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Banque de l'Afrique Occidentale

The Banque de l'Afrique Occidentale (BAO, "Bank of West Africa") was a French bank established in 1901 to issue currency for the colonies of French West Africa.

Colonial history
BAO was created by the expansion of the Banque du Sénégal (founded by the French on 21 December 1853). BAO later expanded to include French Equatorial Africa to administer the common currency of French West Africa. Although it was a private investment bank, the French government authorized it to print currency, and its board always included colonial officials. It received special concessions and financial stabilisation from the government, and in essence became an arm of the French colonial administration. Between 1941 and 1958, the Institut d'Émission de l'Afrique Occidentale Française et du Togo was spun off from BAO to administer the Franc des colonies françaises d'Afrique (FCFA) (25 December 1945).Global Financial Data

Economic role in colonial structure
Historians like Henri Brunschwig have pointed to the importance of the BOA in the assimilation of French West Africa into the French economic system. Its founding in 1901 came after the extension of limited taxation of subjects, forced labor laws, and voting in the colonial possessions (notably the communes of Dakar and Saint-Louis, Senegal). The creation of and government support for the BOA was part of an attempt to inject investment into the French colonies. In 1880, almost all French economic interests in the area were in the form of family-run trading houses based in French port cities like Bordeaux and Marseilles. The creation of the BOA coincided with the consolidation of these trading houses into joint stock companies, the ending of formal government concessions to these houses, and the rise of a de facto monopoly of their successors. Émile Maurel (CEO of Maurel et Prom) and Henri Nouvion (managing director of Banque du Sénégal) were respectively the first president and managing director of the newly created BOA. By the 1920s, business in the AOF was dominated by just three private joint stock companies: the Compagnie Française de l'Afrique Occidentale, the Nouvelle Société Commerciale africaine, and the Société Commerciale de l'Ouest Africain (lagging slightly were the growing plantation and mining interests of the Unilever company). The BAO's board largely overlapped with the boards of these trading companies. When the initial privileges granted to the BOA expired in 1929, the French government granted it a further forty-year concession, with the only stipulation being that the government reserved the right to nominate the BOA's chair, and four members of its board.

While the Banque de France in Paris remained essentially a bank for banks, the BAO was a bank of issue and a commercial, deposit, and broking bank. In 1904 it was given the right to acquire shares in commercial companies, as long as investment did not exceed a quarter of its reserves.

In consolidating banking institutions in semi-public hands, France hoped to foster greater inward capital investment into the AOF and created an opening for private banking interests to operate on the ground in the colonies. Most notably, the interwar years saw the founding of the Banque nationale pour le commerce et l'industrie (BNCI), which would merge in 1966 with the Comptoir National d'Escompte de Paris (CNEP) to form Banque Nationale de Paris, and in 1924, the Banque Comerciale de 1'Afrique (BCA).

In 1924, BAO expended to French Equatorial Africa buy opening branch in Brazzaville. It followed this by opening branches in Port Gentil (1928), Libreville (1930), Pointe Noire (1936), Bangui (1946), and Fort Lamy (1950).

The strategy of using BAO to foster inward investment was something of a failure though. Capital extraction, not capital investment was the source of French wealth in West Africa. Taxes and import/export duties coming from the African colonies to the Metropole accounted for most of the capital movement in the AOF. Tremendous legal concessions were made to the BOA, and while it dominated the banking sector, its capital remained minuscule in comparison to companies engaged in capital extraction from the AOF. The BOA held capital of 6 million francs before 1914, and that rose to 50 million in 1931, but declined thereafter. In 1940 all banks in the AOF had a total investment of just over 1.5 million francs. But forestry alone had an inward investment of almost 3.4 million francs that year.

The economic crisis of the early 1930s saw the collapse of the major private banks in the AOF, and the French authorised the BAO to save the BNCI by becoming its largest shareholder. At this point, the BOA regained its status as the sole investment bank in French West Africa.

Social role in colonial structure
Banking institutions, public and private, enabled colonial businesses to pull more of the West African economy into a moneyed economy and expand the replacement of traditional agriculture with large scale cash crops for export. This was most evident in the tremendous growth of groundnut plantations.

Offices of the BAO were built in major towns throughout French West Africa, and their imposing edifices became symbols of French colonial power.

Independence
Following independence, the BAO was rechartered as the central bank for the francophone countries of West Africa. On 22 November 1962, the bank was renamed the Banque des Etats de l'Afrique Centrale (BEAC) and the CFA Franc was renamed the Franc de la Coopération Financière en Afrique Centrale (The CFA franc).

Its last French President and Director General, Georges Gautier and Claude Panouillot, stepped down in 1962.

title: Banque de l'Afrique Occidentale


text:
The Shape Shifters

The Shape Shifters are an underground hip hop collective based in Los Angeles, California. It consists of Akuma, Awol One, Circus, Die Young, Existereo, LA Jae, Life Rexall, Perk One, and Radioinactive.

The group prevented the Shapeshifters, another act from the United Kingdom, from using the name in the United States. That resulted in the latter changing its name to Shape:UK, but for the United States only.

Albums

 * Planet of the Shapes (1998)
 * Know Future (1999)
 * Adopted by Aliens (2000)
 * Soul-Lows (2002)
 * Soulows Two (2004)
 * The Shape Shifters Was Here (2004)

Singles

 * "Triple Threat" (1998)
 * "2012" (1999)
 * "Circuit City" (2004)

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

title: The Shape Shifters


text:
Wikipedia talk:2004 Encyclopedia topics/22

Good work, all, in getting this page so far without it even being a page of the week. --OpenToppedBus - Talk 09:59, Jun 14, 2005 (UTC)


text:
Talk:Calverton, Buckinghamshire

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title: Talk:Calverton, Buckinghamshire


text:
Ecopsychology

Ecopsychology is an interdisciplinary and transdisciplinary field that focuses on the synthesis of ecology and psychology and the promotion of sustainability. It is distinguished from conventional psychology as it focuses on studying the emotional bond between humans and the Earth. Instead of examining personal pain solely in the context of individual or family pathology, it is analyzed in its wider connection to the more than human world. A central premise is that while the mind is shaped by the modern world, its underlying structure was created in a natural non-human environment. Ecopsychology seeks to expand and remedy the emotional connection between humans and nature, treating people psychologically by bringing them spiritually closer to nature.

Sigmund Freud
In his 1929 book Civilization and Its Discontents ("Das Unbehagen in der Kultur"), Sigmund Freud discussed the basic tensions between civilization and the individual. He recognized the interconnection between the internal world of the mind and the external world of the environment, stating: "Our present ego-feeling is, therefore, only a shrunken residue of a much more inclusive—indeed, an all-embracing—feeling which corresponded to a more intimate bond between the ego and the world about it."

Robert Greenway
Influenced by the philosophies of noted ecologists Walles T. Edmondson and Loren Eiseley, Robert Greenway began researching and developing a concept that he described as "a marriage" between psychology and ecology in the early 1960s. He theorized that "the mind is nature, and nature, the mind," and called its study psychoecology. Greenway published his first essay on the topic at Brandeis University in 1963.

In 1969, he began teaching the subject at Sonoma State University. One of Greenway's students founded a psychoecology study group at University of California, Berkeley, which was joined by Theodore Roszak in the 1990s.

In the 1995 book Ecopsychology: Restoring the Earth, Healing the Mind, Greenway wrote: "Ecopsychology is a search for language to describe the human-nature relationship. It is a tool for better understanding the relationship, for diagnosing what is wrong with that relationship, and for suggesting paths to healing."

Theodore Roszak
Theodore Roszak is credited with coining the term "ecopsychology" in his 1992 book The Voice of the Earth, although a group of psychologists and environmentalists, including Mary Gomes and Allen Kanner, were independently using the term at the same time. Roszak, Gomes and Kanner later expanded the idea in the 1995 anthology Ecopsychology. Two other books were especially formative, Paul Shepard's 1982 volume, Nature and Madness, which explored the effect that our diminishing engagement with nature had upon psychological development, and David Abram's 1996 The Spell of the Sensuous: Perception and Language in a More-than-Human World. The latter was one of the first books to bring phenomenology fully to bear on ecological issues, looking closely at the cosmo-vision (or the traditional ecological knowledge systems) of diverse indigenous, oral cultures, and analyzing the curious effect that the advent of formal writing systems, like the phonetic alphabet, has had upon the human experience of the more-than-human natural world. Roszak mentions the biophilia hypothesis of biologist E.O. Wilson; that humans have an instinct to emotionally connect with nature.

Beliefs
Roszak states that an individual's connection to nature can improve their interpersonal relationships and emotional wellbeing. An integral part of this practice is treating patients outdoors. According to ecopsychology, humans are meant to take walks in parks. It considers the psyche of non-humans to be relevant. It examines why people continue environmentally damaging behaviour, and motivates them to adopt sustainability.

Fundamental principles
According to Roszak, some of the principles of ecopsychology are:

 * "There is a synergistic interplay between planetary and personal well-being."
 * "The core of the mind is the ecological unconscious."
 * "The goal of ecopsychology is to awaken the inherent sense of environmental reciprocity that lies within the ecological unconscious."
 * "The contents of the ecological unconscious represent ... the living record of evolution."
 * "The crucial stage of development is the life of the child."
 * "The ecological ego matures toward a sense of ethical responsibility with the planet."
 * "Whatever contributes to small scale social forms and personal empowerment nourish the ecological ego."

title: Ecopsychology


text:
Talk:Alexa Nikolas

Untitled
This article has been kept following this VFD debate. Sjakkalle (Check!)  10:03, 14 Jun 2005 (UTC)

Afterall
Is the place where she lives on Zoey101 really a spaceship? This specific show about sister Jamie Lynn and how they had come together to keep trying at the game if 'Life.' Zoey was room 101, and so how do you think fights start up. If Lexis had come about a different age, then she probably will make a theatrical comeback in the late future. That school is obviously some chantey knock off and give warm thoughts to the spectater that maybe she really does live in Spears' room. You decide.

Podcasts
In several podcasts, she mentions that she grew up in Chicago and moved to Los Angeles as a child. Can we add this and source the podcasts here? 2600:100C:A218:92ED:3883:FBAE:32AC:286 (talk) 04:02, 18 February 2024 (UTC)

 * Would these be considered reliable sources? 2600:100C:A211:7F18:C9B7:A8C5:FEE0:4AD6 (talk) 04:08, 15 April 2024 (UTC)
 * Podcasts are a medium, so they're not automatically considered reliable or unreliable. It all depends on the individual podcast. On Wikipedia, we're looking for reliable, independent, published sources with a reputation for fact-checking and accuracy. When it comes to content about living persons, those sources should be of exceptional quality. TMZ, in particular, has a pretty poor reputation on Wikipedia (and elsewhere), so it really shouldn't be used for claims like these. There's also a concern about undue weight of the claims, especially if they're only made by unreliable sources. In short, if her former locations aren't widely covered by reliable, secondary sources, that's a good sign that we shouldn't be mentioning them on Wikipedia.
 * You can read more about reliable and unreliable sources Reliable sources (for general information), Reliable sources/Perennial sources (for details on specific sources), and Reliable sources/Noticeboard (a noticeboard to ask questions about sources). Woodroar (talk) 12:45, 15 April 2024 (UTC)
 * The source is an interview hosted by TMZ so the ultimate source is Nikolas herself for any information derived from what she states directly. WP:ABOUTSELF applies here. Of the 5 points listed in ABOUTSELF, #1, self-serving, might be the only issue but that depends on the information she says about herself. Basic biological information shouldn't be an issue. We would not and should not be using anything TMZ stated, just the spoken words from her. See also WP:TMZ - its use is situational and not prohibited. Geraldo Perez (talk) 15:41, 15 April 2024 (UTC)
 * Sounds very fair to me. 2600:100C:A20C:6C0F:7091:3CCC:3E1C:6A00 (talk) 04:53, 1 July 2024 (UTC)
 * Don't just put in raw links, use Template:Cite AV media and specific the timestamp where the info is stated. Do not expect reviewers to watch the whole video to verify the info was in it and matches what was added to the article. See also WP:RSPYT. Geraldo Perez (talk) 05:23, 1 July 2024 (UTC)

Activism
I don't have much to say here. And Alexa Nikolas herself would be about as upset as I am that her page is being targeted for removing the activist label from her page. The edit reversal harassment ends now. If she's not an activist, what do you call a person/group who protests at corporate office buildings and hosts a podcast dedicated to stopping the abuse of actors/musicians at the hands of people of power? Various sources (which you ignore) would say she's an activist, because that's what she's doing. Marino13 (talk) 01:36, 11 June 2024 (UTC)

 * 1. Stop the whinge. 2. Stop taking this personally. 3. Provide the sources. Zaathras (talk) 04:25, 11 June 2024 (UTC)

 * Unrelated to the matter, but here is one source. It confirms which network aired the docuseries Quiet on Set. And I'm having my edit reversed for putting in the correct channel. Marino13 (talk) 21:40, 11 June 2024 (UTC)

 * That source does not mention activism in any fashion. You are likely being reverted because you are trolling other editors via snarky edit summaries. I suggest you stop that, and limit your summaries solely to the text you are adding or removing. Zaathras (talk) 21:44, 11 June 2024 (UTC)
 * That's why I said unrelated. Remind Magical Golden Whip that the docuseries did air on Investigation Discovery, and not Discovery Channel. Marino13 (talk) 01:00, 12 June 2024 (UTC)
 * In order for us to call Alexa Nikolas an activist in wikivoice, the label should be widely used by reliable, independent, secondary sources. I mean, it's not uncommon for celebrities to get involved in social or political issues, but that doesn't automatically make them an activist. Marino13, if you're aware of such sources, please bring them here—but keep in mind that they need to directly and explicitly call her an activist. Nothing short of that will suffice here. Woodroar (talk) 22:10, 11 June 2024 (UTC)
 * TMZ probably has sources related to Alexa and her movement. But I'm hesitant to use them as a reference because of what's real and fake. Marino13 (talk) 01:01, 12 June 2024 (UTC)
 * Here’s a source from the LA Times.
 * https://www.latimes.com/entertainment-arts/music/story/2023-11-21/diddy-la-reid-neil-portnow-metoo-alexa-nikolas-eat-predators 2600:100C:A20C:6C0F:7D72:EBCA:6771:58DA (talk) 23:03, 13 June 2024 (UTC)
 * Thank you. You've been most helpful, and I don't say that a lot here. Marino13 (talk) 23:23, 13 June 2024 (UTC)
 * Are there any more sources? We should really have several. (As I said earlier, the label should be widely used by reliable, independent, secondary sources.) Woodroar (talk) 02:16, 14 June 2024 (UTC)

title: Talk:Alexa Nikolas


text:
Egyptian hip hop

Egyptian hip hop is a form of hip hop music in Egypt that draws its inspiration from local, regional and global events. Since the early 2000s, Egyptian Hip Hop has gained significant popularity and is listened to by a global audience prompted by the internet as the latest medium of technology and music streaming services such as Spotify and Anghami.

History
Hip hop originally emerged in the United States in the 1970s and it has influenced the emergence of hip hop music in Egypt. In the early 1990s, hip hop music entered the Arab world and has since then grown into a popular music genre in the region and in Egypt. Palestine can be credited with the first MENA country to internalize hip hop as they were the first to introduce western styles of music making and beats, thereby creating a discography dedicated to resistance against Israeli settler-colonialism. In regards to Egypt, hip hop music gained traction in Egypt more recently. It was not until the early 2000s that hip hop began to rise in popularity in Egypt.

In the late 1990s and early 2000s, Egyptian musicians and producers were influenced by the American and Western hip hop music and Egyptian music groups such as MTM (Mezzika Tilakhbat Mukkah), MC Amin, Egy Rap School, and Way Crow Family began to insert hip hop elements in their own music. However, at first, Egyptian hip hop did not grow very fast and the amount of hip hop music that was produced was not extensive due to the fact that the majority of radiostations were controlled by the Egyptian government which attempted to prevent that hip hop music would dominate the Egyptian radio. It was not until the rise of the Internet that Egyptian hip hop reached a greater audience and after the rise of social media, Egyptian musicians started to share their music online and as a result, Egyptian hip hop music gained signifiant popularity in Egypt and in the global context.

Andrew A. El-Sayid (OsamaBinRappin) is believed to be the first person to bring hip hop music to Egypt. OsamaBinRappin is a rapper from West Covina, California, and he brought Dr. Dre's "Nuthin' but a 'G' Thang" ft. Snoop Dogg cassette single, and DJ Jazzy Jeff & The Fresh Prince's "Boom! Shake the Room" red cassette single to Egypt on July 25, 1993. During his visit to Egypt he would play this music for his cousins, and would take the two cassettes on tour throughout his 1 month vacation, to cities such as Alexandria (Agami Beach) and he would eventually these cassettes accidentally with the DJ at 'Disco 54' a club downstairs at the hotel.

On August 26, while taking a taxi to Cairo Airport with his father and brother, the country of Egypt heard hip hop for the first time on its radio airwaves. The song played was "Boom! Shake the Room."

Audience
Egyptian hip hop is especially listened to by individuals between the ages of 12 and 30 who come from a variety of social backgrounds. The music genre appealed to the younger generations because of its relatability to their day-to-day lives. Hip hop in general, but also Egyptian hip hop, offers the youth and its audience a means through which they are able to express themselves.

Societal influences of Hip Hop in Egypt
Hip hop and rap have historically had a slow growing interest in Egypt and the wider MENA at large. However, the Arab Spring catapulted the genre into popularity. Hip hop in Egypt is a tool for protest and rebellion against the status quo. Egyptian hip hop carries criticism against poverty, crisis and chaos. And while the genre is gaining more traction among the youth, the general culture of music and art creation for the sake of commercial value makes it difficult for Egyptian hip hop to penetrate the music industry as big artists.

Egyptian hip hop and the media
Considering the current social media presence of the younger generation in Egypt and the MENA region at larger, one of the ways that Egyptian hip hop is becoming increasingly popularized is through social media. Media such as Soundcloud and Youtube, but also newer outlets such as TikTok is allowing creators on various apps to share music of their preference. This has created a domino effect whereby Egyptian music is spread globally and therefore more widely recognised. The increased attention to Egyptian Hip Hop has culminated into the popular streaming platform Spotify creating a complete Egyptian rap/Hip Hop playlist called Melouk-El-Scene (translated to mean 'kings of the scene') in 2019. The playlist contains the most popular Hip Hop artists of today, including Wegz, Afroto, Marwan Moussa, Marwan Pablo and Ahmed Mekky.

Language
The language present in Egyptian hip hop is Egyptian Arabic and occasionally, English. For example, MTM uses primarily Egyptian Arabic. However, the English language is also increasingly used in Egyptian hip hop since more Egyptian hip hop groups began to insert the English language in their music in order to reach a greater non-Arab speaking audience.

Trap music
Trap music is a sub-genre of hip hop which emerged in the United States of America in the 1990s. Since rap and hip hop began to seep into Egypt's urban environment, it has stayed relatively underground and it stayed out of the spotlights. However, in the last few years, the trap scene began to gain popularity and it entered the spotlight, pushed by a handful of passionate artists like Abyusif, Wegz, Marwan Moussa, and Marwan Pablo. The Egyptian scene continues to bloom, widely influenced by the dark and gripping trap sound that is gaining a foothold in the wider Middle Eastern scene.

A new generation of rappers have taken over the hip hop industry, and trap music has now become Egypt's second most streamed genre after Mahraganat, with a slew of artists emerging on the scene every year. Egyptian rappers often mix local genres and instruments with trap, creating their own unique variation of the genre.

Many Mahraganat artists have fused the authentic Egyptian sound of Mahraganat with Trap music creating a new sub genre titled 'Trap Shaa'bi'. The authenticity and the validity of the new music subgenre had sparked many debates in the music industry. Egyptian Rapper Batistuta and Music Producer, DJ Totti, were among some of the voices who maintained the view that this fusion is but an expected evolution of Mahraganat music and not necessarily a new subgenre.

Trap Shaa'bi artists include: 3enba, Double Zuksh, Abo Elanwar, Producer Lil Baba, Producer Coolpix, Producer Molotof, 3ab3az, Wezza Montaser, Adham Elsherif, Youssef El Rousse and many others.

title: Egyptian hip hop


text:
Yalgoo, Western Australia

Yalgoo is a town in the Mid West region, 499 km north-north-east of Perth, Western Australia and 118 km east-north-east of Mullewa. Yalgoo is in the local government area of the Shire of Yalgoo.

Before it was settled as a town the Yalgoo area was used as grazing land for European settlers including the Morrissey and Broad families. Flocks of sheep were herded onto the rich pastures during the wet growing season and driven back to coastal properties for shearing before summer. Over time the graziers saw the value in the Yalgoo land and began to establish the first sheep stations.

History
Gold was discovered in the area in the early 1890s, and by 1895 there were 120 men working the diggings and buildings being erected. The goldfield warden asked for a townsite to be surveyed and gazetted, and following survey the townsite of Yalgu was gazetted in January 1896.

It was once the location of an important railway station (opened in 1896) on the Northern Railway. Yalgoo's importance declined in the years after World War II after the forging of an all-weather road between Wubin and Paynes Find, across Lake Moore. In early 1898 the population of the town was 650, 500 males and 150 females.

In 1921-22 the priest-architect and parish priest of Yalgoo (as well as of Mullewa), Monsignor John Hawes, designed and built the Dominican convent school and chapel of St Hyacinth: Yalgoo children attended the school until it was closed for lack of pupils in 1950. The timber-framed school building was dismantled and removed. The derelict chapel was restored and re-opened in 1981.

Erection of a state battery commenced in July 1931 and was completed in October of the same year.

Etymology
Yalgoo is an Aboriginal name first recorded for Yalgoo Peak by the surveyor John Forrest in 1876. The name is said to mean "blood" or "place of blood", derived from the word "Yalguru". An alternative view is that it is derived from the Yalguru bush, which abounds in the area and has blood red sap.

The spelling Yalgu was used because of spelling rules for Aboriginal names adopted by the Lands & Surveys Department (the letter "u" best representing the "oo" sound). Within a month the Department of Lands and Surveys had decided reluctantly to use the original Yalgoo spelling, and this spelling has been used ever since. Some doubt about the spelling being officially changed resulted in an amendment from Yalgu to Yalgoo being gazetted in 1938.

Climate
Yalgoo has a hot desert climate (BWk in the Köppen climate classification) with hot summers and mild winters.

Use of name
The name Yalgoo is also used as a name for a crater on the planet Mars, without specifically commemorating the town.

title: Yalgoo, Western Australia


text:
Jack of Spades

Jack of Spades may refer to:
 * Jack of spades (playing card)
 * Jack of Spades (film), a 1960 French drama film directed by Yves Allégret
 * Jack of Spades, a fictional character, a member of the villainous Royal Flush Gang in DC Comics
 * Jack of Spades, a 2015 book by Joyce Carol Oates
 * The Jack of Spades, a historical novella in Special Assignments: The Further Adventures of Erast Fandorin

title: Jack of Spades


text:
Queen of Spades

The queen of spades is a playing card in the standard 52-card deck.

Queen of Spades may also refer to:
 * "The Queen of Spades" (story), an 1833 short story by Alexander Pushkin
 * The Queen of Spades (opera), an 1890 opera by Tchaikovsky
 * The Queen of Spades (1910 film), a Russian short film
 * The Queen of Spades (1916 film), a Russian adaptation by Yakov Protazanov
 * The Queen of Spades (1927 film), a German silent film
 * The Queen of Spades (Prokofiev), a score by Sergei Prokofiev for the 1937 film La dame de pique
 * The Queen of Spades (1949 film), a British film by Thorold Dickinson
 * The Queen of Spades (1960 film), a Russian adaptation of Tchaikovsky's opera
 * The Queen of Spades (1982 film), a Russian adaptation by Igor Maslennikov
 * The Queen of Spades (2016 film), a Russian thriller film by Pavel Lungin
 * The Queen of Spades (novel), a 1956 novel by Oiva Paloheimo
 * The Queen of Spades (1959 film), a Finnish film by Maunu Kurkvaara
 * Natalya Golitsyna (1741–1838), Russian princess nicknamed the "Queen of Spades" because she was the inspiration of Pushkin's short story
 * Shayna Baszler (born 1980), mixed martial artist and professional wrestler nicknamed the Queen of Spades
 * "Queen of Spades", a song by Styx from Pieces of Eight
 * Pique Dame (Suppé) (Queen of Spades), an 1864 opera by Suppé
 * La Dame de pique (opera) (Queen of Spades), an 1850 opera by Fromental Halévy

title: Queen of Spades


text:
King of Spades

The king of spades is a playing card in the standard 52-card deck.

King of Spades may also refer to:
 * King of Spades (novel), a 1966 novel by Frederick Manfred, the fourth book in The Buckskin Man Tales series
 * King of Spades, a fictional character, a member of the villainous Royal Flush Gang in DC Comics

title: King of Spades


text:
Talk:Ronin Arts

Clean Up
This is almost not worth having - we should either fill it up or vfd it. A curate's egg 10:07, 14 Jun 2005 (UTC)

Green Ronin relation?
Is this company related to Green Ronin? 213.112.249.111 16:39, 11 September 2006 (UTC) —Asatruer 23:12, 11 September 2006 (UTC)
 * Apparently there is a relation. Ronin Arts has apparently partnered with Green Ronin to release PDF suppliments for Mutants and Masterminds.

Unreliable Source
"Design Notes: May you live in interesting times". Rpgdesign.blogspot.com. 2007-02-02. Retrieved 2013-09-01. This citation is from a source that is generally unreliable, per Neutral_point_of_view. It should be removed, and content citing it should be justified on the basis of a new source. Atomic putty? Rien! (talk) (talk) 20:44, 17 June 2022 (UTC)

 * I see now that this page has not been edited since 2021. I am personally copyediting it, and hope that the loneliness of this action is some day appreciated. Atomic putty? Rien! (talk) (talk) 20:54, 17 June 2022 (UTC)

title: Talk:Ronin Arts


text:
Talk:Olga Souza

What are Olga's nationalities?
I find confusing that in this article, it mentions Olga as being Italian more than she being Brazilian (i.e.: the categories of the article), so I added this article to the categories "Italian-Brazilians" and "Brazilian Singers".

Nevertheless, can someone CONFIRM that she is Italian? I mean, the fact that she leaves in Italy doesn't mean she is Italian. It probably means that she has some sort of European nationality, though. --Pinnecco 07:41, 30 July 2006 (UTC)

This article seriously glosses over the fact that for two years in the 90's, Olga mimed to all their hits in the videos and on every TV performance, thereby deliberately attempting to mislead everyone that it was her singing. I mean it was pretty obvious that it wasn't, as the voices on the first two hits were obviously different, but it was still a deceit (even if it's in the great traditions of Italian house/techno music: Black Box, 49ers, etc.). Would it not be appropriate to mention this?

Fair use rationale for Image:Corona5.jpg
Image:Corona5.jpg is being used on this article. I notice the image page specifies that the image is being used under fair use but there is no explanation or rationale as to why its use in this Wikipedia article constitutes fair use. In addition to the boilerplate fair use template, you must also write out on the image description page a specific explanation or rationale for why using this image in each article is consistent with fair use.

Please go to the image description page and edit it to include a fair use rationale. Using one of the templates at Fair use rationale guideline is an easy way to insure that your image is in compliance with Wikipedia policy, but remember that you must complete the template. Do not simply insert a blank template on an image page.

If there is other fair use media, consider checking that you have specified the fair use rationale on the other images used on this page. Note that any fair use images lacking such an explanation can be deleted one week after being tagged, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you.

BetacommandBot (talk) 06:36, 2 January 2008 (UTC)

LIP SYNC
--- — Preceding unsigned comment added by 2A02:908:191:5FA0:2DD3:96E8:9D5B:9471 (talk) 19:35, 28 June 2018 (UTC)

title: Talk:Olga Souza


text:
Wikipedia:Articles for deletion/Vermont Community Botanical Garden

 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. Golbez 01:09, Jun 20, 2005 (UTC)

Vermont Community Botanical Garden
WP:WWIN. At this website it states the garden is planned to open in a few years. Context shows this was written five years ago (year 2000). This website says "First phase to open in 2004." That was last year and it is still in the planning phase. Predicted events don't always happen, and this garden doesn't look like it has enough support to make it. A pity, because it sounds like a wonderful concept. SWAdair | Talk 10:08, 14 Jun 2005 (UTC)
 * Delete but would support re-creation when it's finished. Andrew Lenahan - St ar bli nd 11:06, Jun 14, 2005 (UTC)
 * Delete. Wikipedia is not a crystal ball. --Carnildo 21:53, 14 Jun 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 .


text:
Ace of Diamonds

The ace of diamonds is a playing card in the standard 52-card deck.

Ace of Diamonds may also refer to:
 * El as de oros (English: The Ace of Diamonds), a 1968 Mexican film, directed by Chano Urueta
 * Ace of Diamond, a Japanese baseball manga and anime series

title: Ace of Diamonds


text:
Knave of Diamonds (arts association)

Knave of Diamonds («Бубновый валет», Romanized: Bubnovyi Valet), also called Jack Of Diamonds, was a circle of avant-garde artists in Russia, heavily influenced by French styles, who sought "to unite the stylistic system of Cezanne with the primitive traditions of folk art, the Russian lubok (popular prints) and tradesman's signs." Named for the eponymous exhibition held in Moscow in 1910, the group's intention was to provoke the art establishment in Russia, challenge "good taste," and shock. The group remained active until December 1917.

Inception: The Knave of Diamonds Exhibition, Moscow, 1910
The Knave of Diamonds exhibition opened in Moscow in the Salon of the Levisson Building on 10 December 1910, and ran through to January 16, 1911, and included works by thirty eight artists.

The exhibition featured French cubist paintings by Henri Le Fauconnier, André Lhote, Albert Gleizes and Jean Metzinger. Curated by Alexandre Mercereau, the exhibition additionally included works by German expressionist Gabrielle Munter, Wassily Kandinsky and Alexey von Jawlensky (Russian painters then living abroad), and Russian artists active in the Moscow scene, including the group of young artists recently expelled from the Moscow School of Painting, Sculpture and Architecture due to their "leftist tendencies".

A stated objective of the exhibition was "to offer young Russian artists who find it extremely difficult to get accepted for exhibitions under the existing indolence and cliquishness of our artistic spheres, the chance to get onto the main road."

But exhibition's name itself, coined by Mikhail Larionov because "he liked the sound of it." was itself a salvo at the exhibition-attending public of the period. While one contemporary account blandly concluded: "Organizers regard the title Knave of Diamonds as a symbol of young enthusiasm and passion, 'for the knave implies youth and the suit of diamonds represents seething blood,'" the public itself understood the symbolism to trend in a different direction: "unaccustomed to such novel titles," they assumed the show to be "a gambling house or brothel," and "in no way an art exhibition." The reviews that followed were commensurately critical.

The Moscow painters, admirers of modern French artistic styles and frequent visitors to collector Sergei Shchukin's house (from 1909, open every afternoon Sunday for public viewing) and including canvases by Cézanne, Van Gogh, Gauguin and Matisse, included Robert Falk, Natalya Goncharova, Pyotr Konchalovsky, Aleksandr Kuprin, Mikhail Larionov, Aristarkh Lentulov, Ilya Mashkov, Vasily Rozhdestvensky, and Marianna Wladimirowna Werewkina.

Kazimir Malevich also participated.

Membership Growth
The group included David Burliuk, Wladimir Burliuk, Vasily Kamensky, Velimir Khlebnikov, Aleksey Kruchenykh, Vladimir Mayakovsky, Antonina Fedorovna Sofronova, Adolf Milman, Alexander Osmerkin, Lyubov Popova, and Moisey Feigin. Their works demonstrate the artists’ interest in the developing of the new styles (Russian Primitivism, Russian Cezanneism, Moscow School of Neo-Primitivism, among others) that emerged around their first exhibition as a result of their integrating folk art of the provinces in the artworks. Other new styles and genres, such as performance and body-art, emerged from this unlikely blending of fine European art, Russian folk art, and urban folk of the masses in Russia. The artistic significance of the individual members of The Knave of Diamonds aside, their activities conditioned a qualitative shift in Russian art of the 1910s. Among the most important changes was the democratization of the art society in Russia.

Moscow's Fractious Avante-Garde
The show's title was subsequently adopted to form a new artistic association in Moscow, an association which soon became the largest and one of the most significant exhibition societies. This group of artists contended that Moscow would be the future of the contemporary art scene, with its artists revitalizing depleted Western European culture with the purity and vitality of their work. With a nod to Dadaist ideas, the group as a whole paid close attention to traditionally crafted toys, indigenous art forms, signboards, and even icons. The lubok print style was exalted, and folklore motifs embraced. "The Russian artists were following the paths that Gauguin, Matisse and Picasso had gone down in discovering the primitives of Africa and Oceania,  with the only difference that they did not need to go far away to find  inspiration but got it at home - in shop signs, in tin-ware or the works of  other non-professional folk artisans."

In 1912, the more radical members of the group, including Larionov, split to form the Donkey's Tail.

Exhibitions

 * Vstavka proizvedenii khudozhnikov gruppy 'Bubnovyi valet' [Knave of Diamond Retrospective (1927)] Moscow
 * Knave of Diamonds (21 Nov — 3 Dec 1917) Kira Mikhailova Art Salon, Bolshaya Dmitrovka Street, Moscow
 * Knave of Diamonds (6 Nov — 19 Dec1916) Kira Mikhailova Art Salon, Bolshaya Dmitrovka Street, Moscow
 * Artists of Moscow for Victims of the War (6 Dec 1915 — 18 Jan 1916)
 * Knave of Diamonds (5 Feb — 2 Mar 1914) Society of Lovers of Art, Moscow
 * Knave of Diamonds (7 Feb — 7 Mar 1913) Levisson house, Bolshaya Dmitrovka Street, Moscow, 3 – 28 April, St. Petersburg
 * Knave of Diamonds (23 (or 25) Jan — 26 Feb 1912) Moscow Military District Economic Society of Officers, 10 Vozdvizhenko, Moscow
 * Knave of Diamonds (10 Dec 1910 — 16 Jan 1911) Levisson house, Bolshaya Dmitrovka Street, Moscow

Influences
The Jack of Diamonds defined "the Russian pre-revolutionary culture", a favorite culture of the Moscow intelligentsia in the 1970s.

Related artist groups
Painters Mikhail Larionov, Natalia Goncharova, and a sub-group of artists ceded from the group to form the more radical Donkey's Tail, accusing the Knaves of artistic stagnation. Goncharova called out what she saw as the group's replacement of "artistic creation with theorizing." Despite these period claims, in retrospect, "it is hard to award primacy and originality of pictorial enterprise" to either group.

title: Knave of Diamonds (arts association)


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Germfree Adolescents

Germfree Adolescents is the 1978 debut album of English punk rock band X-Ray Spex. It contained the UK hit singles "The Day the World Turned Dayglo" (No. 23 in April 1978), "Identity" (No. 24 in July 1978) and "Germ Free Adolescents" which reached No. 18 in November 1978. Upon release, the critics noted it was not all new material: five songs on the twelve tracks had already been released on A-sides and B-sides of singles.

Reception
From contemporary reviews, Charles Shaar Murray of NME praised the album, stating it "neatly avoids the weakness of previous Spex gigs and records (i.e. cacophony, ramshackle playing boosted by road-drill volume) while concentrating on the band's strengths (great lyrics, nifty chewns, energy and a winningly knowing innocence)." Tim Lott of Record Mirror declared the album to be "sounds for sophisticated head-bangers" and that it was "Bright music, glaring and kitsch as the pinks, greens and yellows that splash the colour. Taste in tastelessness, anarchy in tune. What did you expect from X-Ray Spex?" Jon Savage felt had too much already released material on it, noting that "The album is basically, the Spex set from early (Roxy/Man In The Moon) days and the first demo with a fair sprinkling of new additions: "Genetic Engineering", "Warrior in Woolworths", "Artificial" and the title track [...] the album features an unforgivable proportion of material already released and well-aired: five songs out of 12, three A-sides." but still concluded that "This doesn't detract from the album's playability. The sides are programmed symmetrically and sensibly [...] All the songs are built around catchy, deceptively simple riffs, often reminiscent of reggae in their jaunty lilt, and they're done full justice by the band and the production." Murray also was disappointed by the lack of new material, stating that "three A-sides (the title track, "Identity" and the immortal "The Day the World Turned Day-Glo") and one B-side ("I Am a Poseur") on an album makes for poor value in this man's supermarket." Lott critiqued some tracks, noting that "Plastic Bag" went "beyond the bounds of good kitsch". Savage echoed this statement, finding that "Plastic Bag" was the "one track that's actively annoying: the otherwise amusing "My Mind Is Like a Plastic Bag" is burdened by a cumbersome arrangement, nostalgia lyrics ("It's 1977 and we're all going mad") and Poly at her most unlistenable." Murray commented that "Plastic Bag" was "by no means as excellently realised as it was on the original X-Ray-Spex demo tapes of a year or so back (this allusion is not elitism: I just wish you could have heard that version)."

The NME ranked it the ninth best album of 1978. In his February 1979 "Consumer Guide" column in The Village Voice, critic Robert Christgau bemoaned the fact that Germfree Adolescents had not been released in the US and praised Poly Styrene's "cheerfully moralistic nursery rhymes", the songs' strong melodies and the "irresistible color" of the band's "dubiously tuned one-sax horn section". He also named the album one of the few import-only records from the 1970s he loved yet omitted from Christgau's Record Guide: Rock Albums of the Seventies (1981).

Legacy
Robert Christgau later deemed Germfree Adolescents "one of British punk's strongest" albums. Trouser Press declared it "a masterpiece!" The Rough Guide to Rock calls it a "storming album".

In 1994, The Guinness Encyclopedia of Popular Music named Germfree Adolescents the eighth best punk album of all time. Seven years later, in May 2001, Spin magazine ranked the album at number five on its "50 Most Essential Punk Records" list. In March 2003, Mojo magazine ranked the record at number 19 on its "Top 50 Punk Albums" list. Germfree Adolescents is listed in the reference book 1001 Albums You Must Hear Before You Die.

In 2020, Rolling Stone ranked the album at number 354 in their list of the 500 Greatest Albums of All Time.

Cover versions and cultural references

 * Long-running California punk band NOFX has performed a cover version of Germfree Adolescents live.
 * In an interview after being shortlisted for the Mercury Prize, British artist FKA Twigs named Germfree Adolescents her favourite album of all time

Track listing
All tracks written by Poly Styrene.

Side A
 * 1) "Art-I-Ficial" – 3:24
 * 2) "Obsessed with You" – 2:30
 * 3) "Warrior in Woolworths" – 3:06
 * 4) "Let's Submerge" – 3:26
 * 5) "I Can't Do Anything" – 2:58
 * 6) "Identity" – 2:25

Side B
 * 1) "Genetic Engineering" – 2:49
 * 2) "I Live Off You" – 2:09
 * 3) "I Am a Poseur" – 2:34
 * 4) "Germ Free Adolescents" – 3:14
 * 5) "Plastic Bag" – 4:54
 * 6) "The Day the World Turned Day-Glo" – 2:53

Bonus tracks

The 1991 Caroline release features four additional tracks and a rearranged song order.

 * 1) "The Day the World Turned Dayglo" – 2:50
 * 2) "Obsessed with You" – 2:26
 * 3) "Genetic Engineering" – 2:46
 * 4) "Identity" – 2:21
 * 5) "I Live Off You" – 2:06
 * 6) "Germ Free Adolescence" – 3:10
 * 7) "Art-I-Ficial" – 3:21
 * 8) "Let's Submerge" – 3:23
 * 9) "Warrior in Woolworths" – 3:03
 * 10) "I Am a Poseur" – 2:30
 * 11) "I Can't Do Anything" – 2:55
 * 12) "Highly Inflammable" – 2:32
 * 13) "Age" – 2:36
 * 14) "Plastic Bag" – 4:51
 * 15) "I Am a Cliché" – 1:52
 * 16) "Oh Bondage Up Yours!" – 2:48
 * Tracks 12, 13, 15 & 16 from original singles.

The 2005 CD reissue includes the original song order and the following bonus tracks not on the original release.

 * 1) "Oh Bondage Up Yours!" – 2:51
 * 2) "I Am a Cliché" – 1:55
 * 3) "Highly Inflammable" – 2:35
 * 4) "Age" – 2:38
 * 5) "Genetic Engineering" – 2:49
 * 6) "Art-I-Ficial" – 3:24
 * 7) "I Am a Poseur" – 2:34
 * 8) "Identity" – 2:25
 * 9) "Germ Free Adolescence" – 3:05
 * 10) "Warrior in Woolworths" – 3:06
 * 11) "Age" – 2:38
 * Tracks 13–16 from original singles, tracks 17–20 from Peel Session 20 February 1978, tracks 21–23 from Peel Session 11 June 1978.

Personnel

 * X-Ray Spex
 * Poly Styrene – vocals
 * Jak Airport – guitar
 * Paul Dean – bass
 * Rudi Thomson – saxophone
 * B.P. Hurding – drums

Additional personnel

 * Ted Bunting – saxophone on "Identity" and "The Day the World Turned Dayglo"
 * Lora Logic – saxophone on "Oh Bondage Up Yours!" and "I Am a Cliché"
 * Falcon Stuart – producer, cover concept
 * John Mackenzie Burns – engineer
 * Andy Pearce – assistant engineer
 * Nick Webb – mastering
 * Trevor Key – photography
 * Cooke Key – sleeve

title: Germfree Adolescents


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Queen of Diamonds

The queen of diamonds is a playing card in the standard 52-card deck.

Queen of Diamonds may also refer to:

Arts and entertainment

 * Karyssia: Queen of Diamonds, a 1987 graphic adventure game
 * the title character of "Marsha, Queen of Diamonds", a Batman TV series episode
 * Queen of Diamonds, a 1991 American independent film by Nina Menkes
 * "Queen of Diamonds", an episode of Laramie
 * "The Queen of Diamonds", a story arc in Pep Comics

People

 * Mabel Boll (1893–1923), American socialite nicknamed the "Queen of Diamonds" for the amount of jewelry she wore

title: Queen of Diamonds


text:
Fonse Faour

Alphonsus (Fonse) Faour (born November 16, 1951, in Corner Brook, Newfoundland) is a former Canadian politician.

Career
Faour represented the electoral district of Humber—St. George's—St. Barbe, which he won in a 1978 by-election following the resignation of Jack Marshall. In the general election the following year, Faour retained the renamed seat of Humber—Port au Port—St. Barbe. However, in the 1980 election, Faour was defeated by Brian Tobin.

After the election, he became leader of the Newfoundland and Labrador New Democratic Party from 1980 to 1981. He resigned due to difficulties in concurrently maintaining his law practice and leading the party without a seat in the legislature.

In 2003, Faour was appointed to the trial division of the Supreme Court of Newfoundland and Labrador.

Archives
There is an Alphonsus Faour fonds at Library and Archives Canada. Archival reference number is R3766.

title: Fonse Faour


text:
King of Diamonds

The king of diamonds is a playing card in the standard 52-card deck.

King of Diamonds may also refer to:
 * King of Diamonds (film), a 1936 Italian comedy film directed by Enrico Guazzoni
 * King of Diamonds (TV series), a 1961–62 American TV series starring Broderick Crawford
 * King of Diamonds, a fictional character, a member of the villainous Royal Flush Gang in DC Comics
 * Harry Winston, an American jeweler.
 * Lev Avnerovich Leviev, an Israeli businessman, philanthropist and investor.

title: King of Diamonds


text:
Ace of Clubs

The ace of clubs is a playing card in the standard 52-card deck.

Ace of Clubs may also refer to:

 * Ace of Clubs (comics), a DC Comics supervillain
 * Ace o' Clubs, a DC Comics bar owned by Bibbo Bibbowski
 * Ace of Clubs (musical), a 1949 musical by Noël Coward
 * Ace of Clubs Records, a British record label owned by Decca Records
 * The Ace of Clubs, an alias used by British recording artist Luke Vibert
 * Ace of Clubs (film), a 1925 silent Western film by J. P. McGowan
 * L'As de trèfle (The Ace of Clubs) for Sarah Bernhardt Pierre Decourcelle 1882

title: Ace of Clubs


text:
Moving Malcolm

Moving Malcolm is a Canadian comedy-drama film, directed by Benjamin Ratner and released in 2003.

The film stars Ratner as Gene Maxwell, a man who is forced to piece his life back together after being dumped at the altar by his fiancée Liz (Elizabeth Berkley), but is asked after the wedding to help her move her father Malcolm (John Neville) to a new apartment in a seniors home. The cast also includes Jay Brazeau and Babz Chula as Gene's parents George and Gisha and Rebecca Harker as his autistic sister Jolea, as well as Linda Sorenson, Nicholas Lea, Nancy Sivak and Tom Scholte in supporting roles.

Ratner acknowledged that the film was partially autobiographical; although Ratner was never personally jilted by a fiancée, he based Gene Maxwell's family on his own.

The film premiered at the 2003 Montreal World Film Festival, where it received an honorable mention from the Best First Feature award jury.

Awards
Harker won the Vancouver Film Critics Circle award for Best Supporting Actress in a Canadian Film, and was nominated for Best Supporting Actress at the 2004 Leo Awards.

title: Moving Malcolm


text:
Wikipedia talk:Manual of Style/Dates and numbers/Archive 15

AD, BC, et al.
Starting with archive 9, people began discussing whether to use "BC" or "BCE", whether to add periods between the letters, whether to add "AD" to articles bout dates, etc. Som eof the issues and related pages that cropped up: See Wikipedia talk:Manual of Style (dates and numbers)/proposed revision for discusion of BC vs BCE. --JK the unwise 14:35, 11 Mar 2005 (UTC)
 * "Believe it or not, there are plenty of articles with numbers greater than 2070 which ignore the rules about articles for years vs. numbers." --anon
 * CE? AD?  AD 101?  101 AD?   Discussion starts in archive 9 & 11.  No decision; articles currently at  the bare number to avoid choosing among these, to the disgruntlement of number theorists.
 * see also: Talk:Anno_Domini
 * BC v. BCE? Having both, with one as a redirect, seems obvious.  Should there be a recommendation on which to use, for style?  Articles currently at BC.

Please add to the above overview. +sj +  01:04, 20 Feb 2005 (UTC)

More on year vs. number
Pulled from this page's archives:

I think that it is more logical for an article named something like "60" to refer to the number sixty. It can be distinguished from the date by titling the date articles "AD 60" or "60 BC". If a user searches for "60", doesn't it make sense that they want the number 60, not AD 60?

 * Perhaps, but if a user searches for 1997, it almost certainly means that he/she is looking for the article about the year 1997. Years are linked to in almost every article, so changing this would take a lot of work, both on the technical side and on mindset. — David Remahl 15:57, 17 Oct 2004 (UTC)
 * I don't understand the rationale for the many number articles in general. Maurreen 17:26, 17 Oct 2004 (UTC)
 * Many people find numbers interesting, and they have arguably encyclopaedic properties. — David Remahl 17:40, 17 Oct 2004 (UTC)
 * 1997 is a prime number! So it is possible that the user is looking for information about this number! I think that 1997 is a number and in the Gregorian calendar it is associated to a year. But it is a number in first place. Fupis 20:43, 05 Jan 2005 (UTC)

 * Talk:1 (about the number and year)

Symbols vs. abbreviations
In section Style for numbers, weights, and measures: "'use standard abbreviations or symbols for metric units without an added s in the plural — m for metre, kg for kilogram, etc. (see SI for the list) — and two-letter abbreviations for inch-pound units — in for inch (not '), ft for foot (not '), yd for yard (not yds), mi for mile, lb for pound (not lbs), gal for gallon, pt for pint, qt for quart, and so forth.'" "m" is a symbol for metre, but "yd" is an abbreviation for yard—like the text says—and should thus, in my humble opinion, be followed by a period: "yd.". I agree that it gets a little awkward with cubic yards etc., which would become "yd.³", but the English units are awkward themselves already. I can also see, that a few of these abbreviations are of a special kind, not being contractions of the actual English name: engl. pound -> lat. libra -> lb. I'd also like a (linked) normative list of abbreviations for English units and a suggested style for disambiguity prefixes and suffixes, e.g. for ounce (fluid/mass, US/Imperial, Avoirdupois/Troy) or gallon (US/Imperial, dry/wet). There should perhaps be a note on using the applicable unit, e.g. pound vs. pound-force. Christoph Päper 11:38, 15 Feb 2005 (UTC)

20m or 20 m, etc.
So why is there no space after say "20m"? i thought 20m was the accepted form and 20 m was incorrect? that's the way we always did it at school. 20 metres, but 20m (no space) SpookyMulder

 * Maybe it's a national difference. I'd prefer that units are spelled out. For one thing, that avoids confusion between meters and miles. Maurreen 15:24, 16 Nov 2004 (UTC)

It's good typesetting practice to put a space between a number and unit. ISO 31 uses a space. In printed typesetting this would normally be a thin space (&thinsp;) but on HTML that doesn't have the "non-breaking" property of &nbsp; (one could achieve a non-breaking thin space using a Unicode "word joiner" character but that isn't yet supported by many browsers). See the archives for this talk page, and also. Gdr 16:51, 2004 Nov 16 (UTC)

 * See SI. For metric units, there should be a space between the number and the units.  Also, there are official symbols (not called "abbreviations") for metric units, and we should ban the use of abbreviations that cound be confused with such symbols.  (For example, ban the use of "m" as an abbreviation for "mile".)  For non-metric units, there are often no standardised symbols, so it's probably a good idea to avoid abbreviations of units that are already fairly short (like "mile"), but I see no harm in using abbreviations for units that have long names (like "BTU" for "British Thermal Unit".  —AlanBarrett 22:14, 17 Nov 2004 (UTC)

 * 20 m (inserted by Gene Nygaard for comparison purposes)
 * 20 m (20&#8288;&thinsp;&#8288;m) seems to be supported by several browsers, including the Mozillas and Apple's WebKit (including Safari). I guess that "many browsers" primarily means Internet Explorer, as usual... However, I'm not sure I want to encourage the use of 24 characters between the value and the unit in wiki markup. — David Remahl 07:05, 21 Nov 2004 (UTC)
 * There is a Unicode character named "NARROW NO-BREAKSPACE" at   which might work, except that my browser (IE6) fails to render it properly (like this). --Phil | Talk 11:54, Nov 25, 2004 (UTC)

 * You have a weird notion of "supported", when my Mozilla Firefox on Windows XP renders your supposed "nonbreaking thin space" with more space than just writing "20 m" as I have done in the comparison entry above. It didn't butcher it with boxes or anything, I did get space--but I wouldn't call that "supported".

 * However, a bigger problem is a misperceived need for a nonbreaking space here.  We don't need to avoid a break between a number and its unit symbol, but we should avoid a break within a number itself (but Wikipedia style frowns on the space as a thousands separator) and to avoid breaks within a unit measure itself (that problem can usually be avoided by using a middot for a separator rather than a space (the middot is likely narrower than a full space as well as nonbreaking), as in N·s/kg rather than  N s/kg, or the incorrect version still encountered on Wikipedia Ns/kg). Gene Nygaard 11:16, 10 Feb 2005 (UTC)

Guideline suggestion: Avoid "January 14th" and "January of 2005"
I believe these guidelines should be placed in this document: – flamuraiTM 05:06, Feb 4, 2005 (UTC)
 * Avoid ordinal suffixes in dates: "February 14" rather than "February 14th" (Note that this should be a non-issue if full-length dates are linked properly, but could be an issue when the year is omitted)
 * No "of" should be used when referencing a month in a specific year: "January 2005" rather than "January of 2005" (This should definitely be included: I see this a lot, and we don't always link in this situation)

 * The first point needs to be tweaked a little for clarity (such as "... dates: Use 'February 14' ..." Maurreen 07:24, 4 Feb 2005 (UTC)

 * What's the reasoning behind such a guideline? Is it just to achieve uniformity?  (I ask largely because the format “14th February 1956” is pretty standard in the U.K.; indeed, I'd say that “14 February” looks to our eyes rather odd and machine-like — and “February 14” positively bizarre). Mel Etitis ( Μελ Ετητης ) 23:07, 9 Feb 2005 (UTC)

 * I concur wholeheartedly with both guidelines, but (to avoid possible misunderstandings) would tweak the wording further, thus: "... dates: Use 'February 14' or '14 February' rather than 'February 14th', '14th February', etc." (Post edit conflict PS: I'm surprised by User:Mel Etitis's comments; I didn't think that was the case. The reasoning, in any event, is so that the neat automagic wikilinked date format conversion gadget can kick in: see "Preferences".) –Hajor 23:47, 9 Feb 2005 (UTC)

 * I also concur with both guidelines. "February 14th" just doesn't work with the date preference settings -- it's left as is, rather than being converted to 14 February, February 14, etc. -- Arwel 00:11, 10 Feb 2005 (UTC)

 * What is the reason for avoiding "January of 2005"? It often works better gramatically and stylisticly, IMO. "In January of 2005 John Doe first discovered....". The link to the year can be preserved in any case, and as others are suggesting elsewhere on this page links to month, year without a complete date are of limited value. DES 17:15, 7 Mar 2005 (UTC)

Dates of birth and death suggested revision
suggestion: that the examples in this section reflect the format guidance in the Dates section. Proposed revision:
 * Abraham Lincoln (February 12, 1809 – April 14, 1865)
 * Charles Darwin (12 February 1809 – 19 April 1882)

 * I propose to follow ISO8601 and use a solidus (slash) to indicate a range of time:
 * Charles Darwin (1809-02-12/1882-04-19)
 * which would look as follows in your personal setting of preferred date format:
 * Charles Darwin (12 February 1809/19 April 1882)

 * This is an encylopedia, not a computer program. The object is to convey information to humans, and most humans would not understand that format. Plus, the solidus is only used with ISO 8601 dates, so once the date is converted, it would just be wrong. – flamurai (t) 23:15, Feb 26, 2005 (UTC)

 * −Woodstone 22:15, 2005 Feb 26 (UTC)

...dave souza 22:55, 9 Feb 2005 (UTC)
 * Date format to be that used by local English speakers at the location of the event in accordance with the guidance in the Dates section above.
 * But this is completely irrelevant if dates are properly wikilinked - I see both birthdates exactly the same. I frequently get annoyed when dates are pointlessly switched from one format to the other. We should be encouraging the wikilinking of all dates, rather than get sidetracked like this. -- Arwel 00:15, 10 Feb 2005 (UTC)
 * I agree that it is irrelevant. I don't think it's necessary to note this, either. It would fit with the overall English variant being discussed here. – flamurai (t) 01:25, Feb 10, 2005 (UTC)
 * The only people to whom this particular guideline would matter whatsoever would be people editing the article source, as those people would be the only ones ever to see the distinction between the above two examples. I think that it is best to have no guideline in this area.  Moreover: Whenever I wikify a biographical article as part of new page patrol, I always wikify using true ISO 8601 format ( 1809-02-12 ) if possible.  I do this for several reasons; one of which is that it is culturally neutral, and another of which is, quite simply, that it is the shortest form and the simplest to type. I'd strongly object to a guideline that wanted me to do a lot of extra work involving determining what date format was used at the location of the event (which could well differ between birth and death, indeed), and thus which of several date formats to use — especially given how pointless such work would actually be. Uncle G 02:38, 2005 Feb 10 (UTC)

Incidentally: The MOS up until now has given a divided ISO 8601 format ( YYYY-MM-DD ) as its sole example. This can cause confusion if an unspaced dash is used to separate dates of birth and death. Consider the above examples in divided ISO 8601 format and with an unspaced hyphen: 1809-02-12-1882-04-19. It's liable to error in maintenance. However, the software actually also supports undivided ISO 8601 format, too. 1809-02-12-1882-04-19 is somewhat clearer and less prone to error. I've amended the page to mention this additional ISO 8601 form, so that people using ISO 8601 style can at least work out from it that they can eliminate the superfluous, unsightly, and confusing extra square brackets in this way. It certainly wasn't something that I was aware of when I first started editing. Uncle G 03:09, 2005 Feb 10 (UTC)

 * But that form still doesn't work correctly for B.C. dates—see my examples in above.  Gene Nygaard 03:28, 10 Feb 2005 (UTC)

 * Presumably there's no visible difference because you've set your preferences to show dates the way you want them, which is fine but won't apply to new users who haven't registered, or for that matter to people like me who haven't set this preference. In a spirit of compromise I've brought the sample dates shown into line with the format policy, but haven't added other dates or the comment...dave souza 22:16, 12 Feb 2005 (UTC)

Number names
This part isn't followed at all:

 * Whole numbers between zero and ten should be spelt in full. Numbers higher than ten may be represented by numerals, except where they appear as the first word in a sentence, in which case they should be written out in full.

In fact, I think the other way is more common. I think this is an example of the MoS getting too tight. What's wrong with either style as long as it's consistent?

– flamurai (t) 11:09, Feb 15, 2005 (UTC)

 * I agree with Flamurai, jguk 12:34, 15 Feb 2005 (UTC)

 * I'm not sure what is meant by the "other way". older ≠ wiser 13:22, Feb 15, 2005 (UTC)

 * Using numerals for numbers 0 to 10 (like that). – flamurai (t) 16:46, Feb 15, 2005 (UTC)

I'm proposing we replace that paragraph with the following:
 * Numbers may be written as words or numerals. Editors should use a consistent guideline throughout an article. A number should not appear in both forms in the body (excluding tables and figures) of the same article.

– flamurai (t) 17:01, Feb 15, 2005 (UTC)

Any objections? – flamurai (t) 17:53, Feb 18, 2005 (UTC)

 * I edited this into the article. – flamurai (t) 01:16, Feb 20, 2005 (UTC)

Square feet
The section on measures is ambiguous on the question of square feet. It is clear that square meters are m², but should square feet be the more traditional sq. ft., or be modeled after the metric equivalents (ft²). I'd favor the former, because a traditional measure should have a traditional abbreviation. Also, I think that sq. ft. will be more readily read as "square feet" than the more obtuse ft². I've changed ft² to sq. ft. on a few pages, but have been occasionally been reverted. It'd be nice to have a set policy to point to. Thoughts? Nohat 07:20, 18 Feb 2005 (UTC)

I've been doing a little poking around on Google and it seems that "sq. ft." is definitely a more traditional abbreviation than ft², for whatever that's worth. Nohat 07:26, 18 Feb 2005 (UTC)

 * I think it's time for us to don our waders. Google won't search for ², and probably doesn't give consistent results for the use of html superscripts, the use of a caret to indicate exponentiantion (ft^2), and the use of &sup2; and &#178; and &#xB2;, and all the other ways which do not use "sq".  So it is very difficult to get an accurate picture of the relative frequency using Google.  Gene Nygaard 14:38, 18 Feb 2005 (UTC)
 * One doesn't need Google to know that, in the U.K., 'sq. ft' is the standard abbreviation ('sq. feet' sometimes being encountered as a halfway house), 'ft²' only being used (in the past) in scientific contexts. Now that science uses metric measurements, 'sq. ft' has the field almost unopposed. I can't speak for the U.S. Mel Etitis ( Μελ Ετητης ) 14:48, 18 Feb 2005 (UTC)
 * AltaVista is marginally more useful than Google at weeding out the bullshit (it does search for ², though it lumps it together with 2, which is actually a pretty good thing in this case).
 * http://www.tustin.co.uk/redscar-tenants.asp
 * http://www.smithprice.co.uk/disposals.pdf
 * http://www.poolmanharlow.co.uk/industrial.htm
 * http://www.elecro.co.uk/media/Technical%20Bulletin.doc
 * http://www.fletchermorgan.co.uk/html/officeproperty.htm
 * http://www.peterhead.org.uk/property/property_com.asp
 * http://www.swansea.gov.uk/media/pdf/2/o/RETAIL~1.PDF
 * http://www.hpcconsult.co.uk/educational_services/production_rates/tiling/quarry_Tiling.asp
 * http://www.lboro.ac.uk/research/flexelec/Papers/options123.pdf
 * http://t016.arch.cf.ac.uk/local/digest/solar_heat_gain.htm
 * Gene Nygaard 17:01, 18 Feb 2005 (UTC)
 * But the problem with any such search is that it shows you which usage is more common on the Internet — not at all the same thing as the most common. Mel Etitis ( Μελ Ετητης ) 17:15, 18 Feb 2005 (UTC)

 * That internet usage is much more than sufficient to disprove your claims about
 * "'ft²' only being used (in the past) in scientific contexts" and
 * "'sq. ft' has the field almost unopposed."
 * Gene Nygaard 17:55, 18 Feb 2005 (UTC)

 * Is it not most pragmatic to use "square feet" in text, because it is most readable, and 'ft²'—or 'ft.²'—in tables, because it is the shortest? (Nobody would count '′²' as acceptable, right?) Also, if in the same context 'm²' is used, 'ft²' fits in better—and where would you use square feet without mentioning square metres? Christoph Päper 17:51, 18 Feb 2005 (UTC)

 * Well, that's an answer to a different question. Gene Nygard seems to have missed my point in two respects, though. First, I drew attention to the difference between common usage on the Internet and common usage in general, and secondly I explained what was the case in the U.K, and disavowed knowledge of the U.S. Mel Etitis ( Μελ Ετητης ) 18:01, 18 Feb 2005 (UTC)

 * You have a very good point. Someone might write square feet without using square meters—but it's not likely to stay that way for long.  I would bet that in a survey of all publications using both, in print and on the internet, there will be a small percentage which mix "m²" and "sq ft" in any of a zillion different combinations of capitalization and periods, a few more which use "sq m" and "sq ft", and a clear majority using "m²" and "ft²".  Gene Nygaard 18:14, 18 Feb 2005 (UTC)

 * I can get on board with the SI m² because there's an official SI standard for symbolization of their measures, but shouldn't square feet, as a traditional measure, have a traditional abbreviation? Also, I think the consistency argument for ft² is unpersuasive. Consistency has never been regarded as a valid reason to do something in a particular way when there are readability, usability, and tradition arguments at play, all of which are at play in this case.
 * But what about the fact that, to the profoundly benighted, sq. ft. may be understood and ft² will not? ("what's a foot two?"). Also there is the fact that sq. ft. is a more straightforward translation of what it should be read as, which is square feet. It requires much less thinking to convert sq. ft. square feet than ft² when reading.
 * Also, I can add that in American real estate, sf is the pretty much the standard abbreviation for square feet. I can't recommend that we use that, of course, because it's vague and whatnot, but use of ft² in real estate is limited pretty much entirely to crypto-metric interlopers. Nohat 18:37, 18 Feb 2005 (UTC)
 * Two other things: first, I don't think that empirical evidence of the "majority uses X" type will be of much help here because I don't it will be possible to collect that data in a reasonable way that everyone can agree on. We'll have to defer to a priori argument and other authorities. Second, "a foolish consistency is the hobgoblin of little minds" . Nohat 18:41, 18 Feb 2005 (UTC)

I prefer "square feet," then "sq. ft." I also agree that the exponent use will be unfamiliar to many people. Maurreen 05:03, 19 Feb 2005 (UTC)

 * Here is a proposal:

 * Metric units may be given in SI formats. To do otherwise would be bizarre. Note that SI formats include units written in full (kilograms) or as symbols (kg).
 * Non-metric units may also be given in SI formats i.e. in full (pounds) or as symbols (lb).
 * In prose text (but not tables or lists etc) a limited set of non-metric units may additionally be formatted as a popular abbreviation for that unit. We encourage constraining this to the use of a single abbreviation/punctuation option. We would discourage the use of multiple abbreviation/punctuation options. Thus the commonplace "sq ft" would be acceptable in prose but we would discourage "sqft", "sf", "sft", "sqf", "sq.ft", "sq-ft", "sq. ft." etc.

 * Constraints on format that are not important in the US and UK are important in an international medium like this. Readers may not be familiar with english or with non-metric units. If they are familiar with neither, they are much more likely to be able to work out 'ft/s' than 'fps'. We also benefit a lot from the efforts of translators, variable formats makes their work harder.

 * Bobblewik (talk) 16:18, 6 Mar 2005 (UTC)

 * Without significant further debate, I boldly added "sq ft (not ft²)" to the manual on suggested abbreviations for traditional units. Nohat 16:24, 3 May 2005 (UTC)

 * There has been no consensus to support either of your changes. Gene Nygaard 16:56, 3 May 2005 (UTC)
 * There was consensus, because there was no opposition. Consensus does not require waiting around for people to register their opinions. You seem to be the opposition. Do you have an actual problem with the change or do you just oppose it on the grounds that the there was no consensus? Nohat 17:03, 3 May 2005 (UTC)

 * There was no consensus.
 * I stongly oppose it.
 * I showed that the support of Mel Etitis was based on a false premise (i.e., that ft² are never used in the U.K.)
 * Christoph Päper opposed you. He supported only spelling out "square feet" or using "ft²" or "ft.²".  He did not accept any variant involving "sq." or "sq" with or without a period in any context.
 * Maurreen supported something different from your change (sq. ft.).
 * Bobblewik did not support your change. He said that ft² are acceptable.  His proposal would only accept "sq ft" as acceptable (but not exclusive as you wrote it) and only in prose, not in tables.
 * So there clearly was no consesus even for your listing of "sq ft" as acceptable, and especially no consensus for your listing of "ft²" as unacceptable. Gene Nygaard 17:49, 3 May 2005 (UTC)

I'm surprised there is any opposition against saying that "sq ft" is acceptable - it's a standard abbreviation used in many many contexts. Of course it should be acceptable. As to ft², that looks unusual to me. Plus it risks being read as "foot squared" rather than "square foot". This is important as 2 foot squared equals 4 square foot. I'd rather not risk the potential ambiguity, jguk 19:05, 3 May 2005 (UTC)
 * It may be common usage in the US, the place where that unit is used, to abbreviate it "sq ft" (dots and spacing as you like), but there it is usually used alone, without square metres appearing next to it. In the international, English-language Wikipedia we have to use international measures. English units only appear out of courtesy to lesser educated US citizens or because of historic or US context. Therefore you will always (at least after the next edit) have "square metres" or "m²" where square feet may occur. So I can't see any reason against using "square feet" and "ft²"—except that I prefer to abbreviate non-SI units with a period and would like to avoid using English units altogether.
 * Your "2 ft² = four square feet" assertion is void, I think you call it a strawman argument. It may confuse some people whether to apply the exponent to a prefix too (which the English system does not use), but people applying the exponent to the number are too dumb to read an encyclopaedia in the first place.
 * In my humble opinion, we can and should be stricter in the MoS than many contributing people are willing to. After all it should describe the ideal state (only) and most articles will need a long time to get anywhere close to that. We can also decide to not follow some outside traditions or rules in order to achieve a higher goal, like an in itself uniform appearance and good readability of Wikipedia. Christoph Päper 14:39, 4 May 2005 (UTC)

 * The inclusion of non-SI units is not for people who aren't familiar with the SI units, but for the vast majority of Americans who are familiar with them, but don't use them in an everyday way, and so quantites expressed in units don't take on a sense of scale for comparison. Areas of building interiors are exclusively described in square feet here in the U.S., and even though I have an idea of how big a square meter is, if someone tells me an apartment is 50 square meters, that holds no meaning to me. On the other hand, if someone says an apartment is is 550 square feet, I know in an instant that it's a fairly small apartment. Similarly, if someone says their house is 375 square meters, that means nothing to me, but if they say their house is 4000 square feet I know it's a very large house, possibly to be considered a mansion. Same thing with heights of people. I know how long a centimeter is, but if someone tells me they are 173 cm tall, I can't visualize that at all. On the other hand, if someone says they are 5'8" tall, I know they are approximately average height for an adult male. And so on. Contrary to popular belief, we Americans are in fact well educated in our schools about the metric system and SI units. We just don't actually use the metric system for everyday purposes, so our sense of how big or how hot or how heavy something is in traditional units, and it's not an effortless process to mentally convert SI measurements to a known comparable quantity. Whenever I encounter an article that contains only metric measurements, I have to open up a converter and convert the quantities to units I am familiar with if I want to have a real sense of what those measurements mean. My point of all this is that including non-SI units should not be considered some kind of condescending nicety for benighted Americans, but a practical necessity for articles that contain measurements to be meaningful to most Americans. Nohat 19:05, 4 May 2005 (UTC)

Negative numbers
Shouldn't negative numbers be set with a true minus (&minus;) rather than a hyphen? Some articles use the minus, but many use the hyphen. The Manual of Style doesn't seem to mention the minus at all, and the section Style for numbers, weights, and measures suggests
 *  […] a small number such as 0.0000000000234 can be written as 2.34&times;10-11.

which I believe should be
 *  […] a small number such as 0.0000000000234 can be written as 2.34&times;10&minus;11.

Note that the code  -11  (displayed as -11) was replaced by te code  &minus;11  (displayed as −11). Are there, perhaps, browsers that don't display the minus correctly? –Peter J. Acklam 12:13, 24 Feb 2005 (UTC)

 * In many cases, my initial reaction is that it is an unnecessary complication, including the superscripts you mentioned (and I should point out that in several of the cases where you do see the minus sign, it has been added by me). It ought to be mentioned as a possibility, but there is no reason to require it or to go around changing all occurrences of negative numbers.  Browser support may be a factor, but at most a small part of it.  Using that minus sign can make editing more difficult, not only in the initial entry, but in reading the page when further editing is being done.  It does serve some good purposes—unlike the hyphen, the minus sign is nonbreaking.  But that nonbreaking consideration does not apply to
 * those superscripts mentioned above (looks might be a reason to change, however)
 * most entries in tables, unless the possibility of a line break is anticipated (an explicit line break might help there)
 * lists where the number appears fairly near the beginning of a line
 * There are also minor differences in the looks, with the minus sign usually a little bit larger than the hyphen. For the superscripts you mentioned, you need to look at how they are displayed as superscripts, not as how they are displayed without being superscripted:  10-11 versus 10−11
 * On a related point, the disadvantages might outweigh the advantages of using this sign rather than a hyphen as a subtraction operator.
 * A bigger problem is the use of the similar looking en dash to separate a range of numbers. I'd like to see the MoS discourage that.  It can be replaced by the word to or something along those lines, especially in contexts where the numbers might be negative, as in a range of temperature readings. Gene Nygaard 16:14, 24 Feb 2005 (UTC)

 * I think &minus; should be mentionend, but only be favoured as soon as the English Wikipedia has finally been converted to UTF-8 (all other versions have taken this step already, AFAIK). You then wouldn't have to use the HTML entity reference anymore. Christoph Päper 17:31, 24 Feb 2005 (UTC)

 * The advantage of using the HTML entities for the dashes is that it becomes easy to see which dash is being used when the text is being edited. On a low resolution device like a monitor—and particularely with monospaced typefaces—the minus, en-dash, and hyphen sometimes look exactly the same. HTML entities make the text harder to read in the editing window, but the preview is there for a reason.
 * I'd like to see the use of the true minus encouraged, but not required. I like to get the typography right. It gives a more professional look. On high-resolution devices, like good printers, a trained eye can easily spot the difference between a minus and a hyphen. In most typefaces—if not all—the minus is both longer and thinner than the hyphen. –Peter J. Acklam 09:49, 25 Feb 2005 (UTC)

Date of death unknown
Can someone suggest a form for the case where a person's date of death is unknown? Since an unknown date of birth is expressed as it would seem logical to express an unknown date of death as but this would conflict with the form for a person still living: This is not a hypothetical question. I have just written an article on Robert Lyon, for whom I can't find a date of death. Hesperian 23:56, 28 Feb 2005 (UTC)
 * Offa (died 26 July 796)
 * Robert Lyon (born 1789)
 * Serena Williams (born September 26, 1981)

 * Maybe "(born 1789, date of death unknown)". Maurreen 03:37, 2 Mar 2005 (UTC)

 * Yeah, that seems sensible.
 * James F. (talk) 14:47, 4 Mar 2005 (UTC)

Year in music/sports/etc. links
This was removed from the Manual of Style, but I think we need to develop a replacement guideline on whether/when to link to 2004 in music, 2005 in sports, etc. – flamurai (t) 23:27, Mar 2, 2005 (UTC)

 * One thing to consider in whatever guidelines develop. Using those links as pipes in a normal date interferes with the working of the preferences settings.  Compare the following with preferences set for year, month, and day order:
 * July 4, 2004 July 4, 2004
 * July 4, 2004 July 4, 2004
 * or these with preferences set for Month dd, yyyy:
 * 4 July 2004 4 July 2004
 * 4 July 2004 4 July 2004
 * Gene Nygaard 00:56, Mar 3, 2005 (UTC)

I've never understood the preference issue and the linking to dates because of it. Gene, can you explain what it's about, if you have a minute? SlimVirgin 01:08, Mar 3, 2005 (UTC)

Number names, revisited
I didn't happen to notice the change proposed here a few weeks ago. To my eye, a statement like "There were 2 different armies advancing on the city" looks very sloppy. The previous guideline was:
 * Whole numbers between zero and ten should be spelt in full. Numbers higher than ten may be represented by numerals, except where they appear as the first word in a sentence, in which case they should be written out in full.

In different style guides, I've seen this rule, or one for spelling out numbers through 20, or even through 99. I can live with writing "13" instead of "thirteen" but the single numeral just makes me cringe. The guideline should, however, note an exception -- it's OK to use numerals where it helps facilitate a comparison with another number that's properly given in numeral form. For example, one would write, "The mayor claimed credit for reducing the annual number of murders from 50 to 7." With this addition, however, I think we should return to the previous guideline. The sentence about the murder rate would be followed by, "His claim was disputed by all three of his opponents", not "all 3 of his opponents". JamesMLane 13:49, 4 Mar 2005 (UTC)

 * I agree; digits only for numbers > 20 (or at very least, 10), and never as the first word in a sentence.
 * James F. (talk) 14:46, 4 Mar 2005 (UTC)


text:
Fran Healy (musician)

Francis Healy (born 23 July 1973) is a Scottish musician. He is the lead singer and lyricist of the band Travis, having written nearly all of the songs on their first six studio albums along their ninth and tenth, with the seventh and eighth containing material written by other members of the band. Healy released his debut solo album, titled Wreckorder, in October 2010.

Early life
Born in Stafford, England, Healy grew up in Glasgow, Scotland, his mother's home town. His mother had moved back to Scotland after divorcing her husband. Healy has said that both his mother and his grandmother were major influences on him. Healy attended Holyrood Secondary School in Glasgow.

As a young child at primary school, he was awarded a book of Robert Burns poems and a certificate "For Outstanding Singing Abilities" after singing the old Scottish song "Westering Home" while dressed in a kilt. However, Healy showed no further interest in singing until his teens. His obsession with songwriting began to take shape when he got his first guitar in 1986 at the age of 13, having seen Roy Orbison perform his hit "Pretty Woman" on The Last Resort with Jonathan Ross. First songs played on the guitar were old rock'n'roll numbers like "Johnny B. Goode" and "Three Steps to Heaven" by Eddie Cochran. His first complete song was written about the headmaster of his school, Peter Mullen, entitled "Mr. Mullen Blues", with a sample lyric: "...and there was Pete Mullen, with his pie and beans. It was then I smelled it, it filled the room. Then some wee bugger lit a match and the whole place went Ka-BOOM... Where's your tie boy? Pick up that can. Get in line girl, do you understand... Cause his name is big Pete Mullen... And he's a man". Healy performed it at the school talent show but failed to move the judges. He played in several school bands.

Travis (1990–present)
In 1991, Neil Primrose, the drummer of Glasgow band Glass Onion, asked Healy if he would like to audition for the band; their previous singer, Catherine Maxwell, had just left the band. Healy joined the band on the same day he enrolled at the Glasgow School of Art. This band soon changed their name to Travis, named after the main character in the Wim Wenders film Paris, Texas.

Travis' first single, "All I Want to Do Is Rock", was written by Healy while on a visit to Millport on Great Cumbrae, a small island in the Firth of Clyde. Going there with the sole intention of composing the best song he had written, Healy surprised himself when the track was created. In spite of Healy's success as a songwriter since, he is without formal musical training. As the band has risen to prominence, Healy has continued to be Travis' main songwriter, as well as the band's main spokesman and most recognisable member.

Travis has twice been awarded British album of the year at the annual BRIT Awards, and is credited as having paved the way for post-Britpop British bands such as Coldplay and Keane. Travis have released nine studio albums, beginning with Good Feeling in 1997.

Solo work (2000; 2010)
Although Healy predominantly plays guitar, he has also been known to write and perform with piano. In 2000, he appeared on The Clint Boon Experience single "Do What You Do (Earworm Song)", reaching number 63 in the UK charts. Boon described this song as his "masterpiece".

In 2010 Healy released the solo album Wreckorder, which featured Paul McCartney on bass and Neko Case. He co-wrote the song "Here With Me" from The Killers' 2012 album Battle Born.

BNQT (2015-2017)
In 2015 Healy was invited to join Banquet, a supergroup initiated by Eric Pulido of Midlake as "a poor man's Traveling Wilburys" consisting of musicians that he admired. Besides Healy and Pulido, the band also included Alex Kapranos of Franz Ferdinand, Ben Bridwell from Band of Horses and Grandaddy's Jason Lytle, along with Pulido's Midlake band mates Jesse Chandler, Joey McClellan and McKenzie Smith. Among the non-Midlake members, Healy was one of only two – along with Lytle – who traveled to Denton, Texas for recording sessions, with the rest contributing remotely. After changing the spelling of the band's name to avoid confusion with another group, BNQT released their debut album Volume 1 on April 28, 2017, to which Healy and the other vocalists each contributed two songs.

Influences
In interviews, Healy has talked of being influenced by songwriters such as Joni Mitchell, Paul McCartney and Graham Nash (of The Hollies and Crosby, Stills, Nash and Young fame). Healy has since played with both McCartney and Nash.

Activism
Healy is a part of the movement Make Poverty History and has, alongside his band, played at the Live 8 concerts in both London and Edinburgh. He participated in Band Aid 20's re-recording of "Do They Know It's Christmas?", with Healy and friend Nigel Godrich also playing roles in its organisation.

He has so far made two trips to Sudan with the Save the Children organisation, for which he launched the biggest ever global campaign to help the ten million children who die unnecessarily each year to survive.

Healy has also taken part in and been a speaker at several anti-war demonstrations against the Iraq War.

Personal life
As of 2024, Healy currently resides in Los Angeles having moved there in 2017 with his wife Nora Kryst and son Clay. They had previously lived in Berlin to be closer to Kryst's mother and raise Clay.

Healy proposed to German photographer and make-up artist Kryst in October 2000 at Hoover Dam while on tour with Travis. Their son Clay was born on March 10, 2006. Healy and Kryst married some time in 2008, and relocated to Berlin as they felt it was a better environment in which to raise their child compared to London.

Healy and Kryst split up in 2019, but it was not made public until 2024 when Healy was promoting Travis' then-new tenth album L.A. Times. Healy's band mates were also initially unaware of the break-up, even though several songs addressed it on their previous album 10 Songs. The song "Live It All Again", which was originally written for 10 Songs but wasn't released until it was included on L.A. Times, also refers to Healy and Kryst's separation. Four years since splitting up, Healy and Kryst are yet to divorce.

In January 2008, it was announced that Healy would curate a new talent compilation for Paul McCartney's Liverpool Institute for Performing Arts.

In 2010, as a way to thank Paul McCartney for playing on his solo album, Healy and his wife became vegetarian. McCartney is a long-time advocate of vegetarianism.

Healy was a member of the Glasgow athletics club Bellahouston Harriers in his youth, and took part in the Berlin Relay Marathon in 2012.

At the 2005 general election, Healy was reported to be a supporter of the Liberal Democrats. In a 2013 interview, speaking of an earlier interview in which he appeared to criticise Alex Salmond, he said "I certainly came across as pro-Labour but the truth is I'm not pro-anyone."

Equipment

 * 1956 Fender Telecaster Sunburst
 * 1958 Fender Telecaster Butterscotsch
 * 1964 Fender Telecaster Black
 * 1970 Fender Telecaster Natural White
 * Fender Mustang Candy Apple Red
 * Fender Mustang Olympic White
 * Fender Thinline Telecaster Mahogany & Sunburst
 * Martin 12 String Acoustic
 * Martin D-18 Acoustic
 * Vox AC30
 * Marshall Amplifiers

Discography
Studio albums
 * Wreckorder (2010)

Featured singles

 * "Do They Know It's Christmas?" (2004) – as part of Band Aid 20

title: Fran Healy (musician)


text:
Turbo (Polish band)

Turbo is a Polish heavy metal band. It was started in 1980 in Poznań by Henryk Tomczak (formerly in Stress and Heam, both pioneering Polish hard rock groups). Turbo has been described as one of the most important bands in Polish heavy metal. Turbo's most famous album is Kawaleria Szatana (Satan's Cavalry), considered an opus of Polish heavy metal. The band is best known for the tracks "Dorosłe Dzieci", "Jaki był ten dzień", "Żołnierz fortuny" and "Wszystko będzie ok".

1980–1989
The first line-up was Wojciech Hoffmann (guitar), Wojciech Anioła (drums) and Wojciech Sowula (vocals). Soon a single was released, the tracks being "W środku tej ciszy" ("Deep in the Silence") and "Byłem z tobą tyle lat" ("So many years with you"). The band's style then was very much like 1970s or early 1980s hard rock. In November 1980, the singer left and was replaced by Piotr Krystek. New tracks were recorded and frequently played on the radio. Soon more line-up changes came, the original founder and bass guitarist left. 16-year-old Piotr Przybylski took his place. Andrzej Łysów joined as second guitarist and the singer was changed once again. Since then Turbo's vocals have been by Grzegorz Kupczyk, one of the most famous Polish heavy metal singers, sometimes compared to Bruce Dickinson.

In 1983, the first album was released, entitled Dorosłe dzieci (Grown-up Children). Its music is a blend of traditional hard rock and NWOBHM. The title track has become a hit and the most recognizable Turbo song. With the LP recorded, the group played extensively, including at Rockowisko in Łódź and the famous Jarocin festival. Despite the success, the line-up continued to change: successive drummers were Marek Olszak, Ryszard Oleksy and Przemysław Pahl. Finally, the drummer's place was taken by Alan Sors. Piotr Przybylski (bass guitar) left and was replaced Bogusz Rutkiewicz.

Apart from problems with the line-up, the band had other difficulties to address. The record company insisted on softening the band's sound and recording more 'catchy' tracks. Wojciech Hoffman later called that "a time of mistakes and distortion". In 1985, a compromise, softened LP, Smak ciszy (The Taste of Silence), was recorded. Despite the sound being relatively soft, the riffing resembles Iron Maiden and the vocals give the music more heaviness. The charting songs were "Smak Ciszy" and "Jaki był ten dzień" ("How That Day Was").

A year later, Turbo recorded an LP that became one of the best Polish heavy metal albums of all time – Kawaleria Szatana (Satan's Cavalry). Heavy riffing, Iron Maiden-like soloing and lyrics dealing with typically 'heavy' themes such as death, war and pain, completely changed the band's image. The LP was very successful and is still considered to be the group's greatest effort. After the release Turbo collaborated with Metal Mind Records, which enabled then to play at the Metalmania festival.

In 1987, the band recorded another LP, Ostatni wojownik (Last Warrior. An English-language version was released in Europe a year later). It was the first album for the new drummer, Tomasz Goehs. The band's style hardened even more, influenced by early Metallica, as did the lyrics, even darker than before. In 1988, the first live recording, Alive!, was released, containing material recorded at gigs on 12 December 1986 and 3 March 1987.

1989–2000
With 1989 came several changes in the line-up – Bogusz Rutkiewicz quit, Andrzej Łysów took bass instead of guitar, and Acid Drinkers' Robert "Litza" Friedrich became the new guitarist. Influenced by Anthrax, Flotsam and Jetsam and Wolf Spider the musicians recorded Epidemie (later English edition, Epidemic), a highly technical thrash album.

In 1990 a break-up occurred, when Grzegorz Kupczyk and Andrzej Łysów quit the band. Tomasz Olszewski joined on bass, and the new singer was Robert "Litza" Friedrich. This line-up went on, creating Dead End which featured somewhat death metal vocals, but the songs' structures are still thrash. The break-up and lack of concerts would cause the band's hiatus. A compilation of 1980–1990 songs was released, containing tracks unreleased before.

Wojciech Hoffman tried to form a new line-up in 1992, releasing One Way (tapes only), but the effort turned out to be a commercial loss and Turbo finally ceased.

The following years, several compilation albums were released – 1992's Titanic, with unreleased songs from the 'softened times', and a year later Dorosłe Dzieci i inne ballady (Grown-up Children and other ballads) – a collection of all Turbo ballads.

In 1995 Turbo played at a gig in Poznań, the line-up being Wojciech Hoffmann, Grzegorz Kupczyk, Bogusz Rutkiewicz together with Marcin Białożyk – guitar and Szymon Ziomkowski – drums. The applause caused the group to reform, and on 1 January 1996 Turbo regrouped. In 1997 another compilation was released, this time entitled Intro: 1982–1996, composed of most popular songs. In 1999 Metal Mind Records released the Turbo discography on CD. The band played at the Thrash'em All and Metalmania festivals.

2000–present
In 2000, a remastered version of Titanic was released, called Remix '92. In January 2000, Turbo played at a gig celebrating Grzegorz Kupczyk's 25 years on stage. The gig was released as a CD, titled 20012000.

In 2001, after a ten-year break, another LP was released. Awatar (The Avatar) was an experimental, new-sounding album, influenced by modern hard rock. The experiments were disapproved of by heavy metal diehards, who rated the album very poorly. The line-up formed was Hoffmann, Kupczyk i Rutkiewicz and Mariusz Bobkowski (drums).

In 2004, Turbo returned with Wojciech Hoffmann, Grzegorz Kupczyk, Bogusz Rutkiewicz and Tomek Krzyżaniak (drums) and Dominik Jokiel (guitar). The Tożsamość (Identity) LP was released, a return to pure heavy metal. The diehard public considered it to be an excellent come back, while others claimed the group was repetitive. In 2005, a limited edition of Tożsamość together with Akustycznie (a record of the acoustic performance XII 2003) was released. The band went to Metalmania and released the gig as a live DVD.

Because of unresolved problems with the record company, and a bad music market situation, the band ceased once again. Wojciech Hoffman began a solo career, Grzegorz Kupczyk worked with his band CETI (band), and Bogusz Rutkiewicz joined Gotham.

In March and April 2007, the group took part in the Metal Marathon Tour 3 with Chainsaw, Turbo's first tour since 2001.

In 2009, Metal Mind Productions released remastered versions of all Turbo albums, including One Way. Also in 2009, Turbo released a new album, Strażnik Światła, with a new member, Tomasz Struszczyk, on vocals. On this album, the band returned to the classic heavy metal music style.

Current members

 * Wojciech Hoffmann – guitar (1980–1992, 1995–present)
 * Bogusz Rutkiewicz – bass guitar (1983–1988, 1995–present)
 * Mario "Bobiś" Bobkowski – drums (2000–2001, 2011–present)
 * Tomasz Struszczyk – vocals (2007–present)
 * Przemysław Niezgódzki – guitar (2018–present)

Former members

 * Grzegorz Kupczyk – vocals (1981–1990, 1995–2007)
 * Piotr Przybylski – bass guitar (1981–1983)
 * Andrzej Łysów – guitar (1981–1988), bass guitar (1988–1990)
 * Tomasz "Lemmy Demolator" Olszewski – bass guitar (1990–1991)
 * Radosław Kaczmarek – bass guitar (1991–1992)
 * Marcin Białożyk – guitar (1991–1992)
 * Dominik Jokiel – guitar (2001–2014; died 2022)
 * Robert Friedrich – guitar, vocals (1988–1991)
 * Wojciech Anioła – drums (1980–1983)
 * Przemysław Pahl – drums (1983–1984, 1985)
 * Alan Sors – drums (1984–1986)
 * Tomasz Goehs – drums (1986–1991, 1995)
 * Daniel Cybusz – drums (1991–1992)
 * Szymon Ziomkowski – drums (1995–2000)
 * Tomasz "Krzyżyk" Krzyżaniak – drums (2001–2011)
 * Krzysztof "Tercjusz" Kurczewski – guitar (2014–2017)

title: Turbo (Polish band)