text:
Talk:Fort McMurray

Fort McMurray Community Profile
As an employee of the Regional Municipality of Wood Buffalo, I am not the most suitable editor for the Fort McMurray page (due to a perceived conflict of interest). However, I would like to bring a document to everyone’s attention. It is a current Community Profile Report which is packed with up-to-date, accurate and relevant information which would make a great contribution to the Fort McMurray Wikipedia page. Feel free to use any of this content in future updates.

Download the report via the following links: PDF File: http://www.woodbuffalo.ab.ca/futureforward/html/pdf/fort_mcmurray_community_profile.pdf Word File: http://www.woodbuffalo.ab.ca/futureforward/html/pdf/fort_mcmurray_community_profile.doc

For your reference on where the report came from and what it is about:

The Community Profile was developed as part of a major community visioning process called Future Forward, initiated by Mayor Blake in 2005 and launched in 2006. It is a multi-staged approach to developing an understanding – as a community – of our vision for our region. In this profile, information is provided about Fort McMurray: its status as the hub of the oil sands region of Alberta; demographics; labor force; social services; and infrastructure. Information in this document is based on numerous studies that have been completed for the RMWB over the past five years, including the 2005 Wood Buffalo Business Case and socio-economic impact assessments completed for oil sands projects.

Communications.tallgirl 20:04, 15 March 2007 (UTC)

pictures
Are the pictures appropriate for this article? There just pictures of people in Fort Mac. They don't show any landmarks (a weak case could be made for the arial picture),and really don't have any thing to do with Fort Mac. I could understand a picture of the bridges, or the big red provincial building, but not these. would anyone object to me removing them? Bawolff 05:17, 27 Feb 2005 (UTC)

I agree, keep pictures that show off Fort Mac in all its glory (heh), but remove pictures of people who could be located anywhere. --Yamla 07:26, 2005 Feb 27 (UTC)

I removed them. hopefully i'll be able to get a good picture(s) soon. Bawolff 01:58, 28 Feb 2005 (UTC)

added picture
I added a picture of the provincial buildings. Does it look okay? Bawolff 03:39, 4 Mar 2005 (UTC)

"in all its glory".......laughing my ass off

history section
Quite incomplete with no references to Fort Mac - just Fort Chipewyan. Any helpers? Svelyka 22:03, 29 December 2005 (UTC)

 * I've just expanded the History section greatly. Most of it is from The History of Fort McMurray website. (check out the timeline!) Hope that helps. NorthernFire 00:15, 10 March 2006 (UTC)

The history section seems to stop at 1986 or so, and makes no mention of the fact that with the significant increase in energy prices since 1999, there has been massive growth in Ft. McMurray and surrounding areas. If you only read the history section as it is now, you might conclude that the city is a decining area, which is certainly not the case! Some mention of the recent difficulties (housing prices, infstructure, etc.) as a result of the sudden growth would probably also be useful.--Wee Charlie 20:28, 12 October 2007 (UTC)

 * Maybe it's just me, but I don't see how "recent difficulties" would fit in an historical section. --Kmsiever 20:53, 12 October 2007 (UTC)

railway
The aging railway between Fort McMurray and the capital is also in need of improvement, which would allow for the movement of more heavy loads to take place away from the highway, and possibly allow for passenger service as well.

 * The railroad used to take passangers, but no one used it so it was shutdown. this sentence also seems a little speculative. Bawolff 02:58, 6 February 2006 (UTC)

Recently the Railroad company linking Fort McMurray to Boyle (which then connects to the national carrier) went out of business. Athabasca Northern Railway (A.N.Y.) does not exist after failing to find support to pay for the $100M upgrade to the right of way. As such, Fort McMurray no longer has rail service. —Preceding unsigned comment added by 156.101.1.5 (talk) 21:59, 27 September 2007 (UTC)

recent edit
Could also be changed to "one of the highest prices in Canada" although my provided reference does not mention that.

Change "hamlet" to "community"?
Just an unrelated question. Anyone up for changing the word "hamlet" to "community"? I propose this since a hamlet refers to a very small community (less than 1000 people usually). However, I did not want to change this as it has been here for a while. Yes? No? Lharvill 01:32, 22 June 2006 (UTC)
 * agree - Qyd(talk)02:15, 22 June 2006 (UTC)
 * agree - Zxz 21:58, 17 August 2006 (UTC)
 * disagree - Yamla 22:42, 17 August 2006 (UTC)

 * Comment. I believe hamlet is a technical term. What's the technical term for communities of Fort Mac's size? If there is one, we should consider using that instead of the vague "community". — Saxifrage ✎ 22:31, 17 August 2006 (UTC)
 * Hamlet is the technical term. See Hamlet (place) which mentions Fort McMurray by name.  --Yamla 22:42, 17 August 2006 (UTC)
 * Ah, so it's not just size, but a designation that's given by a higher branch of government. — Saxifrage ✎ 22:51, 17 August 2006 (UTC)
 * Disagree: I believe you are referring to term 'village', which has a population between 300–1,000. According to Alberta Municipal Affairs, a community is not assigned hamlet status because of size. "The council of a municipal district or specialized municipality can designate an unincorporated community that is within its boundaries to be a hamlet. A community can be a hamlet if it consists of 5 or more dwellings, has a generally accepted boundary and name, and contains land that is used for non-residential purposes." A hamlet is simply an unincorporated community, which Fort McMurray became when it merged with Wood Buffalo. --Kmsiever 00:20, 18 August 2006 (UTC)

This is not true. I am a journalist and I phoned the Wood Buffalo office to get Fort Macmurray's legal status. According to their amalgamation agreement, Fort MacMurray is NOT a hamlet. It is an "urban service area" and is treated as a city in terms of funding.
 * You can read how to cite your information at WP:CITE. --Yamla 22:09, 25 May 2007 (UTC)

Fine I'll cite my story when it's published. But where is the citation that it IS a hamlet? The only link saying that is dead, so any references to it being a hamlet are actually uncited. I'm going to believe the regional administration and delete the hamlet references.

reference #2 (fort mcMurray today - hamlet)
Is a dead link. (Ft. McMurray today redesigned their site a while back. I think it has something to do with them being bought out. (I think). Anyways, I can't find an equivalent link to the story. Bawolff 07:12, 30 January 2007 (UTC)

 * Yet another reason why it is better to use the cite template instead of just a link. --Kmsiever 15:48, 30 January 2007 (UTC)

 * says: "Hamlets/urban service areas within the municipal boundary". I supposse "urban service areas" referes to Fort Mac. --Qyd 23:31, 25 May 2007 (UTC)

When incorporated?
When was it incorporated? Kevlar67 03:36, 17 April 2007 (UTC)

Depression in Fort McMurray
How come there is no mention of how horrible this town is? There are more people depressed in Fort McMurray than anywhere else in Canada and the ones who aren't and have lived there for several years are missing a part of their brain —Preceding unsigned comment added by 199.85.9.1 (talk) 15:01, 27 November 2007 (UTC)
 * Perhaps because it is not true. Do you want to back that claim up? Bawolff (talk) 03:31, 17 January 2008 (UTC)

To inquire in a more constructive manner: Any opinion on the "difficulties" with living in such a remote area? I am considering a move to F M, Most people who enjoy the place may like it because they are involved in outdoor pursuits? Any thing more objective than the only negative entry above? I would like to know more than unsubstantiated retoric thanks in advance for any comments on the possible challanges of living up north Cheers J —Preceding unsigned comment added by Joneveman (talk • contribs) 09:58, 7 April 2008 (UTC)

Provincial DAB
move.

The use of "Alberta" in the name is not needed since there is no other "Fort McMurray" on WP, and Fort McMurray was already redirecting to the page Fort McMurray, Alberta. Similar cases are found at Calgary, Edmonton, and Lethbridge. Also note that the category is Category:Fort McMurray, and the article and the category should conform where possible. Snocrates 22:52, 27 November 2007 (UTC)
 * per naming convention Naming conventions (settlements) such moves are not to be completed before consensus is reached. --Qyd (talk) 16:35, 29 November 2007 (UTC)

 * I support this move, as per WP:CSG. --Kmsiever (talk) 02:43, 25 February 2008 (UTC)
 * Support as well. Fort McMurray already redirects here. Move consistent with intent of WP:CSG.  Skeezix1000 (talk) 14:50, 25 February 2008 (UTC)

The issue was first raised three and a half months ago, and the move is unopposed. Skeezix1000 (talk) 20:25, 10 March 2008 (UTC)

weather
I just got an email from the RMWB Web Content Coordinator saying the info was incorrect, but she couldn't fix it due to CoI. Anyways, I think its accurate now. Bawolff (talk) 03:58, 17 January 2008 (UTC)
 * oh, appears to be vandalism - . Bawolff (talk) 04:07, 17 January 2008 (UTC)

Bawolff - it's back up there now. Maybe their IP address should be blocked or something. (If you can do that.) Communications.tallgirl (talk) 10:15, 21 January 2008 (UTC)
 * It didn't come back. the link I gave above is a permanent link to the revision that changed the weather originally. Bawolff (talk) 06:44, 30 January 2008 (UTC)

Depression in Fort McMurray
Any opinion on the "difficulties" with living in such a remote area? Most people who enjoy there time there must be involved in outdoor pursuits? Any thing more objective than the only negative entry so far "Depression" entry. I would like to know more than unsubstantiated retoric thanks in advance for any comments on the possible challanges of living up north Cheers Jay —Preceding unsigned comment added by 123.127.23.131 (talk) 09:47, 7 April 2008 (UTC)

New oil-based prosperity in Fort McMurray
I added a video showcasing the new prosperity in Fort McMurray thanks to the wealth generated from the oil sand processing. Now, could someone please care to add everything about how it's fast becoming a boomtown thanks to these oil deposits? --Let Us Update Special:Ancientpages. 23:33, 29 August 2008 (UTC)

Housing Prices High?
"Housing prices and rents are far higher in Fort McMurray than one would expect in such a remote area."

Er... Is that very badly worded, or did its author really think that housing in a more remote area would be cheaper? Perhaps others who make that assumption could elaborate on why, because as someone who has lived in remote areas, it's a mystery to me. rakslice (talk) 01:25, 26 September 2008 (UTC)

Natasha Henstridge...
...is from Newfoundland & Labrador. The article is wrong. --Bentonia School (talk) 03:54, 10 November 2008 (UTC)

 * Actually, she was born in Newfoundland. Her family moved to Alberta when she was four. The article is right. --Kmsiever (talk) 20:56, 10 November 2008 (UTC)

Waterways
I was under the impression there were more waterways than just the Athabasca, and Clearwater - Isn't there also the house river and like 4 others? Bawolff (talk) 07:17, 12 December 2008 (UTC)

Move discussion in progress
There is a move discussion in progress on Wikipedia talk:WikiProject Alberta which affects this page. Please participate on that page and not in this talk page section. Thank you. 117Avenue (talk) 00:43, 31 August 2010 (UTC)

Mobile homes
One aspect of Fort McMurray not discussed in the article is the large percentage of the community's residential areas that are made up of mobile homes/trailer parks. If you look at the aerial views on Google Maps this becomes clear, especially in the south and northwest. It probably reflects the transient nature of much of the population, but perhaps some statistics as to how many residents live in mobile accommodation might be worth adding? 70.72.201.229 (talk) 13:24, 13 June 2013 (UTC)

 * I've added a breakdown of all dwelling unit types to the "Municipal census" subsection. Population by dwelling unit type are statistics that are not readily available. Hwy43 (talk) 03:58, 30 June 2013 (UTC)

This article needs a new lede
I wrote a new one and it got reverted with the edit summary "revert to longstanding stable lead that summarizes article". I couldn't disagree more. The fact that one version is long-standing doesn't mean that it serves our readers well. And I fail to see how the minutiae of "Improvement District No. 143" and the change from a Municipality to a Regional Municipality summarize the main text. Fort Mac is, unfortunately, in the news, and new readers from around the world will be coming to this article. The lede should tell them in a few sentences what the place is like. The current ("longstanding stable" - but inadequate) version has not much but the administrative history of being a city, and then not a city. Here is my proposed version:
 * Fort McMurray is an oil town in Alberta, Canada. It is located in the north of the province, in the middle of the Athabasca oil sands and boreal forest. It is predominantly a single industry boomtown, and as such is prone to severe economic swings. It plays a significant role in the past and present of the development of the national petroleum industry.

I welcome efforts to improve this. Carbon Caryatid (talk) 14:59, 5 May 2016 (UTC)
 * Some of this borders on commentary, but the geographic info and the statement about its industry notability are appropriate summaries of the article. I'm going to be bold and incorporate them into the lede. -Jason A. Quest (talk) 19:02, 5 May 2016 (UTC)
 * Some of this may be fine, but the existing lead summarized portions of the article, as it should, but admittedly only summarizes a portion of the article. It is not acceptable to cut and paste the summary information into a new section within the article that is inconsistent with WP:CCSG and making information repeated twice in two different locations within the article outside the lead. Furthermore, this lead follows a similar convention to most if not all other urban communities in Alberta. Therefore, the opportunity I see here is to expand the lead, not to remove things from the lead or copyedit it so that it no longer follows the convention established for Alberta urban community articles. Hwy43 (talk) 19:08, 5 May 2016 (UTC)
 * , outstanding boldness. I replied above before actually looking at what you did and it suited exactly what I stated above to a tee. Well done. Cheers, Hwy43 (talk) 19:15, 5 May 2016 (UTC)
 * Related: Can someone tell me why my Current related was removed. It certainly does no harm, and it's appropriate. StevenJ81 (talk) 19:28, 5 May 2016 (UTC)
 * The editor that removed it did not provide a proper explanation, but it has since been returned. Hwy43 (talk) 04:01, 6 May 2016 (UTC)
 * I saw. Thanks. StevenJ81 (talk) 13:05, 6 May 2016 (UTC)

 * Thanks for including most of the important overview in the first paragraph. I still think the very first sentence is clunky, but the first paragraph is definitely an improvement, and anyone reading the lede on their little phone screen will have a better sense of what the place is like.
 * I suggest a further improvement. The very first sentence:
 * Fort McMurray is an urban service area in the Regional Municipality (RM) of Wood Buffalo in Alberta, Canada.
 * is unintuitive, in that the introduction is based on click-away technical terms, unhelpful to most readers. I suggest:
 * Fort McMurray is a city in Alberta, Canada.
 * with a footnote on the word "city", linking to an explanation that it's generally known as such, but technically isn't, and there is no agreed definition of a city anyway. Then USAs and RMs can go in the next paragraph - which they do anyway, in a repetitive fashion, and without any links, which makes the lede unbalanced. Carbon Caryatid (talk) 13:03, 6 May 2016 (UTC)

 * The term "city" is not correct. It is an incorrect colloquial term. It is not Wikipedia's place to perpetuate incorrect facts. We need to be WP:FORMAL. As the colloquialism is in widespread usage however, it is satisfactorily addressed later in the lead. Hwy43 (talk) 14:43, 6 May 2016 (UTC)
 * It is a "community" however. Perhaps we could use this term to start out with. Air.light (talk) 15:02, 6 May 2016 (UTC)
 * "Community" is more intelligible than "urban service area", that's for sure. I've just re-read Readers first. It's an essay, not a policy, with good solid guidelines: "Remember the audience is wide and the audience is international – merely thinking about this will help. Try to avoid jargon – but where it is particularly relevant or where it is necessary, explain all jargon clearly on the article page – a link to another article is not enough. Use common words, phrases and styles rather than less common words, phrase and styles." Carbon Caryatid (talk) 15:23, 6 May 2016 (UTC)

 * Where it is not immediately understood what an unusual community status type means, such as urban service areas, we have used language along the lines of "Fort McMurray is a community that is designated an urban service area in ...". I would be accepting of that, or the slightly more detailed "unincorporated community" or "hamlet" (see List of hamlets in Alberta; an urban service area is a type of hamlet in the Alberta context). Hwy43 (talk) 20:57, 6 May 2016 (UTC)

 * By all means have USA, with an in-sentence gloss, in the second paragraph. It does not, in my opinion, make the article welcoming or easy to understand to have that term in the very first words. Fort Mac may be "a type of hamlet in the Alberta context" (though I suspect that may be true for relatively few Albertans who aren't lawyers, town planners, or city councillors). A place of circa 88 000 people is not a hamlet in the Wikipedia context, i.e. in the understanding of the vast majority of readers who come to us for information. Distinguishing the correct use of terminology is important, granted, but I maintain that it doesn't belong in the first sentence (or indeed paragraph). I still favour my suggestion, "Fort McMurray is a city in Alberta" with an explanatory footnote at "city", a brief correct description in the lede, and the history of the designations in the body. However, if the consensus of editors here is to write this article for Alberta readers, I will leave you to it. Carbon Caryatid (talk) 09:23, 7 May 2016 (UTC)
 * Would "municipality" be inappropriate? Curly Turkey 🍁 ¡gobble! 09:35, 7 May 2016 (UTC)
 * Fort McMurray has not been a municipality for the past 21 years and counting. Hwy43 (talk) 18:38, 7 May 2016 (UTC)

Current related
WP:CET states that the templates may be used to warn about the "fast-changing state of the article" and are not "to mark an article that merely has recent news articles about the topic". This article does not need to be constantly updated because of the ongoing wildfire. This article is, and has always been, about the community, and is not fastly changing. I think that this article does not need a disclaimer, it is a good article. 117Avenue (talk) 23:25, 7 May 2016 (UTC)

Health care in Fort McMurray
I would expect the Fort McMurray section to have a subsection "Health care" and a mention of the city's hospital, Northern Lights Regional Health Centre. 98.113.248.40 (talk) 11:39, 13 May 2016 (UTC)

Depictions in Popular Media
Been thinking of starting a section like this of Fort Mac in the movies, books, poetry etc. For instance Alistair Maclean's novel "Athabasca" is partially set in Fort McMurray. ISBN 0-449-24429-6 — Preceding unsigned comment added by R.M.McKernan (talk • contribs) 01:15, 29 June 2016 (UTC)

External links modified
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 * Added tag to http://climate.weather.gc.ca/climateData/dailydata_e.html?timeframe=2&Prov=AB&StationID=27216&dlyRange=1996-05-01%7C2016-05-03&Year=2016&Month=5&Day=1
 * Added archive https://web.archive.org/web/20070325131522/http://www.canada.com/edmontonjournal/news/opinion/story.html?id=07e553a7-1cc6-442d-81be-afeccd4c85df to http://www.canada.com/edmontonjournal/news/opinion/story.html?id=07e553a7-1cc6-442d-81be-afeccd4c85df

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Fort Crack
You may not like it, but it's a longstanding and well-trod phrase used with regard to YMM. If you WBRM Tourism sleazoids delete it again, it's gonna be an issue. 2607:FEA8:BFA0:47F:2900:607C:4609:FD5F (talk) 04:05, 23 March 2019 (UTC)
 * I removed this contribution regarding "Fort Crack" as it uses a "sensationalized" news article as a source. There is no history of its use. -- Kayoty (talk) 18:28, 23 March 2019 (UTC)

title: Talk:Fort McMurray


text: User talk:202.63.233.11

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title: User talk:202.63.233.11


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User talk:Necromanic

Image Tagging
Necromanic, I notice that your image Image:Alexandra nz.jpg is not tagged in accordance with the image tag reference. Can you please look through that document and choose an appropriate tag? I noticed that you referred to the exact location the picture was taken from on the description page. You seem to be implying that you took this picture yourself. If this is correct, are you willing to release it into the public domain, using on the description page? If not, and you did take the photo, can you at least make it GFDL with ? Your help in this matter would be appreciated. If you need any further help from me, feel free to post on my talk page. For now, the image is marked. Superm401 05:18, Feb 27, 2005 (UTC)

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User talk:Wvjonathan

Welcome!
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User talk:Timeo

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User talk:SCrews

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GAMES
Hi Slipjig! Thanks for adding the GAMES Magazine link! Seems like they've been taking forever to get a website. Monkeyman 00:27, 17 July 2005 (UTC)

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Indiana University Southeast

Indiana University Southeast (locally known as IU Southeast or IUS) is a public university in New Albany, Indiana. It is a regional campus of Indiana University.

History

The Indiana University Falls City Area Center was established by Floyd McMurray in 1941 as an extension center of Indiana University in New Albany, Indiana, and Jeffersonville, Indiana. Classes were initially held in classrooms at New Albany High School and Hazelwood Junior High School in New Albany, and at Jeffersonville High School in Jeffersonville. In 1945, IU Southeast moved into its own building in Jeffersonville, named the Indiana University Jeffersonville Extension Center.

As an extension center, IU Southeast's purpose was to permit freshmen and sophomore students to take classes near their residence before transferring to the Indiana University Bloomington main campus. The Indiana University Jeffersonville Extension Center was renamed Indiana University Southeast during 1968. Also, IU Southeast granted its first degrees in 1968.

IU Southeast moved to its current 177 acre campus in New Albany, Indiana during 1973.

Campus
IU Southeast is located 15 minutes north of downtown Louisville, Kentucky, in suburban New Albany, Indiana, at the edge of southern Indiana's picturesque "knobs," which is a region of rolling hills that run parallel to the Ohio River. The campus spreads over 180 acre just north of I-265 in Southern Indiana.

The Greater Louisville Regional Japanese Saturday School (グレータールイビル日本語補習校 Gurētā Ruibiru Nihongo Hoshūkō), a Japanese weekend supplementary school, is affiliated with IUS's Japan Center. It was established in January 1988 and holds its classes at Hillside Hall; its office is elsewhere in New Albany.

Academics
IUS is best known for its bachelor's degree programs in business, nursing, and education. The university offers over 55 degree programs, including master's, bachelor's, and associate's. IUS is organized into six schools: the School of Arts and Letters, School of Business, School of Education, School of Natural Sciences, School of Nursing, and the School of Social Sciences.

Several programs on the IUS campus are accredited in specific fields and/or have received regional or national recognition for the work of the students and faculty. All three professional schools are accredited by the appropriate bodies in their fields; the School of Business is accredited by the Association to Advance Collegiate Schools of Business, the School of Education is accredited by the Council for the Accreditation of Educator Preparation, and the School of Nursing is accredited by the Commission on Collegiate Nursing Education. Additionally, the Biochemistry track is the Chemistry Program is accredited by the American Chemical Society.

Residence halls
Indiana University Southeast broke ground on its residence halls on June 27, 2007. With the addition of residence halls, IUS is the first full-service public institution in the south-central sector of the state. The five lodge-style residence halls are the first on-campus housing at IUS. The lodges feature one, two, and four bedroom units with each bedroom opening to a central living room.

The buildings opened for the fall 2008 semester and now house more than 400 students. The $20.7 million project is a major economic force both locally and across the region. The total impact to the local economy is approximately $44 million and the regional economy gets a boost of nearly $4 million each year.

IU Southeast's residence halls were named on Niche's 2016 Best College Dorms list based on records from 1,713 public and private traditional 4-year colleges and universities across the United States. Niche based its rankings on student reviews and key statistics like average housing cost, housing capacity and student housing crime rate.

Student media
IUS is served by The Horizon, the student-run multimedia organization at the school. The Horizon won the Pacemaker Award in 2015, widely considered to be the Pulitzer Prize for college journalism. Also in 2015, the Horizon won the College Media Association's Pinnacle Award for Four-Year Less-Than-Weekly Newspaper of the Year.

In 2014 and 2015, Horizon student journalists won more awards in the Society of Professional Journalists Louisville Pro Chapter's contests than all other colleges in the metro region combined.

All students are able to join The Horizon staff, though students majoring in journalism at IUS are required to work for at least two semesters on The Horizon staff. IUS is the only university in the Louisville metro area to offer a bachelor's degree in journalism.

Athletics

The university's athletic teams are branded as the IU Southeast Grenadiers. The university is a member of the National Association of Intercollegiate Athletics (NAIA), primarily competing in the River States Conference (RSC; formerly known as the Kentucky Intercollegiate Athletic Conference (KIAC) until after the 2015–16 school year) since the 1994–95 academic year. The Grenadiers had previously competed as an NAIA Independent from 1978–79 (when the school joined the NAIA) to 1993–94.

IU Southeast competes in ten intercollegiate varsity sports: Men's sports include baseball, basketball and tennis; while women's sports include basketball, softball, tennis and volleyball; and co-ed sports include cheerleading and pep band. Club sports include co-ed bass fishing.

History
The women's athletic programs became the IU Southeast's first accredited athletic program when they became affiliated with the Association of Intercollegiate Athletics for Women (AIAW) in 1975–76. In that same year, there was an attempt to affiliate IU Southeast with the Division III ranks of the National Collegiate Athletic Association (NCAA). IU Bloomington did not approve this, however, on the grounds that only one IU campus could be affiliated with the NCAA. Thus, steps were initiated to affiliate with the NAIA. These efforts culminated with active membership being attained in 1978. In 1982, the AIAW folded and the NAIA added women's programs to the organization.

In time for the 1979–80 season, IUS added an activities building. This facility has a seating capacity of approximately 1,624. There are a number of programs available to students including intramurals, a fitness facility, and classes that focus on fitness. The building has undergone various improvements over the years including new bleachers and lighting in 2013 and HVAC and IT upgrades in 2015.

For the 2006–2007 academic year, 15 IUS students were named by the RSC, known before 2016 as the KIAC, as "KIAC Scholar Athletes". Students who are awarded this honor must have maintained a 3.25 or higher GPA while attending classes full-time and have participated in one or more athletics programs. During the 2005–2006 academic year, 14 IU Southeast students were awarded this honor as well.

The schools mascot for sporting events is a Grenadier. In the 2007–2008 academic year, IUS won the KIAC conference championship in the following sports: baseball, basketball, softball, as well as men's and women's tennis. Pat Mrozowski was named KIAC Athletic Director of the Year.

Joe Glover was named director of athletics on July 1, 2010.

Glover created and implemented the first athletic scholarship fundraising dinner for IUS; the inaugural Champions Dinner was held on August 24, 2013. The event was a major success for the department and yielded nearly $30,000 for student-athlete scholarships in its first year.

Many of the IUS athletic facilities have been upgraded during Glover's tenure as athletic director. In 2012, Glover led a $35,000 renovation of The Koetter Sports Baseball complex, which included a new infield surface and improved drainage. In 2011, new upgraded seating was added to the Activities Building, and a new infield surface was designed installed at the Koetter Sports Softball complex. The tennis programs also received a newly renovated tennis shed during Glover's tenure. In 2014, two tennis courts at IU Southeast had lights installed to allow for play during the evening. Glover also spearheaded the effort for the Grenadier baseball and softball programs to create a new indoor hitting facility that now allows for the teams to practice all year.

The IUS athletic programs have experience unparalleled success during Glover's tenure. The IU Southeast men's basketball team won seven-straight conference regular season championships and six tournament championships from 2008 to 2014.

Every team has competed in the RSC championship game of its respective sport during Glover's tenure. The Grenadiers have won a combined 15 RSC Regular Season Championships, 12 RSC Tournament Championships, and qualified for 13 NAIA National Tournaments with Glover's leadership. The IU Southeast Athletic Department was also awarded the distinguished RSC (then KIAC) Commissioner's Cup in 2011 and 2012.

During the 2012–13 school year, the IUS men's basketball team advanced to the semifinals of the 2013 NAIA Division II Men's National Basketball Championship in Point Lookout, Mo. IU Southeast fell 69–56 to eventual national champion Cardinal Stritch.

The Grenadiers were ranked as high as No. 2 in the nation during that season and advanced to the first NAIA Final Four in program history.

Glover was recognized for his efforts by his colleagues when he was named KIAC Athletic Director of the Year for 2012–13. In May 2013, Glover was also named one of "20 Under 40 Best and Brightest" business professionals in a special edition of the Southern Indiana Business Source magazine.

The Grenadiers have been one of the most successful athletic programs in the RSC, winning the RSC Commissioner's Cup five times since 2008. The trophy is awarded to the team with the best regular season performance in all sports combined.

During the 2013–14 school year, the IUS athletic department set a record with an average department grade-point average of above 3.00 for the first time. Four teams had average GPAs above a 3.0 as well.

Greek life
Sororities
 * Phi Sigma Sigma
 * Sigma Kappa
 * Alpha Phi
 * Zeta Phi Beta

Fraternities
 * Pi Kappa Alpha
 * Kappa Sigma
 * Tau Kappa Epsilon

Notable alumni

 * Kevin Boehnlein, former member of the Indiana Senate
 * Serena Deeb, Professional Wrestler
 * Jazzmarr Ferguson, professional basketball player who last played for Vanoli Cremona of the Lega Basket Serie A
 * Ron Gettelfinger, President of the United Auto Workers labor union
 * Connie Sipes, former member of the Indiana Senate
 * Mike Sodrel, former United States Representative

title: Indiana University Southeast


text: User talk:64.217.26.239

title: User talk:64.217.26.239


text:
Africa Squadron

The Africa Squadron was a unit of the United States Navy that operated from 1819 to 1861 in the Blockade of Africa to suppress the slave trade along the coast of West Africa. However, the term was often ascribed generally to anti-slavery operations during the period leading up to the American Civil War.

The squadron was an outgrowth of the 1819 treaty between the United States and the United Kingdom that was an early step in stopping the trade, and further defined by the Webster–Ashburton Treaty of 1842. Although technically coordinated with a British West Africa Squadron based in Sierra Leone, in practice the American contingent worked on its own.

Matthew Perry was the first commander of the squadron, and based himself in Portuguese Cape Verde.

The squadron was generally ineffective, since the ships were too few, and since much of the trading activity had shifted to the Niger River delta area (present-day Nigeria), which was not being covered. In the two years of Perry's leadership, only one slaver was reported to have been captured, and that ship was later acquitted by a New Orleans court. In the 16 years of squadron operation, only the crews of 19 slave ships went to trial. These slavers were acquitted or only lightly fined. Other commanders, however, were more successful.

African slave trade patrol
The Africa Squadron's cruising area eventually ranged from Cape Frio to the south (about 18 degrees south latitude), to Madeira in the north. However, the squadron's supply depot was in Cape Verde archipelago, approximately 2500 nmi from the northernmost centers of the slave trade in the Bight of Biafra and southward. The navy department did not move the depot location until 1859, when it was set up at São Paulo de Luanda, in Portuguese Angola, about eight degrees south latitude. At the same time the department put Madeira out of bounds for the squadron.

The majority of the squadron's cruising in its first decade was along the coast of Western Africa, with particular attention to Liberian interests. By the 1850s much of the slave trade in this area had been eliminated by the British, based in their colony at Sierra Leone, as well as the Liberians.

This however, did not stop the board of directors of the American Colonization Society from writing the President of the United States to bolster the Africa Squadron's "fleet" in 1855 in accordance with the Webster-Ashburton treaty in an attempt to crack down on sailors and slavers use of sea-letters to claim American nationality in their attempt to further the slave trade on the African coast.

Africa Squadron
Source: Canney, D.L., Africa Squadron, Potomac Books, 2006, pp. 233–234

title: Africa Squadron


text:
Shima, Mie

Shima (志摩市) is a city in Mie Prefecture, Japan. , the city had an estimated population of 45,073 in 22,511 households and a population density of 251 persons per km2. The total area of the city is 179.67 sqkm. Shima hosted the 2016 G7 Summit.

Geography
Shima is located on the southern half of Shima Peninsula in far eastern Mie Prefecture, facing Ise Bay of the Pacific Ocean. The city has a complicated rias coast with two large inlets: Matoya Bay and Ago Bay. Matoya Bay is famous for oyster cultivation and Ago Bay is famous for pearl cultivation. Both are sightseeing spots and all of the city is within the borders of the Ise-Shima National Park.

Shima has three inhabited islands; Watakano Island, Kashiko Island and Masaki Island. Watakano Island is located in Matoya Bay, and the others are in Ago Bay.

Neighboring municipalities
Mie Prefecture
 * Ise
 * Toba
 * Minamiise

Climate
Shima has a Humid subtropical climate (Köppen Cfa) characterized by warm summers and cool winters with light to no snowfall. The average annual temperature in Shima is 16.6 °C. The average annual rainfall is 1965 mm with September as the wettest month. The temperatures are highest on average in August, at around 26.6 °C, and lowest in January, at around 6.8 °C.

Demographics
Per Japanese census data, the population of Shima has decreased rapidly over the past 20 years.

History
All of Shima was within the borders of ancient Shima Province. With the creation of the modern municipalities system on April 1, 1889, the town of Waga and villages of Katada, Fuseda, Koshiga, and Goza were established. The town of Shima was established on December 1, 1954 by the merger of these municipalities. Shima was raised to city status on October 1, 2004, from the merger of the former town of Shima with the towns of Ago, Daiō, Hamajima and Isobe (all from Shima District). Recently there has been anger from its famous divers aimed at its sexist new tourist mascot.

Government
Shima has a mayor-council form of government with a directly elected mayor and a unicameral city council of 20 members. Shima contributes two members to the Mie Prefectural Assembly. In terms of national politics, the city is part of Mie 4th district of the lower house of the Diet of Japan.

Economy
Commercial fishing and tourism play important roles in the local economy.

Education
Shima has seven public elementary schools and six public middle schools operated by the city government and two public high schools operated by the Mie Prefectural Department of Education. There is also one private high school.

Railway
Kintetsu Railway - Shima Line
 * Gochi - Kutsukake - Kaminogō - Shima-Isobe - Anagawa - Shima-Yokoyama - Ugata - Shima-Shimmei - Kashikojima

Highways

 * Iseshima Skyline

Local attractions
Two of Japan's fifteen climbable lighthouses are located in Shima: Anorisaki and Daiosaki. Each was featured in the location shooting of two prominent films of the 1950s, Anorisaki in Kinoshita's Times of Joy and Sorrow (1957) and Daiosaki in Ozu's Floating Weeds (1959).

title: Shima, Mie


text:
Talk:Cinema of Japan

External links modified
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Wiki Education assignment: Information Literacy and Scholarly Discourse
— Assignment last updated by Mlclark1 (talk) 13:23, 10 June 2022 (UTC)

Update to Wartime Films
Hello everyone, I intend to update this section on Wartime films in Japan with some new information and expand on it a little bit. Talking about how wars affected the movies that were being made at the time. I will also be expanding on the topic and going into how movies were used as propaganda during wartime. Ethan Hutchins (talk) 01:18, 28 October 2023 (UTC)

title: Talk:Cinema of Japan


text: User talk:212.85.12.187

title: User talk:212.85.12.187


text:
John Severin

John Powers Severin (December 26, 1921 – February 12, 2012) was an American comics artist noted for his distinctive work with EC Comics, primarily on the war comics Two-Fisted Tales and Frontline Combat; for Marvel Comics, especially its war and Western comics; and for his 45-year stint with the satiric magazine Cracked. He was one of the founding cartoonists of Mad in 1952.

Severin was inducted into the Will Eisner Award Hall of Fame in 2003.

Early life
John Severin was born in Jersey City, New Jersey, of Norwegian and Irish descent. He was a teenager in Bay Ridge, Brooklyn, New York City, when he began drawing professionally. While attending high school, he contributed cartoons to The Hobo News, receiving payment of one dollar per cartoon. Severin recalled in 1999: "I was sometimes selling 19 or 20 of them a week. Not every week, naturally. But I didn't have to get a regular job to carry me through high school. It was almost every week—not every week—but almost every week. I didn't have to get a job. I hated to work, I'll tell you. I didn't have to get a job then, because I was in high school."

He attended the High School of Music & Art in New York City, together with future EC Comics and Mad artists Harvey Kurtzman, Will Elder, Al Jaffee and Al Feldstein. After graduating from the school in 1940, he worked as an apprentice machinist and then enlisted in the Army, serving in the Pacific during World War II.

Early work: 1947–51
In a 1980 interview, Severin recalled his start as a professional artist: "I had decided to exhibit some paintings of mine in a High School of Music and Art exhibition for the alumni. Charlie Stern was in charge of it, so I went to see him at his studio. He was the 'Charles' of the Charles William Harvey Studio, the other two being William Elder and Harvey Kurtzman. They asked me if I'd like to rent space with them there. I did, and started working with them. When Charlie left ... I became the third man, but they didn't want to change it to John William Harvey Studio, so they left the name ... Harvey was doing comics, Willie and Charlie were doing advertising stuff, and I just joined in ... [I did] design work, logos for toy boxes, logos for candy boxes, cards to be included in the candy boxes."

Inspired by the quick money Kurtzman would make in between advertising assignments with one-page "Hey Look!" gags for editor Stan Lee at Timely Comics, Severin worked up comics samples inked by Elder. In late 1947, he recalled, the writer-artist-editor team of Joe Simon and Jack Kirby at Crestwood Publications "gave us our first job."

Since it was not standard practice to credit comics creators during this era, a comprehensive list of his early work is difficult to compile. Author and historian Jim Vadeboncoeur Jr., based on Severin's description of "a crime story about a boy and a girl who killed somebody ... I think it was their stepfather. They lived on a farm, or out in the suburbs," believes that first Severin/Elder story was the eight-page "The Clue of the Horoscope" in Headline Comics #32 (cover-dated Nov. 1948), from the Crestwood-affiliated Prize Comics. The standard reference Grand Comics Database has no credits for that story, and lists Severin's first confirmed work in comics as two stories published the same month: the ten-page Boy Commandos adventure "The Triumph of William Tell" in DC Comics' Boy Commandos #30; and the eight-page Western story "Grinning Hole in the Wall" in Prize Comics' Prize Comics Western vol. 7, #5 (each Dec. 1948), both of which he penciled and the latter of which he also inked.

Through 1955, Severin drew a large number of stories for the latter title and other Western series from Prize, and as penciler, he co-created with an unknown writer the long-running Native American feature "American Eagle" in Prize Comics Western vol. 9, #6 (Jan. 1951), inked by his high-school classmate turned fellow pro Will Elder.

Around this time, Severin did his first confirmed work for two publishers with whom he would long be associated, Marvel Comics and EC Comics. For the future Marvel Comics, he penciled the seven-page romance comic story "My Heart Had No Faith" in Timely Comics' Actual Romances #1 (Oct. 1949).

EC Comics
For EC Comics, he debuted with the seven-page "War Story" in Two-Fisted Tales #19 (Feb. 1951), continuing to work in tandem with his friend Elder as his inker, notably on science fiction and war stories. Severin drew stories for both Two-Fisted Tales and Frontline Combat. When Kurtzman dropped the war comics to devote more time to Mad, Severin became sole artist on Two-Fisted Tales for four issues and scripted some stories. He also illustrated stories written by his friend Colin Dawkins and future Mad art director John Putnam. Severin and Dawkins were the uncredited co-editors of Two-Fisted Tales #36–39.

Severin and Elder eventually split as a team at EC. They both were in the group of the five original artists who launched editor Harvey Kurtzman's landmark satiric comic book Mad, along with Kurtzman, Wally Wood and Jack Davis. Severin appeared in nine of Mad's first ten issues, drawing ten pieces between 1952 and 1954. According to accounts by both Severin and Kurtzman, the two had a falling out over art criticisms Kurtzman made during this period. It was Kurtzman who suggested that Severin ink with a pen as opposed to brush inking. Though Severin eventually took this advice in his later work, he was annoyed at Kurtzman at the time, for this and other remarks, and refused further work with him. Kurtzman insisted on doing the layouts for all the artists, which some resented, including Severin.

His ability to draw people of different nationalities convincingly was highly admired by his peers, as was his eye for authentic details. Upon Severin's death, writer Mark Evanier remembered, "Jack Kirby used to say that when he had to research some historical costume or weapon for a story, it was just as good to use a John Severin drawing as it was to find a photo of the real thing. They don't make 'em like that anymore."

Marvel Comics and other publishers
Following the cancellation of EC's comic book line in the wake of the Comics Code in the mid-1950s, Severin began working for Atlas Comics, the 1950s forerunner of Marvel Comics. Sergeant Barney Barker, drawn by Severin, was Atlas' answer to Sgt. Bilko. Artist and colorist Stan Goldberg, a company colleague, recalled in 2005, "I was in the [company's artist room known as the] Bullpen with a lot of well-known artists who worked up there at that time. We had our Bullpen up there until about 1958 or 1959. [ sic; the Bullpen staff was let go in 1957] The guys ... who actually worked nine-to-five and put in a regular day, and not the freelance guys who'd come in a drop off their work ... were almost a hall-of-fame group of people. There was John Severin. Bill Everett. Carl Burgos. There was the all-time great Joe Maneely ... We all worked together, all the colorists and correction guys, the letterers and artists ... We had a great time."

After Atlas transitioned to become Marvel Comics in the 1960s, Severin did extensive work as penciler, inker or both on such series as The Incredible Hulk, Conan the Barbarian, and Captain Savage and his Leatherneck Raiders. Herb Trimpe, the primary Hulk penciler during this period comics fans and historians call the Silver Age of comic books, said in 2009, "I was kind of thrilled when John Severin inked me, because I liked his work for EC Comics, and he was one of my idols." As inker, Severin teamed with penciler Dick Ayers on an acclaimed run of the World War II series Sgt. Fury and his Howling Commandos, beginning with #44 (July 1967). In the 1970s, he collaborated with his sister, artist Marie Severin, on Marvel's sword and sorcery series, King Kull.

During this time he was by far the most prolific contributor to the satiric Cracked magazine, drawing television and movie parodies along with other features, including most of the magazine's covers. Severin was Cracked's signature artist for nearly 40 years.

For Warren Publishing in the 1960s, he drew for the black-and-white comics magazines Blazing Combat and Creepy. Severin also contributed to Topps' line of bubble gum trading cards. He was one of the artists on Joe Kubert's self-published Sojourn series in 1977. His 1980s work for Marvel included The 'Nam, What The--?!, and Semper Fi.

Circa 2000, writer Jeff Mariotte recalled in 2002, Severin phoned Scott Dunbier, a group editor at DC Comics' WildStorm imprint, "and said he was looking to do comics again" after working primarily for Cracked at the time. "I happened to pass by Scott's office as he hung up the phone, and he sounded kind of awestruck as he told me that John Severin wanted to do something with us. I said something like, 'Gee, a Desperadoes story by Severin would be great,'" referring to Mariotte's Western miniseries for DC. "Scott agreed. We needed to hurry, before he was snapped up by someone else, so I went home and worked up a proposal overnight. We had sent him, right after that first call, copies of the original Desperadoes books. That was followed up by the proposal, the next day. He liked what he saw and wanted to play along." This led to Severin drawing the sequel miniseries Desperadoes: Quiet of The Grave.

He illustrated the controversial 2003 Marvel limited series The Rawhide Kid, a lighthearted parallel universe Western that reimagined the outlaw hero as a kitschy though still formidably gunslinging gay man. Severin, who had drawn the character for Atlas in the 1950s, refuted rumors that he had not known of the subject matter, saying at the time of the premiere issue's release, "The Rawhide Kid is rather effeminate in this story. It may be quite a blow to some of the old fans of Rawhide Kid. But it's a lot of fun, and he's still a tough hombre." Also in the 2000s, Severin contributed to Marvel's The Punisher; DC Comics' Suicide Squad, American Century, Caper, and Bat Lash; and Dark Horse Comics' Conan, B.P.R.D. and Witchfinder.

Personal life
Severin's family members working in the publishing and entertainment fields include his sister Marie Severin, a comic book artist, who was the colorist for EC's comics; his son John Severin, Jr., the head of Bubblehead Publishing; his daughter, Ruth Larenas, a producer for that company; and his grandson, John Severin III, a music producer and recording engineer.

Severin died at his home in Denver, Colorado, on February 12, 2012, at the age of 90. His wife of 60 years, Michelina, survived him, as did his six children and comics artist sister Marie Severin.

Awards and honors
Severin received an Inkpot Award in 1998 and was inducted into the Will Eisner Award Hall of Fame in 2003.

With writer Gary Friedrich and penciler Dick Ayers, Severin's inking contributed to Sgt. Fury and his Howling Commandos winning the Alley Award for Best War Title of 1967 and 1968.

He was among the winners of the Cartoon Art Museum's 2001 Sparky Award.

His artwork was exhibited three times at the Words & Pictures Museum in Northampton, Massachusetts – in the grand-opening group show (October 9, 1992 – January 5, 1993), in the group exhibit "War No More" (May 18 – August 8, 1993) and in the group show "Classic Comics: A Selection of Stories from EC Comics" (December 7 – February 11, 1996).

In 2022, Severin was awarded the Inkwell Awards Stacey Aragon Special Achievement Award (SASRA) for his lifetime achievement in inking.

title: John Severin


text:
Cosma Shiva Hagen

Cosma Shiva Hagen is a German actress. Although she speaks English, her acting roles have been largely confined to German-language films and television productions. She also starred in an Irish film called Short Order (2005).

Personal life
Born in Los Angeles, California, Cosma Shiva Hagen is the daughter of German singer Nina Hagen and Dutch musician Ferdinand Karmelk. As a child, she lived in London, Berlin, Paris, Ibiza, Lüneburg and Hamburg. Her grandmother was actress Eva-Maria Hagen and her step-grandfather is the East German dissident writer and singer-songwriter Wolf Biermann. Hagen's unusual name was picked by her mother, who claimed she saw a UFO while pregnant. "Cosma" is a reference to the cosmos, and "Shiva" is a reference to the Hindu god Shiva.

Hagen's great-grandfather Hermann Carl Hagen, a German-Jewish banker and economist, was murdered at Sachsenhausen concentration camp in 1945. Her non-Jewish great-grandmother Hedwig Elise Caroline Staadt, wife of Hermann Hagen, was also murdered at Sachsenhausen. Her maternal grandfather Hans Hagen was a Holocaust survivor, being held at a prison in Moabit between 1941 and 1945 until liberation by the Soviets.

Selected filmography

 * Das merkwürdige Verhalten geschlechtsreifer Großstädter zur Paarungszeit (1998), as Sandra
 * Der Laden (1998, TV miniseries), as Ilonka
 * Die fabelhaften Schwestern (2002, TV film), as Effi
 * 7 Dwarves – Men Alone in the Wood (2004), as Snow White
 * Short Order (2005), as Catherine
 * 7 Dwarves: The Forest Is Not Enough (2006), as Snow White
 * Cutting Edge (2007 film) (2007), as Sylvia Göbel
 * Schade um das schöne Geld (2008, TV film), as Gloria Hasselt
 * Bible Code (film) (2008, TV film), as Johanna Bachmann
 * Fire! (2009), as Nicole Hart
 * Schief gewickelt (2011, TV film), as Mona Müller
 * The Man Cave (2014), as Connie

title: Cosma Shiva Hagen


text:
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User talk:Jared21487

Please don't create articles about yourself and your friends. You are not important enough to be the subjects of encyclopedia articles. RickK 05:34, Feb 27, 2005 (UTC)

title: User talk:Jared21487


text:
User talk:Redbeaver

http://en.wikipedia.org/wiki/Paul_Henry

hello redbeaver

title: User talk:Redbeaver


text: User talk:65.95.230.142

title: User talk:65.95.230.142


text:
Advertising network

An online advertising network or ad network is a company that connects advertisers to websites that want to host advertisements. The key function of an ad network is an aggregation of ad supply from publishers and matching it with the advertiser's demand. The phrase "ad network" by itself is media-neutral in the sense that there can be a "Television Ad Network" or a "Print Ad Network", but is increasingly used to mean "online ad network" as the effect of aggregation of publisher ad space and sale to advertisers is most commonly seen in the online space. The fundamental difference between traditional media ad networks and online ad networks is that online ad networks use a central ad server to deliver advertisements to consumers (ad serving), which enables targeting, tracking and reporting of impressions in ways not possible with analog media alternatives.

Overview
The advertising network market is a large and growing market, with Internet advertising revenues expected to grow from $135.42 bn in 2014 to $239.87 bn in 2019. Digital advertising revenues in the United States alone are set to reach $107.30 bn in 2018 which is an 18.7% increase from 2017 ad spend. This growth will result in many new players in the market and encourage acquisitions of ad networks by larger companies that either enter the market or expand their market presence. Currently, there are hundreds of ad networks worldwide and the landscape changes daily.

The inventory of online advertising space comes in many different forms, including space on the desktop and mobile websites, in RSS feeds, blogs, instant messaging applications, mobile apps, adware, e-mails, and other media. The dominant forms of inventory include third-party content websites, which work with advertising networks for either a share of the ad revenues or a fee, as well as search engines, mobile, and online video resources.

An advertiser can buy a run of network package, or a run of category package within the network. The advertising network serves advertisements from its central ad server, which responds to a site once a page is called. A snippet of code is called from the ad server, that represents the advertising banner.

Large publishers often sell only their remnant inventory through ad networks. Typical numbers range from 10% to 60% of total inventory being remnant and sold through advertising networks.

Smaller publishers often sell all of their inventory through ad networks. One type of ad network, known as a blind network, is such that advertisers place ads, but do not know the exact places where their ads are being placed.

Types
There are several criteria for categorizing advertising networks. In particular, the company's business strategy, as well as the quality of the networks' traffic and volume of inventory can serve as bases for categorization.

Based on business strategy
Online advertising networks can be divided into three groups based on how they work with advertisers and publishers:

 * 1) Vertical networks: They represent the publications in their portfolio, with full transparency for the advertiser about where their ads will run. They typically promote high-quality traffic at market prices and are heavily used by brand marketers. The economic model is generally revenue share. Vertical Networks offer ROS (Run-Of-Site) advertising across specific Channels (example: Auto or Travel) or they offer site-wide advertising options, in which case they operate in a similar fashion to Publisher Representation firms.
 * 2) Blind networks: These companies offer good pricing to direct marketers in exchange for those marketers relinquishing control over where their ads will run, though some networks offer a "site opt out" method. The network usually runs campaigns as RON or Run-Of-Network. Blind networks achieve their low pricing through large bulk buys of typically remnant inventory combined with conversion optimization and ad targeting technology.
 * 3) Targeted networks: Sometimes called "next generation" or "2.0" ad networks, these focus on specific targeting technologies such as behavioral or contextual, that have been built into an ad server. Targeted networks specialize in using consumer clickstream data to enhance the value of the inventory they purchase. Further specialized targeted networks include social graph technologies which attempt to enhance the value of inventory using connections in social networks.

Based on the number of clients and traffic quality
Ad networks can also be divided into first-tier and second-tier networks. First-tier advertising networks have a large number of their own advertisers and publishers, they have high quality traffic, and they serve ads and traffic to second-tier networks. Examples of first-tier networks include the major search engines. Second-tier advertising networks may have some of their own advertisers and publishers, but their main source of revenue comes from syndicating ads from other advertising networks.

While it is common for websites to be categorized into tiers, these can be misleading because tier 1 and tier 2 networks might perform differently based on different metrics, such as reach versus impressions.

Ad targeting and optimization
One aspect of ad-serving technology is automated and semi-automated means of optimizing bid prices, placement, targeting, or other characteristics. Significant methods include:
 * Behavioral targeting — using a profile of prior behavior on the part of the viewer to determine which ad to show during a given visit. For example, targeting car ads on a portal to a viewer who was known to have visited the automotive section of a general media site.
 * Contextual targeting — (also known as Semantic Marketing) refers to the optimum ad placement as a result of analyzing information from the entire Web page where the ad is being served. This concept was introduced as a way of improving the ‘keyword approach' to ad placement were issues surrounding ambiguity in relation to a word's meaning in the prescribed context. The concept of analyzing the ‘entire' Webpage in order to promote relevant advertising material is to benefit both the viewer of advertising content and the source of the ad. Keywords (or Adwords) are not always relevant in the context in which the word is intended. Therefore, by analyzing the entire page rather than just the keyword, the ambiguity is removed and a more relevant and accurate ad is promoted into the advertising slot on the Web page.
 * Creative optimization — using experimental or predictive methods to explore the optimum creative for a given ad placement and exploiting that determination in further impressions.

Mobile and video ad networks
Ad networks often support a wide spectrum of ad formats (e.g. banners, native ads) and platforms (e.g. display, mobile, video). This is true for most ad networks. However, there also are ad networks that focus on particular kinds of inventory and ads:
 * 1) Mobile ad networks, focus on the traffic generated via mobile web and mobile apps, and work with the corresponding ad formats.
 * 2) Video ad networks serve ads via inventory, associated with online video content.

Video and mobile ad networks can be acquired by larger advertising companies, or operate as standalone entities.

Issues

 * 1) Positioning: Most ad networks don't disclose impressions per site. This means that advertisers or media agencies aren't sure where their ads will run. This can be a dangerous proposition if your ad turns up on a website that you don't want to be associated with.
 * 2) Malware: Some ad networks have been implicated in aiding the distribution of malware due to allowing malicious advertisers to buy inventory across their partner sites without enough scrutiny.
 * 3) Price transparency: Let's examine a scenario. An ad network packages display inventory to an agency at say $10 CPM (cost per mille – or cost per thousand impressions). The ad network would then buy a very small portion of the inventory on premium publications at $50 CPM and a large portion of the long tail inventory at $2 CPM. The real eCPM (effective CPM) of the campaign for the ad network is around $2.50, and is far from the agency's claim of premium inventory. The marketer is however appeased with screen grabs of his ads appearing in premium positions, oblivious of the masquerade while the ad network walks away with a big margin.
 * 4) Ad relevance: More often than not, the ads were out of relevance with the website content as a fall out of point 1, and also because there weren't intelligent contextual engines built into the ad servers (the server system that churns out the ads) of these ad networks.

Online ad networks and advertising publishers
Most online ad-network platforms offer website owners and marketers to signup as advertising publishers. Publishers can then display ads shared by the advertising network and the revenue is shared between both the advertising network and publisher. When the beginners could not pass through the minimum criteria for publishing advertisements, ad placement services could ban the publisher for not fulfilling the requirements. Some networks demand strict terms and conditions while there are other ad publishing alternatives times commissions vary on what sells otherwise user still to earn a good commission when one matches the criteria, and the publisher is allowed to display and share ads provided by the platform earns a good revenue. Getting approved as a publisher of the best advertising platform is a thorough process. Websites with a clean interface, more traffic and engagements are preferred to be selected as ad network publishers by the advertising platforms.

History
The first central ad server was released by FocaLink Media Services and introduced on July 17, 1995, for controlling the delivery of online advertising or banner ads. Although most contemporary accounts are no longer available online, the Weizmann Institute of Science published an academic research paper documenting the launch of the first ad server. The original motherboard for the first ad server, assembled in June 1995, is also preserved. FocaLink re-launched the ad server under the name SmartBanner in February 1996. The company was founded by Dave Zinman, Andrew Conru, and Jason Strober, and is based in Palo Alto, California. In 1998, the company changed its name to AdKnowledge and was purchased by CMGI in 1999. The AdKnowledge name was subsequently purchased by a company in Kansas City in 2004, which now operates under the brand name AdKnowledge.

The first local ad server was released by NetGravity in January 1996 for delivering online advertising at major publishing sites such as Yahoo! and Pathfinder. The company was founded by Tom Shields and John Danner, and is based in San Mateo, California. In 1998, the company went public on NASDAQ (NETG), and was purchased by DoubleClick in 1999. NetGravity AdServer was then renamed to DART Enterprise. In March 2008 Google acquired DoubleClick. Google has continued to improve and invest in DART Enterprise. The latest version of the product was renamed and shipped as DoubleClick Enterprise 8.0 on September 28, 2011.

title: Advertising network


text:
Wikipedia:Articles for deletion/Neurocam is complete fabrication

 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 SPEEDY. jni 18:32, 6 Mar 2005 (UTC)

Neurocam is complete fabrication
The title is unrelated to the content, which is obviously c&p'd from somewhere else.

The title is POV (maybe? I'm not sure what the policy on this)

If the content is wikipediable, here is not the place for it.

SeventyThree 05:40, 27 Feb 2005 (UTC)

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.
 * Speed deleted as ranting and nonsense. Wile E. Heresiarch 06:00, 27 Feb 2005 (UTC)
 * Delete -- Speedy. Longhair 12:03, 27 Feb 2005 (UTC)


text: Category:Radio in Germany

title: Category:Radio in Germany


text:
Marie Severin

Marie Severin (August 21, 1929 – August 29, 2018) was an American comics artist and colorist best known for her work for Marvel Comics and the 1950s' EC Comics. She is an inductee of the Will Eisner Comics Hall of Fame and the Harvey Awards Hall of Fame.

Early life and career
Marie Severin was born in East Rockaway, New York, on Long Island, the second and last child of John Edward Severin, born in Oslo, Norway, who immigrated to the United States at age 3, and a mother, Marguerite (Powers) Severin, from Syracuse, New York, whose heritage was Irish. Her older brother, John Severin, was born in 1922. The family moved to Brooklyn, New York City, when Marie was 4. She attended a Catholic grammar school and then the all-girl Bishop McDonnell Memorial High School. The family lived in an apartment in the Bay Ridge neighborhood at the time; it is uncertain if this was the family's original Brooklyn locale from Severin's childhood or if the family moved to that neighborhood in the interim. Due to the high school's staggered schedule, Severin's class graduated in January 1948, rather than in mid-year as typical.

Severin grew up in an artistic household where her father, a World War I veteran, eventually became a designer for the fashion company Elizabeth Arden during the 1930s. In her teens, Severin took what she recalled as "a couple of months" of cartooning and illustration classes, and attended Pratt Institute in Brooklyn "for one day and said, 'This is a college', and I wanted to draw and make money". Her first job was doing clerical work for an insurance company in downtown Manhattan "for a couple of years" while still living at home. She continued living there after her father died.

Severin was working on Wall Street when her brother John, then an artist for EC Comics, needed a colorist for his work there. Marie Severin's earliest recorded comic-book work is coloring EC Comics' A Moon, a Girl ... Romance #9 (Oct. 1949). In a 2001 interview, she recalled she broke in as a colorist

"... for all the war books at EC with [Harvey] Kurtzman. I went on to color all their books, they were happy with it, and I learned a lot about production color and how everything worked. ... I believe the color chart for the printed pages had a range of up to 48 colors. I had the full range; I would mix colors — golds, greens, blues, and so on — and you would intensify them so that the separators could see the difference. ... What they liked is that I really studied which colors looked best and sharper next to one another, the subtleties of it. I would also proofread the colors."

She would contribute coloring across the company's line, including its war comics and its celebrated but notoriously graphic horror comics, and also worked on the comics' production end, as well as "doing little touch ups and stuff" on the art. When EC ceased publication in the wake of the U.S. Senate hearings on the effects of comic books on children and the establishment of the Comics Code, Severin worked briefly for Marvel Comics' 1950s predecessor, Atlas Comics. After an industry downturn circa 1957, she left and found work with the Federal Reserve Bank of New York. She recalled in 2001, "I did a little bit of everything for them—I did television graphics on economics [and] I did a lot of drawing. I did a[n educational] comic book that my brother did the finished art on ... about checks".

Blue-panels assertion
Frank Jacobs, in his 1972 biography of EC publisher William M. Gaines, wrote, "There was Marie Severin, Gaines's colorist, and a very moral Catholic, who made her feelings known by coloring dark blue any panel she thought was in bad taste. [EC editor Al] Feldstein called her 'the conscience of EC.'"

Severin repeatedly refuted that assertion, which became part of comics lore, while also saying she sometimes used coloring to "kind of shield" some gruesome content, noting,

"I would never assume an editorial position. What I would do very often is, if somebody was being dismembered, I would rather color it in yellow because it's garish, and also [so] you could see what was going on. Or red, for the blood element, but not to subdue the artwork. ... I mean, the main reason these people were buying these books was to see somebody's head cut off, y'know? ... And [the editors] trusted me with a lot a stuff. They knew that I wouldn't subdue artwork; I would just kind of shield it a little bit so if a parent picked up the book in the drug store, they wouldn't see that somebody's stomach was all red."

Silver Age
In 1959, when the industry had picked up again during the period fans and historians call the Silver Age of Comic Books, Severin again worked for Marvel Comics in production. Severin recalled in 2001 that when Esquire magazine requested an artist to illustrate a story "on the college drug culture", Marvel production manager Sol Brodsky offered Severin rather than one of the regular artists, who were on deadline. Her illustration for the magazine led Marvel editor-in-chief Stan Lee to assign her the feature "Doctor Strange" in Strange Tales, replacing Bill Everett, who had succeeded character co-creator Steve Ditko. With Lee, Severin co-created the fictional cosmic entity the Living Tribunal in Strange Tales #157 (June 1967). A panel illustrated by Severin for a July 1967 issue that featured both characters was later incorporated into the cover art of Pink Floyd’s sophomore album, A Saucerful of Secrets, released the next year.

Severin was Marvel's head colorist until 1972, at which point she turned most of her coloring duties over to George Roussos so that she could do more penciling assignments. She continued to expand from colorist to do penciling and inking, and occasionally also lettering, on various titles. She drew stories of the Sub-Mariner and the Hulk, and the covers or interiors of titles including Iron Man, Conan the Barbarian, Kull the Conqueror, The Cat, and Daredevil. Additionally, she worked on Marvel's satiric humor magazine Crazy Magazine, as well as the company's self-lampooning comic book, Not Brand Echh.

Bronze Age
In 1976, Severin co-created Spider-Woman, designing her original costume. She co-created Howard the Duck villain Doctor Bong in 1977. Two years later she provided the art for the Spider-Man and the Hulk toilet paper.

In the 1980s, she was assigned to Marvel's Special Projects division, which handled non-comic book licensing. She helped design toy maquettes and film and television tie-ins products, and worked on the short-lived Marvel Books imprint of children's coloring books and sticker books. During this time she also drew the Fraggle Rock and Muppet Babies comics for Marvel's Star Comics imprint.

During the following decade, Severin penciled the "Impossible Tale" of the "Li'l Soulsearchers" in issue #31 (Aug. 1998) of Claypool Comics' superhero-humor comic Soulsearchers and Company, inked by fellow Silver Age veteran Jim Mooney; and she inked Dave Cockrum's penciling in issue #43 (July 2000). She also inked Richard Howell's pencils on the story "Favor of the Month" in Elvira #144 (April 2005).

Retirement and Death
Severin retired but continued into the mid-2000s to make occasional contributions, such as recoloring many of the comics stories reprinted in the EC-era retrospective books B. Krigstein and B. Krigstein Comics. The former won both the Harvey and Eisner comic-industry awards in 2003.

On October 11, 2007, Severin suffered a stroke, and was taken to Huntington Hospital, in Huntington on Long Island, to recover and recuperate.

She died in 2018 at the age of 89.

Personal life
Severin never married but she had a wide circle of friends. Her brother John Severin was an artist who worked for EC and Marvel; her niece, Ruth Larenas, is a producer for her nephew John Severin Jr.'s Bubblehead Publishing.

Awards and honors
Severin won the Best Penciller (Humor Division) Shazam Award in 1974. The following year, she was nominated for both Best Inker (Humor Division) and Best Colorist.

Severin spoke at a 1974 New York Comic Art Convention panel on the role of women in comics, alongside Flo Steinberg, Jean Thomas (sometime-collaborator with then-husband Roy Thomas), Linda Fite (writer of The Claws of the Cat) and fan representative Irene Vartanoff. She also participated in the Women of Comics Symposium at the 2006 Paradise Comics Toronto Comicon.

Severin won an Inkpot Award at the San Diego Comic Con in 1988.

She was the first inductee into the Friends of Lulu Women Cartoonists Hall of Fame in 1997. She was inducted into the Will Eisner Comics Hall of Fame in 2001; she and Brenda Starr creator Dale Messick were the first women to be so inducted.

Severin's work was among those included in the Museum of Comic and Cartoon Art exhibition of women comic-book artists, "She Draws Comics", July to November 2006.

In consideration of her contributions to comics, ComicsAlliance listed Severin as one of twelve women cartoonists deserving of lifetime achievement recognition. She received Comic-Con International's Icon Award in 2017.

In 2019, Severin was posthumously awarded the Inkwell Awards Stacey Aragon Special Recognition Award for her lifetime of inking artwork. Severin was also inducted into the Harvey Awards Hall of Fame alongside her brother John, and fellow Mad contributors Will Elder, Jack Davis, and Ben Oda.

Atlas Comics

 * Astonishing #54 (artist) (1956)
 * Tales of Justice #55 (artist) (1957)
 * Uncanny Tales #54 (artist) (1957)
 * World of Mystery #3, 7 (artist) (1956–1957)

Claypool Comics

 * Elvira: Mistress of the Dark #144 (inker) (2005)
 * Soulsearchers and Company #31 (penciller), #43 (inker) (1998–2000)

DC Comics

 * 9-11: The World's Finest Comic Book Writers & Artists Tell Stories to Remember, Volume Two (artist/colorist) (2002)
 * Batman Black and White, vol. 2, HC (artist, among others) (2002)
 * Bizarro Comics HC (inker/colorist) (2001)
 * Fanboy #4 (artist) (1999)
 * L.A.W. (Living Assault Weapons) #6 (colorist) (2000)
 * Looney Tunes #100 (artist) (2003)
 * Pinky and the Brain #27 (colorist) (1998)
 * Supergirl Plus #1 (colorist) (1997)
 * Superman Adventures #1–12, 14, 22–38, 40–66 (colorist) (1996–2002)

Paradox Press

 * The Big Book of... Volume 9, 11–14, 17 (artist) (1997–2000)

Dark Horse Comics

 * Harlan Ellison's Dream Corridor Quarterly #1 (colorist) (1996)
 * Michael Chabon Presents the Amazing Adventures of the Escapist #5 (artist) (2005)

EC Comics

 * A Moon, a Girl... Romance #9 (colorist) (1949)
 * Aces High #1–5 (colorist) (1955)
 * Crime SuspenStories #17–20, 22–27 (artist/colorist) (1953–1955)
 * Extra! #1–5 (colorist) (1955)
 * Frontline Combat #5 (colorist) (1952)
 * The Haunt of Fear #1, 14–17 (colorist) (1950–1953)
 * Impact #1–5 (colorist) (1955)
 * Incredible Science Fiction #30–33 (colorist) (1955–1956)
 * Piracy #1–7 (colorist) (1954–1955)
 * Shock SuspenStories #6, 9–14, 18 (artist/colorist) (1952–1954)
 * Valor #2–3 (colorist) (1955)
 * The Vault of Horror #16, 34 (colorist) (1950–1954)
 * Weird Fantasy #6–12, 14–16 (colorist) (1951–1952)
 * Weird Science-Fantasy #24, 27, 29 (artist/colorist) (1954–1955)

Gladstone

 * Mickey Mouse #219 (colorist) (1986)

GT Labs

 * Dignifying Science OGN (penciller) (1999)

Marvel Comics

 * 2001: A Space Odyssey Marvel Treasury Special #1 (colorist) (1976)
 * 2099 Unlimited #1, 3 (colorist), #6 (artist/colorist) (1993–1994)
 * Alf #1–18, 20–38, 40–50, Annual #1–3, Holiday Special #1–2, Spring Special #1 (inker/colorist) (1988–1992)
 * Amazing Adventures #16 (penciller) (1973)
 * Amazing High Adventure #1, 3–4 (colorist) (1984–1986)
 * The Amazing Spider-Man #186 (colorist), Annual #5 (penciller) (1968–1978)
 * Astonishing Tales #20 (penciller/colorist) (1973)
 * The A-Team #1 (penciller/colorist) (1984)
 * Battlestar Galactica #3 (colorist) (1979)
 * Bill & Ted's Bogus Journey #1 (inker) (1991)
 * Bill & Ted's Excellent Comic Book #4–12 (inker) (1992)
 * Captain America #440 (inker) (1995)
 * Captain Britain #1–2, 4–7, 10, 15–16 (colorist) (1976–1977)
 * Casper #1 (inker) (1995)
 * Cat #1–2 (penciller/colorist) (1972–1973)
 * Chamber of Darkness #2 (penciller) (1969)
 * Conan the Barbarian #10 (penciller), #69, 72 (colorist) (1971–1977)
 * Conan the King #20 (inker) (1984)
 * Conan the Reaver GN (colorist) (1987)
 * Coneheads #1–4 (inker) (1994)
 * Crazy Magazine #11, 69, 75, 78–79 (artist) (1975–1981)
 * Creatures on the Loose #10 (colorist), #14 (penciller) (1971)
 * Damage Control vol. 2 #4 (inker) (1990)
 * The Deep #1 (colorist) (1977)
 * Defenders #53 (colorist), #127 (writer/artist) (1977–1984)
 * Doc Savage #4 (penciller) (1976)
 * Doctor Strange vol. 2 #20, 31 (colorist) (1976–1978)
 * Doctor Strange, Sorcerer Supreme #78–79 (penciller) (1995)
 * Droids #1, 6 (colorist) (1986–1987)
 * Epic Battles of the Civil War Volume 1–4 (colorist) (1998)
 * Epic Illustrated #9, 11, 13 (inker), #12 (letterer), #15–20 (colorist) (1981–1983)
 * Ewoks #1–2 (inker/colorist) (1985)
 * Fallen Angels #3 (penciller) (1987)
 * Fantastic Four #177 (colorist) (1976)
 * Fraggle Rock #1–8 (artist/colorist) (1985–1986)
 * Francis, Brother of the Universe #1 (inker/colorist) (1980)
 * G.I. Joe: A Real American Hero #28 (penciller) (1984)
 * Giant-Size Chillers #3 (artist) (1975)
 * Heathcliff #53 (artist) (1990)
 * Heroes for Hope Starring the X-Men #1 (colorist) (1985)
 * Howard the Duck #7 (colorist) (1976)
 * Hugga Bunch #2 (colorist) (1986)
 * The Hulk #15 (colorist) (1979)
 * Human Fly #1 (colorist) (1977)
 * The Incredible Hulk #102–105, Annual #1 (penciller), #190, 354, 358–367 (inker) (1968–1990)
 * Invaders #14 (colorist) (1977)
 * Iron Fist #13 (colorist) (1977)
 * Iron Man #82–83, 85 (inker), #108 (colorist) (1976–1978)
 * Kickers, Inc. #2 (colorist) (1986)
 * Kid 'n Play #6 (inker) (1992)
 * King Arthur and the Knights of Justice #1–3 (inker) (1993–1994)
 * Kull the Conqueror #2–10 (penciller) (1971–1973)
 * Kull the Conqueror vol. 2 #1, 7, 9 (colorist) (1982–1985)
 * Kull the Destroyer #18, 20–21 (colorist) (1976–1977)
 * The Life of Pope John Paul II #1 (colorist) (1983)
 * Logan's Run #1, 3 (colorist) (1977)
 * Marvel Comics Super Special #1–3, 9, 15, 22–23 (colorist), #20 (penciller/colorist) (1978–1982)
 * Marvel Holiday Special #3 (artist) (1994)
 * Marvel Premiere #50 (colorist) (1979)
 * Marvel Spotlight #12 (colorist) (1973)
 * Marvel Super-Heroes vol. 2 #12 (penciller) (1993)
 * Marvel Team-Up #74 (inker/colorist) (1978)
 * Marvel Treasury Edition #12, 24 (colorist) (1976–1980)
 * Marvel Two-in-One #23 (penciller) (1977)
 * Midnight Sons Unlimited #6–7 (artist/colorist) (1994)
 * Mighty Mouse #1–10 (inker) (1990–1991)
 * Misty #1–3 (colorist) (1985–1986)
 * Monsters on the Prowl #16 (inker) (1972)
 * Moon Knight Special #1 (artist/colorist) (1992)
 * Ms. Marvel #1 (colorist) (1977)
 * Muppet Babies #1, 3–13, 15–16 (artist/colorist) (1985–1987)
 * New Warriors Annual #1 (inker) (1991)
 * Not Brand Echh #1–9, 11–13 (artist) (1967)
 * Nova #6, 11 (colorist) (1977)
 * Official Handbook of the Marvel Universe #3, 14 (penciller) (1983–1984)
 * Pizzazz #5, 9–13, 15 (Star Wars comic) (colorist) (1978)
 * Power Man #35 (penciller) (1976)
 * Power Man and Iron Fist #60 (penciller/colorist) (1979)
 * Psi-Force #3 (colorist) (1987)
 * Punisher 2099 #7–8, 12 (colorist) (1993–1994)
 * Rawhide Kid, vol. 2, #1 (colorist) (1985)
 * Red Sonja vol. 3 #8 (inker) (1985)
 * The Ren & Stimpy Show #9 (inker) (1993)
 * Royal Roy #1 (colorist) (1985)
 * Sergio Massacres Marvel #1 (inker) (1996)
 * The Smurfs #1 (inker) (1982)
 * The Spectacular Spider-Man #8 (colorist), #45, 47–48, 51, 54, Annual #3, 11 (artist) (1977–1991)
 * Spider-Man and the Dallas Cowboys Sunday supplement (writer/penciller) (1983)
 * Spider-Man: Christmas in Dallas promotional one-shot (colorist) (1983)
 * Spoof #1–5 (1970–1973)
 * Star Team promotional one-shot (colorist) (1977)
 * Star Trek #13 (inker) (1981)
 * Star Wars #1, 17 (colorist) (1977–1978)
 * Strange Tales #153–160 (artist) (1967)
 * Sub-Mariner #9, 12–19, 21–23, 44–45 (penciller/colorist) (1969–1972)
 * Supernatural Thrillers #1 (penciller) (1972)
 * Tales of Suspense #73 (colorist) (1966)
 * Tales to Astonish #92–101 (penciller) (1967–1968)
 * Tarzan #1–2 (colorist) (1977)
 * Thor #253, 287 (colorist), 306, 308 (inker) (1976–1981)
 * Thundercats #13–16 (colorist) (1987)
 * The Tomb of Dracula #58, 60 (colorist) (1977)
 * Toxic Crusaders #1, 3, 6–7 (inker) (1992)
 * Transformers: Generation 2 #1–4 (inker) (1993–1994)
 * Web of Spider-Man #27 (colorist) (1987)
 * What If ... ? vol. 2 #17 (inker) (1990)
 * What The--?! #1, 16, 18, 21, 25–26 (artist/inker/colorist) (1988–1993)

title: Marie Severin


text:
Talk:Apache

Genocide
It is a fact that the Apache are the sufferers of ethnic cleansing and genocide. I know its not pretty but its true. This fact needs to be allowed to remain a centerpiece of the page, especially when speaking about their relations with the europeans. Thusly, it would be nice if people would refrain from removing this information, as said act is offensive and erasure of history. The erasure of history is key to continued genocide so you mah choose to support it via continued historical erasure or not. But know that if you do, you are choosing to support cleansing of history in favor of white supremacy, something wikipedia does not stand for. Thank you. Inependantyo (talk) 09:21, 15 July 2015 (UTC)
 * Provide verifiable and reliable sources and at least try to write without mangling existing language and sourced information in the article.older ≠ wiser 13:12, 16 July 2015 (UTC)
 * Their blood runs in my veins. I am AM Nde. And proud. 2A00:23C6:8513:D201:B5D7:9C10:C17C:4785 (talk) 16:42, 18 November 2023 (UTC)

Tribes in Mexico?
How does the article begin by saying that the Apache remain in the U.S. and modern Mexico, and then afterwards list only U.S. tribes, as if the only tribes that exist are in the U.S., and not in Mexico?Jimhoward72 (talk) 00:45, 25 July 2017 (UTC)

Ethnobotany links
It's not appropriate to link to external pages directly in the text of the article like in the ethnobotany sections. Should we make a separate section for Ethnobotany on this page? Luiysia (talk) 22:54, 31 March 2020 (UTC)

Semi-protected edit request on 26 August 2021
The apache was a modern tribe in the 2000's. 69.147.54.110 (talk) 19:24, 26 August 2021 (UTC)
 * Red question icon with gradient background.svg Not done: it's not clear what changes you want to be made. Please mention the specific changes in a "change X to Y" format and provide a reliable source if appropriate. ScottishFinnishRadish (talk) 19:30, 26 August 2021 (UTC)

Semi-protected edit request on 31 December 2021
I would like to add the following to the "Regions with Significant population" section:

Canada: 825 Residents of Canada identified as having Apache Ancestry in the 2016 Canadian Census.

This information is taken from the following source: https://www12.statcan.gc.ca/census-recensement/2016/dp-pd/abpopprof/details/page.cfm?Lang=E&Geo1=PR&Code1=01&Data=Count&SearchText=Canada&SearchType=Begins&B1=All&C1=All&SEX_ID=1&AGE_ID=1&RESGEO_ID=1 GltKin21 (talk) 18:24, 31 December 2021 (UTC)
 * Closing as I see that you've done it yourself. --Hemantha (talk) 07:07, 2 January 2022 (UTC)

Semi-protected edit request on 4 January 2023
The Chiricahua ethnobotany subheading is placed immediately after a description of their kinship system, before the subheading on Jicarilla kinship. Maybe this should be moved further down to the space between "Undomesticated plants and other food sources" and "Crop cultivation", where another subheading on ethnobotany exists? Raccoon Enthusiast (talk) 14:11, 4 January 2023 (UTC)
 * ✅ OP has since become autoconfirmed and implemented the edit themselves. Ovinus (talk) 16:25, 6 January 2023 (UTC)

Fought for centuries against the Spanish [and Mexican?] ppl?
How have they fought the Spanish and Mexicans, if the Mexican community is an effect of the Spanish inquicition? Or are they native too? 2001:1C01:2238:B400:FCCE:B0BE:96F1:7E0D (talk) 13:42, 3 March 2023 (UTC)
 * Mexico was ruled by Spain, and then it gained its independence. The Apache fought first the Spanish and then, after Mexican independence, the soldiers of the subsequent government.2600:6C67:1C00:5F7E:94BA:53E6:DE82:BF55 (talk) 02:31, 3 June 2023 (UTC)

Apache-Comanche wars
See the Wikipedia article on the Comanche for some discussion of the conflicts between the Apache and the Comanche. More should be made of it in this article. There is also a long video on this and related material: https://www.youtube.com/watch?v=ZSYN7GF_ll0  2600:6C67:1C00:5F7E:94BA:53E6:DE82:BF55 (talk) 02:52, 3 June 2023 (UTC)

Requested move of
An editor has requested that be moved to another page, which may be of interest to editors of this topic. You  are invited to participate in the move discussion. -- 64.229.90.32 (talk) 05:09, 7 July 2024 (UTC)

title: Talk:Apache