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Wikipedia:Articles for deletion/2552irc

 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. Joyous 03:03, Feb 28, 2005 (UTC)

2552irc
Non-notable IRC client. 50-odd Google results. —Mar·ka·ci: 2005-02-19 20:29 Z
 * Delete. Another non-notable article that makes me sigh and ask "Who bloody cares?" Zzyzx11 00:33, 20 Feb 2005 (UTC)
 * Delete -- Longhair 03:48, 21 Feb 2005 (UTC)
 * Delete. Just remove it, I don't even know who added it (I'm the creator of the IRC client and i don't even see why it should be on here)

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.

title: Wikipedia:Articles for deletion/2552irc


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Air Mandalay

Air Mandalay (အဲမန္တလေး) was a regional airline based in Yangon. Its main base was Yangon International Airport. In early April 2015, two newly leased Embraer ERJ 145 jets joined its fleet.

History
The airline was established on 6 October 1994 and started operations on 18 October that year with a flight from Yangon to Mandalay. It was the first domestic and regional joint venture airline in Myanmar. Director of Flight Operations was Captain Zaw Thein, and Chief Pilot was Captain James Keep. On 27 August 1995, Air Mandalay started its first international service from Yangon to Chiang Mai in Thailand.

The airline ceased operations on September 4, 2018 amidst overcapacity in Myanmar's aviation market with all of its flights incorporated by Myanmar National Airlines.

Destinations

Air Mandalay served the following destinations (as of August 2018):

 * Myanmar
 * Sittwe – Sittwe Airport
 * Tachilek – Tachilek Airport
 * Yangon – Yangon International Airport, main hub
 * Myitkyina – Myitkyina Airport

Current fleet
As of August 2018 the Air Mandalay fleet comprised the following aircraft:

Former fleet

 * 3 ATR 42-320
 * 4 ATR 72-212

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

title: Air Mandalay


text:
Rasa

Rasa may refer to:

Indian culture

 * Rasa (aesthetics), a concept in the Indian performing arts
 * Rasa (theology), a concept of nectar or emotional rapture related to Krishna devotion
 * Rasā, a mythical river mentioned in the Rigveda
 * Rasa lila, a dance performed by the Hindu god Krishna with his consort Radha and other milkmaids
 * Rasa (literary form), an early literary form of Gujarati literature and Apabhramsa
 * Rasa, the nutritive fluid that flows in the body and nourishes all other tissues according to Ayurveda

People

 * Rasa von Werder (born 1945), German-Lithuanian bodybuilder and author.
 * Rasa Budbergytė (born 1960), a politician of the Social Democratic Party of Lithuania
 * Rasa Drazdauskaitė (born 1981), a Lithuanian long-distance runner
 * Rasa Juknevičienė (born 1958), a Lithuanian politician
 * Rasa Kaušiūtė (born 1977), Lithuanian singer and composer
 * Rasa Mažeikytė (born 1976), a Lithuanian cyclist
 * Rasa Polikevičiūtė (born 1970), a Lithuanian cycle racer

Places

 * Rasa Island, in Palawan, Philippines
 * Rasa Island, Japan, the old name of Oki Daitō, an uninhabited Japanese island
 * Raša, Istria County, a town in Croatia
 * Rasa, Malaysia, a town in Selangor, Malaysia
 * Raša (river), a river in Istria, Croatia
 * Rasa (Argeș), a river in southern Romania
 * Rasa, a village in Grădiștea, Călărași, Romania
 * Rasa, Ticino, a hamlet in the Swiss canton of Ticino
 * Rasa di Varese, a hamlet in the Italian province of Varese
 * Rasa, the former name of Lhasa, Tibet

Other uses

 * Rasa (band), a musical duo formed in 1998
 * Rasa (mythology), a Lithuanian goddess
 * Rasa, one of several Lithuanian names for Saint Jonas' Festival
 * Tabula rasa, an epistemological thesis
 * Rasa, a character in Mobile Suit Gundam 00
 * Relative accessible surface area, a measure of residue solvent exposure
 * Relative apparent synapomorphy analysis, a taxonomy term
 * Roosevelt Academy Student Association, Student Association of Liberal Arts Honors College in Middelburg, The Netherlands
 * Rasa (restaurant), a restaurant in Burlingame, California

title: Rasa


text: Category:Gorillaz albums

title: Category:Gorillaz albums


text:
Demon Days

Demon Days is the second studio album by the British virtual band Gorillaz. It was released on 11 May 2005 in Japan and 23 May 2005 in the United Kingdom by Parlophone and in the United States by Virgin Records. Produced by Gorillaz, Danger Mouse, Jason Cox, and James Dring, it features De La Soul, Neneh Cherry, Martina Topley-Bird, Roots Manuva, MF Doom, Ike Turner, Bootie Brown of the Pharcyde, Shaun Ryder and Dennis Hopper.

As with the band's eponymous 2001 debut, Demon Days and its performances were accompanied by various multimedia, including interactive features on the Gorillaz website, animated music videos and animatics. The visuals were designed by the Gorillaz co-creator Jamie Hewlett, under his design company Zombie Flesh Eaters.

Demon Days reached the top 10 in 23 countries. It reached number one on the UK Albums Chart and number 6 on the US Billboard 200, and was later certified six times platinum in the UK and double platinum in the US. Outperforming their debut, the album has sold eight million copies worldwide. The album spawned the singles "Feel Good Inc.", "Dare", "Dirty Harry", "Kids with Guns", and "El Mañana".

Spin ranked Demon Days the fourth-best album of 2005, while Mojo ranked it at number eighteen on their year-end list and hailed the album as a "genre-busting, contemporary pop milestone". The NME placed the album at number 98 on their list of 100 greatest albums of the decade, and Uncut placed it at number 75 on their list of top 150 albums of the decade. Complex included it on their list of 100 Best Albums of the Complex Decade, placing it at number 43, and Spin later included it in their list of "The 300 Best Albums of 1985–2014". In 2020, the album was included at the 100 Best Albums of the 21st Century list of Stacker, being ranked at 25. In 2023, Rolling Stone ranked Demon Days number 437 on their list of the 500 Greatest Albums of All Time.

Background
While Jamie Hewlett was working with his team on a script for a possible Gorillaz movie, Damon Albarn was still recording Think Tank with Blur. By the time Albarn was ready to start writing and recording material for the Gorillaz movie, the whole idea had already been scrapped, although ideas from the movie's script were still used, including the themes of being driven by ego and the world being trapped in an endless night. Despite this, the album's main source of inspiration actually came about as a result of Albarn's train journey from Beijing to Mongolia where he, his partner and six-year-old daughter spent a day travelling through what Albarn describes as a "weird, unspoken, forgotten part of China. It was basically dead trees as far as the eye can see." Albarn recalls: "Dust bowls, loose earth rapidly turning into desert. There are little satellite towns in the middle of these semi deserts that are absolutely on their knees. And it's the size of Europe this area. And then you wake up in the morning with this nightmare in your head and it's blue sky and beautiful sand, which looks fantastic now but was probably something else millions of years ago. And that will happen to us in our lifetime."

Albarn stated in an interview with MTV News that "Gorillaz make dark pop; that's what they always set out to achieve. The whole album kind of tells the story of the night — staying up during the night — but it's also an allegory. It's what we're living in basically, the world in a state of night."

Hewlett was excited by the prospect of a second Gorillaz album, saying, "Let's repeat the same process, but do it better. Because everyone thought it was a gimmick. If you do it again, it's no longer a gimmick, and if it works then we've proved a point. And instantly, all of us got excited".

Recording
The most obvious difference on the band's second offering is the absence of Dan "the Automator" Nakamura as the acting musical producer. Instead, Albarn reached out to Danger Mouse based on the strength of The Grey Album, which brought Danger Mouse to prominence for mixing Jay-Z's The Black Album. "Dan [the Automator] wasn't busy, the project just needed a slightly different approach," Albarn explained. "Danger Mouse, in my opinion, is one of the best young producers in the world. I think the last record was a lot more simplistic. It was virgin territory — animated hip-hop, reggae, stroke-rock, Latin rock — there's a lot more intricacy with this record." Danger Mouse joined the project on 7 April 2004. Danger Mouse was a longtime fan of Albarn's other band Blur, the feelings of admiration and respect were mutual. "It was a no-brainer when there was interest there from Damon," Burton said. "I heard demos of the new record, but the biggest part was getting the chance to be a part of something that's so strong — you just gotta jump on it. I had a very up-and-down year [in 2004], but it was definitely a big up when I got a chance to [work with Gorillaz]."

"I learned so much working on the record with Damon", claimed Danger Mouse. "...and it was sink or swim. You just pick it up. At the end of the day, the people you're working with – whether it's the choir or string section or guitarist – are specialized in what they do. All you have to do is figure out the best thing they're doing and how it's going to fit within the context of the whole project. That goes back to putting together a song on a computer-based program. You're looking for all the parts that are going to make something sound right. It's also being able to communicate. I had done stuff before Gorillaz – like the Pelican City stuff – where I worked with musicians, so it wasn't completely foreign to me." As on Gorillaz, there are plenty of guest collaborators, including rappers De La Soul, Bootie Brown from the Pharcyde, and MF Doom along with Ike Turner on keyboards, the singer Shaun Ryder from Happy Mondays and the actor and director Dennis Hopper, who narrates a parable ("Fire Coming Out of the Monkey's Head") about innocence, greed and retribution set to a droll reggae bounce. That song leads into a stretch of ethereal vocal harmonies, in a clear homage to the Beach Boys. Albarn said he couldn't make the vocal parts sound right until he had a minor revelation. "If you've ever seen the Beach Boys in footage, they're all smiling, desperately keeping the upbeat Beach Boy thing alive, while Brian Wilson is just absolutely glum as hell. So I did three harmonies smiling with my face. And then one just being really miserable, which was Brian. Now it's got that vibe."

"Kids with Guns" was inspired by a boy in Albarn's daughter's class who turned up to school with a knife. "A nice boy", said Albarn, "just decided to pick up a knife and show it to his friends at lunchtime. It's a very real problem, but I'm not treating it as a problem. It's part of the brutalisation of a generation that's going on at the moment". "Fire Coming Out of the Monkey's Head", meanwhile, is a parable read by Dennis Hopper that seems to have clear parallels with the war for oil. Regarding the song "Dare" and the collaboration with Shaun Ryder, Albarn also said: "I love Shaun Ryder. During the whole Oasis thing, he and Bernard Sumner were the only two who cared about what I was going through. Being constantly taken the piss out of by Noel & Liam (Gallagher). How can you fight when you've got the tabloids and a working class attitude on your back? You're fucked. But Shaun was really sweet to me and made me feel a whole lot better about it. Because I did get quite upset about it, so was selecting Shaun karma in action, then? Yeah, definitely". The song's title is purported to have come about due to Ryder's thick Mancunian accent; he was unable to say the phrase "It's There", which was the song's original title, so it was changed simply to "Dare". Roses Gabor takes over the role of Noodle from Miho Hatori, who provided the vocals for her on the first album. Albarn provides backing vocals; however, to blend his vocals with Gabor's, his voice was toned down to be slightly covered up. Albarn's full vocalization can be heard on the D-Sides remix album. D-Sides features a demo version of "Dare" entitled "People". This version contains the same background beat while lacking the majority of the keyboards and effects in the final recording. Unlike the final version, it is completely sung by Albarn and features an Omnichord breakdown.

Rapper Roots Manuva and Martina Topley-Bird appear on the track "All Alone" (the instrumental of which was partially recorded in Africa) and also recorded another track entitled "Snakes and Ladders". The track does not appear on the album or D-Sides, however, the track was sampled by Topley-Bird for her song "Soldier Boy", which appears as a B-side for her song "Poison" which features Roots Manuva and features a production credit for Gorillaz. The track can be heard partially on the Gorillaz documentary-film Bananaz, and is also sampled on the track "Intro".

Musical style and themes
Sputnikmusic wrote that the album's style "is a strong foray into the melding of hip hop into pop and rock music." Odyssey said that the album was "apocalyptic dark pop at its finest, strangest, and most topical". Vice called the album a "British pop masterpiece", and wrote that its music "flits between UK rap, alternative rock, piano-pop, trip-hop, reggae, and Beach Boys psychedelia". The Unapologists called the album "both a typical post-9/11 political statement and mid-2000s alt-rock masterpiece". Spin described the album as a "slinky folk-disco-hip-hop-Afro-pop-punk expedition". Robert Christgau labelled the album "pop trip-hop", while Happy Mag listed it as a key work in the art rock style.

Demon Days prominently makes use of string sections, which were organized under the lead of Isabelle Dunn, who formed Demon Strings for the album and its later live performances. Choirs are also incorporated, including the San Fernandez Youth Chorus on "Dirty Harry", and the London Community Gospel Choir on the album's final two tracks, "Don't Get Lost in Heaven" and "Demon Days".

Albarn has said that the album is meant to be a depiction of a journey through the night in which each track represents a confrontation with a personal "demon". The album also has many lyrical themes centered on the destruction humans are causing worldwide; speaking about the track "Fire Coming Out of the Monkey's Head", Albarn explained, "That came from a very naive idea, which is: what is going to happen when they've taken all of the oil out of the earth? Aren't there going to be these vast holes? Surely those holes shouldn't be empty. Surely there is a reason why they had all of this in. It's like bad plastic surgery, eventually it collapses." Mike Schiller of PopMatters wrote that Demon Days "[provides] its listeners not with a story arc, but a "music arc" [which] starts off slow, and honestly, not all that strange", describing the first few tracks as "[sounding] a bit like the Casioed version of a mid-'90s trip-hop album." The album's opener, "Intro" contains a sample from "Dark Earth", from the soundtrack to the 1978 film Dawn of the Dead.

Release and marketing
Demon Days was first mentioned in articles detailing the reopening of Gorillaz' website in early December 2004. Initially, a March or April 2005 release date was announced, but this date was later pushed back. In an article for Q in February 2005, it was reported that the album was to be titled We Are Happy Landfill. Another early title was reported to be Reject False Icons, which is also the title of Gorillaz' culture jamming project. In January 2005, a promo for the song "Dirty Harry" was released as a white label 12", and an exclusive video was released online entitled "Rockit". It was later reported that the track would not appear on the album, although it later appeared on D-Sides, a collection of remixes, rare songs and B-sides released in November 2007. Demon Days' lead single "Feel Good Inc." became Gorillaz' biggest hit at the time, while the album's second single, "Dare" featuring Shaun Ryder, was a big hit as well and gave the band their first number one single in the UK. Since its release, Demon Days has been certified double platinum in the US and 6× platinum in the UK.

The limited edition of the album includes a DVD containing the video, audio commentary and an animatic for the music video "Feel Good Inc.", short animated films featuring the band, an exclusive audio track titled "The Swagga" and online access to exclusive sections of the band's website, with various wallpapers and screensavers, as well as a crowbar, facilitating the opening of a locked cupboard in the kitchen on Gorillaz.com in order to download the song, "Happy Landfill". This content is no longer available, however, the track appears on D-Sides (re-titled "We Are Happy Landfill").

Reject False Icons
The phrase "Reject False Icons" was first mentioned on 24 November 2004 on a Gorillaz mail out to fans. On 8 December, the Gorillaz website was re-opened with a brand new music video, "Rockit", which has the saying "Reject False Icons" at the end. On 19 December, the "Reject False Icons" campaign kicked off with the launch of rejectfalseicons.com. Fans could submit their photos of ways to spread the message by using graffiti or by sticking "Reject False Icons" stickers that were available for a limited period from the site and from selected record shops in the UK.

Search for a Star
In December 2004, Gorillaz launched their own talent contest, Search for a Star, to find an artist to collaborate with. There were on average over 100 entries per week whittled down to around 10 to be put forward for the public vote. The 200+ entries were viewed over a million times. A gallery room was added to Kong Studios which displayed all of the entries. Gorillaz' competition was initially run to pick just one winner from entries submitted to Gorillaz.com. However, at the end of the competition, it was announced that two further entries – one from the submitted images, and one from the submitted audio files – would be chosen by online vote.

All three collaborated on the fourth single release of Phase Two, "Kids with Guns" / "El Mañana". Sourbee provided his animated incarnation of the "Don't Get Lost in Heaven (Original Demo Version)" B-side, featured on the DVD version of the single. Asidus made a "Dirty Harry" remix called "Uno Quatro" featured on the Gorillaz website. Irina Bolshakova aka Schneeflocke created her own artistic interpretation of "El Mañana", featured on an insert included on the DVD version of the single. The winners were also originally supposed to have their own rooms in Kong Studios, but that never came to pass.

Reception
At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, Demon Days received an average score of 82, indicating "universal acclaim". AllMusic editor Stephen Thomas Erlewine wrote that Demon Days "is unified and purposeful in a way Albarn's music hasn't been since The Great Escape" and "stands alongside the best Blur albums, providing a tonal touchstone for this decade the way Parklife did for the '90s." Paul Mardles of The Observer felt that, compared to Gorillaz, the songs on Demon Days were more "fully realised and pregnant with ideas", and that the album may prove to be Albarn's "masterwork". Writing in Entertainment Weekly, David Browne called it "spookier, blippier, and more on edge." Los Angeles Times critic Robert Hilburn stated that Albarn's "evocative words, compelling if understated melodic sense and subdued vocals" are at the emotional center of Demon Days, "transcending the gimmick even more than on the first Gorillaz album."

Rob Mitchum of Pitchfork felt that while Demon Days was uneven, Albarn's experiments "fit together just often enough to again make Gorillaz more than mere Adult Swim novelty." In a mixed assessment, Alex Mar of Rolling Stone described Demon Days as "hit-or-miss" and felt that Albarn's "phoned-in and incredibly flat" vocals weighed the record down. In contrast, Uncut stated that the album featured "great beats, brilliant production, top tunes and some of Albarn's best singing." Robert Christgau of The Village Voice gave Demon Days a three-star honourable mention, indicating "an enjoyable effort consumers attuned to its overriding aesthetic or individual vision may well treasure", and selected "All Alone" and "Dare" as highlights.

Accolades
"Feel Good Inc.", the lead single from Demon Days, won the Best Pop Collaboration with Vocals accolade at the 48th Grammy Awards. The album was nominated for British Album of the Year at the 2006 Brit Awards, but lost to Coldplay's X&Y. Demon Days won the accolade for Best International Album at 2006 Danish Music Awards and made the band win the accolade for Best Group at 2005 MTV Europe Music Awards.

Demon Days was voted the 21st best album of the year in The Village Voice's annual Pazz & Jop critics poll for 2005. The album was chosen as the tenth best album of 2005 by NME and the 2nd one for Q magazine. Glide Magazine listed the album on its Best Albums of the Decade, ranking it at 46. Spin ranked Demon Days as the fourth best album of 2005, while Mojo ranked it at number eighteen on their year-end list and hailed the album as a "genre-busting, contemporary pop milestone." NME placed it 98th on their list of 100 greatest albums of the decade. Uncut ranked it at 75 on their list of top 150 albums of the decade. Complex included it on their list of 100 Best Albums of the Complex Decade, placing it at number 43. The Guardian listed the album on its Top 50 Albums of the decade, ranking it at 11. Spin later included it in their list of The 300 Best Albums of 1985–2014. In 2016, Q ranked Demon Days as one of The Greatest Albums of the Last 30 Years. In 2020, the album was included at the 100 Best Albums of the 21st Century list of Stacker, being ranked at 27.

Legacy
Despite its only modestly positive reception at release, Demon Days is now considered to have left an indelible mark on alternative music and has since been variously hailed as "iconic", "classic", "timeless" and a "modern masterpiece".

Multiple writers have noted how Demon Days' commentary was prescient for outlining social and environmental issues in the following years of the 21st century. In an eleventh-anniversary retrospective, Angus Harrison wrote for Noisey UK that while at the time the record was perceived as "corny, ranty, and hysterical," and even "pretentious twaddle," it is now viewed as "scarily prescient" and "a thrilling allegory set on the precipice of an increasingly dark stretch of modern history." In Vinyl Me, Please's Liner Notes series, Kyle Kramer called the "tormented, large-scale questions" of the album "more relevant than ever," whether in "2017 or much further down the line." John of audiosnobbery pens that "this doomsday scenario was simply viewed as a self-indulgent and pretentious move from Albarn, but, 14 years later, the messages and problems explored in Demon Days are more pertinent than ever: overpopulation, false gods, guns, violence, depression, corruption and greed. The world is not better than it was, and this is precisely why listening to Demon Days today is even more interesting than in 2005 – these are the true Demon Days." Hatim Hafid of River Beats Dance describes that "Demon Days acts as a direct societal critique on colonialism and invasion. It highlights the negative practices used to exploit countries in the name of democracy and peace", and "...Demon Days remains as one of the most politically charged pieces of the era." Tim Karan of Diffuser has called Demon Days as "one of the most innovative albums of the 21st century". He also classified the album as "dense and atmospheric". Sean Craig from Mixed Frequencies said that Demon Days is "as dense as a 50-minute album can be, packed with hit after hit, feature after feature, and changes in musical style so fast that it can give you whiplash if you're not prepared for it. It's a dark, apocalyptic album that brims with energy and funk, a pop music oxymoron in every fiber of its being. It's an idiosyncrasy made manifest, something that uses sounds from every possible corner of the musical world and blends them together, in turn sounding almost entirely its own."

Artists including Kali Uchis, ASAP Rocky, and Trippie Redd have suggested Demon Days specifically as an influence on their work (among many others who have cited the project as a whole), with the latter saying it provides him with inspiration to create "timeless" work. Mura Masa commented how Demon Days has influenced him to invite Damon Albarn to work in his track "Blu": "...Demon Days was the first album I bought, so getting to meet up and actually work with him was crazy."

The music videos for singles from Demon Days, "Feel Good Inc.", "Dare", and "El Mañana" have amassed millions of views on YouTube; in 2011, Rolling Stone clocked "Feel Good Inc." as the 99th best song of the 2000s. In 2020, the song "Dirty Harry" trended on video-sharing platform TikTok, featured by users conceptualizing themselves as cartoon characters (referencing Gorillaz' virtual nature).

Personnel
Credits adapted from the liner notes of Demon Days.

Musicians

 * Damon Albarn – lead vocals, keyboards, acoustic guitar, synthesizers, melodica
 * Danger Mouse – percussion, drum programming, sampled loops
 * Jason Cox – drums, drum programming
 * James Dring – drums, drum programming
 * Cass Browne – drums
 * Simon Tong – additional guitar (tracks 2, 4, 6–7, 10)
 * Sally Jackson – violin (tracks 2, 5, 7–8, 10, 15)
 * Stella Page – viola (tracks 2, 5, 7–8, 10, 15)
 * Amanda Drummond – viola (tracks 2, 5, 7–8, 10, 15)
 * Isabelle Dunn – cello (tracks 2, 5, 7–8, 10, 15)
 * Al Mobbs – double bass (tracks 2, 5, 7–8, 10, 15)
 * Emma Smith – double bass (tracks 2, 5, 7–8, 10, 15)
 * Prabjote Osahn – violin (tracks 2, 5, 8, 10, 15)
 * Neneh Cherry – additional vocals (track 3)
 * Bootie Brown – vocals (track 5)
 * The San Fernandez Youth Chorus – choir (track 5)
 * De La Soul – vocals (track 6)
 * Antonia Pagulatos – violin (track 7)
 * Ike Turner – piano (track 8)
 * MF Doom – vocals (track 9)
 * Roots Manuva – vocals (track 10)
 * Martina Topley-Bird – vocals (track 10)
 * Shaun Ryder – vocals (track 12)
 * Rosie Wilson – vocals (track 12)
 * Dennis Hopper – vocals (track 13)
 * London Community Gospel Choir – choir (tracks 14–15)

Technical

 * Damon Albarn – production
 * Brian Burton – mixing, production
 * Jason Cox – engineering, mixing, production
 * James Dring – production
 * Steve Sedgwick – mixing assistance
 * Howie Weinberg – mastering

Artwork

 * J.C. Hewlett – artwork, design
 * Zombie Flesh Eaters – artwork, design

Singles

 * "Feel Good Inc." was the first single released from the album. It was released as a single in the UK and Australia on 9 May 2005, and charted at number two in the UK, number 14 on the Billboard Hot 100 and number one on the Billboard Hot Modern Rock Tracks.
 * "Dare" was the second single released from the album. It was released on 29 August 2005 in the UK. The single charted at number one on the UK Singles Chart, number eight on the Billboard Modern Rock Tracks and number 87 on the Billboard Hot 100.
 * "Dirty Harry" was the third single released from the album. It was released on 21 November 2005 in the UK, and charted at number six on the UK Singles Chart.
 * "Kids with Guns" / "El Mañana" was the fourth and final single released from the album. It was released on 10 April 2006 in the UK. The winners for the Search for a Star competition collaborated with Gorillaz in various ways on the single. The single charted at number 27 on the UK Singles Chart.

title: Demon Days


text:
Julius Jones (American football)

Julius Andre Maurice Jones (born August 14, 1981) is an American former professional football player who was a running back in the National Football League (NFL). He played college football for the Notre Dame Fighting Irish. Jones was selected by the Dallas Cowboys in the second round of the 2004 NFL Draft. He also played in the NFL for the Seattle Seahawks and the New Orleans Saints.

Early years
Jones was born in Big Stone Gap, Virginia. His mother, Betty, worked the graveyard shift in a Virginia coal mine for nearly 20 years while raising seven children, including his older brother Thomas Jones. While in Appalachia, Virginia, his father encouraged the children to learn five new words per day and made them read the front page of the newspaper before they could read the sports section. Jones credits his parents with instilling the ambition and strong work ethic that he is known for in professional football.

He attended Powell Valley High School, where he was a letterman in football, basketball, and track. In football, as a senior he registered 2,564 yards and 36 touchdowns, earning honorable-mention USA Today All-American honors.

He contributed to his school winning 28 straight games and the Virginia Group A-Division II state title in 1997 and 1998 while being named the Virginia Group A Offensive Player of the Year in both years. He finished his high school career with 614 carries for 5,803 yards and 86 touchdowns. He also played safety and had 10 career interceptions.

College career
Jones played college football at the University of Notre Dame from 1999 to 2001 and 2003. As a freshman, he was a backup, playing mainly on special teams, while leading the team in both kickoff and punt return yardage, he also recorded 146-rushing yards and one touchdown against Navy. As a sophomore, he was a part of a three-back rotation that included Tony Fisher and Terrance Howard, which limited him to only three 100 rushing yards games. In 2002, he was suspended from the team because of academic reasons.

In 2003, although he began the season as a backup to Ryan Grant, he became the starter after the fifth game when he set a single-game school record for rushing yards (262) against the University of Pittsburgh. He had three 200-yard rushing performances, which is another school record, and one of the best single seasons ever by an Irish running back. He posted 229 carries for 1,268 yards (tied for the fourth-most in school history) and 10 touchdowns. He finished his college career as one of only four running backs in school history to rush for over 3,000 yards. He also set school records for kickoff return yards (1,678), combined kick return yards (2,104) and all-purpose yards (5,372).

2004
After the NFL's All-Time leading rusher Emmitt Smith departed to the Arizona Cardinals, the Dallas Cowboys were looking to fix a disappointing running attack led by Troy Hambrick, with the selection of a potential franchise running back. In the 2004 NFL Draft they found themselves with the opportunity to draft Steven Jackson, the highest-ranked running back, that fell because of concerns over a knee injury. Instead, the team felt they could select a comparable running back later in the draft and chose to trade their first-round pick to the Buffalo Bills (who used it to select J.P. Losman) for a future 2005 first-round pick who the Cowboys would later use on defensive end Marcus Spears. Jones was the back selected by the team in the second round (43rd overall) of the 2004 NFL Draft. At the start of the season, already with a bruised rib, Jones fractured his scapula bone in a win versus the Cleveland Browns early in week two and the team was forced to depend on veteran free agent acquisition Eddie George during his absence.

Jones was later healthy enough to play midway through the season and despite in a losing effort, he gained 80 yards on a stingy Baltimore Ravens defense led by Pro Bowl linebacker Ray Lewis. A week later, on a nationally televised Thanksgiving stage against his older brother Thomas and the Chicago Bears, Julius won "player of the game" honors when he rushed for 150 yards and two touchdowns. As a result, Jones was the second Dallas Cowboy chosen for FOX's annual "Galloping Gobbler" trophy awarded every Thanksgiving Day. This honor was formerly bestowed upon running back Emmitt Smith in 2002 and later awarded to quarterback Tony Romo in 2006. As the season came to a close, Jones looked very impressive as he rushed for over 800 yards in the 8 remaining regular-season games. The future looked promising and it appeared as if the team had found their successor to Smith. Jones was one of the few bright spots in a dismal 6–10 season.

2005
Jones made a bold and confident goal of reaching 1,700 yards and 20 touchdowns. Against the Philadelphia Eagles in week 5, Julius rushed for 72 yards in the first half but suffered a high ankle sprain that bothered him the entire season and was forced to sit out for 3 games. For the second straight year, Jones was considered to be injury-prone and unable to carry the load of a franchise back. Rookie running back Marion Barber III turned in several strong performances in Julius' absence creating a running back controversy. Against the Detroit Lions Jones had rushed for 92 yards, but on 1st and goal from the 1-yard line, he was stopped 3 consecutive times. Later against the Carolina Panthers, Jones once again demonstrated his playmaking ability when rushed for two touchdowns and 194 yards. Former Cowboys quarterback and now Fox Network commentator Troy Aikman, commented on Jones' speed burst and agility, something he had not seen since Julius' rookie season in 2004. The Cowboys finished the season with an uninspiring loss the next week to the St. Louis Rams at Texas Stadium. At a record of 9–7, Dallas missed the playoffs for the 2nd consecutive year and as if to signify the entire season, Jones came just 7 yards short of his first 1,000-yard season.

2006
Jones' only goal this time was to stay healthy for a full season. After a strong start in which he gained 494 yards over the first five games, Jones saw his playing time decrease near the goal line and in the 4th quarter to Barber. Bill Parcells stated he wanted to keep both running backs fresh and used a "dual-back" system with Jones as the starter and Barber as the finisher. In week 14, versus the New Orleans Saints, Jones had the longest rush from scrimmage in his career with a 77-yard touchdown run on his first carry of the game. Jones also finally surpassed the 1,000-yard mark to become the first Cowboys back to do so since Emmitt Smith in 2001 and rushed for 112 yards in the Wildcard playoff game against the Seattle Seahawks. With the departure of Bill Parcells and the trade of his brother Thomas Jones to the New York Jets, rumors were rampant about the possible trade of Julius in the off-season as well. Cowboys owner Jerry Jones quickly dispelled any rumors stating "I don't see that happening" and was happy with the current rotation of Dallas running backs.

2007
Entering the final year of his contract and with a new coach Wade Phillips now in the fold, Julius had high hopes for the 2007 season. Jones stated that perhaps he listened to former head coach Bill Parcells more than he should have, rather than relying on his own instincts. During off-season workouts, with the numerous trade talks and strong public support for Barber to start, Julius chose to work out privately in Arizona away from the distractions in Dallas. Statistically, he had his lowest season as a professional with 164 carries for 588 yards and 2 touchdowns. Although Jones was the starting running back for the entire 16-game regular season, he had been visibly frustrated as the ratio of carries slowly started to tilt in Barber's favor. Despite openly defending Julius throughout the season, ultimately Wade Phillips decided to give Barber the start in the Divisional playoff loss to the New York Giants. He left the team ranked in eighth place on the all-time rushing list with 3,484 yards on 885 carries.

2008
On March 7, 2008, Jones agreed to a four-year deal with the Seattle Seahawks. While competing for the starting job throughout training camp, Mike Holmgren decided to give the start to running back Maurice Morris against the Buffalo Bills in week one but stated both backs will be used frequently. Morris was later sidelined with a knee injury and Jones ended the game with 13 carries for 45 yards. Against the San Francisco 49ers in week 2, Jones received his first start of the regular season and responded with 127 yards rushing and a touchdown in an overtime loss. In week 3 against the St. Louis Rams, Jones became the first Seahawks' running back to gain back-to-back 100-yard rushing games since 2005. He finished the day with 140 yards and a touchdown in a win against the Rams. Jones returned to Dallas in a Seahawks uniform on Thanksgiving Day and rushed for 37 yards on 11 carries in a loss to his former team. At the end of the 2008 regular season, Jones had 698 rushing yards (led the team) and 2 touchdowns, averaging 4.4 yards a carry.

2009
On September 14, 2009, which was also week 1 of the 2009 season, Jones rushed for 117 yards on 19 carries including a 62-yard touchdown run in a 28–0 win over the St. Louis Rams. It was also his first touchdown since week 3 of the 2008 season. Jones has picked up his first two receiving touchdowns of his professional career in back to back games against the San Francisco 49ers and the Chicago Bears. Jones ended the season with 663 yards (led the team) on 177 attempts with a 3.7 yards per carry average he also had 2 rushing touchdowns. He also caught 35 passes for 232 yards a 6.6 average and 2 touchdowns.

2010
On September 5, 2010, Julius Jones agreed to restructure his contract with the Seattle Seahawks in order to remain on the 53 man roster. On October 5, he was cut after the Seahawks traded a 2011 fourth-round selection (#122-Chris Hairston) and a 2012 conditional choice (#147-Tank Carder), to the Buffalo Bills in exchange for Marshawn Lynch.

2010
On October 12, 2010, Julius Jones signed with the New Orleans Saints. He appeared in 10 games (2 starts), rushing for 193 yards on 48 carries. On January 8, 2011, Jones ran for two touchdowns against the Seattle Seahawks in a losing effort during the Wild Card Round of the NFL playoffs, the Saints lost 41–36. He became the first player to score a touchdown in a playoff game against the same team that cut him that same season. He wasn't re-signed after the playoffs.

Personal life
Jones is the younger brother of running back Thomas Jones, and in 2006 they became the first brothers in the NFL to each rush for 1,000 yards in the same season. He was raised in Big Stone Gap, Virginia. He is the fourth amongst seven children.

title: Julius Jones (American football)


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User:Paxsimius

I'm here for the ride.

.

simple:User:Paxsimius

title: User:Paxsimius


text:
Category:Philosophy of physics

Philosophy of physics is the study of the fundamental, philosophical questions underlying modern physics, the study of matter and energy and how they interact. Perhaps the main questions concern the nature of space and time, atoms and atomism, cosmogony, the interpretation of the results of quantum mechanics, the foundations of statistical mechanics, causality, determinism, and the nature of physical laws. Classically, several of these questions were studied as part of metaphysics (for example, those about causality, determinism, and space and time). Today, the philosophy of physics is very close to and the most active subtopic within philosophy of science.

title: Category:Philosophy of physics


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Ovide Mercredi

Ovide William Mercredi (born January 30, 1946) is a Canadian politician. He is Cree and a former National Chief of the Assembly of First Nations. He is also the former president of the Manitoba New Democratic Party.

Early life and career
A Cree, Ovide Mercredi was born in the Grand Rapids reserve of the Misipawistik Cree Nation, in central Manitoba. But he lived outside the reserve because his mother was stripped of her Indian status when she married a Métis (a person of mixed indigenous and European descent). Mercredi attended the University of Manitoba and graduated with a degree in law in 1977. While a student he became President of the first native students' association formed in Canada. He was elected Regional Chief of the Assembly of First Nations for Manitoba in 1989. Mercredi had specialized in constitutional law, and became a key strategist for the Assembly during the time of the Meech Lake Accord constitutional reform discussions. He also had a strong leadership role in resolving the Oka Crisis.

Mercredi was elected as National Chief for the Assembly of First Nations, the national political body representing over 600 First Nations chiefs across Canada. During his first term, Mercredi played a major role in the Charlottetown Accord constitutional discussions. He was re-elected as National Chief in 1994, and served until 1997. As National Chief, Mercredi addressed the United Nations in both Geneva and New York. He also led a Canadian delegation to the troubled area of the Mexican state of Chiapas.

In addition to serving as a lawyer and politician, Mercredi is a noted author. He co-wrote, with Justice Mary Ellen Turpel-Lafond, the 1993 book In The Rapids: Navigating the Future of First Nations.

Mercredi is an advocate of non-violent methods for change and has been nominated by the Government of India for the Gandhi Peace Prize. He has also received honorary law degrees from Saint Mary's University, Cape Breton University and Bishop's University.

Career since his national chiefship
In April 2005, Mercredi announced he would challenge Bev Desjarlais for the New Democratic Party nomination in the riding of Churchill for the next federal election, but he later withdrew his candidacy.

In May 2007, Mercredi along with his fellow Manitoba chiefs began seeking compensation from Manitoba Telecom Services for every cellphone signal that passes through First Nations land, saying the airspace should be considered a resource like land and water. Mercredi was quoted as saying, "When it comes to using airspace, it's like using our water and simply because there's no precedent doesn't mean that it's not the right thing to do."

He is the former chancellor of University College of the North in northern Manitoba, and delivered his inaugural address at a ceremony on November 6, 2007.

On June 12, 2009, Ovide Mercredi received an honorary Doctor of Letters degree from Athabasca University.

Mercredi became Chief of the Misipawistik Cree Nation and served his community from 2005 to 2011.

In 2012, Mercredi endorsed Sheila Copps' bid for the presidency of the Liberal Party of Canada.

In 2013, Ovide Mercredi received the Distinguished Alumni Award from the University of Manitoba.

He was elected president of the Manitoba New Democratic Party on March 7, 2015. While now the president of a political party, he has previously publicly questioned the utility of voting. Mercredi, at the age of 72, announced that he would step down from his position.

On October 22, 2015, Ovide Mercredi launched his book of poetry called My Silent Drum published by Aboriginal Issues Press. All proceeds of the book will go towards a scholarship for an indigenous student at the University of Manitoba.

title: Ovide Mercredi


text:
2 Days in the Valley

2 Days in the Valley is a 1996 American neo noir crime black comedy film written and directed by John Herzfeld. The film stars Danny Aiello, Greg Cruttwell, Jeff Daniels, Teri Hatcher, Glenne Headly, Peter Horton, Marsha Mason, Paul Mazursky, James Spader, Eric Stoltz, and Charlize Theron. Marketed in the UK as Two Days in the Valley.

Plot
Two hitmen, Lee Woods and mafioso Dosmo Pizzo, walk into a bedroom where a sleeping couple, Olympic athlete Becky Foxx and her ex-husband Roy Foxx, are in bed. Lee injects Becky with a tranquilizer, then shoots Roy in the head. Lee and Dosmo then drive to an abandoned area off Mulholland Drive, where Lee shoots Dosmo and blows up the car in order to set Dosmo up as the fall guy for the murder. Lee flees the scene with his girlfriend, Helga Svelgen.

Dosmo was wearing a bulletproof vest and survived the shooting and car explosion. He takes shelter at the mansion of wealthy art dealer Allan Hopper, where he takes Hopper and his assistant Susan Parish hostage. Dosmo is unaware that Hopper has called his sister Audrey Hopper, a nurse, to come to the house. On her way, Audrey picks up Teddy Peppers, a down-and-out TV producer contemplating suicide.

Meanwhile, Becky awakens and discovers Roy's body in bed beside her. She runs from her house and flags down two policemen, young, ambitious Wes Taylor and cynical veteran Alvin Strayer, who are driving by. Although sympathetic, Wes begins to suspect that Becky knows more than she is saying. Becky had hired Lee and Dosmo to kill Roy for $30,000, but was unaware that they would do it in her own house. Alvin arrives at his house which is across the road from a golf course. One of the golf balls breaks Alvin's window. Furious, he draws his revolver and confronts the golfers. Later that night, Alvin is wrapping a birthday present for his son and sees a letter in his coat from the police department saying that due to complaints about his erratic behaviour, he has to turn in his badge and weapon and he yells in frustration and he is never seen from then on. Lee goes back to the house to get the money, encounters homicide detectives Creighton and Valenzuela working the crime scene, and kills them both. Wes returns to the crime scene to see if he can offer any insight on the case. Masquerading as one of the detectives, Lee lures Wes outside, intending to kill him.

At Lee's hotel, Becky and Helga argue and get into a fight. Becky smashes a vase over Helga's head. Helga reaches for a gun in her purse and there is a struggle in which Helga is shot and wounded. Becky escapes with Helga firing after her. Helga finds her way to Becky's house, where Lee has knocked Wes unconscious. Lee decides to kill Helga instead of taking her to the hospital, concluding that her wound is too severe to be treated, but his gun jams. He turns to retrieve Wes's gun but finds that Helga has escaped and has flagged down a passing car, where 2 people get out to try and help her. Another car approaches which happens to carry Dosmo and his hostages. Audrey jumps out and tries to help the dying Helga, but she dies on the roadside.

Wes is caught in the middle of a shootout between Dosmo and Lee, and is shot in the leg. Just before Lee can kill Dosmo, Teddy shoots Lee, killing him.

A grateful Wes allows Dosmo to take the $30,000 and escape with Susan. The following day, Teddy shows up at an anniversary party that Audrey is attending. As Susan and Dosmo drive down a highway, Dosmo contemplates using the money to start a pizzeria in Brooklyn.

Reception
The film was given mixed reviews from critics, with a 62% rating on Rotten Tomatoes, based on 58 reviews. The site's critics consensus reads, "A labyrinthine thriller with a host of memorable characters, 2 Days in the Valley is an uneven but intriguing thriller/black comedy."

Writing in The New York Times, Stephen Holden wrote the film "lacks the humanity of Short Cuts or the edgy hipness of Pulp Fiction, but it is still a sleek, amusingly nasty screen debut by a filmmaker whose television credits include an Amy Fisher melodrama." Roger Ebert gave the film three stars out of four on his rating scale, saying that it "looks like a crime movie, but crime is the medium, not the message". Teri Hatcher's performance earned her a Golden Raspberry Award nomination for Worst Supporting Actress.

Music and Score
Jerry Goldsmith composed an original orchestral score for 2 Days in the Valley that was rejected in post-production. The released film features a rock-oriented score composed by Anthony Marinelli. Goldsmith's score was released in complete form by the soundtrack label Intrada Records in 2012. A track was used from Waterlily Acoustic's album, Mumtaz Mahal, featuring Taj Mahal, Chitravina N. Ravikiran and Vishwa Mohan Byatt.

title: 2 Days in the Valley


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User:Kiekvogel~enwiki

I am Dutch and I like wikipedia. I made this login on friday February 17, 2005.

I contributed more to the Spanish wikipedia and the Dutch wikipedia. At this moment, monday February 20, 2006, I have to admit that I don't do anything anymore on wikipedia.

es:Usuario:Kiekvogel nl:Gebruiker:Kiekvogel

title: User:Kiekvogel~enwiki


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User talk:Hazelpat

Picture problem
Please see [| Answer] Brookie 20:39, 19 Feb 2005 (UTC)

title: User talk:Hazelpat


text:
Talk:Nurnie

Hello! I am the copyright owner of the site in question (homepage.mac.com/johnselvia/) AND author of the nurnie entry! You said the nurnie entry was being held up because it appeared to infringe on the copyrights of my site, yet I'm the one who wrote the article!

Someone suggested leaving the text but deleting the images. The concept of nurnies isn't immediately clear, and illustrations help get the idea across. Please leave the images as illustration of the concept.

Please release the entry since I created both of them. Thanks! John Selvia johnselvia@mac.com http://homepage.mac.com/johnselvia/

Someone has edited the page to suggest that DETAIL is a sufficient term. I disagree, and I ask anyone else who disagrees to monitor this page and edit it to correct the content. The person in question believes that DETAIL is specific simply because he had never heard of the word "nurnie" before. I suppose he thought the term "blue" sufficient to describe "red" before he had heard of red.

If I edit the nurnie page, he'll re-edit it, so those who know what a nurnie is, stand up for it!

It has been suggested that the word DETAIL is also a sufficient term. This is incorrect. Nurnie describes a specific type of detail.
 * To this specific type of detail, could you please explain? Maybe give a definition or visual reference as to show the difference?

Clarification of the difference
The small bits of technological-looking junk that cover the surfaces of ships such as the Battlestar Galactica, the Millenium Falcon, a Borg Cube, a Y-Wing fighter... all those small details are called Nurnies. Or Greebles. Either way, they are not simply called "detail"

Visual reference could be obtained by going to www.starshipmodeler.com and looking at the gallery, or do a Google search for Borg Cube or Millenium Falcon. By the definition of Greeble, the term has been used at least since the 70's. Nurnie has been in use since the early 90's.  The terms have made their way into the industry lexicon, and are here to stay. People who use the terms on a regular basis know what they mean, and know the difference between a nurnie or greeble and simple "detail".

-Jarrod Davis

Nurnies vs Greebles
What is the difference? --Cornflake pirate 13:45, 9 February 2006 (UTC)

Identical with Greebles as Defined
Based on your description it seems as though nurnies are 100% synonymous with greebles. Nothing in the definition of either seems to set them apart. As of my reading the entry lacks images. I would like to see them. I agree that greebles and nurnies are distinct from detail. It is not a sufficient term.

-Greg Banville

I could agree that Greebles and Nurnies seem to be synonymous. I personally heard the term Nurnie, as coined by Ron Thornton, before I heard the term Greeble, even though Greeble seems to have been said first.

-Jarrod Davis

Spam?
Removed link to site selling meshes. That tripped my personal spam-o-meter.

(Oh, and also while I'm here - I've always thought that nurnies were nonfunctional flat-plate style detail and greebles were larger, semi-functional constructions and extrusions. That's just my take on the "what's the difference?" argument.) =] -- Vesh (at work and still not logged in)

title: Talk:Nurnie


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User talk:68.62.135.152

Nomination of Krusty Krab for deletion
A discussion is taking place as to whether the article Krusty Krab is suitable for inclusion in Wikipedia according to Wikipedia's policies and guidelines or whether it should be deleted.

The article will be discussed at Articles for deletion/Krusty Krab until a consensus is reached, and anyone is welcome to contribute to the discussion. The nomination will explain the policies and guidelines which are of concern. The discussion focuses on good quality evidence, and our policies and guidelines.

Users may edit the article during the discussion, including to improve the article to address concerns raised in the discussion. However, do not remove the article-for-deletion template from the top of the article. JJ98 (Talk / Contributions)  12:18, 22 October 2011 (UTC)

Thug Tug listed at Redirects for discussion
An editor has asked for a discussion to address the redirect Thug Tug. Since you had some involvement with the Thug Tug redirect, you might want to participate in the redirect discussion if you have not already done so. Steel1943 (talk) 21:56, 17 December 2018 (UTC)

title: User talk:68.62.135.152


text:
Wikipedia:Footnote3

This page explains a previously used footnote system, which is totally superseded by the newer footnoting system. Currently, the ref and note templates should only be used in specific circumstances, not for general purpose referencing.

The pairs of templates discussed in this guideline are:

Not all references are made using footnotes : Please see Citing sources for guidance on references and alternative markup.

Also, not all footnotes are citations of information sources. They are also used for clarification or other notes about material. Common uses include explaining the meaning of a table header, or an exception regarding a specific entry in a table, etc.

Footnote overview
A footnote is a note placed at the bottom of a page of a document that comments on, and may cite a reference for, a part of the main text. The connection between the relevant text and its footnote is often indicated with a number or symbol which is used both after the text fragment and before the footnote.

Footnotes are sometimes useful for relevant text that would distract from the main point if embedded in the main text, yet are helpful in explaining a point in greater detail. Footnotes are also often used to cite references which are relevant to a text. Citation of sources is important in supporting Verifiability, a key aspect of Wikipedia.

Footnote usage
The ref templates generate automatically-numbered links in text to connect to footnotes in the section, most commonly named Notes or References, and footnotes contain matching note templates which generate backlinks back to the referring text.

 * To avoid an editor having to renumber footnotes due to insertion or deletion, this method uses automatically-generated numbers as much as possible (ref templates, plus a "numbered list" of footnotes to give automatic numbering of footnotes).
 * The connection between text and footnote uses appropriately-created name attributes per the template table above, so it is possible to identify the intended footnote even if numbering becomes incorrect.
 * The footnote connection is intended to be robust so content can be converted for use with future versions of supporting software.
 * To reduce disruption in the flow of text, footnote references are displayed as small, superscripted numbers.

This method has the following disadvantages:
 * When using the ref template there can only be one sequence of footnotes from the text -- although using the ref label template can circumvent that sequence. This is an example. Most articles have little reason to do that, but it can be useful, for example, in indicating that multiple pieces of data in a table come from the same source.
 * Every footnote number in the text refers to a separate note at the bottom: if you want to reuse a number so that it refers to the same footnote at the bottom, the ref label/note label variant must be used and manually numbered.
 * WARNING: It is not possible to test footnotes while previewing.  Clicking on a footnote ejects the user, perhaps to the previous version of the article (use the back arrow to return).  One can test the back link, which should really confirm the forward link as well.

How to use

 * See also help:footnotes for a concise manual and examples

The basic use of the ref and note templates is just choosing a one word descriptive   for your reference and:
 * put   where you want the footnote number to be
 * put a numbered list at the bottom of your document  , for automatic numbering of your footnotes.

Use a separate note template for each reference template.

There are three examples below: The first is for this basic use of the ref and note templates. The second example explains how to build identical references, referring to the same footnote, using the ref label and note label templates for additional references to a ref/note footnote. The third example is a combination of the two, but with the multiple references made only within the footnotes section for easier maintenance by editors and easier navigation by the reader.

Example
The 's in the Notes section must occur in the same order as the corresponding  's in the main text. This is an important issue to consider when adding more footnotes later.

The  template (where the numbers of the text references are fixed and not automatically assigned) can be used instead of the   template, but this should only be used when necessary due to the lack of automatic numbering.

It is encouraged that other, non-numbered references use citation templates such as shown in Template messages/Sources of articles/Generic citations.

Example with multiple references to the same footnote
For the same footnote to be used several times, the additional template pairs now also include the footnote number, and a backlink label with which to identify the backlink (usually a letter "a" through "z"). Footnote [2] in this article is referred to multiple times in the text, as well as in latter sections of the article, following this example.

Example with multiple uses of the same footnote
Another way to get to and use the same footnote is by travelling within the Footnotes section itself. Get to the footnotes section using the auto-numbered "ref/note" template pair, the basic template. Then use the "ref label/note label" template pair, exactly as in the preceding Example with multiple references.., but now entirely within the Footnotes section. Say something like "See above footnote 2c" to help the reader navigate. Future maintenance of footnote numbers and backlink labels is easier, within just the Footnote section, than trying to locate footnote references buried in a long text such as this article is. This alternative may cost the reader two extra clicks, a tradeoff against easier navigation. This approach is shown in this footnote.

Finally, the original footnote could be multiply repeated in the Footnotes section, each time with a new number -- in this article footnote [2] would appear five times, with five different numbers. This alternative is acceptable if done judiciously -- but not in this article.

 * WARNING: It is not possible to test footnotes while previewing.  Clicking on a footnote ejects the user, perhaps to the previous version of the article (use the back arrow to return).  One can test the back link, which should really confirm the forward link as well.  This repeated warning may save you some time.

Style recommendations

 * Internal links should still be used as normal, like this: Wikipedia.
 * Consider using a separate bibliography section if the same book reference is used in multiple footnotes. In this case, just the page number and book name can be given in each note, following Citing sources.
 * Where possible choose a name for each link which matches the author/page system used by academics - use a single word and a hyphen to connect the page number (hunter-47)
 * If you don't know the page number, just use a single word (field)
 * With multiple books by the same author, make a difference, e.g. hunterA and hunterB, as in hunterA-22, hunterA-46 & hunterB-35 for page 22 and 46 of hunter's first book and page 35 of her second book.

Helping editors unfamiliar with footnote templates
As the recommended footnote structure does not appear to be entirely intuitive to all editors, and as notes being placed in the wrong order can affect the order of all following notes, making notes appear as if they do not match up, this short HowTo description can be inserted at the top of the Footnotes section, marked off to hide it from the actual article:

Instead of copy-pasting this text, it is possible to insert the following: (don't forget the "subst:" as only then is the template tag replaced by the commentary!).

Other (obsolete) template names
Originally this proposal used the template and  ; these were made obsolete and have been deleted. The  template was used in another earlier proposal which was converted to use the same system as is listed here. Substituting {{endnote| with {{note| should update pages still using this system.

Design goals
The design goals behind this system were

 * get something working with the current Wikimedia software.
 * make a very short easy to use template
 * get rid of complex renumbering edits
 * avoid disturbing the flow of text too much
 * maintain nice features of fn/fnb template (back link from footnote to text, & simplicity, for example)
 * remain reasonably accessible
 * provide semantic markup to help future enhancements by labeling information about source materials.

Migration strategy
There is a perl script numlink2note.pl available which automatically converts numbered URL links in a page into footnotes with this system. The references should still be hand checked, but at least part of the work is done.

Migration from old footnote systems should be reasonably easy to automate. As an intermediate measure, the embedded footnote numbers can be used as temporary footnote names until better ones are generated manually.

The  template and   template can be simply changed to match an and note templates. The following substitution (untested perl code). will provide automatic numbering of footnote comments.

The following code will warn about pages which use links without text.

How does it work?
This section describes the technical implementation based upon characteristics of the current software.

The uses tricks listed in  m:Help:Variable to create an external wiki link back to a section in the same page (like  ). This external link is then automatically numbered by the normal numbering system for external links without link text. The link is surrounded in a sup tag which makes it look like a footnote and gives a reference that the footnote can link back to.

becomes

The is a bit simpler, and is basically a copy of the older. This just creates a section link back to the location of the footnote.

#

becomes

Normal link and list numbering then produces automatic numbering of the footnotes.

Converting citation styles
Converting citation styles should not be done without first gaining consensus for the change on the article's talk page.

A December 2005 ArbCom case ruled that following scripts could no longer be used by a certain wikipedian:
 * Footnote3/numlink2note.pl, explained at Wikipedia talk:Footnote3/numlink2note.pl
 * Footnote3/order-footnote.pl, explained at Wikipedia talk:Footnote3/order-footnote.pl

Similarly, individual users may be forbidden to "manually convert citation styles on any articles."

So, tread lightly, and seek consensus first, before converting citation styles.

Disadvantages and future improvements

 * Editors must make sure to keep the numbered list at the bottom of the page in the same order as the references in the article text, or else the numbers may not match up. (Though this is better than relying on manual numbering at both ends.)
 * We would like to see Mediawiki software support for automatically generating and/or numbering footnotes. Reportedly, Magnus Manske added code for this to Nupedia.
 * Because of the way links are numbered, some editors argue that inline external links cannot be used in combination with auto-numbered footnotes, but must be converted into footnotes too. Other editors argue that both citation styles can be used in the same article.
 * Superscripts cause an increase in line spacing for the line they are on. Because lines without superscripts are still displayed at the original line spacing, this makes the text unevenly spaced, and this looks bad. This is a general problem with superscripts.  It may require CSS changes or even improvements in web browsers or OS font rendering systems.  (This should be filed as a bug in Bugzilla if it hasn't already.)
 * Some people like the idea of having sidenotes instead of or in addition to footnotes, especially if this is an option one can turn on and off in Mediawiki preferences. (You can turn a table into a sidenote with style="float: right;".)
 * Some people like the idea of "hover" or "tooltip" notes, that appear only when "hovering" over the superscript with the mouse point. (See e.g. Template:Hnote.)
 * Bug 2745: Have References text edit window on Edit pages

title: Wikipedia:Footnote3


text:
Talk:Lists of Massachusetts Institute of Technology people

Category
Should this list be replaced or paralleled by a category? 18.26.0.18 20:47, 19 Feb 2005 (UTC)

I am also in favor of this, since then subcategories can be introduced. As of now I simply introduced MIT Mathematics Department list of people in hope someone else will make this (rather substantial) work. Mhym 18:58, 25 December 2005 (UTC)

P.S. Simple comparison of two lists shows how much the general list is incomplete. Only making it a category would help. Mhym 18:58, 25 December 2005 (UTC)

Institute Professor
There is a big difference between "Institute Professor" and a Professor. Many (most?) of the people listed under Institute Professor are not (such as Magnanti, Hauser, von Hippel?, and Wilczek)
 * A. von Hippel was an Institute Professor, as noted at http://www.eecs.mit.edu/AY98-99/announcements/4.html, so that portion is accurate. Note that his son, Eric von Hippel, while a noted full professor on his own merit, is not an Institute Professor.  YoavShapira 14:49, 20 December 2005 (EST)

"Famous" alumni versus "Notable" alumni
Many of these people are not famous per se, but they are usually associated with famous institutions or actions. Average Joe on the street may have heard of "Bose speakers", but not realize that Bose is actually the name of somebody.
 * I would add that names linked in red are neither famous or notable.
 * Amen.

Carly Fiorina
Ok, I deleted her and somebody thought it was vandalism. So, perhaps I should do this the right way and discuss it first. Here's my thought: this list is supposed to be of people MIT would be proud to count as alumni. Right? Well, Fiorina is an embarassment to the majority of people who care about MIT. So, why is she on this list? I doubt Harvard lists the Unibomber on their list of notable alumni. Why should we have Carly? Birge 19:20, 14 September 2005 (UTC)
 * Since nobody has responded in several days, I believe I have the rights under Wikipedia bylaws to take out Fiorina. In the immortal words of Venkman: this chick is toast. Birge 16:36, 18 September 2005 (UTC)
 * I'm putting her back. This is not "supposed to be a list of people MIT would be proud to count as alumni," it's a list of "famous individuals associated with the Massachusetts Institute of Technology." She's famous and she's associated with MIT, so she should be on the list. And what do you mean by "count as alumni?" Whether or not one is an alumnus is determined simply by attendance; it is not an honor granted by the institution.
 * In any case, by exactly how did you make a neutral determination that MIT as an institution is not proud of her? Can you cite a source? If you have an official MIT source that says MIT is embarrassed by the association, it would be perfectly appropriate to include it in the article. Dpbsmith (talk) 13:40, 16 August 2006 (UTC)
 * For the record, Harvard's list does include the Unabomber. Dpbsmith (talk) 13:44, 16 August 2006 (UTC)
 * I could cite the hundreds of articles pointing out what a miserable failure she was and how she single handedly destroyed HP. But you're correct in that my statement that most MIT folks would rather not have her associated with the school is pure conjecture based on the the preceding and nothing I can verify. But, your more compelling argument is that Harvard includes the Unabomber! I hereby cede the Fiorina issue to my collegues. Birge 15:26, 16 August 2006 (UTC)
 * Thanks. Mind you, I'm not a great big Carly Fiorina fan. I loved the old HP. You know, the HP that didn't need to say "invent" on their logo because, well, they actually invented things. But I'm not sure she single-handedly deserves all the blame, any more than the people who took over at Polaroid, Digital, Wang, etc. after the charismatic, intuitive leaders lost their magic touch, deserved all the blame. In any case, she is certainly famous and certainly an alumnus. Dpbsmith (talk) 02:06, 17 August 2006 (UTC)
 * Well, she's definitely infamous, at least! I think she is more to blame than the usual CEO, because she was so instrumental in some of the big decisions that hurt HP, such as merging with Compaq and splitting off Agilent. (In my mind, the soul of HP was in what's now Agilent, not the consumer pap they sell as HP.) Contrast this to Polaroid, for example, which pretty much died because its core market died (replaced by digital imaging) not because of bad decisions. Birge 19:44, 24 August 2006 (UTC)

Faculty versus "Researchers"
I would suggest that the list of researcher be split out from the list of faculty. Some of the famous names in the list are not MIT professors, such as Tim Berners-Lee, Ellen Swallow Richards, Frederick P. Salvucci, and Richard Stallman. 129.55.200.20 21:11, 7 October 2005 (UTC)
 * I'm not opposed to the suggestion, but please note there is a middle category of "lecturer" (and senior lecturer), which are not faculty but also not just researchers. Salvucci, for example, falls into this category, as seen at http://cee.mit.edu/index.pl?id=2259&isa=Category&op=show. YoavShapira 14:46, 20 December 2005 (EST)

Source citations?
I just noticed a prank entry, "Michael Beregovsky, Women's Studies." I think it's a prank, anyway, as the MIT online directory believes that Michael Beregovsky is a fourth-year math major.

Seems to me that entries for people that do not have Wikipedia articles should be required to be accompanied by a source citation, per verifiability policy, that at least shows that these people a) exist, and b) are actually on the MIT faculty. Dpbsmith (talk) 21:26, 1 February 2006 (UTC)

It turns out to be exquisitely easy to add links to the online MIT directory. We should require at least this level of verifiability. Dpbsmith (talk) 21:42, 1 February 2006 (UTC)

Institute Professor list anomalies
Not trying to get trigger-happy here, but the following person does not seem to be listed in the MIT online directory at all: A spelling error?
 * Ascher Shapiro, mechanical engineering
 * (Blush) No, here's why he's not in the directory: http://web.mit.edu/newsoffice/2004/obit-shapiro.html. Sorry. How very embarrassing. This list consists mostly, but obviously not exclusively of living people.

The following have listings that do NOT identify them as "Institute Professor" or "Institute Professor Emeritus":
 * Arthur von Hippel, EECS (listed as "Professor Emeritus")
 * Thomas Magnanti, EECS and management (Listed as "Dean/Faculty")
 * Ascher Shapiro, mechanical engineering
 * John Waugh, chemistry (listed as "Professor Emeritus")

I don't know how carefully the online list is maintained... the press release cited above indicates that von Hippel has been an Institute Professor since 1998. I'm assuming that when an Institute Professor achieves emeritus status he is automatically an Institute Professor Emeritus, i.e. it's not even thinkable that he could have been downgraded from Institute Professor to Just-Plain-Old-Professor Emeritus. Dpbsmith (talk) 20:02, 2 February 2006 (UTC)

Michael Beregovsky
I have removed this entry from the list of Institute Professors:
 * Michael Beregovsky, women's right activist

This is because the online directory listing, indicates that he is not an Institute Professor nor even on the faculty at all, but is a 4th-year math major.

Please do not reinsert without including a verifiable source citation, per the verifiability policy, showing that Michael Beregovsky is in fact an Institute Professor. Dpbsmith (talk) 01:31, 3 February 2006 (UTC)

Fictional Characters
Can we please get rid of this section? They are not "people" (and the title of the article indicates we're talking about people) and it's kind of frivolous. Also, I've never heard of most of those, and yet I could add quite a few. So this section could become huge, and there's really no way to decide who and who isn't a "notable" fictional character. Birge 16:22, 24 August 2006 (UTC)
 * A better place may be MIT in popular culture, but I think it's worth keeping tabs on because it conveys something about MIT's reputation.

"Institute Professor" nominated for deletion
The article titled Institute Professor has been nominated for deletion by user:Kane5187, who says not all of the 10-or-12-or-so Institute Professors are notable. This while many MIT professors who are not Institute Professors have Wikipedia articles and are universally considered notable (and so do most of the Institute Professors). Please opine at Articles for deletion/Institute Professor. Your input is needed! Michael Hardy 00:53, 28 August 2006 (UTC)

Categories & Overlap
All the lists were long and impenetrable, so this revision is my stab at making everything more organized and understandable. However I have noticed considerable overlap between the "Notable Alumni", "Notable Professors", and "Institute Professors." Is there a hierarchy to be followed or should each group represent a complete set even with overlap?Madcoverboy 07:24, 5 November 2006 (UTC)


text:
1st CC.NN. Division "23 Marzo"

The '''1st CC.NN. Division "23 Marzo"''' (1ª Divisione CC.NN. "23 Marzo") was an Italian CC.NN. (Blackshirts militia) division raised on 23 April 1935 for the Second Italo-Ethiopian War against Ethiopia. The name "23 Marzo" ("March 23rd") was chosen to commemorate the founding date of the Fasci Italiani di Combattimento on 23 March 1919. The division took part in the Italian invasion of Egypt and was destroyed during the Battle of Bardia in January 1941.

History
The division was one of six CC.NN. divisions raised in summer 1935 in preparation for the Second Italo-Ethiopian War. Its members were volunteers from the various armed militias of the National Fascist Party's paramilitary wing and came from two regions: the 135th and 192nd CC.NN. legions, and the I CC.NN. Machine Gun Battalion from Tuscany and the 202nd CC.NN. Legion from Umbria.

Second Italo-Ethiopian War
The division arrived in Massawa in Italian Eritrea between 28 August and September 1935. On 3 October the division crossed the Balasa river into Ethiopia. The division participated in the Battle of Amba Aradam and then in the Second Battle of Tembien. After the war the division was repatriated and then disbanded.

World War II
The division was reformed in Chieti in 1939 and sent with three other CC.NN. divisions to Italian Libya. The division took part in the invasion of Egypt in September 1940, reaching Sidi Barrani in Egypt by October. On 1 December 1940 the division was at Bardia, where it was surrounded with other Italian units by British forces during Operation Compass. After a short siege the division was destroyed during the Battle of Bardia on 3-5 January 1941.

1935
Below follows the division's organization during the Second Italo-Ethiopian War and the cities, in which its CC.NN. battalions and companies/batteries were raised.

 * 1st CC.NN. Division "23 Marzo"
 * 135th CC.NN. Legion "Indomita", in La Spezia
 * Command Company
 * CXXXV CC.NN. Battalion, in La Spezia
 * CLXXXVIII CC.NN. Battalion, in Livorno
 * 135th CC.NN. Machine Gun Company, in Volterra
 * 135th CC.NN. Artillery Battery, in Rome (65/17 mod. 13 mountain guns)
 * 192nd CC.NN. Legion "Francesco Ferrucci", in Florence
 * Command Company
 * CXC CC.NN. Battalion, in Pisa
 * CXCV CC.NN. Battalion, in Florence
 * 192nd CC.NN. Machine Gun Company, in Empoli
 * 192nd CC.NN. Artillery Battery, in Florence (65/17 mod. 13 mountain guns)
 * 202nd CC.NN. Legion "Cacciatori del Tevere", in Perugia
 * Command Company
 * CCII CC.NN. Battalion, in Perugia
 * CCIV CC.NN. Battalion, in Terni
 * 202nd CC.NN. Machine Gun Company, in Arezzo
 * 202nd CC.NN. Artillery Battery, in Rome (65/17 mod. 13 mountain guns)
 * I CC.NN. Machine Gun Battalion, in Pisa
 * I Artillery Group (65/17 mod. 13 mountain guns, Royal Italian Army)
 * I Mixed Transport Unit (Royal Italian Army)
 * I Supply Unit (Royal Italian Army)
 * 1st Special Engineer Company (Royal Italian Army)
 * 1st Medical Section (Royal Italian Army)
 * 1st Logistic Section (Royal Italian Army)
 * 1st Carabinieri Section

The supply unit had 1,600 mules and the mixed transport unit 80 light trucks. The division engaged in war crimes in Ethiopia during the Second Italo-Ethiopian War.

1940
Below follows the division's organization at the start of the Italian invasion of Egypt and the cities, in which its CC.NN. battalions were raised.

 * 1a Divisione CC.NN. 23 Marzo.png 1st CC.NN. Division "23 Marzo"
 * 219th CC.NN. Legion, in Frosinone
 * Command Company
 * CXIV CC.NN. Battalion, in Tivoli
 * CXVIII CC.NN. Battalion, in Velletri
 * CXIX CC.NN. Battalion, in Frosinone
 * 219th CC.NN. Machine Gun Company
 * 233rd CC.NN. Legion, in Campobasso
 * Command Company
 * CXXIX CC.NN. Battalion, in Pescara
 * CXXXIII CC.NN. Battalion, in Campobasso
 * CXLVIII CC.NN. Battalion, in Foggia
 * 233rd CC.NN. Machine Gun Company
 * 201st Artillery Regiment "23 Marzo" (formed by the depot of the 9th Army Corps Artillery Regiment in Foggia)
 * Command Unit
 * I Group (75/27 mod. 06 field guns)
 * II Group (75/27 mod. 06 field guns)
 * III Group (100/17 mod. 14 howitzers)
 * 1st Anti-aircraft Battery (20/65 mod. 35 anti-aircraft guns)
 * 201st Anti-aircraft Battery (20/65 mod. 35 anti-aircraft guns)
 * 219th Support Weapons Battery (65/17 mod. 13 mountain guns)
 * 233rd Support Weapons Battery (65/17 mod. 13 mountain guns)
 * Ammunition and Supply Unit
 * CCI Machine Gun Battalion (Royal Italian Army)
 * CCI Mixed Engineer Battalion (Royal Italian Army)
 * Command Platoon
 * 1x Engineer Company
 * 1x Telegraph and Radio Operators Company
 * 1x Searchlight Section
 * 201st CC.NN. Anti-tank Company (47/32 anti-tank guns)
 * 201st CC.NN. Support Weapons Battery (65/17 mod. 13 mountain guns)
 * 201st CC.NN. Mortar Company (81mm mod. 35 mortars)
 * 201st Transport Section (Royal Italian Army)
 * 201st Supply Section (Royal Italian Army)
 * 201st Medical Section (Royal Italian Army)
 * 3x Field hospitals
 * 1x Surgical Unit
 * 701st Carabinieri Section
 * 702nd Carabinieri Section
 * 301st Field Post Office

Attached during the Battle of Bardia:
 * LXI Tank Battalion "L" (L3/33 and L3/35 tankettes, Royal Italian Army)

CC.NN. Grouping "23 Marzo"
For the Italian participation in the Eastern Front the regiment-sized CC.NN. Grouping "23 Marzo" was raised as unit of the Italian Army in Russia:

 * CC.NN. Grouping "23 Marzo"
 * CC.NN. Battalions Group "Valle Scrivia"
 * Command Company
 * V CC.NN. Assault Battalion, in Tortona
 * XXXIV CC.NN. Assault Battalion, in Savona
 * XLI CC.NN. Support Weapons Battalion, in Trento
 * CC.NN. Battalions Group "Leonessa"
 * Command Company
 * XIV CC.NN. Assault Battalion, in Bergamo
 * XV CC.NN. Assault Battalion, in Brescia
 * XXXVIII Support Weapons Battalion, in Asti

Commanding officers
During the Second Italo-Ethiopian War:

 * Generale di Divisione Ettore Bastico (23 April 1935 - 20 October 1935)
 * Generale di Divisione Prince Filiberto, Duke of Genoa (21 October 1935 - 29 February 1936)
 * Generale di Divisione Carlo Carini (1 March 1936 - ?)

During the Italian invasion of Egypt:

 * Generale di Divisione Francesco Antonelli (1939 - 5 January 1941, POW)

title: 1st CC.NN. Division "23 Marzo"


text: User talk:68.99.139.146

title: User talk:68.99.139.146


text:
Talk:Faye Wong

A Commons file used on this page or its Wikidata item has been nominated for speedy deletion
The following Wikimedia Commons file used on this page or its Wikidata item has been nominated for speedy deletion: You can see the reason for deletion at the file description page linked above. —Community Tech bot (talk) 07:22, 29 July 2022 (UTC)
 * Faye Wong 1992.jpg

title: Talk:Faye Wong


text: Category:Civil disobedience

title: Category:Civil disobedience


text:
Joseph H. Lewis

Joseph H. Lewis (April 6, 1907 – August 30, 2000) was an American B-movie film director whose stylish flourishes came to be appreciated by auteur theory-espousing film critics in the years following his retirement in 1966. In a 30-year directorial career, he directed numerous low-budget westerns, action pictures, musicals, adventures, and thrillers. Today he is remembered for mysteries and film noir stories: My Name Is Julia Ross (1945) and So Dark the Night (1946) as well as his most highly regarded features, 1950's Gun Crazy, which spotlighted a desperate young couple (Peggy Cummins and John Dall) who embark on a deadly crime spree, and the 1955 film noir The Big Combo, with its stunning cinematography by John Alton.

Life and career
Born in Brooklyn, the son of Russian Jewish immigrants, Ernestine (née Miriamson) and Leopold Lewis. His father was an optometrist. He grew up on the Upper East Side of New York City and attended DeWitt Clinton High School in the Bronx and when his brother, Ben, moved to Hollywood in 1927, he decided to follow with the hope of becoming an actor. Ben found him a job as camera assistant and, subsequently, young Joseph became an assistant film editor just as the film industry was converting to sound. He began his directorial career (1937–40) by turning out low-budget B-Westerns starring Bob Baker, Charles Starrett, and Bill Elliott. Film editors referred to Lewis as "Wagon-Wheel Joe,"  because of his tendency to use wagon wheels in the foreground to create interesting visual compositions.

Lewis served with the United States Army Signal Corps as a Sergeant during World War II, making training films at the Army's Astoria Studios. One on how to shoot the M-1 rifle was shown well into the 1960s.

Lewis was equally comfortable working in different genres: horror (Bela Lugosi, The Invisible Ghost), comedy (The East Side Kids, That Gang of Mine), detective mystery (Tom Conway, The Falcon in San Francisco), costume adventure (Larry Parks, The Swordsman), and musicals (Benny Fields, Minstrel Man). Lewis's creative compositions for Minstrel Man won him the assignment of staging the musical sequences for The Jolson Story.

Today, Lewis is primarily known for his work in film noir during the 1940s and early 1950s. Gun Crazy is a dark romance about gun-obsession, notable for its use of location photography and, for film students and buffs, a particularly arresting shot which lasts for ten minutes, as the audience suddenly becomes a passenger in the getaway car following a bank robbery committed by the young leads.

Toward the end of Lewis's career, he worked in television, directing mostly westerns: The Rifleman, Bonanza, The Big Valley, Gunsmoke, and the pilot for Branded. He also directed the 1961 CBS crime adventure-drama series The Investigators.

Lewis suffered a major heart attack at the age of 46, but continued working until his 59th birthday in April 1966, at the end of the 1965–66 TV season. He later lectured at film schools and fan gatherings as well as at retrospectives such as the Telluride Film Festival, along with European venues in France, Germany and other locations. In 1997 he became the recipient of the Los Angeles Film Critics Association Lifetime Achievement Award.

Nearly five months after his 93rd birthday, Lewis died at his home in Los Angeles County's seaside community of Marina del Rey. Active until the end, he made his final public appearance five weeks earlier to introduce a screening of Gun Crazy at the University of California at Los Angeles. He was married to Buena Vista Lewis; they had one daughter, Candy Lewis Sangster.

Selected filmography
• Courage of the West (1937)

• Navy Spy (1937)

• Border Wolves (1938)

• The Spy Ring (1938)

• The Singing Outlaw (1938)

• The Last Stand (1938)

• Boys of the City (1940)

• That Gang of Mine (1940)

• Pride of the Bowery (1940)

• Invisible Ghost (1941)

• Criminals Within (1941)

• The Mad Doctor of Market Street (1942)

• Bombs Over Burma (1943)

• Minstrel Man (1944)

• My Name Is Julia Ross (1945)

• The Falcon in San Francisco (1945)

• So Dark the Night (1946)

• The Jolson Story (1946, musical sequences only)

• The Swordsman (1948)

• The Return of October (1948)

• The Undercover Man (1949)

• Gun Crazy (1950)

• A Lady Without Passport (1950)

• Retreat, Hell! (1952)

• Desperate Search (1952)

• Cry of the Hunted (1953)

• The Big Combo (1955)

• A Lawless Street (1955)

• Man on a Bus (1955)

• 7th Cavalry (1956)

• The Halliday Brand (1957)

• Terror in a Texas Town (1958)

title: Joseph H. Lewis


text:
Air Mauritanie

Air Mauritanie was the national airline of Mauritania from 1962 until it ceased operations in 2007 due to financial difficulties. It was based at Nouakchott International Airport, from where it operated domestic services, as well as flights to African destinations and Paris. The carrier had its headquarters in Nouakchott.

History
Air Mauritanie was established in September 1962 as the national airline of the country. Operations started in 10 the same year, with Spantax leasing DC-3 equipment, and also providing technical assistance. A Nord 262 was ordered in 1965. The airline was reorganised in 1967, and shareholding was divided between the government of Mauritania (60%), Air Afrique (20%) and Union de Transports Aériens (UTA) (20%). Two Ilyushin Il-18s were bought in 1969, with the Soviets providing training and technical assistance; these aircraft were flown to Dakar, Nouadhibou and Las Palmas.

At March 1970, the airline had 120 employees and operated a domestic network plus international services to the Canary Islands and Mali using one DC-3, one DC-4, and an Il-18. In February 1974, a five-year contract was signed with Hughes Airwest for the provision of capacity building of the pilots and mechanics. The number of employees had grown to 170 by 3 the same year, with a fleet comprising one DC-3, two DC-4s and one Navajo. At this time, Casablanca, Dakar and Las Palmas were part of the airline's list of international destinations, as well as domestic services radiating from Nouakchott and Nouadhibou. That year, the carrier acquired two 40-seater F-227As valued at US$1100000 1974 million. In July 1974, the company was reorganised again and renamed Société d'Economie Mixte Air Mauritanie. By March 1975, the government of Mauritania was the major shareholder of the company (60%), with the balance evenly split between Air Afrique and UTA.

Two Fokker F28-4000s entered the fleet in November 1983. These two aircraft made up the fleet in late March 1985; at this time, there were 259 employees. On 1 July 1994, a Fokker F28 was lost in an accident while landing at Tidjikja Airport during a sandstorm. Two ATR 42s were ordered in 1996 for replacement of the Fokker F28 aircraft. These two aircraft were delivered to the company in 6 and September 1996. Aimed at promoting African integration, Air Mauritanie extended its Nouakchott–Bamako route to the Ivory Coast in November 1999.

At April 2000, the staff stood at 259. The fleet comprised a single Fokker F28-4000 that served Abidjan, Aioun el Atrouss, Atar, Bamako, Banjul, Casablanca, Dakar, Kiffa, Las Palmas, Nema, Nouadhibou, Nouakchott, Tidjikja and Zouerate. At this time, Air Afrique had a 20% participation in the airline. In mid-2000, the Pan-African carrier boosted its shareholding in the company to 32%.

Citing security concerns, the United Kingdom banned Air Mauritanie from flying into the country airspace in January 2004. Among other carriers, Air Mauritanie was blacklisted because of the failure of the Mauritanian civil aviation authority to comply with ICAO standards. The economic situation of the carrier entered a steep decline in mid-2005, when the crisis forced the government to replace the airline's Director. It was reported in August 2006 that Royal Air Maroc would take a majority stake (51%) in the airline and to effectively take over its management; at this time, the major stockholders were the Nationale d'assurances et réassurance (40%), the Banque Mauritanienne de Commerce International, Établissements Noueigued, and Star Oil Mauritanie. However, in December 2006, the government of Mauritania created another carrier, Mauritania Airways, with the aid of private Mauritanian investors and Tunisair, which became the major shareholder (51%) of the newly created airline.

By 2007, Air Mauritanie was so indebted that in 9 two aircraft were seized for debts with the leasing company, the International Lease Finance Corporation, followed by the impoundment of the presidential aircraft, a Boeing 727-200. Debts for leasing these three aircraft had risen to US$2700000 2007 million. Air Mauritanie ceased operations in September 2007 and was liquidated. Two months later, Mauritania Airways started operations.

Destinations
Air Mauritanie was based at Nouakchott International Airport. The airline served the following destinations all through its history:

Historical fleet
Air Mauritanie operated the following aircraft along the years:

 * ATR 42
 * Boeing 727-200 (VIP-configured, flown for the Mauritanian government)
 * Boeing 737-700
 * DC-3
 * DC-4
 * Fairchild F-27
 * Fokker F28-4000
 * Fokker F28-6000
 * Il-18

Accidents and incidents
, Air Mauritanie experienced five accidents or incidents, according to Aviation Safety Network. The only event that lead to fatalities occurred on 1994-7-1 during a landing accident. Following is the list of these events.

title: Air Mauritanie