DragonHawk 04:34, 22 June 2006 (UTC)

Information is not correct
This page says, "Pages that include any of POV-check, POV-check-section, or the deprecated bias templates are automatically listed under ." But that's not true. The category doesn't exist, POV-check doesn't categorize tagged articles there, and POV-check-section doesn't categorize its articles at all. Whoever's interested in maintaining this system for tagging POV problems (i.e., someone watching this page, for example) should correct these problems. - dcljr (talk) 06:09, 11 August 2007 (UTC)

title: Wikipedia talk:POV check


text:
Danny Lohner

Daniel Patrick Lohner, frequently known as Renholdër, is an American musician and record producer best known for his work with Nine Inch Nails and A Perfect Circle. In 2020, he was inducted into the Rock and Roll Hall of Fame as a member of Nine Inch Nails.

Before joining Nine Inch Nails as a live bassist and keyboardist, Lohner co-founded the crossover thrash band Angkor Wat and the industrial thrash band Skrew. He has also performed on releases by Marilyn Manson, Rob Zombie, Tommy Lee's band Methods Of Mayhem, Wes Borland's Black Light Burns project, A Perfect Circle co-founder Billy Howerdel's solo projects, Tool/A Perfect Circle frontman Maynard James Keenan's Puscifer project, Japanese musician Hyde, and Hollywood Undead.

He has produced albums for Trust Company, Korn guitarist James "Munky" Shaffer's solo project Fear and the Nervous System, Howerdel, Black Light Burns, Hollywood Undead, and Pentakill. He also produced the soundtrack for the film Underworld.

His most recent work includes live performances and production for solo projects from Howerdel, Rammstein singer Till Lindemann and NOFX members Fat Mike and Eric Melvin.

Early work
Danny Lohner co-founded the crossover thrash band Angkor Wat in Corpus Christi, Texas in 1986 while he was still in high school. The band released two albums, When Obscenity Becomes the Norm...Awake! (1989) and Corpus Christi (1990), on Metal Blade Records.

After moving to Austin, Lohner and Angkor Wat frontman Adam Grossman recorded a new album with an industrial metal sound. They decided to release it under the name Skrew since most of the other members of Angkor Wat had left by that point and the new material was such a departure from their hardcore roots. The first Skrew album, Burning in Water, Drowning In Flame, was produced by Revolting Cocks and Skatenigs member Phildo Owen and engineered by Paul Barker and Al Jourgensen of Ministry. It was released on Metal Blade in 1991. Lohner left Skrew in 1992.

Nine Inch Nails
Lohner has said Nine Inch Nails was his favorite band and he wanted to be involved in any way possible. He called then Nine Inch Nails manager John Malm Jr. and asked to work with the band, possibly as a guitar tech. While recording with Skrew in Chicago, Lohner also met former Nine Inch Nails drummer Chris Vrenna, who was in town working with Die Warzau, and enlisted the help of Al Jourgensen's then-wife and manager Patty Jourgensen to help him write a letter to Nine Inch Nails front man Trent Reznor.

Lohner landed an audition in 1993 to replace live guitarist Richard Patrick, who had just left the band. Reznor instead decided to hire Robin Finck for the role, but hired Lohner as a live bassist and keyboard player. Lohner provided additional guitar on "Big Man With a Gun" on The Downward Spiral and performed live with the band throughout the touring cycle for the album. He appeared in the video for "March of the Pigs" and on the Closure video compilation.

After touring for The Downward Spiral ended, Lohner co-wrote the Nine Inch Nails song "The Perfect Drug", which appeared on the Lost Highway soundtrack and as a single. Lohner formed a side project called Tapeworm with Reznor and then Nine Inch Nails keyboardist Charlie Clouser. The idea was to create an outlet for ideas that didn't quite fit with Nine Inch Nails and to give Lohner and Clouser more democratic roles where they could act as equals to Reznor. Various guest musicians reportedly worked with Tapeworm, including Tool singer Maynard James Keenan, Pantera singer Phil Anselmo, and Helmet frontman Page Hamilton. Although the band is said to have recorded several songs, none of this material has been released. However, two songs that began as Tapeworm songs were re-recorded and released by two of Keenan's other projects: "Passive" by A Perfect Circle and "Potions" by Puscifer.

Lohner contributed guitar to several songs on the Nine Inch Nails album The Fragile, and co-wrote the songs "Somewhat Damaged" and "The Great Below". He again toured with the band as live bassist and keyboardist to support the album, and can be heard on the And All That Could Have Been live album. He co-wrote the song "And All That Could Have Been" from the accompanying album Still.

Lohner left Nine Inch Nails on good terms before the recording of With Teeth. He made a guest appearance with Nine Inch Nails during the Wave Goodbye Tour in 2009. He also performed alongside NIN alumni Chris Vrenna, Charlie Clouser, and Richard Patrick at a show in Cleveland, Ohio in 2022.

In 2020 Danny Lohner was inducted into the Rock and Roll Hall of Fame as a part of Nine Inch Nails.

A Perfect Circle
Lohner is frequently credited under the pseudonym Renholdër, an in-joke backward spelling of "Re: D. Lohner". This began as a result of the song titled "Renholdër" on A Perfect Circle's debut album Mer de Noms in 2000. Lohner did not work on this song but was later told by guitarist Billy Howerdel that the song was about him.

In early 2003, A Perfect Circle announced that Lohner would replace Troy Van Leeuwen as the band's second guitarist. Lohner played guitar on one track on band's second release, Thirteenth Step, and received additional production credit on a few others, but he did not tour with the band to support the album. He was replaced by ex-Smashing Pumpkins guitarist James Iha.

Lohner returned to A Perfect Circle and contributed heavily to the band's 2004 album, eMOTIVe. This release was mostly a collection of cover songs, but it also included a continuation of "Pet" from Thirteenth Step. The album also includes an original work titled "Passive", which was the final version of a song originally composed for Tapeworm. This track subsequently appeared on the soundtrack of the film Constantine.

A two disc companion to eMOTIVe called aMOTION was released in 2004, featuring a CD of remixes and a DVD of music videos and live material. The remix album included Lohner's remixes of "3 Libras", "Judith", "Weak and Powerless", and "The Outsider". Lohner was credited as a band member on both eMOTIVe and aMOTION.

Lohner has continued to work with members of A Perfect Circle. He co-produced Howerdel's 2008 solo album Keep Telling Myself It's Alright (recorded under the name ASHES dIVIDE), contributed to a few tracks on Howerdel's 2022 solo album What Normal Was, and joined the guitarist on his 2022 tour. He has also worked on Maynard James Keenan's Puscifer project.

Underworld soundtrack, Black Light Burns, Puscifer
In 2003 Lohner produced the Underworld film soundtrack. He composed and recorded many of the songs on the soundtrack himself under the name "Renholder". Many of the other tracks are collaborations with various friends and connections in the music industry. Lohner remixed the David Bowie song "Bring Me the Disco King" with additional vocals by Maynard James Keenan and additional guitars by Red Hot Chili Peppers guitarist John Frusciante. Another collaboration between Lohner and Keenan, "REV 22:20", appeared on the soundtrack under the name Puscifer, which Keenan and Tool bandmate Adam Jones had previously used as the name of a joke band in an episode of Mr. Show.

Lohner also worked with Richard Patrick of Filter, Wes Borland of Limp Bizkit and Black Light Burns, and Josh Freese of A Perfect Circle and Nine Inch Nails, on music for the soundtrack using the band name The Damning Well. Only one song, "Awakening", was released by the group on the soundtrack.

In 2005 and 2006, Lohner was involved further with Borland in a project called Black Light Burns, taking on the role of producer as well as playing guitar, bass, synth, programming, and more. Other members included Josh Eustis of Telefon Tel Aviv and Josh Freese. The project was somewhat of a successor of the Damning Well, as it involved most of its members. According to Patrick, another Damning Well track, which originally featured Amy Lee of Evanescence on guest vocals, was reworked as "Coward" for Cruel Melody without Lee's vocals due to difficulties working with her manager.

Lohner didn't produce the soundtrack to the second Underworld film, but it did feature another Lohner/Keenan collaboration under the name Puscifer, "The Undertaker". He returned to produce the soundtrack for the third film, Rise of the Lycans, to which he contributed several remixes. The fourth film soundtrack features multiple Renholder remixes, but Lohner did not produce the soundtrack. He did not appear on the fifth film's soundtrack.

The first Puscifer album, "V" is for Vagina, was released in 2007 and featured "REV 22:20" and "The Undertaker", but the rest of the album featured collaborations between Keenan and other artists. However, Lohner did continue to produce remixes for the project.

Other projects
Lohner contributed to Marilyn Manson's 1996 album Antichrist Superstar, as did most of Nine Inch Nails. Lohner can be heard playing the acoustic guitar on '"The Reflecting God" and lead guitar on "Angel With the Scabbed Wings". Lohner also created a remix of the Eminem song "The Way I Am" featuring Manson and released on the song's single in 2002.

In 1998, Lohner contributed additional guitar and bass guitar to Rob Zombie's debut solo album Hellbilly Deluxe, which also featured fellow Nine Inch Nails member Charlie Clouser as a producer on the song "Superbeast". The next year Lohner played guitar on the self-titled debut album from Tommy Lee's Methods Of Mayhem.

NME reported in April 1999 that Everlast and Lohner had recorded a song about a school shooting that would not be released in light of the Columbine High School massacre. However, the song was released on the End of Days soundtrack later that year.

After longtime Metallica bassist Jason Newsted left the band and the subsequent recording of the St. Anger album, Lohner was one of a selected few musicians whom the band invited to audition for the empty bassist slot (producer Bob Rock had recorded the bass parts for the album). Although he did not join the band, he can be seen briefly in the documentary of the making of the album and general turmoil in the band during that period, Metallica: Some Kind of Monster.

Lohner did some of his first credited production work on Trust Company's first album The Lonely Position of Neutral, which was mixed by A Perfect Circle co-founder Billy Howerdel.

Lohner contributed additional guitar for some of Clouser's scores for the Saw films, as well as Clouser's score for the Resident Evil: Extinction film score. Lohner is also credited with sound design on the Grudge 2 soundtrack in 2006. Also that year, he worked with the Japanese rock artist HYDE, recording bass tracks along with Craig Adams on Hyde's album Faith.

Lohner played guitar and/or produced several songs on rap rock band Hollywood Undead's debut album Swan Songs, and co-wrote the songs "Sell Your Soul" and "Young" from the album. He also produced much of the band's live CD/DVD set Desperate Measures. Lohner continued to work with the band over the next few years, producing and co-writing "We Are" on their third album Notes From The Underground (2013), co-producing two tracks on their fourth album Day of the Dead (2015), and playing guitar and bass on "Pray (Put 'Em in the Dirt)" on their fifth album (2017).

Lohner also produced the debut album of the Californian heavy metal band Holy Grail's first album Crisis in Utopia (2010), Korn guitarist James "Munky" Shaffer's solo project Fear and the Nervous System's 2011 self-titled debut album, and Alkaline Trio and Blink-182 member Matt Skiba's 2012 album Babylon album from his project Matt Skiba And The Sekrets 2012. In 2014 he produced and mixed the song "The Hex Core" for the fictional League of Legends band Pentakill's album Smite and Ignite. He returned to the Pentakill project in 2017, providing both vocals and production to the song "The Hex Core mk-2".

In 2019, Lohner produced Fat Mike of NOFX's "Cokie the Clown" project's album You're Welcome and performed live on the mini-tour to support the album.

Other artists Lohner has worked with or remixed include Thirty Seconds to Mars, Angels & Airwaves, Dååth, Genghis Tron, Filter, Marion Raven, Secondhand Serenade, and Kat Von D.

Recent activity
Lohner contributed to A Perfect Circle bandmate Billy Howerdel's solo album What Normal Was in 2022, providing guitar on "Free and Weightless", plus programming on "Free and Weightless", "Ani", and "The Same Again". He joined Howerdel on his 2022 tour.

Lohner joined Rammstein singer Till Lindemann's project Lindemann as a live bassist for a performance at the Hell and Heaven festival in Mexico in December 2022, and subsequently toured with the singer in 2023. He also remixed a track on Eric Melvin of NOFX's solo album Rise of the Melvinator, released in May 2023.

Remixes by Renholdër

 * "Complications of the Flesh" – Nine Inch Nails from the "We're in This Together" single
 * "Where Is Everybody? (Version)" – Nine Inch Nails from "Things Falling Apart"
 * "Judith (Renholdër Mix)" – A Perfect Circle from aMotion" & Underworld
 * "3 Libras (Feel My Ice Dub Mix)" – A Perfect Circle from "aMotion"
 * "The Outsider (Apocalypse Mix)" – A Perfect Circle from "aMotion" & Resident Evil: Apocalypse
 * "Weak and Powerless (Tilling My Grave Renholdër Mix)" (with Wes Borland) – A Perfect Circle from "aMotion" & Underworld
 * "The Undertaker (Renholdër Mix)" – Puscifer from "Don't Shoot the Messenger" & Underworld: Evolution
 * "Sour Grapes (Late for Dinner Mix)" – Puscifer from ""V" Is for Viagra. The Remixes"
 * "Bring Me the Disco King (Danny Lohner Mix)" – David Bowie (featuring Maynard James Keenan and John Frusciante) from Underworld
 * "Hole in the Earth (Renholdër Remix)" – Deftones from Underworld: Rise of the Lycans
 * "Underneath the Stars (Renholdër Remix)" – The Cure (featuring Maynard James Keenan and Milla Jovovich) from Underworld: Rise of the Lycans
 * "Nasty Little Perv (Renholdër Remix)" – Perry Farrell from Underworld: Rise of the Lycans
 * "Over and Out (Renholdër Remix)" – Alkaline Trio from Underworld: Rise of the Lycans
 * "Deathclub (Renholdër Remix)" – William Control (featuring Matt Skiba) (with Wes Borland) from Underworld: Rise of the Lycans
 * "Board Up the House (Renholdër Remix)" – Genghis Tron from Underworld: Rise of the Lycans
 * "Two Birds, One Stone (Renholdër Remix)" – Drop Dead, Gorgeous (with Wes Borland) from Underworld: Rise of the Lycans
 * "Tick Tock Tomorrow (Renholdër Remix)" – From First to Last (with Wes Borland) from Underworld: Rise of the Lycans
 * "The Way I Am (Danny Lohner Remix)" – Eminem (featuring Marilyn Manson) from "The Way I Am" and Without Me singles
 * "Denial Waits/Sword (Danny Lohner Remixes)" – ASHES dIVIDE from "Keep Telling Myself It's Alright"
 * "Everywhere I Go (Castle Renholder Mix)" – Hollywood Undead from "Desperate Measures"
 * "Ice (Renholdër Remix)" – LIGHTS from "The Ice Pack"
 * "Made Of Stone (Renholdër Remix)" – Evanescence from the Underworld: Awakening (Original Motion Picture Soundtrack)
 * "Blackout (Renholdër Remix)" – Linkin Park from the Underworld: Awakening (Original Motion Picture Soundtrack)
 * "Apart (Renholdër Remix)" – The Cure from the Underworld: Awakening (Original Motion Picture Soundtrack)
 * "Can't See You (featuring Renholder)" – Fake Shark from "See No Evil 2"
 * "Watch Yourself (Renholdër Remix)" – Ministry from the Underworld: Awakening (Original Motion Picture Soundtrack)
 * "Young Blood (Renholdër Remix)" – The Naked and Famous from the Underworld: Awakening (Original Motion Picture Soundtrack)
 * "elisabeth addict (Remixed by Renholdër)" – sukekiyo from VITIUM limited edition second CD
 * "Oni Przyszli (Danny Lohner Remix)" – Glaca from "ZANG"

title: Danny Lohner


text:
Fingolimod

Fingolimod, sold under the brand name Gilenya, is an immunomodulating medication, used for the treatment of multiple sclerosis. Fingolimod is a sphingosine-1-phosphate receptor modulator, which sequesters lymphocytes in lymph nodes, preventing them from contributing to an autoimmune reaction. It has been reported to reduce the rate of relapses in relapsing-remitting multiple sclerosis by approximately one-half over a two-year period.

Medical uses
Fingolimod is used in the treatment of the relapsing form of multiple sclerosis. Its effect in those with primary progressive multiple sclerosis is not clear. It may also be used in chronic inflammatory demyelinating polyneuropathy.

Adverse effects
The most common side effects of fingolimod have been head colds, headache, increased gamma-glutamyl transfer (≤15%), diarrhea (13%), nausea (13%), abdominal pain (11%) and fatigue. A few cases of skin cancer have been reported, which has also been reported in patients taking natalizumab (Tysabri), an approved multiple sclerosis drug. Fingolimod has also been associated with potentially fatal infections, bradycardia and, in 2009, a case of hemorrhaging focal encephalitis, an inflammation of the brain with bleeding. Two people died: one due to brain herpes infection, and a second one due to herpes zoster. It is unclear whether the drug was responsible for the events. At least three cases of progressive multifocal leukoencephalopathy had also occurred as of 2015.

Fingolimod has also been known to cause macular edema, resulting in decreased vision. Therefore, frequent surveillance eye examinations are required while taking this medication.

In the United States, fingolimod must be dispensed with a medication guide that contains important information about its uses and risks. Serious risks include slowing of the heart rate, especially after the first dose. Fingolimod may increase the risk of serious infections. Patients should be monitored for infection during treatment and for two months after discontinuation of treatment. A rare brain infection that usually leads to death or severe disability, called progressive multifocal leukoencephalopathy (PML) has been reported in patients being treated with the drug. PML cases usually occur in patients with weakened immune systems. Fingolimod can cause vision problems. It may increase the risk for swelling and narrowing of the blood vessels in the brain (posterior reversible encephalopathy syndrome). Other serious risks include respiratory problems, liver injury, increased blood pressure and skin cancer. Fingolimod may cause harm to a developing fetus; health care professionals should advise women of child-bearing age of the potential risk to the fetus and to use effective contraception.

The European Medicines Agency (EMA) stated that the multiple sclerosis medicine fingolimod (Gilenya) must not be used in pregnant women and in women able to have children who are not using effective contraception.

Structure and mechanism
It is derived from myriocin (ISP-1), a metabolite of the fungus Isaria sinclairii. It is a structural analogue of sphingosine and is phosphorylated by sphingosine kinases in the cell (most importantly sphingosine kinase 2). The molecular biology of phospho-fingolimod is thought to lie in its activity at one of the five sphingosine-1-phosphate receptors, S1PR1. Phospho-fingolimod causes the internalization of S1P receptors, which sequesters lymphocytes in lymph nodes, preventing them from moving to the central nervous system and causing a relapse of multiple sclerosis.

The unphosphorylated moiety of fingolimod, which is the predominant form of the drug in the body, is also an active molecule. Unphosphorylated fingolimod impairs the ability of cytotoxic CD8 T cells to kill their target cells by a different mechanism, which involves the arachidonic acid pathway, which is unrelated to sphingosine phosphate receptors. This has implications both for increasing susceptibility to viral infections as well as enhancing therapeutic efficacy in multiple sclerosis.

Additionally, fingolimod shifts macrophages to an anti-inflammatory M2 phenotype. It modulates their proliferation, morphology, and cytokine release via inhibition of the transient receptor potential cation channel, subfamily M, member 7. (TRPM7).

Finally, fingolimod has also been found to have other molecular targets and functions. Fingolimod has been reported to be a cannabinoid receptor antagonist, a cPLA2 inhibitor and a ceramide synthase inhibitor. It has also been reported to stimulate the repair process of glial cells and glial precursor cells after injury.

History
First synthesized in 1992 by Yoshitomi Pharmaceuticals, fingolimod was derived from an immunosuppressive natural product, myriocin (ISP-I) through chemical modification. Myriocin was isolated from the culture broth a type of entomopathogenic fungus (Isaria sinclairii) that was an eternal youth nostrum in traditional Chinese medicine. Showing positive results in both in vitro (mixed lymphocyte reaction) and in vivo screening (prolonging rat skin graft survival time), myriocin was modified through a series of steps to yield fingolimod, code named at the time FTY720. A recent review highlights the synthetic methods, mode of action and potential applications of this molecule. Structure activity relationship (SAR) studies on myriocin homologs and partially synthetic derivatives showed that the configuration at the carbon bearing the 3-hydroxy group or the 14-ketone, the 6-double bond, and the 4-hydroxy group were not important for its activity and simplification of the structure of ISP-I was done in an attempt to reduce toxicity and improve drug ability.

Elimination of side chain functionalities and removal of chiral centers was part of the simplification process and an intermediate compound (ISP-I-28) with the carboxylic acid of myriocin transformed to a hydroxymethyl group was generated. ISP-I-28 was found to be less toxic and more effective at lengthening rat skin allograft time than ISP-1.

In September 2010, fingolimod became the first oral disease-modifying drug approved by the U.S. Food and Drug Administration (FDA) to reduce relapses and delay disability progression in patients with relapsing forms of multiple sclerosis. In April 2011 Novartis said that the drug would be available in Canadian pharmacies. In March 2011, the European Medicines Agency approved the drug for use in the European Union.

In 2016, a systematic review concluded that treatment of people relapsing-remitting multiple sclerosis is effective in reducing the probability of acute inflammatory relapses, with potentially little or no effect on disability progression, compared to placebo. The risk/benefit profile compared to other disease-modifiying therapies being unclear due to a lack of direct comparisons.

In December 2019, generic fingolimod was approved in the United States for the treatment of relapsing forms of multiple sclerosis in adults. The FDA granted approvals of generic fingolimod applications to HEC Pharm Co. Limited, Biocon Limited and Sun Pharmaceutical Industries Limited.

On 19 July 2019, fingolimod received fast approval for use in China.

Legal status
In 2015, after a challenge at the US Patent and Trademark Office by a generic competitor, the patent office quashed Novartis's patent claims stating they were obvious. Novartis appealed and the federal circuit upheld the patent office decision in April 2017, leaving a high likelihood of generics coming to market by 2019.

In January 2020, a panel of judges at the Court of Appeal for the Federal Circuit called into question the validity of the last remaining orange book patent protecting Gilenya.

In October 2022, the Supreme Court turned down a request by Novartis to block the launch of generic versions of Gilenya in the United States.

In April 2023, the U.S. Supreme Court declined to hear Novartis's request to revive a key patent on Gilenya that had been invalidated by a lower court.

Research
Clinical trials are ongoing to prevent neuropathic pain in patients with breast cancer treated with paclitaxel. Recently, the fingolimod molecule has been incorporated in mRNA delivery vehicles to increase targeting of lymphocytes expressing the S1P1 receptor in pre-clinical models.

title: Fingolimod


text:
Category:Communities

Communities, social units (groups of living things) with commonalities such as norms, religion, values, customs, or identity. Communities may share a sense of place situated in a given geographical area (e.g. a country, village, town, or neighbourhood).

Note that only very general articles about concepts in human community organization should be directly filed here. Actual specific communities should be categorized, depending on their specific type, as e.g. populated places in a specific country, or organi[s/z]ations based in a specific country.

title: Category:Communities


text:
Penryn, Cornwall

Penryn (Pennrynn, meaning 'promontory') is a civil parish and town in west Cornwall, England, United Kingdom. It is on the Penryn River about 1 mi northwest of Falmouth. The population was 7,166 in the 2001 census and had been reduced to 6,812 in the 2011 census, a drop of more than 300 people across the ten-year time gap. There are two electoral wards covering Penryn: 'Penryn East and Mylor' and 'Penryn West'. The total population of both wards in the 2011 census was 9,790.

Though now the town is overshadowed by the larger nearby town of Falmouth, Penryn was once an important harbour in its own right, lading granite and tin to be shipped to other parts of the country and world during the medieval period.

Early history
The ancient town first appears in the Domesday Book under the name of "Trelivel", and was since founded and named Penryn in 1216 by the Bishop of Exeter. The borough was enfranchised and its Charter of Incorporation was made in 1236. The contents of this Charter were embodied in a confirmation by Bishop Walter Bronescombe in the year 1259. In 1265, a religious college, called Glasney College, was built in Penryn for the Bishop of Exeter to develop the church's influence in the far west of the diocese. In 1374, the chapel of St Thomas (sometimes called St Mary's) was opened. Standing at the head of the Penryn River, Penryn occupies a sheltered position and was a port of some significance in the 15th century. After the Dissolution of the Monasteries by King Henry VIII and the disestablishing of the Roman Catholic church, Glasney College was dissolved and demolished in 1548 during the brief reign of Edward VI, the first Protestant Duke of Cornwall and afterwards King of England. The dissolution of Glasney College helped trigger the Prayer Book Rebellion of 1549.

Later history
From 1554, Penryn held a parliamentary constituency, which became Penryn and Falmouth in 1832. The constituency was abolished in 1950, Penryn becoming part of the Falmouth and Camborne constituency. It received a royal charter as a borough in 1621, mainly in a bid by the crown to cure the town of piracy. At least three mayors of Penryn were convicted of piracy between 1550 and 1650. The arms of the borough of Penryn were a Saracen's head Or in a bordure of eight bezants. The merchant traveller and writer Peter Mundy (c.1600–67) was the son of a Penryn pilchard trader and travelled extensively throughout his life in Asia (where he was one of the first Europeans to taste Chaa), Russia and Europe before returning to Penryn to write his Itinerarium Mundi ('World Itinerary'); one of the earliest travel guides in English.

By the mid-17th century, the port was thriving from trade in Cornish fish, tin and copper. However, Penryn lost its custom house and market rights to the new town of Falmouth as a direct result of supporting the Parliamentary side in the English Civil War (1642–48).

In the early 19th century, granite works were established by the river and large quantities of the stone were shipped from its quays for construction projects both within the UK and abroad.

The A39 road, which begins in Bath and is about 200 mi long, once passed through Penryn towards the end of its route in nearby Falmouth, but in 1994 was diverted around the town when the Penryn Bypass was opened, incorporating a stretch of new road along with upgrading to an existing road.

The town is the setting of the play The Penryn Tragedy, which tells of a young man unwittingly murdered by his parents after disguising himself as a rich stranger.

Present-day Penryn
Today, Penryn is a quiet town and has retained a large amount of its heritage. A large proportion of its buildings date from Tudor, Jacobean and Georgian times; the town has therefore been designated as an important conservation area. The local museum is housed in Penryn Town Hall. The town hall building is partly 17th century and partly 19th century in date; its clock tower is dated 1839.

Penryn has seen some redevelopment in the early 21st century, with the construction of mixed-use development Jubilee Wharf in 2007, and the renovation of former storage unit Jubilee Warehouse as a workspace. In 2022, a public consultation was held at The Fish Factory on a proposed regeneration scheme for Commercial Road. The scheme aims to prioritise pedestrian traffic, through widened pavements and development of new public space.

Higher education
In 2004, the Penryn Campus was completed, creating the hub of the Combined Universities in Cornwall (CUC) project. It includes the University of Exeter housing the 6th best Ecology Department in the world and Camborne School of Mines, which has moved from Camborne, where it has been for over a century, among other departments of the University of Exeter. The Campus also houses departments of Falmouth University, which is based in the centre of Falmouth. In 2007, phase two was completed, which includes increased student accommodation and new teaching areas.

Schools
There are currently two schools in Penryn:
 * Penryn Primary Academy (a merging of Penryn Infants and Junior Schools)
 * Penryn College

Transport
Penryn railway station was opened by the Cornwall Railway on 24 August 1863. It is towards the northwest end of the town and is served by regular trains from Truro to Falmouth on the Maritime Line. There are several bus routes that connect the town to Falmouth, Helston and Penzance.

Media
Local TV coverage is provided by BBC South West and ITV West Country. Television signals are received from the Redruth and local relay TV transmitters.

Local radio stations are BBC Radio Cornwall on 103.9 FM, Heart West on 107.0 FM, and Source FM, a community based station which broadcast to the town on 96.1 FM.

The town is served by the local newspaper, Falmouth Packet.

Sport and leisure
Penryn RFC, founded in 1872, is a rugby union club which plays in the Tribute Western Counties West league, the seventh tier of the English rugby union league system. They are nicknamed "The Borough" and are the oldest rugby club in Cornwall.

Penryn Athletic (founded 1963; also known as "The Borough") is a non-League football club who play at the 1,500-capacity Kernick Road ground. The club is a member of the South West Peninsula League Division One West, which is a step 7 league in the national league system.

In 2021, Penryn-based Cornwall R.L.F.C. joined the third tier of professional Rugby league, RFL League 1.

The English Shinty Association is based in Penryn.

Cornish wrestling
Penryn hosted Cornish wrestling tournaments over the centuries. Places where tournaments were held include the Bowling Green, Parkengue and the Glasney playing field.

Policing
The policing of the area is the responsibility of Devon and Cornwall Police who have a dedicated team to cover the area known as the Penryn & Mylor Local Policing Team.

Notable residents

 * John Coode, Reverend, Colonel, Captain, revolutionary, and Governor of Maryland 1689–1691
 * Thomas Pellow, author and former slave.
 * Jonathan Hornblower, English pioneer of steam power.
 * Emma Hosken, novelist, born in Penryn.
 * Vic Roberts, British Lion and England rugby union international, born in and played for Penryn RFC.
 * William Harris Rule, Methodist missionary, was born in Penryn 1802.
 * John Tucker Williams, Canadian soldier and politician, was born in Penryn.
 * Violetta Thurstan, World War I nurse, died in Penryn in 1978 aged 99.

title: Penryn, Cornwall


text:
Penryn, California

Penryn (Washo: Pénwin) is a census-designated place in Placer County, California, in the United States. Geographic location is 38.85222°N, -121.16833°W. Penryn is located 5.5 mi northeast of Rocklin. The population was 831 at the 2010 census.

History
What became Penryn began in late 1864 when a Welsh immigrant named Griffith Griffith established a granite quarry on quarter section of land leased from the Central Pacific Railroad. A siding was completed on February 6, 1865, and the first load of cut stone was shipped less than a week later. The quarry was open for business, but as yet, had no name. The railroad, matter-of-factly, designated the siding "Griffith’s Granite Station", but Griffith had something else in mind.

Back home in North Wales, Griffith, like his father before him, worked in the Penrhyn Slate Quarry. In Welsh, the word penrhyn translates to headland or promontory, which aptly described the seaport from which the Penrhyn Quarry took its name. When it came to naming his new enterprise, the choice was obvious, but not the spelling. To simplify things and avoid the inevitable misspellings that were likely to occur, on the evening of May 17, 1865, Griffith, after discussing the matter with Central Pacific legal counsel Edwin Bryant Crocker (known later for the Crocker Art Museum), agreed to drop the “h” from the original Welsh spelling and settled on the name, and spelling, we know today. The following day, Griffith recorded this auspicious event in his diary: "Concluded last night with Judge Crocker to call this quarry Penryn."

The quarry now had a name, but not the town, because there was no town, just the granite works and a railroad siding. Griffith's employees all lived in the immediate area, so there were plenty of people, but no businesses outside of what amounted to a small "company store" near the quarry. The nearest supply centers of any consequence were Newcastle and Smithville, near present-day Loomis. Griffith's early ledgers record numerous transactions at both places.

It was in 1869 that Griffith's mercantile monopoly came to an end. That year, a large frame building housing a railroad depot, store and saloon, went up on the West side of the Central Pacific mainline, just South of today's English Colony Way. In time, other businesses followed, but this single event marked the beginnings of what would soon evolve into the town of Penryn.

From the beginning, there was never any doubt or debate as to what the new town would be called. However, most references, prior to 1870, generically applied the name “Griffith’s Quarry” or “Griffith’s Granite Quarry” to the area that included the small, embryonic village, which clearly indicates no name had yet been officially assigned to the place. That finally happened in May 1871, when Penryn was designated a voting precinct by the County of Placer. And the most official recognition of all came in June 1873 with the establishment of a U. S. Post Office.

By the mid-1870s Penryn was an established community with a fine new schoolhouse, a hotel, at least one blacksmith shop, two or three stores and an equal number of saloons. The granite works was going strong, at peak times employing over 200 men, and would continue so until Griffith Griffith's death in February 1889. It was then purchased by Griffith's nephew, David Griffith, and would continue to operate on a somewhat smaller scale, until the latter Griffith's death in 1918. By the mid-1890s however, fruit raising had edged-out granite quarrying as the area's leading industry.

It was David Griffith's daughter, Enid, the great-niece of Griffith Griffith, who left the quarry property to the people of the County of Placer when she died in 1976. In accordance with her wishes, the site of the Penryn Granite Works is now a 23-acre (93,000 m2) park. The former quarry office building, erected in 1877, now houses the Griffith Quarry Museum, staffed by volunteers and open on weekends from noon until 4:00 pm or by appointment. Griffith Quarry was added to the National Register of Historic Places in 1977, and is also California Historical Landmark number 885.

Penryn granite is noted for its beauty and strength. Mottled in more-or-less equally sized specks of black and white, it appears a medium-to-dark gray in color, at first glance, but takes on an almost bluish-gray hue when viewed in a subdued light or, when wet or polished. This unique stone can be seen in the foundations and walls of a number of California landmarks including the California State Capitol and the United States Mint in San Francisco.

Joel Parker Whitney owned thousands of acres of land in the Penryn area in the late 19th century. In the early 1890s, about 1,000 California fan palms were planted along the boundaries of Whitney's Placer County Citrus Colony citrus farming venture, and many still stand along English Colony Road. These palm trees, otherwise out of place among the native Sierra foothill oak forest, are a signature of the area.

Geography
According to the United States Census Bureau, the CDP covers an area of 1.8 square miles (4.7 km$2$), all of it land.

Transportation
Placer County Transit provides weekday commuter service to/from the Penryn Park and Ride to/from Downtown Sacramento.

Demographics
The 2010 United States Census reported that Penryn had a population of 831. The population density was 455.7 PD/sqmi. The racial makeup of Penryn was 718 (86.4%) White, 3 (0.4%) African American, 22 (2.6%) Native American, 32 (3.9%) Asian, 3 (0.4%) Pacific Islander, 27 (3.2%) from other races, and 26 (3.1%) from two or more races. Hispanic or Latino of any race were 79 persons (9.5%).

The Census reported that 831 people (100% of the population) lived in households, 0 (0%) lived in non-institutionalized group quarters, and 0 (0%) were institutionalized.

There were 310 households, out of which 100 (32.3%) had children under the age of 18 living in them, 198 (63.9%) were opposite-sex married couples living together, 27 (8.7%) had a female householder with no husband present, 6 (1.9%) had a male householder with no wife present. There were 10 (3.2%) unmarried opposite-sex partnerships, and 2 (0.6%) same-sex married couples or partnerships. 65 households (21.0%) were made up of individuals, and 28 (9.0%) had someone living alone who was 65 years of age or older. The average household size was 2.68. There were 231 families (74.5% of all households); the average family size was 3.14.

The population was spread out, with 187 people (22.5%) under the age of 18, 68 people (8.2%) aged 18 to 24, 175 people (21.1%) aged 25 to 44, 271 people (32.6%) aged 45 to 64, and 130 people (15.6%) who were 65 years of age or older. The median age was 43.2 years. For every 100 females, there were 97.4 males. For every 100 females age 18 and over, there were 98.8 males.

There were 344 housing units at an average density of 188.7 /sqmi, of which 250 (80.6%) were owner-occupied, and 60 (19.4%) were occupied by renters. The homeowner vacancy rate was 2.0%; the rental vacancy rate was 11.6%. 696 people (83.8% of the population) lived in owner-occupied housing units and 135 people (16.2%) lived in rental housing units.

title: Penryn, California


text:
Army of West Virginia

The Army of West Virginia served in the Union Army during the American Civil War and was the primary field army of the Department of West Virginia. It campaigned primarily in West Virginia, Southwest Virginia and in the Shenandoah Valley. It is noted for having two future U.S. presidents serve in its ranks: Rutherford B. Hayes and William McKinley, both from the 23rd Ohio Infantry. With fighting in the Valley ended, the Army of West Virginia's designation was discontinued.

History
Brigadier General George Crook was appointed to command the Department of West Virginia on July 25, 1864. At the time, Crook's field army was named Army of the Kanawha. On August 9, 1864, the field army of the Department of West Virginia was given the title "Army of West Virginia". This "army" would eventually consist of three divisions and for all practical purposes functioned as a corps in Maj. Gen. Philip Sheridan's Army of the Shenandoah. This command has often been referred to as the VIII Corps. It should not be confused with the official Union VIII Corps, which was commanded by Maj. Gen. Lew Wallace and on guard duty along the B & O Railroad during this time. Crook led the army through the Shenandoah Valley Campaign and fought in all the major engagements.

The 1st Division was led by Col. Joseph Thoburn until he was killed in action at Cedar Creek. He was succeeded by Col. Thomas M. Harris. The 2nd "Kanawha" Division was led by Col. Isaac H. Duval until he was wounded at Third Winchester. Command of the division passed to Col. Rutherford B. Hayes who led the division at Cedar Creek. A Provisional Division led by Colonel J. Howard Kitching joined just prior to the battle of Cedar Creek. Exact composition of the Provisional Division is unknown other than approximately 1,000 soldiers including the 6th New York Heavy Artillery. Kitching was severely wounded at Cedar Creek and died the following year as a result. His place was taken by Col. Wilhelm Heine.

On December 19, 1864, with the fighting in the Valley over, the official designation as "Army of West Virginia" was discontinued but Crook retained command of the Department of West Virginia. Hayes' division remained in the Department of West Virginia while Thoburn's (Harris') and Kitching's (Heine's) divisions were transferred to the Army of the James.

Commander

 * Major General Franz Sigel
 * Major General David Hunter (21 May–8 Aug 1864)
 * Major General George Crook (8 Aug–19 Dec 1864)

Major battles

 * Battle of Cloyd's Mountain
 * Battle of New Market
 * Battle of Piedmont
 * Battle of Lynchburg
 * Battle of Cool Spring
 * Battle of Rutherford's Farm
 * Second Battle of Kernstown
 * Battle of Berryville
 * Battle of Opequon
 * Battle of Fisher's Hill
 * Battle of Cedar Creek

title: Army of West Virginia


text:
Wikipedia:Articles for deletion/Fornicators

 This page is an archive of the discussion about the proposed deletion of the article below. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was Delete. Rje 00:59, Feb 17, 2005 (UTC)

Fornicators
Claims to be a manga whose title is simply an unfortunate translation error. However, Google cannot locate any relevant hits for the manga title + the main character's name; for the main character's father; for the main antagonist; for the supposed author of the manga; or for the magazine where the manga supposedly originally appeared. Smells like hoax. -- Antaeus Feldspar 03:32, 7 Feb 2005 (UTC) Note:  this VfD has been vandalized by 203.141.129.203, primary author on this and the other articles. This page is now preserved as an archive of the debate and, like some other VfD subpages, is no longer 'live'. Subsequent comments on the issue, the deletion, or the decision-making process should be placed on the relevant 'live' pages. Please do not edit this page.
 * Delete, it's a hoax. Shimeru 07:32, Feb 7, 2005 (UTC)
 * Delete, not notable - fails Google test, article as it stands in un-encyclopaedic, possible hoax. Megan1967 06:01, 8 Feb 2005 (UTC)
 * Delete -- AllyUnion (talk) 14:12, 11 Feb 2005 (UTC)


text:
Talk:Across the River and into the Trees

Plagiarism
This article was excerpted from a full review at this website:. Is there anything regarding copying the work of another author and placing it on Wpdia as one's one work? The original author changed a few words but it is mostly the same stuff - check it out. Does this count as plagiarism? If so, I think it should either be removed or at least rewritten. JMBell 22:17, 10 Apr 2005 (UTC)

 * This is the full text from the website just in case you're too lazy too click the button:

''Ernest Hemingway published Across the River and Into the Trees (1950) after a decade during which he had published no new fiction. His only book between For Whom the Bell Tolls (1940) and Across the River and Into the Trees was Men at War (1942), an anthology of war stories. Deriving its title from the last words of US Civil War General Thomas J. (Stonewall) Jackson, Across the River and Into the Trees tells the story of the last days of Colonel Richard Cantwell, who has survived two world wars only to die of natural causes.

''Hemingway had struggled during the 1940s to get back into the writing of fiction after his traumatic service as a war correspondent during Wolrd War II. Returning to Cuba, he began one project that would eventually result in the posthumous publication of The Garden of Eden (1986), then shelved that manuscript to work on another that would be published posthumously as Islands in the Stream (1970). But during a 1949 trip to Italy, he began a short story which quickly evolved into Across the River and Into the Trees.

''The story the novel relates is deceptively simple. Following the Second World War a fifty-year-old American colonel visits the site where he was nearly killed during the First World War, spends three days in Venice, duck hunting, eating, drinking, and making love to a nineteen-year-old Italian contessa. His nostalgic liberty over, Colonel Cantwell anticipates his death by quoting the last words of Stonewall Jackson to his aide, then crawls into the back seat of his staff car and dies of a heart attack. This plot (and the knowledge that the countess was based on a real young woman with whom Hemingway had become infatuated) has caused some critics to regard the book as a literary manifestation of the male menopause.

''But Across the River and Into the Trees is more complex than it might appear on first reading. In a 1950 interview, Hemingway responded to the charge that not much happens in the novel by noting that he had included “the defense of the Piave [River], the breakthrough in Normandy, the taking of Paris” and the bloody battle for the Hurtgen Forest that he himself had witnessed as a correspondent. As he had done in his most complex short story, “The Snows of Kilimanjaro”, Hemingway imbedded related compressed stories within his basic structure. While the plot of a doomed love affair and the premature death of his protagonist occupy the foreground, the spectre of the colonel's wartime experiences emerges in the stories he tells his mistress Renata.

''One of the underlying themes has to do with the recent war and Cantwell's lifetime of military service. Here the odd title's significance becomes apparent. Stonewall Jackson was a major Confederate hero during the US Civil War. As a brigadier general, he gained his nickname (and a promotion to major general) by standing “like a stone wall” against Union troops at the Battle of Bull Run. Perhaps the most famous of the southern generals after Robert E. Lee, and one of the best loved by his men, ironically Jackson was felled by “friendly fire”: approaching a line of his own sentries, he was shot by mistake. Colonel Cantwell quotes Jackson's last words, “Let us cross over the river and rest under the shade of the trees”, just before his own death.

''Jackson's story sheds an ironic light on Hemingway's novel. First, the enlisted driver to whom Cantwell quotes General Jackson's last words is himself named Jackson, but his ignorance of military history and tacti

Fair use rationale for Image:Hemingriver.jpg
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BetacommandBot (talk) 17:01, 2 January 2008 (UTC)

Mixed metaphor
"As in his other writing, Hemingway employs the style known as the iceberg theory in which much of the meat of the work lies below the surface of the plot itself."

Icebergs of meat? This is a very clumsy mixed metaphor. I hope no one object to my tweaking it. —Preceding unsigned comment added by 211.218.201.10 (talk) 11:51, 24 June 2010 (UTC)

 * No objection at all! This article hasn't had the revision it needs and any help is appreciated. Truthkeeper88 (talk) 12:08, 24 June 2010 (UTC)

Differing chronologies and locales?
Are there different editions? In my 1966 Penguin, the novel extends over four days: Day 1 is Cantwell’s medical in Trieste; Day 2 he drives to Venice and meets Renata; Day 3 he leaves Venice and Renata to go to the duck shoot in the marshes on the mainland; Day 4 is the duck shoot and his death. Hors-la-loi 15:20, 16 April 2012 (UTC) — Preceding unsigned comment added by Hors-la-loi (talk • contribs)

John O'Hara
Can someone tell me how this review is one of the few "good reviews"?

http://www.nytimes.com/books/99/07/04/specials/hemingway-river.html

Seems to me he is bashing him. — Preceding unsigned comment added by Oweng4000 (talk • contribs) 15:27, 19 May 2012 (UTC)

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Talk:Mr. America

FYI, I'm merging this page into the Hulk Hogan page. There's not enough information to warrant a page for Mr. America on his own - the story arc didn't last very long and there's already a perfectly good page on Hulk Hogan anyway. Jtalledo 03:34, 7 Feb 2005 (UTC)

title: Talk:Mr. America


text:
Lois Mailou Jones

Lois Mailou Jones (1905–1998) was an artist and educator. Her work can be found in the collections of the Smithsonian American Art Museum, The Metropolitan Museum of Art, the National Museum of Women in the Arts, the Brooklyn Museum, the Museum of Fine Arts, Boston, Muscarelle Museum of Art, and The Phillips Collection. She is often associated with the Harlem Renaissance.

Early life and education
Jones was born in Boston, Massachusetts, to Thomas Vreeland Jones and Carolyn Adams. Her father was a building superintendent who later became a lawyer after becoming the first African-American to earn a law degree from Suffolk Law School. Her mother worked as a cosmetologist. Jones's parents encouraged her to draw and paint using watercolors during her childhood. Her parents bought a house on Martha's Vineyard, where Jones met those who influenced her life and art, such as sculptor Meta Warrick Fuller, composer Harry T. Burleigh, and novelist Dorothy West.

From 1919 to 1923, Jones attended the High School of Practical Arts in Boston. During these years, she took night classes from the Boston Museum of Fine Arts through an annual scholarship. Additionally, she apprenticed in costume design with Grace Ripley. She held her first solo exhibition at the age of seventeen in Martha's Vineyard. Jones began experimenting with African mask influences during her time at the Ripley Studio. From her research of African masks, Jones created costume designs for Denishawn.

From 1923 to 1927, Jones attended the School of the Museum of Fine Arts in Boston to study design, where she won the Susan Minot Lane Scholarship in Design yearly. She took night courses at the Boston Normal Art School while working towards her degree. After graduating from the School of the Museum of Fine Arts, she received her graduate degree in design from the Design Art School of Boston in 1928. Afterwards, she began working at the F. A. Foster Company in Boston and the Schumacher Company in New York City. During the summer of 1928, she attended Howard University, where she decided to focus on painting instead of design.

Jones continued taking classes throughout her lifetime. In 1934, she took classes on different cultural masks at Columbia University. In 1945, she received a BA in art education from Howard University, graduating magna cum laude.

Career and life
Jones's career began in the 1930s and she continued to produce art work until her death in 1998 at the age of 92. Her style shifted and evolved multiple times in response to influences in her life, especially her extensive travels. She worked with different mediums, techniques, and influences throughout her long career. Her extensive travels throughout Europe, Africa, and the Caribbean influenced and changed how she painted. She felt that her greatest contribution to the art world was "proof of the talent of black artists". She wished to be known as an American painter with no labels. Her work echoes her pride in her African roots and American ancestry.

1928–1936
Jones' teaching career began shortly after finishing college. The director of the Boston Museum School refused to hire her, telling her to find a job in the South where "her people" lived. In 1928 she was hired by Charlotte Hawkins Brown after some initial reservations, and subsequently founded the art department at Palmer Memorial Institute, a historically black prep school, in Sedalia, North Carolina. As a prep school teacher, she coached a basketball team, taught folk dancing, and played the piano for church services. In 1930, she was recruited by James Vernon Herring to join the art department at Howard University in Washington, D.C., Jones remained as professor of design and watercolor painting until her retirement in 1977. She worked to prepare her students for a competitive career in the arts by inviting working designers and artists into her classroom for workshops. While developing her own work as an artist, she became an outstanding mentor and strong advocate for African-American art and artists.

In the early 1930s, Jones began to seek recognition for her designs and art work. She began to exhibit her works with the William E. Harmon Foundation with a charcoal drawing of a student at the Palmer Memorial Institute, Negro Youth (1929). In this period, she shifted away from designs and began experimenting with portraiture.

Jones developed as an artist through visits and summers spent in Harlem during the onset of the Harlem Renaissance or New Negro Movement. Aaron Douglas, a Harlem Renaissance artist, influenced her seminal art piece The Ascent of Ethiopia. African design elements can be seen in both Douglas and Jones' paintings. Jones studied actual objects and design elements from Africa.

In her works Negro Youth and Ascent of Ethiopia the influence of African masks are seen in the profiles of the faces. The chiseled structures and shading renderings mimic three-dimensional masks that Jones studied. Jones would utilize this style throughout her career.

During this period she occasionally collaborated with poet Gertrude P. McBrown; for example, McBrown's poem, "Fire-Flies," appears with an illustration by Jones in the April 1929 issue of the Saturday Evening Quill.

1937–1953
In 1937, Jones received a fellowship to study in Paris at the Académie Julian. She produced more than 30 watercolors during her year in France. In total, she completed approximately 40 paintings during her time at the Académie, utilizing the en plein air method of painting that she used throughout her career. Two paintings were accepted at the annual Salon de Printemps exhibition at the Société des Artists Français for her Parisian debut. Jones loved her time in Paris as she felt fully accepted in society as opposed to the United States at this time. The French were appreciative of paintings and talent. After she was granted an extension of her fellowship to travel to Italy, she returned to Howard University and taught watercolor painting classes.

In 1938, she produced Les Fétiches (1938), an African-inspired oil painting that is owned by the Smithsonian American Art Museum. Jones painted Les Fétiches in a Post-Cubist and Post-Primitive style. Five African masks swirl around the dark canvas. She was able to view and study many different African objects and masks at the Musée de l'Homme and galleries through her fellowship in Paris. In Les Fétiches, masks from Songye Kifwebe and Guru Dan are visible.

In 1941, Jones entered her painting Indian Shops Gay Head, Massachusetts into the Corcoran Gallery's annual competition. At the time, the Corcoran Gallery prohibited African-American artists from entering their artworks themselves. Jones had Tabary enter her painting to circumvent the rule. Jones ended up winning the Robert Woods Bliss Award for this work of art, yet she could not pick up the award herself. Tabary had to mail the award to Jones. In spite of these issues, Jones worked harder notwithstanding the racial biases found throughout the country at this time. In 1994, the Corcoran Gallery of Art gave a public apology to Jones at the opening of the exhibition The World of Lois Mailou Jones, 50 years after Jones hid her identity.

Jones' Les Fétiches was instrumental in transitioning "Négritude" — a distinctly francophone artistic phenomenon — from the predominantly literary realm into the visual. Her work provided an important visual link to Négritude authors such as Aimé Césaire, Léon Damas, and Léopold Sédar Senghor. She also completed Parisian Beggar Woman with text supplied by Langston Hughes. In 1938, Jones' first solo exhibition was hung in the Whyte Gallery and would later be exhibited at the Howard University Gallery of Art in 1948.

Jones painted "Arreau, Hautes-Pyrenees" in France during one of her many trips to France between the years of 1945-1953 where she shared a summer studio with Celine Marie Tabary in Cabris, France While in France a part of her inspiration was Tabary, also a painter, whom she worked with for many years. Tabary submitted Jones' paintings for consideration for jury prizes since works by African-American artists were not always accepted. Jones traveled extensively with Tabary, including to the south of France. They frequently painted each other. They taught art together in the 1940s. Arreau, Hautes-Pyrenees which is an oil on canvas landscape that stars a hillside in the South of France. The french influence along with post impressionist influences are highlighted as Jones employees uses rich oranges, yellows, tans complemented with clean blues and delicate greens while remaining tonally warm palette. The geometric houses echo and asymmetric composition echos the post-impressionist influences on Jones at the time. This is influence can be recognized through her landscape and documentary portraits of people and landscapes in France and in America between the years of 1948-1953.

Over the course of the next 10 years, Jones exhibited at the Phillips Collection, Seattle Art Museum, National Academy of Design, the Barnett-Aden Gallery, Pennsylvania's Lincoln University, Howard University, galleries in New York, and the Corcoran Gallery of Art. In 1952, the book Loïs Mailou Jones: Peintures 1937–1951 was published, reproducing more than one hundred of her art pieces completed in France. At the Barnett-Aden Gallery, Jones exhibited with a group of prominent black artists, such as Jacob Lawrence and Alma Thomas. These artists and others were known as the "Little Paris Group."

Alain Locke, a philosophy professor at Howard University and founder of the Harlem Renaissance, encouraged Jones to paint her heritage. She painted her striking painting Mob Victim (Meditation) after walking along U St Northwest in Washington, D.C. She saw a man walking and was prompted to ask him to pose in her studio. She wanted to depict a lynching scene. The man had seen a person being lynched before and mimicked the pose that the man held before being lynched. The painting illustrates a contemplation of imminent death that many male African Americans were facing during the 1940s. Other paintings that came out of Locke's encouragement were Dans un Café à Paris (Leigh Whipper), The Janitor and The Pink Table Cloth.

Previously in 1934, Jones met Louis Vergniaud Pierre-Noel, a prominent Haitian artist, while both were students at Columbia University. They corresponded for almost 20 years before marrying in the south of France in 1953. Jones and her husband lived in Washington, D.C., and Haiti. Their frequent trips to Haiti inspired and impacted Jones' art style significantly.

1954–1967
In 1954, Jones was a guest professor at Centre D'Art and Foyer des Artes Plastiques in Port-au-Prince, Haiti, where the government invited her to paint Haitian people and landscapes. Her work became energized by the bright colors. She and her husband returned there during summers for the next several years, in addition to frequent trips to France. Jones completed 42 paintings and exhibited them in her show Oeuvres des Loïs Mailou Jones Pierre-Noël, which was sponsored by the First Lady of Haiti. As a result of her paintings, Jones was given the Diplôme et Décoration de l'Ordre National "Honneur et Mérite au Grade de Chevalier." In 1955, she unveiled portraits of the Haitian president and his wife commissioned by United States President Dwight D. Eisenhower.

Jones's numerous oils and watercolors inspired by Haiti are probably her most widely known works. In them her affinity for bright colors, her personal understanding of Cubism's basic principles, and her search for a distinct style reached an apogee. In many of her pieces one can see the influence of the Haitian culture, with its African influences, which reinvigorated the way she looked at the world. These include Ode to Kinshasa and Ubi Girl from Tai Region. Her work became more abstract, vibrant, and thematically after moving to Haiti. Her previously impressionist techniques gave way to a spirited, richly patterned, and brilliantly colored style.

In the 1960s, she exhibited at School of the Museum of Fine Arts, Boston, Cornell University, and galleries in France, New York, and Washington, D.C. In 1962, she initiated Howard University's first art student tour of France, including study at Académie de la Grande Chaumière and guided several more tours over the years.

1968–1988
In 1968, she documented work and interviews of contemporary Haitian artists for Howard University's "The Black Visual Arts" research grant.

Jones received the same grant in 1970 as well. Between 1968 and 1970, she traveled to 11 African countries, which influenced her painting style. She documented and interviewed contemporary African artists in Ethiopia, Sudan, Kenya, Zaire (now known as the Democratic Republic of the Congo, Nigeria, Dahomey (today known as Benin), Ghana, Ivory Coast, Liberia, Sierra Leone, and Senegal. Her report Contemporary African Art was published in 1970 and in 1971 she delivered 1000 slides and other materials to the University as fulfillment of the project.

On May 22, 1970, Jones took part in a national day of protest in Washington, D.C., that was created by Robert Morris in New York. They protested against racism and the Vietnam War. While many Washington, D.C., artists did not paint to be political or create their own commentary on racial issues, Jones was greatly influenced by Africa and the Caribbean, which her art reflected. For example, Jones' Moon Masque is thought to represent then-contemporary problems in Africa.

In 1973, Jones received the "Women artists of the Caribbean and Afro-American Artists" grant from Howard University. In the same year, she was awarded an honorary Doctor of Philosophy from Colorado State Christian College.

Her research inspired Jones to synthesize a body of designs and motifs that she combined in large, complex compositions. Jones's return to African themes in her work of the past several decades coincided with the black expressionistic movement in the United States during the 1960s. Skillfully integrating aspects of African masks, figures, and textiles into her vibrant paintings, Jones became a link between the Harlem Renaissance movement into a contemporary expression of similar themes.

On July 29, 1984, Lois Jones Day is declared in Washington, DC.

1989–1998

Jones continued to produce exciting new works at an astonishing speed. She traveled to France and experimented with her previous Impressionist-Post-impressionist style that started her career in Paris. Her landscapes were painted with a wider color palette from her Haitian and African influences.

On her 84th birthday, Jones had a major heart attack and subsequently a triple bypass.

The Meridian International Center created a retrospective exhibition with the help of Jones herself. 1990 exhibition toured across the country for several years. The exhibition was the first exhibition of Jones that garnered her nationwide attention. Despite her extensive portfolio, teaching career, and cultural work in other countries, she had been left out of the history books because she did not stick to typical subjects that were suitable for African Americans to paint.

Bill Clinton and Hillary Clinton collected one of her island seascapes, Breezy Day at Gay Head, while they were in the White House.

In 1991, The National Museum of Women in the Arts held an exhibition that showcased some of Jones' children's books illustrations.

In 1994, The Corcoran Gallery of Art opened The World of Lois Mailou Jones exhibition with a public apology for their past racial discrimination.

In 1997, Jones' paintings were featured in an exhibition entitled Explorations in the City of Light: African-American Artists in Paris 1945–1965 that appeared at several museums throughout the country including the New Orleans Museum of Art, the Milwaukee Art Museum, and the Studio Museum of Harlem. The exhibition also featured the works of Barbara Chase-Riboud, Edward Clark, Harold B. Cousins, Beauford Delaney, Herbert Gentry, and Larry Potter. The exhibition examined the importance of Paris as an artistic mecca for African-American artists during the 20 years that followed World War II.

In 1998, Jones died with no immediate survivors at the age of 92 at her home in Washington, DC. She is buried on Martha's Vineyard in the Oak Bluffs Cemetery. Howard University hosted the exhibition Remembering Lois.

Legacy
Lois Mailou Jones' work is in museums all over the world and valued by collectors. Her paintings grace the permanent collections of the Metropolitan Museum of Art, Smithsonian American Art Museum, Hirshhorn Museum and Sculpture Garden, National Portrait Gallery, Boston Museum of Fine Arts, the National Palace in Haiti, the National Center of Afro-American Artists, among others.

After her death, her friend and adviser, Dr. Chris Chapman completed a book entitled Lois Mailou Jones: A life in color about her life and the African-American pioneers she had worked with and been friends with, including Dr. Carter G. Woodson, Alain Locke, Dorothy West, Josephine Baker, and Matthew Henson.

The Lois Mailou Jones Pierre-Noel Trust founded a scholarship in her name at the Museum of Fine Arts, Boston, and a scholarship fund for the Department of Fine Arts at Howard University.

In 2006, Lois Mailou Jones: The Early Works: Paintings and Patterns 1927–1937 opened at the School of the Museum of Fine Arts, Boston. The exhibition showed 30 designs and paintings from the beginning of her career.

From November 14, 2009, to February 29, 2010, a retrospective exhibit of her work entitled Lois Mailou Jones: A Life in Vibrant Color was held at the Mint Museum of Art in Charlotte, North Carolina. The traveling exhibit included 70 paintings showcasing her various styles and experiences: America, France, Haiti, and Africa.

Jones is featured in the 2017 publication, Identity Unknown: Rediscovering Seven American Women Artists. She was included in the 2018 Columbus Museum of Art exhibition and catalogue of I too sing America: the Harlem Renaissance at 100.

Pupils of Jones included Georgia Mills Jessup, Martha Jackson Jarvis, and David Driskell.

Awards and honors

 * Robert Woods Bliss Award for Landscape for Indian Shops Gay Head, Massachusetts (1941)
 * Atlanta University award for watercolor painting Old House Near Frederick, Virginia (1942)
 * Woman of 1946 award from the National Council of Negro Women (1946)
 * John Hope Prize for Landscape for Ville d'Houdain, Pas-de-Calais and award from the Corcoran Gallery of Art for Petite Ville en hautes-Pyrenées (1949)
 * Atlanta University award for Impasse de l'Oratorie, Grasse, France (1952)
 * Oil painting award from the Corcoran Gallery of Art Coin de la Place Maubert, Paris (1953)
 * Chevalier of the National Order of Honor and Merit from the government of Haiti. (1954)
 * Award for design of publication Voici Hätii (1958)
 * Atlanta University award for Voodoo Worshippers, Haiti and America's National Museum of Art award for Fishing Smacks, Menemsha, Massachusetts (1960)
 * Elected person of The Royal Society of Arts in London. Received the Franz Bader Award for Oil Painting from National Museum of Art for Peasants on Parade (1962)
 * Honorary Doctor of Philosophy from Colorado State University (1973)
 * Howard University Fine Arts Faculty Award for Excellence in Teaching (1975)
 * Honored by President Ronald Reagan at the White House for outstanding achievements in the arts (1980).
 * Honorary Doctorate of Humane Letters from Suffolk University in Boston (1981)
 * Candace Award, Arts and Letters, National Coalition of 100 Black Women (1982)
 * 3rd Annual Art Awards, Washington, DC (1983)
 * Lois Jones Day, Washington, DC (July 29, 1987)
 * Outstanding Achievement Award in the Visual Arts, Women's Caucus of Art, Cooper Union, New York, NY (1986)
 * Honorary Doctorate in Fine Arts from Massachusetts College of Art, Boston (1986)
 * Honorary Doctorate of Humane Letters from Howard University (1987)
 * Honorary Doctor of Humane Letters from The Atlanta College of Art (1989)
 * Honorary Doctor of Fine Arts from the Corcoran School of Art (1996)

Selected collections

 * Men Working, not dated, Smithsonian American Art Museum, Washington, DC
 * Negro Youth, 1929, Smithsonian American Art Museum, Washington, DC
 * Brother Brown, 1931, Smithsonian American Art Museum, Washington, DC
 * Les Fétiches, 1938, Smithsonian American Art Museum, Washington, DC
 * Place du Tertre, 1938, The Phillips Collection, Washington, DC
 * Dans un Café à Paris (Leigh Whipper), 1939, Brooklyn Museum, Brooklyn, NY
 * Seated Man in Yellow Overalls, 1939, Smithsonian American art Museum, Washington, DC
 * Cauliflower and Pumpkin, 1938, The Metropolitan Museum of Art, New York, NY
 * Self-Portrait, 1940, Smithsonian American Art Museum, Washington, DC
 * Les Clochards, Montmartre, Paris, 1947, Smithsonian American Art Museum, Washington, DC
 * Coin de la Rue Medard, 1947, The Phillips Collection, Washington, DC
 * Jardin du Luxembourg, ca. 1948, Smithsonian American Art Museum, Washington, DC
 * Arreau, Hautes-Pyrénées, 1949, National Museum of Women in the Arts, Washington, DC
 * Mme. Feugeront à Cabris, AM, 1950, Muscarelle Museum of Art, Williamsburg, VA
 * Jeune Fille Française, 1951, Smithsonian American Art Museum, Washington, DC
 * Eglise Saint Joseph, 1954, Smithsonian American Art Museum, Washington, DC
 * Shapes and Colors, 1958, Smithsonian American Art Museum, Washington, DC
 * Challenge—America, 1964, Hirshhorn Museum and Sculpture Garden, Washington, DC
 * Moon Masque, 1971, Smithsonian American Art Museum, Washington, DC
 * Ode to Kinshasa, 1972, National Museum of Women in the Arts, Washington, DC
 * Ubi Girl from Tai Region, 1972, Museum of Fine Arts, Boston, Boston, MA
 * La Baker, 1977, Museum of Fine Arts, Boston, Boston, MA
 * The Green Door, 1981, National Gallery of Art, Washington, DC
 * Suriname, 1982, Smithsonian American Art Museum, Washington, DC
 * Glyphs, 1985, Museum of Fine Arts, Boston, Boston, MA
 * Untitled (Portrait of Léopold Sédar Senghor), 1996, Minneapolis Institute of Art, Minneapolis, MN

Selected exhibitions

 * Solo exhibition, 1937, Howard University, Washington, D.C., sponsored by Alpha Kappa Alpha sorority.
 * Solo exhibition, 1946, Barnett Aden Gallery, Washington, DC
 * Solo exhibition, 1947, Lincoln University of the Commonwealth of Pennsylvania
 * Solo exhibition, 1948, Whyte Gallery and Howard University, Washington, DC
 * Solo exhibition, 1955, Pan American Union Building, Washington, DC
 * Solo exhibition, 1961, Galerie International, New York, NY
 * Solo exhibition, 1966, Galerie Soulanges, Paris, France
 * Solo exhibition, 1967, Cornell University, Ithaca, NY
 * Forty Years of Painting, 1972, Howard University Gallery of Art, Washington, DC
 * Reflective Moments, 1973–1974, MFA, Boston, Boston, MA
 * Six Distinguished Women Artists, 1976, Brooklyn Museum, New York, NY
 * Solo exhibition, 1979, The Phillips Collection, Washington, DC
 * The World of Loïs Mailou Jones, 1990–1996, The Meridian International Center, Toured throughout the nation
 * The Art of Loïs Mailou Jones, 1991–1993, Bomani Art Gallery, San Francisco, CA
 * The Life and Art of Lois Mailou Jones, 1994, Corcoran Gallery of Art, Washington, DC
 * Loïs Mailou Jones: The Early Works: Paintings and Patterns 1927–1937, 2006, School of the Museum of Fine Arts, Boston, MA
 * Lois Mailou Jones: A Life in Vibrant Color, 2009–2010, Mint Museum of Art, Charlotte, NC
 * Full Spectrum: The Prolific Master within Loïs Mailou Jones, 2014–2015, DC Commission on the Arts and Humanities in Partnership with the Loïs Mailou Jones Trust, The I Street Gallery, Washington, DC
 * The Life and Work of Lois Mailou Jones, 2015, Martha's Vineyard Museum, Edgartown, MA

title: Lois Mailou Jones