text:
Music education

Music education is a field of practice in which educators are trained for careers as elementary or secondary music teachers, school or music conservatory ensemble directors. Music education is also a research area in which scholars do original research on ways of teaching and learning music. Music education scholars publish their findings in peer-reviewed journals, and teach undergraduate and graduate education students at university education or music schools, who are training to become music teachers.

Music education touches on all learning domains, including the domain (the development of skills), the cognitive domain (the acquisition of knowledge), and, in particular and the affective domain (the learner's willingness to receive, internalize, and share what is learned), including music appreciation and sensitivity. Many music education curriculums incorporate the usage of mathematical skills as well fluid usage and understanding of a secondary language or culture. The consistency of practicing these skills has been shown to benefit students in a multitude of other academic areas as well as improving performance on standardized tests such as the ACT and SAT. Music training from preschool through post-secondary education is common because involvement with music is considered a fundamental component of human culture and behavior. Cultures from around the world have different approaches to music education, largely due to the varying histories and politics. Studies show that teaching music from other cultures can help students perceive unfamiliar sounds more comfortably, and they also show that musical preference is related to the language spoken by the listener and the other sounds they are exposed to within their own culture.

During the 20th century, many distinctive approaches were developed or further refined for the teaching of music, some of which have had widespread impact. The Dalcroze method (eurhythmics) was developed in the early 20th century by Swiss musician and educator Émile Jaques-Dalcroze. The Kodály Method emphasizes the benefits of physical instruction and response to music. The Orff Schulwerk approach to music education leads students to develop their music abilities in a way that parallels the development of western music.

The Suzuki method creates the same environment for learning music that a person has for learning their native language. Gordon Music Learning Theory provides the music teacher with a method for teaching musicianship through audiation, Gordon's term for hearing music in the mind with understanding. Conversational Solfège immerses students in the musical literature of their own culture, in this case American. The Carabo-Cone Method involves using props, costumes, and toys for children to learn basic musical concepts of staff, note duration, and the piano keyboard. The concrete environment of the specially planned classroom allows the child to learn the fundamentals of music by exploring through touch. The MMCP (Manhattanville Music Curriculum Project) aims to shape attitudes, helping students see music as personal, current, and evolving. Popular music pedagogy is the systematic teaching and learning of rock music and other forms of popular music both inside and outside formal classroom settings. Some have suggested that certain musical activities can help to improve breath, body and voice control of a child.

Overview
In primary schools in European countries, children often learn to play instruments such as keyboards or recorders, sing in small choirs, and learn about the elements of music and history of music. In countries such as India, the harmonium is used in schools, but instruments like keyboards and violin are also common. Students are normally taught basics of Indian Raga music. In primary and secondary schools, students may often have the opportunity to perform in some type of musical ensemble, such as a choir, orchestra, or school band: concert band, marching band, or jazz band. In some secondary schools, additional music classes may also be available. In junior high school or its equivalent, music usually continues to be a required part of the curriculum.

At the university level, students in most arts and humanities programs receive academic credit for music courses such as music history, typically of Western art music, or music appreciation, which focuses on listening and learning about different musical styles. In addition, most North American and European universities offer music ensembles – such as choir, concert band, marching band, or orchestra – that are open to students from various fields of study. Most universities also offer degree programs in music education, certifying students as primary and secondary music educators. Advanced degrees such as the D.M.A. or the Ph.D can lead to university employment. These degrees are awarded upon completion of music theory, music history, technique classes, private instruction with a specific instrument, ensemble participation, and in-depth observations of experienced educators. Music education departments in North American and European universities also support interdisciplinary research in such areas as music psychology, music education historiography, educational ethnomusicology, sociomusicology, and philosophy of education.

The study of western art music is increasingly common in music education outside of North America and Europe, including Asian nations such as South Korea, Japan, and China. At the same time, Western universities and colleges are widening their curriculum to include music of outside the Western art music canon, including music of West Africa, of Indonesia (e.g. Gamelan music), Mexico (e.g., mariachi music), Zimbabwe (marimba music), as well as popular music.

Music education also takes place in individualized, lifelong learning, and in community contexts. Both amateur and professional musicians typically take music lessons, short private sessions with an individual teacher.

Instructional methodologies
While instructional strategies are determined by the music teacher and the music curriculum in his or her area, many teachers rely heavily on one of many instructional methodologies that emerged in recent generations and developed rapidly during the latter half of the 20th century.

Dalcroze method

The Dalcroze method was developed in the early 20th century by Swiss musician and educator Émile Jaques-Dalcroze. The method is divided into three fundamental concepts − the use of solfège, improvisation, and eurhythmics. Sometimes referred to as "rhythmic gymnastics," eurhythmics teaches concepts of rhythm, structure, and musical expression using movement, and is the concept for which Dalcroze is best known. It focuses on allowing the student to gain physical awareness and experience of music through training that engages all of the senses, particularly kinesthetic. According to the Dalcroze method, music is the fundamental language of the human brain and therefore deeply connected to who we are. American proponents of the Dalcroze method include Ruth Alperson, Ann Farber, Herb Henke, Virginia Mead, Lisa Parker, Martha Sanchez, and Julia Schnebly-Black. Many active teachers of the Dalcroze method were trained by Dr. Hilda Schuster who was one of the students of Dalcroze.

Kodály method
Zoltán Kodály (1882–1967) was a prominent Hungarian music educator, philosopher, and composer who highlighted the benefits of sensory perception, physical instruction, and response to music. In reality it is not an educational method, it is an innovative system of literacy and musical training, which proposes that music begins from an early age, such as the development of the mother tongue, where music is an educational tool for social transformation, in addition, proposes that every human being has access to music through the use of the senses, their voice and their corporal expression; His teachings are within a creative and fun educational framework built on a solid understanding of auditory, intuitive, physical, auditory, and visual sensory perception, thereby laying the foundations for listening, musical expression, reading, writing, and musical theory. This occurs in several stages through songs that give rhythmic, melodic, harmonic patterns and all musical elements, in aural, oral, verbal, auditory and visual recognition, reading, writing, creativity and theoretical understanding. Kodály's main goal was to instill in his students a lifelong love of music and he felt it was the duty of the child's school to provide this vital element of education. Some of the characteristic teaching tools of Kodály are the use of hand signs or solfa, rhythmic syllables (stick notation) and mobile C (verbalization). The most important thing is that the methodology belongs to everyone, so music is available to everyone. Most countries have used their own folk or community music traditions to build their own instructional sequence, but in the United States the Hungarian sequence is primarily used. The work of Denise Bacon, Katinka S. Daniel, John Feierabend, Jean Sinor, Jill Trinka, and others brought Kodaly's ideas to the forefront of music education in America.

Orff Schulwerk
Carl Orff was a prominent German composer. Orff Schulwerk is considered an "approach" to music education. It begins with a student's innate abilities to engage in rudimentary forms of music, using basic rhythms and melodies. Orff considers the whole body a percussive instrument and students are led to develop their music abilities in a way that parallels the development of western music. The approach fosters student self-discovery, encourages improvisation, and discourages adult pressures and mechanical drill. Carl Orff developed a special group of instruments, including modifications of the glockenspiel, xylophone, metallophone, drum, and other percussion instruments to accommodate the requirements of the Schulwerk courses. Each bar on the instruments is able to be removed to allow for different scales to be formed. Orff's instruments build motor skills, both visually and kinesthetically, in younger children that might not have those abilities built up yet for other instruments. Experts in shaping an American-style Orff approach include Jane Frazee, Arvida Steen, and Judith Thomas.

Suzuki method
The Suzuki method was developed by Shinichi Suzuki in Japan shortly after World War II, and uses music education to enrich the lives and moral character of its students. The movement rests on the double premise that "all children can be well educated" in music, and that learning to play music at a high level also involves learning certain character traits or virtues which make a person's soul more beautiful. The primary method for achieving this is centered around creating the same environment for learning music that a person has for learning their native language. This 'ideal' environment includes love, high-quality examples, praise, rote training and repetition, and a time-table set by the student's developmental readiness for learning a particular technique. While the Suzuki Method is quite popular internationally, within Japan its influence is less significant than the Yamaha Method, founded by Genichi Kawakami in association with the Yamaha Music Foundation.

Other notable methods
In addition to the four major international methods described above, other approaches have been influential. Lesser-known methods are described below:

Gordon's music learning theory
Edwin Gordon's music learning theory is based on an extensive body of research and field testing by Aiden Griffin and others in the larger field of music learning theory. It provides music teachers with a comprehensive framework for teaching musicianship through audiation, Gordon's term for hearing music in the mind with understanding and comprehension when the sound is not physically present. The sequence of instructions is discrimination learning and inference learning. Discrimination Learning, the ability to determine whether two elements are the same or not the same using aural/oral, verbal association, partial synthesis, symbolic association, and composite synthesis. With inference learning, students take an active role in their own education and learn to identify, create, and improvise unfamiliar patterns. The skills and content sequences within the audiation theory help music teachers establish sequential curricular objectives in accord with their own teaching styles and beliefs. There also is a learning theory for newborns and young children in which the types and stages of preparatory audiation are outlined.

World music pedagogy
The growth of cultural diversity within school-age populations prompted music educators from the 1960s onward to diversify the music curriculum, and to work with ethnomusicologists and artist-musicians to establish instructional practices rooted in musical traditions. 'World music pedagogy' was coined by Patricia Shehan Campbell to describe world music content and practice in elementary and secondary school music programs. Pioneers of the movement, especially Barbara Reeder Lundquist, William M. Anderson, and Will Schmid, influenced a second generation of music educators (including J. Bryan Burton, Mary Goetze, Ellen McCullough-Brabson, and Mary Shamrock) to design and deliver curricular models to music teachers of various levels and specializations. The pedagogy advocates the use of human resources, i.e., "culture-bearers," as well as deep and continued listening to archived resources such as those of Smithsonian Folkways Recordings.

Conversational Solfège
Influenced by both the Kodály method and Gordon's Music Learning Theory, Conversational Solfège was developed by Dr. John M. Feierabend, former chair of music education at the Hartt School, University of Hartford. The program begins by immersing students in the musical literature of their own culture, in this case American. Music is seen as separate from, and more fundamental than, notation. In twelve learning stages, students move from hearing and singing music to decoding and then creating music using spoken syllables and then standard written notation. Rather than implementing the Kodály method directly, this method follows Kodály's original instructions and builds on America's own folk songs instead of on Hungarian folk songs.

Carabo-Cone method
This early-childhood approach, sometimes referred to as the sensory-motor approach to music, was developed by the violinist Madeleine Carabo-Cone. This approach involves using props, costumes, and toys for children to learn basic musical concepts of staff, note duration, and the piano keyboard. The concrete environment of the specially planned classroom allows the child to learn the fundamentals of music by exploring through touch.

Popular music pedagogy
'Popular music pedagogy' — alternatively called rock music pedagogy, modern band, popular music education, or rock music education — is a 1960s development in music education consisting of the systematic teaching and learning of rock music and other forms of popular music both inside and outside formal classroom settings. Popular music pedagogy tends to emphasize group improvisation, and is more commonly associated with community music activities than fully institutionalized school music ensembles.

Manhattanville Music Curriculum Project
The Manhattanville Music Curriculum Project was developed in 1965 as a response to declining student interest in school music. This creative approach aims to shape attitudes, helping students see music not as static content to be mastered, but as personal, current, and evolving. Rather than imparting factual knowledge, this method centers around the student, who learns through investigation, experimentation, and discovery. The teacher gives a group of students a specific problem to solve together and allows freedom to create, perform, improvise, conduct, research, and investigate different facets of music in a spiral curriculum. MMCP is viewed as the forerunner to projects in creative music composition and improvisation activities in schools.

Standards and assessment
Achievement standards are curricular statements used to guide educators in determining objectives for their teaching. Use of standards became a common practice in many nations during the 20th century. For much of its existence, the curriculum for music education in the United States was determined locally or by individual teachers. In recent decades there has been a significant move toward adoption of regional and/or national standards. MENC: The National Association for Music Education, created nine voluntary content standards, called the National Standards for Music Education. These standards call for:
 * 1) Singing, alone and with others, a varied repertoire of music.
 * 2) Performing on instruments, alone and with others, a varied repertoire of music.
 * 3) Improvising melodies, variations, and accompaniments.
 * 4) Composing and arranging music within specified guidelines.
 * 5) Reading and notating music.
 * 6) Listening to, analyzing, and describing music.
 * 7) Evaluating music and music performances.
 * 8) Understanding relationships between music, the other arts, and disciplines outside the arts.
 * 9) Understanding music in relation to history and culture.

Integration with other subjects
Some schools and organizations promote integration of arts classes, such as music, with other subjects, such as math, science, or English, believing that integrating the different curricula will help each subject to build off of one another, enhancing the overall quality of education.

One example is the Kennedy Center's "Changing Education Through the Arts" program. CETA defines arts integration as finding a natural connection(s) between one or more art forms (dance, drama/theater, music, visual arts, storytelling, puppetry, and/or creative writing) and one or more other curricular areas (science, social studies, English language arts, mathematics, and others) in order to teach and assess objectives in both the art form and the other subject area. This allows a simultaneous focus on creating, performing, and/or responding to the arts while still addressing content in other subject areas. Music in education is a way of incorporating music in teaching a subject. Music can be useful in education because, to play music it utilizes critical thinking and problem solving skills. Depending on the subject, it offers a new way of learning information. For example, in literacy, it can explain different elements like metaphors, characters and setting. Music teaches repetition which in turn benefits mathematical skills. For learning mathematics, the components of music are very helpful, simplifying concepts such as fractions and ratios. This is because of the way music works. Music also involves frequency and sound waves which are beneficial to understanding concepts in science. Understanding the different pitches in words and patterns in structure coincide with the way music structure is understood and read.

The European Union Lifelong Learning Programme 2007–2013 has funded three projects that use music to support language learning. Lullabies of Europe (for pre-school and early learners), FolkDC (for primary), and the recent PopuLLar (for secondary). In addition, the ARTinED project is also using music for all subject areas.

Significance
A number of researchers and music education advocates have argued that studying music enhances academic achievement, such as William Earhart, former president of the Music Educators National Conference, who claimed that "Music enhances knowledge in the areas of mathematics, science, geography, history, foreign language, physical education, and vocational training." Researchers at the University of Wisconsin suggested that students with piano or keyboard experience performed 34% higher on tests that measure spatial-temporal lobe activity, which is the part of the brain that is used when doing mathematics, science, and engineering. A long-term study over twelve years at the University of Graz also found a change in the grey matter in the brain of children with music lessons.

An experiment by Wanda T. Wallace setting text to melody suggested that some music may aid in text recall. She created a three verse song with a non-repetitive melody; each verse with different music. A second experiment created a three verse song with a repetitive melody; each verse had exactly the same music. A third experiment studied text recall without music. She found the repetitive music produced the highest amount of text recall, suggesting music can serve as a mnemonic device.

Smith (1985) studied background music with word lists. One experiment involved memorizing a word list with background music; participants recalled the words 48 hours later. Another experiment involved memorizing a word list with no background music; participants also recalled the words 48 hours later. Participants who memorized word lists with background music recalled more words demonstrating music provides contextual cues.

Citing studies that support music education's involvement in intellectual development and academic achievement, the United States Congress passed a resolution declaring that: "Music education enhances intellectual development and enriches the academic environment for children of all ages; and Music educators greatly contribute to the artistic, intellectual and social development of American children and play a key role in helping children to succeed in school."

Bobbett (1990) suggests that most public school music programs have not changed since their inception at the turn of the last century. "…the educational climate is not conducive to their continuance as historically conceived and the social needs and habits of people require a completely different kind of band program." A 2011 study conducted by Kathleen M. Kerstetter for the Journal of Band Research found that increased non-musical graduation requirements, block scheduling, increased number of non-traditional programs such as magnet schools, and the testing emphases created by the No Child Left Behind Act are only some of the concerns facing music educators. Both teachers and students are under increased time restrictions"

Patricia Powers states, "It is not unusual to see program cuts in the area of music and arts when economic issues surface. It is indeed unfortunate to lose support in this area especially since music and the art programs contribute to society in many positive ways." Comprehensive music education programs average $187 per pupil, according to a 2011 study funded by the NAMM Foundation. The Texas Commission on Drugs and Alcohol Abuse Report noted that students who participated in band or orchestra reported the lowest lifetime and current use of all substances including alcohol, tobacco, and illicit drugs.

Teaching with music
Studies have shown that music education can be used to enhance cognitive achievement in students. In the United States an estimated 30% of students struggle with reading, while 17% are reported as having a specific learning disability linked to reading. Using intensive music curriculum as an intervention paired alongside regular classroom activities, research shows that students involved with the music curriculum show increases in reading comprehension, word knowledge, vocabulary recall, and word decoding. According to the National Association for Music Education, in a study done in 2012, those who participated in musical activities scored higher on the SAT. These students scored an average of 31 points higher in reading and writing, and 23 points higher in math. When a student is singing a melody with text, they are using multiple areas of their brain to multitask. Music affects language development, increases IQ, spatial-temporal skills, and improves test scores. Music education has also shown to improve the skills of dyslexic children in similar areas as mentioned earlier by focusing on visual auditory and fine motor skills as strategies to combat their disability. Since research in this area is sparse, we cannot convincingly conclude these findings to be true, however the results from research done do show a positive impact on both students with learning difficulties and those who are not diagnosed. Further research will need to be done, but the positive engaging way of bringing music into the classroom cannot be forgotten, and the students generally show a positive reaction to this form of instruction.

Music education has also been noted to have the ability to increase someone's overall IQ, especially in children during peak development years. Spatial ability, verbal memory, reading and mathematic ability are seen to be increased alongside music education (primarily through the learning of an instrument). Researchers also note that a correlation between general attendance and IQ increases is evident, and due to students involvement in music education, general attendance rates increase along with their IQ.

Fine motor skills, social behaviors, and emotional well-being can also be increased through music and music education. The learning of an instrument increases fine motor skills in students with physical disabilities. Emotional well being can be increased as students find meaning in songs and connect them to their everyday life. Through social interactions of playing in groups like jazz and concert bands, students learn to socialize and this can be linked to emotional and mental well-being.

There is evidence of positive impacts of participation in youth orchestras and academic achievement and resilience in Chile. According to the International Association for the Evaluation of Educational Achievement (IAEEA), "the world's top academic countries place a high value on music education. Hungary, Netherlands, and Japan have required music training at the elementary and middle school levels, both instrumental and vocal, for several decades."

In contrast to previous experimental studies, a meta-analysis published in 2020 found a lack of evidence to support the claim that musical training positively impacts children’s cognitive skills and academic achievements, with the authors concluding that "researchers’ optimism about the benefits of music training is empirically unjustified and stems from misinterpretation of the empirical data and, possibly, confirmation bias."

Music advocacy
In some communities – and even entire national education systems – music is provided little support as an academic subject area, and music teachers feel that they must actively seek greater public endorsement for music education as a legitimate subject of study. This perceived need to change public opinion has resulted in the development of a variety of approaches commonly called "music advocacy". Music advocacy comes in many forms, some of which are based upon legitimate scholarly arguments and scientific findings, while other examples controversially rely on emotion, anecdotes, or unconvincing data.

Recent high-profile music advocacy projects include the "Mozart Effect", the National Anthem Project, and the movement in World Music Pedagogy (also known as  Cultural Diversity in Music Education) which seeks out means of equitable pedagogy across students regardless of their race, ethnicity, or socioeconomic circumstance. The Mozart effect is particularly controversial as while the initial study suggested listening to Mozart positively impacts spatial-temporal reasoning, later studies either failed to replicate the results, suggested no effect on IQ or spatial ability, or suggested the music of Mozart could be substituted for any music children enjoy in a term called "enjoyment arousal." Another study suggested that even if listening to Mozart may temporarily enhance a student's spatial-temporal abilities, learning to play an instrument is much more likely to improve student performance and achievement. Educators similarly criticized the National Anthem Project not only for promoting the educational use of music as a tool for non-musical goals, but also for its links to nationalism and militarism.

Contemporary music scholars assert that effective music advocacy uses empirically sound arguments that transcend political motivations and personal agendas. Music education philosophers such as Bennett Reimer, Estelle Jorgensen, David J. Elliott, John Paynter, and Keith Swanwick support this view, yet many music teachers and music organizations and schools do not apply this line of reasoning into their music advocacy arguments. Researchers such as Ellen Winner conclude that arts advocates have made bogus claims to the detriment of defending the study of music, her research debunking claims that music education improves math, for example. Researchers Glenn Schellenberg and Eugenia Costa-Giomi also criticize advocates incorrectly associating correlation with causation, Giomi pointing out that while there is a "strong relationship between music participation and academic achievement, the causal nature of the relationship is questionable." Philosophers David Elliott and Marissa Silverman suggest that more effective advocacy involves shying away from "dumbing down" values and aims through slogans and misleading data, energy being better focused into engaging potential supporters in active music-making and musical-affective experiences, these actions recognizing that music and music-making are inherent to human culture and behavior, distinguishing humans from other species. The focus is also on advocacy of music education as important, despite disparities in income and social status. Woodrow Wilson said "We want one class of persons to have a liberal education, and we want another class of persons, a very much larger class of necessity in every society, to forgo the privilege of a liberal education and fit themselves to perform specific difficult manual tasks."

Cross-cultural music education
The music, languages, and sounds we are exposed to within our own cultures determine our tastes in music and affect the way we perceive the music of other cultures. Many studies have shown distinct differences in the preferences and abilities of musicians from around the world. One study attempted to view the distinctions between the musical preferences of English and Japanese speakers, providing both groups of people with the same series of tones and rhythms. The same type of study was done for English and French speakers. Both studies suggested that the language spoken by the listener determined which groupings of tones and rhythms were more appealing, based on the inflections and natural rhythm groupings of their language.

Another study had Europeans and Africans try to tap along with certain rhythms. European rhythms are regular and built on simple ratios, while African rhythms are typically based on irregular ratios. While both groups of people could perform the rhythms with European qualities, the European group struggled with the African rhythms. This has to do with the ubiquity of complex polyrhythm in African culture and their familiarity with this type of sound.

While each culture has its own musical qualities and appeals, incorporating cross-cultural curricula in our music classrooms can help teach students how to better perceive music from other cultures. Studies show that learning to sing folk songs or popular music of other cultures is an effective way to understand a culture as opposed to merely learning about it. If music classrooms discuss the musical qualities and incorporate styles from other cultures, such as the Brazilian roots of the Bossa Nova, the Afro-Cuban clave, and African drumming, it will expose students to new sounds and teach them how to compare their cultures’ music to the different music and start to make them more comfortable with exploring sounds.

Role of women
While music critics argued in the 1880s that "...women [composers] lacked the innate creativity to compose good music" due to "biological predisposition", later, it was accepted that women would have a role in music education, and they became involved in this field "...to such a degree that women dominated music education during the later half of the 19th century and well into the 20th century." "Traditional accounts of the history of music education [in the US] have often neglected the contributions of women, because these texts have emphasized bands and the top leaders in hierarchical music organizations." When looking beyond these bandleaders and top leaders, women had many music education roles in the "...home, community, churches, public schools, and teacher-training institutions" and "...as writers, patrons, and through their volunteer work in organizations."

Despite the limitations imposed on women's roles in music education in the 19th century, women were accepted as kindergarten teachers, because this was deemed to be a "private sphere". Women also taught music privately, in girl's schools, Sunday schools, and they trained musicians in school music programs. By the turn of the 20th century, women began to be employed as music supervisors in elementary schools, teachers in normal schools and professors of music in universities. Women also became more active in professional organizations in music education, and women presented papers at conferences. A woman, Frances Clarke (1860-1958) founded the Music Supervisors National Conference in 1907. While a small number of women served as President of the Music Supervisors National Conference (and the following renamed versions of the organization over the next century) in the early 20th century, there were only two female Presidents between 1952 and 1992, which "[p]ossibly reflects discrimination."

After 1990, however, leadership roles for women in the organization opened up. From 1990 to 2010, there were five female Presidents of this organization. Women music educators "outnumber men two-to-one" in teaching general music, choir, private lessons, and keyboard instruction. More men tend to be hired as for band education, administration and jazz jobs, and more men work in colleges and universities. According to Dr. Sandra Wieland Howe, there is still a "glass ceiling" for women in music education careers, as there is "stigma" associated with women in leadership positions and "men outnumber women as administrators."

Historical aspects
Among the Aztecs, a great variety of instruments were used for two main purposes: to curate and play - religious music (the purview of specialized priests; and to perform court music - (played daily for the Aztec ruling class.) The education of Aztecs of all social ranks, were conducted in schools called calmecac, telpochcalli, and cuicacalli. and was a requirement for all people. This emphasizes the great importance that music and dance played in the lives of the Aztecs. In Mayan culture, musicians occupied a space between the elite and the common people. Music played a prominent role and professional musicians using a variety of wind instruments, drums and rattles to celebrate military victories. Music also played a prominent role in the funeral rites of the elite. With Spanish and Portuguese colonization, music began to be influenced by European ideas and principles.The Catholic Church used music education as a means to spread Christianity to local indigenous populations. One example of an early educator is Esteban Salas considered the first Cuban native-born art music composer developed Santiago de Cuba into a center of music excellence in the country. Salinas’ influence in the development of Cuban music includes a collection of over 100 music compositions that established him as the initiator of the Cuban art music tradition. His legacy continues in modern-day Cuba where the Esteban Salas Early Music Festival is held every year in Havana. The festival attracts classical music artists from around the world to perform and teach music following the tradition of Esteban Salinas.

Since music was taught to the general public by rote, until the nineteenth and twentieth centuries, very few people knew how to read music other than those who played instruments. The development of music in Latin America mainly followed that of European development: Choirs were formed to sing masses, chants, psalms; secular music also became more prevalent in the seventeenth and eighteenth centuries and beyond.

Today
Today, music education in Latin America places a large emphasis on folk music, masses, and orchestral music. Many schools teach their choirs to sing in their native language as well as in English. Several Latin American Schools, specifically in Puerto Rico and Haiti, believe music to be an important subject and are working on expanding their programs. In Puerto Rico, there is no official music education policy governing early childhood music instruction. Outside of school, many communities form their own musical groups and organizations their performances being very popular with the local audiences. There are a few well-known Latin American choral groups, such as "El Coro de Madrigalistas" from Mexico. This famous choral group tours around Mexico, showing students around the country what a professional choral ensemble sounds like. There is also evidence of the positive impact of participation in youth orchestras and academic achievement and resilience in Chile.

Music education can improve academic results in children. In Colombia, the Medellin Music School network has been in operation for over two decades. It has been demonstrated that students involved in this music program have better academic achievement and are less inclined to participate in violence. The music program increases chances of graduation for participants.

Music education and indigenous cultures
Beyond traditional choral music, young Latin American artists are now using hip-hop as a way to promote the revitalization of indigenous languages and celebrate traditions that originated before the Spanish Conquest. Hip-hop in Latin America now acts as a voice of the oppressed, establishing this form of music as an expression of social revolution. Throughout Latin America, young indigenous artists are now using hip hop as a way to express their struggle against poverty and injustice. The new music coming out of Latin America all shows influences that go back to ancient Indigenous traditions. Uchpa and Alborada are two successful Peruvian bands who have celebrated their indigenous roots. From Chile, Jaas Newen's song "Inche Kay Che" calls for the defense of traditional Indigenous culture. The song "Koangagu" by Brazilian group Brô MC’s examines how Indigenous and modern Brazilian cultures can come together in music. "Presente y Combativo" by Parce MC, Mugre Sur, Sapín celebrates the life of a Bolivian rapper who was murdered in 2009.

18th century
After the preaching of Reverend Thomas Symmes, the first singing school was created in 1717 in Boston for the purposes of improving singing and music reading in the church. These singing schools gradually spread throughout the colonies. Music education continued to flourish with the creation of the Academy of Music in Boston. Reverend John Tufts published An Introduction to the Singing of Psalm Tunes Using Non-Traditional Notation which is regarded as the first music textbook in the colonies. Between 1700 and 1820, more than 375 tune books would be published by such authors as Samuel Holyoke, Francis Hopkinson, William Billings, and Oliver Holden.

Music began to spread as a curricular subject into other school districts. Soon after music expanded to all grade levels and the teaching of music reading was improved until the music curriculum grew to include several activities in addition to music reading. By the end of 1864 public school music had spread throughout the country.

19th century
In 1832, Lowell Mason and George Webb formed the Boston Academy of Music with the purposes of teaching singing and theory as well as methods of teaching music. Mason published his Manuel of Instruction in 1834 which was based upon the music education works of Pestalozzian System of Education founded by Swiss educator Johann Heinrich Pestalozzi. This handbook gradually became used by many singing school teachers. From 1837 to 1838, the Boston School Committee allowed Lowell Mason to teach music in the Hawes School as a demonstration. This is regarded as the first time music education was introduced to public schools in the United States. In 1838 the Boston School Committee approved the inclusion of music in the curriculum and Lowell Mason became the first recognized supervisor of elementary music. In later years Luther Whiting Mason became the Supervisor of Music in Boston and spread music education into all levels of public education (grammar, primary, and high school).

During the middle of the 19th century, Boston became the model to which many other cities across the United States included and shaped their public school music education programs. Music methodology for teachers as a course was first introduced in the Normal School in Potsdam. The concept of classroom teachers in a school that taught music under the direction of a music supervisor was the standard model for public school music education during this century. (See also: Music education in the United States) While women were discouraged from composing in the 19th century, "later, it was accepted that women would have a role in music education, and they became involved in this field...to such a degree that women dominated music education during the later half of the 19th century and well into the 20th century."

Early 20th century
In the United States, teaching colleges with four-year degree programs developed from the Normal Schools and included music. Oberlin Conservatory first offered the Bachelor of Music Education degree. Osbourne G. McCarthy, an American music educator, introduced details for studying music for credit in Chelsea High School. Notable events in the history of music education in the early 20th century also include:
 * Founding of the Music Supervisor's National Conference (changed to Music Educators National Conference in 1934, later MENC: The National Association for Music Education in 1998, and currently The National Association for Music Education – NAfME) in Keokuk, Iowa in 1907.
 * Rise of the school band and orchestra movement leading to performance oriented school music programs.
 * Growth in music methods publications.
 * Frances Elliot Clark develops and promotes phonograph record libraries for school use.
 * Carl Seashore and his Measures of Musical Talent music aptitude test starts testing people in music.

Middle 20th century to 21st century
The following table illustrates some notable developments from this period:

Present
Music course offerings and even entire degree programs in online music education developed in the first decade of the 21st century at various institutions, and the fields of world music pedagogy and popular music pedagogy have also seen notable expansion.

In the late 20th and early 21st centuries, social aspects of teaching and learning music came to the fore. This emerged as praxial music education, critical theory, and feminist theory. Of importance are the colloquia and journals of the MayDay Group, "an international think tank of music educators that aims to identify, critique, and change taken-for-granted patterns of professional activity, polemical approaches to method and philosophy, and educational politics and public pressures that threaten effective practice and critical communication in music education." With a new focus on social aspects of music education, scholars have analyzed critical aspects such as music and race, gender, class, institutional belonging, and sustainability.

Europe
Music has been a prominent subject in schools and other learning institutions in Europe for many centuries. Such early institutions as the Sistine Chapel Choir and the Vienna Boys Choir offered important early models of choral learning, while the Paris Conservatoire later became influential for training in wind band instruments. Several instructional methods were developed in Europe that would later impact other parts of the world, including those affiliated with Zoltan Kodaly, Carl Orff, Émile Jaques-Dalcroze, and ABRSM, to name but a few. Notable professional organizations on the continent now include the Europe regional branch of the International Society for Music Education, and the European Association of Conservatoires. In recent decades, Central, Southern, and Eastern Europe have tended to successfully emphasize classical music heritage, while the Nordic countries have especially promoted popular music in schools.

India
Institutional music education was started in colonial India by Rabindranath Tagore after he founded the Visva-Bharati University. At present, most universities have a faculty of music with some universities specially dedicated to fine arts such as Indira Kala Sangeet University, Swathi Thirunal College of Music, Prayag Sangeet Samiti or Rabindra Bharati University.Indian classical music is based on the Guru-Shishya parampara system. The teacher, known as Guru, transmit the musical knowledge to the student, or shyshya. This is still the main system used in India to transmit musical knowledge. Although European art music became popularized in schools throughout much of the world during the twentieth century (East Asia, Latin America, Oceania, Africa), India remains one of the few highly populated nations in which non-European indigenous music traditions have consistently received relatively greater emphasis. That said, there is certainly much western influence in the popular music associated with Bollywood film scores.

Indonesia
The Indonesian island of Java is known for its rich musical culture, centered around gamelan music. The two oldest gamelan instrument sets, dating from the twelfth century, are housed in the kratons (palaces) in the cities of Yogyakarta and Surakarta. Gamelan music is an integral part of the Javanese culture: it is a part of religious ceremonies, weddings, funerals, palace activities, national holidays, and local community gatherings. In recent years, there has been an increasing market for gamelan associated tourism: several companies arrange visits for tourists wishing to participate in and learn gamelan.

Gamelan music has a distinct pedagogical approach. The term maguru panggul, translated means “teaching with the mallet” describes the master-apprentice approach that is used most often when teaching the music. The teacher demonstrates long passages of music at a time, without stopping to have the student demonstrate comprehension of the passage, as in a western music pedagogy. A teacher and student will frequently sit on opposite sides of a drum or mallet instrument, so that both can play it. This provides the teacher an easy way to demonstrate, and the student can study and mimic the teacher's actions. The teacher trains the kendang player, who is the leader of the ensemble. The teacher works one on one with them and repeats the parts as many times as necessary until the piece is rhythmically and stylistically accurate. The Kendang player is sometimes relied on to transmit the music to their fellow gamelan members.

Africa
The South African Department of Education and the ILAM Music Heritage Project SA teach African music using western musical framework. ILAM's Listen and Learn for students 11–14 is "unique" in teaching curriculum requirements for western music using recordings of traditional African music.

From the time that Africa was colonized up to 1994, indigenous music and arts being taught in schools was a rare occurrence. The African National Congress (ANC) attempted to repair the neglect of indigenous knowledge and the overwhelming emphasis on written musical literacy in schools. It is not well known that the learning of indigenous music actually has a philosophy and teaching procedure that is different from western “formal” training. It involves the whole community because indigenous songs are about the history of its people. After the colonization of Africa, music became more centered on Christian beliefs and European folk songs, rather than the more improvised and fluid indigenous music. Before the major changes education went through from 1994 to 2004, during the first decade of the democratic government, teachers were trained as classroom teachers and told that they would have to incorporate music into other subject areas. The few colleges with teaching programs that included instrumental programs held a greater emphasis on music theory, history of western music, western music notation, and less on making music. Up until 1999, most college syllabi did not include training in indigenous South African Music.

In African cultures, music is seen as a community experience and is used for social and religious occasions. As soon as children show some sign of being able to handle music or a musical instrument they are allowed to participate with the adults of the community in musical events. Traditional songs are more important to many people because they are stories about the histories of the indigenous peoples.

Australia
Although the National Curriculum for schools includes music under its Arts component, research published in 2005 and 2020 have shown that it varies widely from state to state and school to school, with some students receiving none at all. By state and territory: Queensland's state primary schools has enjoyed good music programs since the 1980s; South Australia's music education strategy and fund was formed in 2019; Victoria has a best practice framework; Tasmania, Western Australia, and the ACT employs specialist teachers in some primary schools; in New South Wales, generalist teachers are responsible for teaching the whole primary school curriculum in state schools.

In November 2018, ABC Television aired Don't Stop The Music, a three-part series which documented the launch and progress of a music program in a primary school in an underprivileged area of Perth, Western Australia. It showed the positive effects of the program on the students and their families, as well as the teachers. A broader project encouraged members of the public to donate musical instruments to disadvantaged schools, which led to Musica Viva Australia receiving over 4,500 instruments to process. The series featured popular musician Guy Sebastian and researcher and music educator Anita Collins, and was also supported by the Salvation Army.

Notable music educators

 * Jamey Aebersold
 * Stefan Ammer
 * Ysaye Barnwell
 * Leonard Bernstein
 * Edward Bailey Birge
 * Nadia Boulanger
 * Allen Britton
 * Patricia Shehan Campbell
 * F. Melius Christiansen
 * Frances Elliott Clark
 * Satis N. Coleman
 * Julia Crane
 * John Curwen
 * Max Deutsch
 * Peter W. Dykema
 * Will Earhart
 * Jacob Eisenberg
 * David J. Elliott
 * Sarah Ann Glover
 * Edwin Gordon
 * Lucy Green
 * Philip C. Hayden
 * David G. Hebert
 * Paul Hindemith
 * Jere T. Humphreys
 * Émile Jaques-Dalcroze
 * Dmitry Kabalevsky
 * Zoltán Kodály
 * Paul R. Lehman
 * Charles Leonhard
 * Joseph E. Maddy
 * Michael Mark
 * Ellis Marsalis, Jr.
 * Wynton Marsalis
 * Lowell Mason
 * Luther Whiting Mason
 * Lin Manuel Miranda
 * James Mursell
 * Carl Orff
 * John Paynter
 * Bennett Reimer
 * R. Murray Schafer
 * Christopher Small
 * Shinichi Suzuki
 * Lennie Tristano
 * John Tufts
 * Thomas Tyra
 * Heitor Villa-Lobos

Professional organizations

 * American Choral Directors Association
 * American Orff-Schulwerk Association
 * American String Teachers Association
 * International Association for Jazz Education
 * International Society for Music Education
 * International Society for Philosophy of Music Education
 * National Association for Music Education (US-based: also called NafME, and previously MENC)
 * Music Teachers National Association
 * Nordic Network for Music Education (NNME)

title: Music education


text:
User:CesarB/Watchlists

 * Most vandalized pages (related changes)
 * List of controversial issues (related changes)
 * Featured articles (related changes)
 * Category:Current events (related changes)
 * Category:Living people (related changes)
 * List of administrators (related changes)

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

title: User:CesarB/Watchlists


text:
Melinda

Melinda is a feminine given name.

Etymology
The modern name Melinda is a combination of "Mel" with the suffix "-inda". "Mel" can be derived from names such as Melanie meaning "dark, black" in Greek, or from Melina meaning "sweet like honey" or from Melissa (μέλισσα) meaning "honeybee" in Greek. It is also associated with the Greek word meli, meaning "honey", and with Linda, from "lind" meaning "gentle, soft, tender" in the Germanic languages.

Pronunciation
The typical English pronunciation of Melinda is. In Hungarian, the stress is on the first syllable:.

Usage and popularity
The name Melinda is used in English and Hungarian. In the United States, its popularity peaked in 1973 at No. 72. In 1990 it was in the top 1000 names in the US, and in 2002 it was in the top 100 names in Hungary. Since its peak the popularity of the name Melinda has been gradually declining in the United States, to last be seen on the top 1000 list in 2002 at No. 932. Variations in spelling include Melynda, Melyndah, Malinda, and Milinda. In Hungary, December 2 is the name day for Melinda.

Academics

 * Malinda Carpenter, Fellow of the Royal Society of Edinburgh, child development psychology researcher
 * Melinda H. Keefe, American art restorer
 * Melinda Mills, British sociologist
 * Melinda Takeuchi, American art historian
 * Melinda Tan, Singaporean linguist
 * Melinda Wortz, American art historian

Actors

 * Melinda Clarke, American actress
 * Melinda Y. Cohen, American actress
 * Melinda "Mindy" Cohn, American actress
 * Melinda Culea, American actress
 * Melinda Dillon, American actress
 * Melinda O. Fee, American actress
 * Melinda Kinnaman, Swedish actress
 * Melinda Marx, American actress and daughter of Groucho Marx
 * Melinda McGraw, American actress
 * Melinda Messenger, English model and TV presenter
 * Melinda Mullins, American actress
 * Melinda Page Hamilton, American actress
 * Melinda Shankar, Canadian actress
 * Melinda Sullivan, American dancer and actress
 * Melinda Sward, American actress
 * Malinda Williams, American actress

Artists

 * Melinda Bordelon, American painter
 * Melinda Doring, Australian costume designer
 * Melinda Rackham, Australian artist

Entertainers

 * Melinda Bam South African model and beauty pageant titleholder
 * Melinda Ledbetter, wife and manager of Brian Wilson
 * Malinda Kathleen Reese, American YouTube personality, actress and singer
 * Melinda Saxe, American magician

Lawyers

 * Melinda Haag, former US attorney
 * Melinda Harmon, US judge
 * Melinda Taylor, Australian ICC lawyer

Musicians

 * Melinda Caroll, American singer
 * Melinda Doolittle, American singer and American Idol contestant
 * Melinda Kistétényi, Hungarian organist
 * Melinda Maxwell, English oboist and composer
 * Melinda O'Neal, American conductor
 * Malinda Jackson Parker, Liberian singer and politician
 * Melinda Schneider, Australian Country Singer
 * Melinda Watts, American singer and musician

Philanthropists

 * Melinda Gates, philanthropist and ex-wife of Bill Gates

Politicians

 * Malinda Brumfield White (born 1967), American politician
 * Melinda Bush, Illinois senator
 * Melinda Katz, New York politician
 * Melinda MacLean, Canadian politician
 * Melinda Pavey, Australian politician
 * Melinda Schwegmann, Louisiana state representative and lieutenant-governor
 * Melinda Smyser, Idaho senator
 * Melinda Széky-Sztrémi, Hungarian politician

Reporters

 * Melinda Murphy, American reporter

Scientists

 * Melinda Estes, American neuropathologist

Sportswomen

 * Melinda Cooper, American boxer
 * Melinda Copp, Canadian swimmer
 * Melinda Czink, Hungarian tennis player
 * Melinda Gainsford-Taylor, Australian athlete
 * Melinda Geiger, Romanian handballer
 * Melinda Hale, American handball player
 * Mélinda Hennaoui, Algerian volleyball player
 * Melinda Henshaw, New Zealand yachtswoman
 * Melinda Jacques, French handball player
 * Melinda Kunhegyi, Canadian figure skater
 * Melinda McLeod, Australian BMX cyclist
 * Melinda Padovano, American wrestler
 * Melinda Pastrovics, Hungarian handballer
 * Melinda Patyi, Hungarian canoeist
 * Melinda Sun, Australian badminton player
 * Melinda Szikora, Hungarian handballer
 * Melinda Szik, Hungarian weightlifter
 * Melinda Szvorda, Hungarian footballer
 * Melinda Vernon, Australian triathlete
 * Melinda Vincze, Hungarian handballer
 * Melinda Wang, Taiwanese figure skater
 * Melinda Young, Australia basketball

Writers

 * Melinda Camber Porter, British author, poet and painter
 * Melinda Gebbie, American comic author and artist
 * Melinda Hammond, British romance novelist
 * Melinda Haynes, American novelist
 * Melinda Hsu Taylor, American TV writer and producer
 * Malinda Lo, American author
 * Melinda Lopez, American playwright
 * Melinda Metz, American children's author
 * Melinda Nadj Abonji, Hungarian writer and performance artist
 * Melinda Rankin (1811–1888), American missionary, teacher, and writer
 * Melinda Smith, Australian poet
 * Melinda M. Snodgrass, American science fiction writer
 * Melinda Tankard Reist, Australian writer and social campaigner
 * Melinda Wagner, American composer and Pulitzer Prize winner

Other

 * Melinda Loveless, American teenager convicted for her role in the 1992 murder of Shanda Sharer

In film and television

 * Melinda (film), American film, 1972
 * Melinda and Melinda, American film, 2005
 * Melinda Gordon, Jennifer Love Hewitt's character from Ghost Whisperer
 * Melinda from The Real World: Austin
 * Melinda Warren and Melinda Halliwell, from TV show Charmed
 * Melinda Warner, Medical examiner on Law & Order: Special Victims Unit
 * Melinda Cramer, character on One Life to Live
 * Melinda May from Agents of S.H.I.E.L.D.
 * "Melinda" (Agents of S.H.I.E.L.D.), episode
 * Melinda, a centaur from the Disney movie Fantasia

In music

 * "Sweet Melinda, the peasants call her the Goddess of Gloom" from Just Like Tom Thumb's Blues by Bob Dylan, 1965
 * "I can't stay much longer, Melinda, the sun is getting high." Cumberland Blues. Lyrics by Robert Hunter, performed by the Grateful Dead.
 * Melinda, one of the two main characters in the story of Swedish progressive death metal band Opeth's 1999 concept album Still Life, which includes the song "Face of Melinda"
 * "Sweet Dreams, Melinda" by Trey Anastasio on the album Shine
 * "Sweet Melinda" by John Denver on the album John Denver
 * "Come Away Melinda", written by Fred Hellerman and Fran Minkoff, and recorded by Harry Belafonte (on the album Streets I Have Walked), Judy Collins (Judy Collins 3), Theodore Bikel (A Folksinger's Choice), Tim Rose (Tim Rose), Bobbie Gentry (Local Gentry), Uriah Heep (...Very 'Eavy ...Very 'Umble), Velvett Fogg), Kenny Rankin (Mind-Dusters), The Big 3 (Live at the Recording Studio), and L.Stadt.
 * "Me and My Melinda" by Kay Kyser
 * "Remember Melinda" by TQ on the album They Never Saw Me Coming
 * "Melinda was mine..." from Solitary Man by Neil Diamond
 * "Melinda" by Curved Air, on the album Retrospective
 * "Melinda" by Tom Petty and the Heartbreakers

In literature

 * Melinda, wife of Bánk in József Katona's legendary historical tragedy Bánk bán
 * Melinda ("Lindy") in the book The Last of the Really Great Whangdoodles by Julie Andrews
 * Melinda Sordino, main character of the book Speak (1999) by Laurie Halse Anderson
 * Melinda, porn star mentioned in the book Snow by Orhan Pamuk
 * Melinda, picture book written by Neil Gaiman and illustrated by Dagmara Matusak

In agriculture

 * Melinda (consortium) is a consortium producing apples in Trentino

In geography

 * Melinda Airport, Belize

title: Melinda


text:
Leithen Water

Leithen Water (Leitheann / Abhainn Leitheinn) is a tributary of the River Tweed in Scotland. It rises in the Moorfoot Hills and joins the Tweed near the town of Innerleithen, whose name comes from the Scottish Gaelic inbhir, meaning a confluence, and anglicised as "inner" or "inver". The Brythonic equivalent is "Aber". "Leithen" is a Celtic name meaning grey in colour (c.f. Welsh llwydion).

In Innerleithen the river is about 6–7 metres across and is not deep enough to swim. Leithen Water is a local favourite for the children who wade, 'guddle' fish (catch fish with hands) and play about in it. In the summer months, local children build small dams to deepen it, especially at the Cauld (a fish ladder near Innerleithen Golf Course) and at Leithen Bridge. The latter is an old stone bridge, erected in 1799 using funds from a stipend, to enable easy access for townsfolk to attend church on the west side of the Leithen Water.

Leithen Water is usually cool and clear, however post heavy rain it can become quite murky.

The river lends its name to the character Sir Edward Leithen in a number of novels by John Buchan.

title: Leithen Water


text:
Talk:Hans Krása

Translation details

 * Article: de:Hans Krása
 * Corresponding English-language article: Hans Krása
 * Worth doing because: A lot of and important information.
 * Originally Requested by: --Sheynhertz-Unbayg 15:38, 26 May 2005 (UTC)
 * Status: I'll do this one. Rje 16:20, Jun 11, 2005 (UTC)
 * Complete. Rje 17:34, Jun 11, 2005 (UTC)

Aristophanes
Which play by Aristophanes is Brundibar supposed to be based upon? What is the source for this statement? --Woggly 07:01, 24 April 2006 (UTC)

relationship between Hans Krása and Joža Karas
Hi! Are Hans Krása and Joža Karas relatives? Please see also http://d-nb.info/gnd/119107821 and http://d-nb.info/gnd/134869753. Regards ·לערי ריינהארט·T·m:Th·T·email me· 02:37, 7 February 2010 (UTC)

 * I cannot say that I have ever heard any suggestion that they were related. If they were related, it would certainly not have been very close. Krasa was Jewish and Karas was a Christian, Karas would still have been caught-up in the Holocaust if either of his parents or grandparents were Jewish. This is just an assumption though. Rje (talk) 17:44, 7 February 2010 (UTC)

sidebar
in case more articles are written, this can be used to recreate template:Krása operas

198.102.153.2 (talk) 20:54, 11 June 2012 (UTC)

External links modified
Hello fellow Wikipedians,

I have just modified one external link on Hans Krása. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
 * Added archive https://web.archive.org/web/20090326061938/http://claudet.club.fr/Terezin/index.html to http://claudet.club.fr/Terezin/index.html

When you have finished reviewing my changes, you may follow the instructions on the template below to fix any issues with the URLs.

Cheers.— InternetArchiveBot  (Report bug) 17:28, 29 October 2017 (UTC)

title: Talk:Hans Krása


text:
USS Foote (DD-511)

USS Foote (DD-511), a Fletcher-class destroyer, was the third ship of the United States Navy to be named for Rear Admiral Andrew Hull Foote (1806–1863), who served during the Civil War.

Foote was launched on 11 October 1942 by Bath Iron Works, Bath, Maine; sponsored by Mrs. J. C. Aspinwall, granddaughter of Admiral Foote; and commissioned 22 December 1942, Commander Bernard L. Austin in command.

1943
In April Foote received a new skipper, CDR Alston Ramsay. After escorting a convoy to Casablanca between 1 April and 9 May, Foote prepared for Pacific duty, and on 28 June arrived at Nouméa, New Caledonia, to join Destroyer Squadron 23. Through the next 3 months, she escorted convoys from Nouméa to Guadalcanal, Efate, Espiritu Santo, Vella Lavella, and Rendova. From 27–29 September, she hunted Japanese barges evacuating troops from Kolombangara, and on the last night, attacked such a group, probably sinking two. While USS McCalla (DD-488) was working to correct steering trouble that night, Foote drove off a lone Japanese aircraft, then stood by McCalla and USS Patterson (DD-392) after the two collided, until a tug arrived on the scene.

Putting into Vella Lavella on 1 October with an LST convoy which she had joined at sea, Foote joined in fighting off an enemy air attack later that day, splashing at least one plane. She escorted the LSTs back to Guadalcanal, returning to convoy duty until covering the landings on the Treasury Islands on 26–27 October. She put out from Purvis Bay on 31 October to bombard Buka Island and the Shortlands, neutralizing enemy airfields to prevent air opposition to the Bougainville landings. Alerted to the movement of an enemy task force, Foote made contact by radar in the early morning of 2 November, and in the Battle of Empress Augusta Bay which followed, she was hit by an enemy torpedo which blew off her stern, as the other ships of her division launched the torpedo attacks which helped sink two Japanese ships and turned back the planned assault by the Japanese task force on the shipping off Bougainville. With 19 killed and 17 wounded, Foote's men kept their ship afloat despite the fact that both engines were stopped, steering control lost and the main deck awash aft. They also manned their guns to splash at least one wave of Japanese planes which attacked the American ships the next morning. She was towed into Purvis Bay on 4 November for repairs.

1944-1946
Returning to San Pedro, California on 4 March, towed by SS Gulf Star, Foote was repaired and modernized. Between 6 August and 24 October, she served as a training ship for precommissioning crews of new destroyers, sailing out of San Francisco. Bound for action once more, she crossed the Pacific to Kossol Roads, where she arrived 13 November to join the screen of an aircraft carrier force providing air cover for convoys from Manus Island reinforcing troops at Leyte. Foote replenished at Manus from 27 November to 9 December, then sailed for Leyte, arriving 13 December.

Foote put to sea on 19 December to guard a convoy to Mindoro, which was attacked several times by kamikazes. The destroyer splashed at least one of these, as well as rescuing survivors from two LSTs which were hit. Returning to Leyte on 24 December, she prepared for the Lingayen invasion, for which she sailed screening amphibious forces on 4 January 1945. Before the landings of 9 January, she fired in several enemy air attacks, and bombarded the beaches. After a fast voyage to Leyte to escort a resupply convoy, Foote took up screening and patrol duty in Lingayen Gulf until returning to Leyte 31 March.

The destroyer had escort and training duty between Leyte, Manus, and Morotai through 13 May 1945, when she got underway from Leyte for picket duty off Okinawa. During the numerous enemy air attacks while she was on station, she was credited with knocking down at least one plane, and suffered two men wounded from the effect of a near miss on 24 May. She took part in the landings of 3–6 June at Iheya Shima, and those of 9 June at Aguni Shima, and patrolled off Okinawa until sailing 10 September for the east coast of the United States. Arriving at New York 17 October 1945, Foote was decommissioned on 18 April 1946.

Foote was stricken from the Naval Vessel Register 1 October 1972; she was sold 2 January 1974 and broken up for scrap.

Honors
Foote received four battle stars for World War II service.

title: USS Foote (DD-511)


text:
Leo Chavez

Leo Ralph Chavez is an American anthropologist, author, and professor, best known for his work in international migration, particularly among Latin American immigrants.

Background
Chavez was born in New Mexico. He received his bachelor's degree in anthropology at the University of California, Santa Cruz in 1974 and his PhD in the same at Stanford University in 1982. He now teaches at the University of California, Irvine.

Shadowed Lives
His book, Shadowed Lives: Undocumented Immigrants in American Society (Wadsworth Publishing, 1998), which provides an ethnographic account of Mexican and Central American illegal immigrants in San Diego County, California, is widely used in cultural anthropology courses throughout the United States.

Covering Immigration
His book Covering Immigration: Popular Images and the Politics of the Nation (UC Press, 2001) examines media representations of immigrations and the nation. This provocative book gives a cultural history of the immigration issue in the United States since 1965, using popular magazine covers as a fascinating entry into a discussion of our attitudes toward one of the most volatile debates in the nation. Leo Chavez gathers and analyzes over seventy cover images from politically diverse magazines, including Time, Newsweek, U.S. News & World Report, Business Week, The New Republic, The Nation, and American Heritage. He traces the connections between the social, legal, and economic conditions surrounding immigration and the diverse images through which it is portrayed. Covering Immigration suggests that media images not only reflect the national mood but also play a powerful role in shaping national discourse. Drawing on insights from anthropology, sociology, and cultural studies, this original and perceptive book raises new questions about the media's influence over the public's increasing fear of immigration.

The Latino Threat
His recent book The Latino Threat: Constructing Immigrants, Citizens, and the Nation (Stanford University Press, 2008) examines the role of media spectacles in helping shape how Latinos are constructed as a threat to the nation and for undermining claims of citizenship. Specific sites of contestation over citizenship and belonging are also examined, such as organ transplants for immigrants, the Minuteman Project's spectacle of surveillance along the Arizona-Mexico border, and the marches for immigrant rights of 2006.

Academia
Chavez is currently a Professor of Anthropology at University of California, Irvine, where he teaches undergraduate and graduate courses on immigration, international migration, culture and visual images, and medical anthropology.

Chavez's research interests include international migration; household and family organization, composition, and structure; medical anthropology; breast and cervical cancer among Latinas; the anthropology of power relations; and, more recently, the analysis of visual images related to immigration and the nation.

title: Leo Chavez


text:
Talk:Order (chemistry)

I couldn't get the MathML / LaTex / whatever to make the half life be t(1/2) ... right now it reads t1 / 2 ... can someone help me out?

rate laws
like the new table but rate laws frequently pop up in articles. they are already extensively described in rate law article rikXL 21:18, 11 Jun 2005 (UTC)

title: Talk:Order (chemistry)


text:
Talk:Mozilla Application Suite

Cleaned up the article of Firefox parts and some other tidbits
The article contained bits that were actually about Firefox, and some things were incorrect. Here I'll explain what I changed and why.

 * Mozilla supports tabbed browsing, which allows users to open multiple web pages in the same browser window. This feature originated in the Mozilla Suite, which in turn had borrowed the feature from the popular MultiZilla extension for Mozilla.

The second sentence doesn't make sense. It would make sense if this was written for Firefox.

 * When a user enters words into Mozilla's address bar without a search keyword (or with the "goto" keyword), Mozilla automatically redirects the user to the first result yielded by a Google search for the words.

This is a Firefox gimmick. Mozilla will throw an error.

 * Occasionally, an extension becomes part the official product (for example MultiZilla, an extension which added tabbed browsing to Mozilla, eventually became part of standard Mozilla).

MultiZilla adds much more than tabbed browsing. Also, there are a couple of missing words.

 * Beyond adding a new theme, users can customize its interface by moving and manipulating its various buttons, fields, and menus, and likewise by adding and deleting entire toolbars.

Toolbar customisation is a Firefox thing, and some other options mentioned can't be done in Mozilla either.

 * This mechanism enables features such as single-window mode and error-pages, or speeding up page rendering by various tweaks.

Single-window mode isn't available in Mozilla, and error-pages are a new feature of the Gecko 1.8-based browsers. Mozilla's latest version is based on Gecko 1.7.

 * Experimental features like HTTP pipelining often lurk hidden in the about:config menu.

In Firefox, not Mozilla.

Overall, about:config is much less relevant in Mozilla.

 * Like the Mozilla Suite, Firefox comes with 2 web development tools

Definite proof that part of the article is centered around Firefox. Obviously many people confuse the Mozilla in front of the Firefox with the suite.

 * The DOM Inspector is not available in any other browser, and the JavaScript Console is more advanced than the consoles available in other browsers.

This should say "non-Mozilla browsers".

 * While not installed by default, the tools are available via a "custom" install.

Again a Firefox thing. Mozilla installs them by default.

 * http://en.wikipedia.org/wiki/Image:DOM_Inspector.png

This is a screenshot of Firefox!

Please tell me if I got something wrong. -- BenoitRen 23:46, 21 July 2006 (UTC)

Based on the source code of Netscape Communicator?
The article says the suite is based on the source code of Netscape Communicator. I may be wrong, but didn't the Mozilla developers throw away the Communicator source code completely because it was unmaintainable and start from scratch? What I mean is if nothing was reused really, the suite cannot be said to be based upon the old source code, right? Maybe someone with a bit of background information can clear things up.

 * You are right, about halfway through, the Mozilla developers threw it out in favor of writing their own source code. So, you are both right and wrong.Loompyloompy313 03:10, 16 May 2006 (UTC)

MultiZilla became part of standard Mozilla?
This is ridiculous. Who ever wrote that did never install and use MultiZilla, I guess. MultiZilla is (and probably always will be) much more than what Mozilla or now SeaMonkey has integrated -- even if you only look at tabbed browsing. We don't need to discuss people's opinion about MultiZilla here, but should try to get the facts right.

Merge
I am for the merge, however, which should remain the title page. There are arguments for both.

 * In favor of SeaMonkey remaining the title: SeaMonkey is the current incarnation of Mozilla Application Suite. Therefore, it should remain the title, with a section on Mozilla Application Suite.

 * In favor of Mozilla Application Suite remaining title: This was the original name of the product. Therefore, that is its name, which makes it the article title.  Make a section on SeaMonkey.--Ljlego 21:34, 11 March 2006 (UTC)

That is the present descendant of the original Mozilla Suite, but SeaMonkey has its own version numbering starting over with 1.0 (while the Mozilla Suite is over 1.7), so there's still a case for treating it as separate but related. *Dan T.* 21:33, 11 March 2006 (UTC)
 * I'm pretty against. Mozilla Application Suite was a product of Mozilla Foundation, while Seamonkey is a project of its own (with support from Mozilla Foundation). There are some uncounciliable afirmations about Mozilla Suite and Seamonkey (the main is "it's from Mozilla", we can't use it, it's denied to say Seamonkey is a Mozilla product). Asrail 01:01, 12 March 2006 (UTC)
 * Totally agree. --minghong 07:24, 12 March 2006 (UTC)
 * Oppose merge: The Mozilla Foundation plans to continue releasing security updates to the Mozilla suite although it has discontinued work on Mozilla 1.8. SeaMonkey is merely an unofficial continuation of the Mozilla suite 1.8 effort. They are, however, no two different lineages and thus should remain separate articles.--NeantHumain 16:30, 22 March 2006 (UTC)
 * Oppose. Not until the programs merge. //Ae:æ 13:02, 14 July 2006 (UTC)

I don't have a strong opinion for or against a merge. However, the SM page now is sparse and assumes knowledge about MAS - the basics are skipped over. Not good. So either a lot of MAS article material needs to be copied over there (which some people might oppose?) or the articles need to be merged. 69.87.193.176 13:12, 18 January 2007 (UTC)

Switch to Firefox ?
This article lacks the important information, that although Mozilla Foundation wants users to switch to Firefox, Firefox is a relativly simple application for inexperienced users, who don't need advanced features like cookie, form, password managers, not a replacement in fact.

Death of Mozilla? Nooooooo
Well, the Mozilla Suite web page says to switch to firefox, so I just downloaded Firefox 2.0 and it is still a child's toy. Some of us like bloat! In particular, it is fantastically useful to me the way Mozilla has integrated web development tools with browsing.

Is there ever going to be a "real" Firefox to replace Mozilla? Or am I going to be using dead code for the next five years?

It would be very useful if someone updated this article to explain what is going on and where we should write :-) --Jaibe 08:27, 25 October 2006 (UTC)
 * ah, slightly more hacking and I figured out what was going on. I've slightly modified the bottom of the page so people like me that flip to the end of the article for recent news can find out about SeaMonkey--Jaibe 08:38, 25 October 2006 (UTC)
 * Actually, SeaMonkey is now described in three different sections on the page. I've been thinking about asking Mozilla to mention SeaMonkey on the Mozilla Suite download page; thanks for some evidence that information about SeaMonkey is still hard to find. -- Schapel 12:13, 25 October 2006 (UTC)
 * Firefox is a web browser, not an internet suite. One can use Firefox, Thunderbird, and Sunburd, or they can use SeaMonkey. —The preceding unsigned comment was added by 24.185.112.164 (talk) 17:15, 29 December 2006 (UTC).

"Many Firefox extentions also work with Mozilla"?
I know you can hack/port firefox extentions into seamonkey with xSidebar, but this page claims that many firefox extentions also work with mozilla? Is this true? If so, what extentions do and don't work? 96.228.27.154 (talk) 17:41, 22 December 2007 (UTC)

External links modified
Hello fellow Wikipedians,

I have just added archive links to 3 one external links on Mozilla Application Suite. Please take a moment to review my edit. If necessary, add after the link to keep me from modifying it. Alternatively, you can add to keep me off the page altogether. I made the following changes:
 * Added archive https://web.archive.org/20050618000315/http://www.mozilla.org:80/roadmap/roadmap-02-Apr-2003.html to http://www.mozilla.org/roadmap/roadmap-02-Apr-2003.html
 * Added archive https://web.archive.org/20050603082324/http://www.mozilla.org:80/seamonkey-transition.html to http://www.mozilla.org/seamonkey-transition.html
 * Added archive https://web.archive.org/20070308122315/http://www.mozilla.org:80/projects/seamonkey/news.html#2005-07-28 to http://www.mozilla.org/projects/seamonkey/news.html#2005-07-02

When you have finished reviewing my changes, please set the checked parameter below to true to let others know.

Cheers.—cyberbot II  Talk to my owner :Online 14:33, 13 February 2016 (UTC)

title: Talk:Mozilla Application Suite


text:
Julie McWhirter

Julie McWhirter, also known as Julie Dees and Julie McWhirter-Dees, is a retired American voice actress and impressionist best known for her work as Jeannie in the animated version of Jeannie, Bubbles in Jabberjaw and Baby Smurf and Sassette in The Smurfs.

Biography
McWhirter graduated from DePauw University in 1970, with a degree in speech. She studied acting and improvisational comedy under the guidance of Howard Storm and Charles Conrad.

One of her first voice roles was as the title character in Jeannie, alongside Mark Hamill, Bob Hastings and Joe Besser. She also portrayed the character in her multiple appearances in other Hanna-Barbera series. She did the voice of Kanga in Winnie the Pooh and a Day for Eeyore, taking over the role from Barbara Luddy. Her voice acting also includes numerous other animated programs, such as Casper and the Angels, Drak Pack, The Smurfs, The Flintstone Kids, and the Ruby-Spears series Thundarr the Barbarian.

McWhirter made her stage debut as Eliza Doolittle in the Lawrence Theatre production of My Fair Lady. She dubbed the singing voice for Blousey Brown in the film Bugsy Malone. The actress was also one of the hosts of the 1977 sketch comedy series Wacko. She portrayed Betty Rubble in The Jetsons Meet the Flintstones TV movie and was the voice of Huckleberry Pie in the 1980s Strawberry Shortcake specials.

She has been married to disc jockey Rick Dees since 1977.

title: Julie McWhirter


text:
Louise Simonson

Louise Simonson (née Mary Louise Alexander; born September 26, 1946 ) is an American comic book writer and editor. She is best known for her work on comic book titles such as Conan the Barbarian, Power Pack, X-Factor, New Mutants, Superman: The Man of Steel, and Steel. She is often referred to by the nickname "Weezie". Among the comic characters she co-created are Cable, Steel, Power Pack, Rictor, Doomsday and the X-Men villain Apocalypse.

In recognition of her contributions to comics, ComicsAlliance listed Simonson as one of twelve female comics creators deserving of lifetime achievement recognition.

Early life and career
In 1964 while attending Georgia State College, Louise met fellow student Jeffrey Catherine Jones. The two began dating and were married in 1966. Their daughter Julianna was born the following year. After graduation, the couple moved to New York City. Louise modeled for artist Bernie Wrightson's cover of DC Comics' House of Secrets #92 (June–July 1971), the first appearance of Swamp Thing, and was hired by McFadden-Bartell, a magazine publisher and distributor and worked there for three years. She and Jones split up during this time but she continued to use the name Louise Jones for several years afterward.

Louise met the comic book writer and artist Walt Simonson in 1973, began dating in August 1974, and married in 1980. They collaborated on X-Factor from 1986 to 1989.

Comics editor
In 1974, Jones started her professional comic book career at Warren Publishing. She went from assistant to senior editor of the comics line (Creepy, Eerie, and Vampirella) before leaving the company at the end of 1979.

In January 1980, Jones joined Marvel Comics, where she initially worked again as an editor, most notably on Uncanny X-Men, which she edited for almost four years (#137–182) and Conan the Barbarian (#114–148 ). Simonson (as "Louise Jones") edited another X-Men spin-off, The New Mutants, at its debut in 1983. After leaving the series, she had a "cameo" in New Mutants #21, drawn in as a slumber party guest by artist Bill Sienkiewicz. During this period, she also edited Marvel's Star Wars and Indiana Jones comics.

In 2017, she edited the graphic novel Son of Shaolin for Image Comics.

Comics writer
At the end of 1983, Jones quit her editing job at Marvel to try her hand at full-time writing as Louise Simonson. She created the Eagle Award-winning Power Pack. The title, which debuted in August 1984, featured the adventures of four pre-teen superheroes. Simonson wrote the majority of the title's first forty issues, even coloring one issue (#18). Her other Marvel writing work included Starriors, Marvel Team-Up, Web of Spider-Man, and Red Sonja. Louise helped her husband Walt Simonson color his "Star Slammers" story in Marvel Graphic Novel #6 (1983).

In 1986 Bob Layton, writer of the X-Men spin-off X-Factor, was running late on a deadline, and Simonson was called in to write a fill-in issue of X-Factor. This story was never published, since Layton ultimately turned his story in on time, but while writing it Simonson found herself inspired by the characters, to the point where she brought a list of her ideas to editor Bob Harras in the hopes that Layton might use them for the series. Instead, Layton ended up dropping X-Factor shortly after, and at Chris Claremont and Ann Nocenti's suggestion, Harras chose Simonson as his replacement. In #6, her first issue, she and artist Jackson Guice introduced Apocalypse, a character who would go on to make repeated appearances in the X-Men franchise. From #10 of the title, she was joined by her husband, Walt Simonson, on pencils. In #25, the creators gave the character, Angel, blue skin and metal wings in a process which led to his being renamed as "Archangel". It was at Simonson's suggestion that X-Men writer Chris Claremont's "Mutant Massacre" story idea was turned into a crossover through all the "X-books", the first of its kind. Her run on X-Factor included the relevant installments of "Mutant Massacre", and the subsequent crossovers "Fall of the Mutants," "Inferno", and "X-Tinction Agenda". She ended her run on the title with #64 in 1991.

In 1987, beginning with issue #55, she became the New Mutants scripter. Similarly to X-Factor, she was originally brought in as a fill-in writer so that Chris Claremont could launch two other titles, but ended up writing the series for three and a half years, ending with #97 in 1991. It was during this run that she and artist Rob Liefeld introduced Cable, another important character in the X-Men franchise. In 1988–89, she and her husband co-wrote the Havok and Wolverine: Meltdown limited series painted by Jon J Muth and Kent Williams.

In 1991, Simonson began writing for DC Comics. She, artist Jon Bogdanove, and editor Mike Carlin launched a new Superman title, Superman: The Man of Steel — a title she wrote for eight years until #86 in 1999. She contributed to such storylines as "Panic in the Sky" in 1992. Later that year, Simonson (along with Carlin, Dan Jurgens, Roger Stern and others) was one of the chief architects of "The Death of Superman" storyline, in which Superman died and was resurrected. It was during that storyline, in The Adventures of Superman #500 (June 1993), that Simonson and Bogdanove introduced their character Steel, who graduated to his own title in February 1994, with Simonson as writer until #31. The character went on to feature in an eponymous feature film starring Shaquille O'Neal in 1997. Simonson was one of the many creators who worked on the Superman: The Wedding Album one-shot in 1996 wherein the title character married Lois Lane.

In 1999, Simonson returned to Marvel to write a Warlock series, which featured a character from her previous New Mutants run. That same year, she wrote a miniseries, Galactus the Devourer, in which Galactus died temporarily. In 2005, she wrote stories featuring Magnus, Robot Fighter for the publisher Ibooks, Inc. In 2007, Simonson wrote a one-shot starring Magik of the New Mutants as part of a four-issue event known as Mystic Arcana. In 2009, she wrote two issues of Marvel Adventures featuring Thor. The next year, she scripted the five-part limited series X-Factor Forever and reunited with June Brigman for a new Power Pack story in Girl Comics #3. Simonson also co-wrote the comic World of Warcraft, based on the multi-million player internet game, for Wildstorm, and a manga story, based in the Warcraft universe, for Tokyopop. In 2011, DC hired Louise Simonson to write DC Retroactive: Superman - The '90s, pencilled by her Man of Steel-collaborator Jon Bogdanove.

Simonson wrote the "Five Minutes" chapter in Action Comics #1000 (June 2018) and a twelve-part webcomic tie-in to The Death of Superman animated movie. In 2019, she contributed two stories to DC Primal Age #1 and teamed up with June Brigman again for the one-shot Power Pack: Grow Up. In 2020 she scripted the comic adaptation of Leigh Bardugo's novel Wonder Woman: Warbringer as well as a comic tie-in to the movie Wonder Woman 1984. Simonson revisited her runs on X-Factor and New Mutants with new stories for X-Men Legends, pencilled by her husband Walt and published in 2021 and 2022.

In April 2022, Simonson and her husband were reported among the more than three dozen comics creators who contributed to Operation USA's benefit anthology book, Comics for Ukraine: Sunflower Seeds, a project spearheaded by IDW Publishing Special Projects Editor Scott Dunbier, whose profits would be donated to relief efforts for Ukrainian refugees resulting from the February 2022 Russian invasion of Ukraine. Simonson teamed up with artist June Brigman to produce an original story with new characters created specifically for the anthology.

In 2023, she wrote a four-issue Jean Grey mini-series for Marvel Comics. In 2024, the five-issue retro series Power Pack: Into the Storm by Simonson and June Brigman, with a story that takes place during their original run, was published by Marvel.

Novelist
From 1993 through 2009, she wrote five picture books and eleven novels for middle-readers, many of which featured characters from DC Comics. Two YA novels, Justice League: The Gauntlet and Justice League: Wild at Heart, published by Bantam Books, were based on the Justice League cartoon. She wrote an adult Batman novel and the non-fiction DC Comics Covergirls.

Awards

 * Eagle Award for Power Pack (1985)
 * Comics Buyer's Guide Award for The Death of Superman (1992)
 * Inkpot Award for Outstanding Achievement in Comic Arts (1992)

Capstone Publishers

 * Far Out Fairy Tales: Snow White and the Seven Robots OGN (2015)

Dark Horse Comics

 * Star Wars: River of Chaos #1–4 (1995)

DC Comics

 * Action Comics #701, 1000, Annual #6 (1994, 2018)
 * Adventures of Superman #500, 568–569, 571, Annual #3 (1993–1999)
 * Convergence Superman: Man of Steel #1–2 (2015)
 * DC Primal Age #1 (2019)
 * DC Retroactive: Superman - The '90s #1 (2011)
 * The Death of Superman #1–12 (webcomic) (2018)
 * The Death of Superman 30th Anniversary Special #1 (2023)
 * Detective Comics #635–637, Annual #4 (1991)
 * Doomsday Annual #1 (1995)
 * New Titans #87, 94–96, Annual #10 (1992–1994)
 * The Return of Superman 30th Anniversary Special #1 (2023)
 * Showcase '96 #2 (1996)
 * Steel #1–3, 5–16, 21–27, 29–31, #0, Annual #2 (1994–1996)
 * Supergirl/Lex Luthor Special #1 (1993)
 * Superman 3-D #1 (1998)
 * Superman Forever #1 (1998)
 * Superman Red/Superman Blue #1 (1998)
 * Superman: Save the Planet #1 (1998)
 * Superman: The Man of Steel #1–56, 59–83, 86, #0, Annual #2, 4, 6 (1991–1999)
 * Superman: The Man of Tomorrow #11–14 (1998–1999)
 * Superman: The Wedding Album #1 (1996)
 * Wonder Woman #600 (2010)
 * Wonder Woman 1984 #1 (with Anna Obropta) (2020)
 * Wonder Woman: Agent of Peace #8 (digital) (2020)
 * Wonder Woman: Warbinger GN (2020)
 * Wonderful Women of the World GN (among others) (2021)
 * World of Warcraft #15–25 (2009–2010)

Ibooks

 * Magnus, Robot Fighter #1 (2005)

IDW

 * Comics for Ukraine: Sunflower Seeds (anthology) (2022)
 * Rocketeer Adventures #4 (2012)
 * Super Secret Crisis War #1–6 (2014)
 * Super Secret Crisis War! Codename: Kids Next Door one-shot (2014)
 * Super Secret Crisis War! Cow and Chicken one-shot (2014)
 * Super Secret Crisis War! Foster's Home for Imaginary Friends one-shot (2014)
 * Super Secret Crisis War! The Grim Adventures of Billy and Mandy one-shot (2014)
 * Super Secret Crisis War! Johnny Bravo one-shot (2014)

Image

 * Gen13 Bootleg #4 (1997)
 * Wildstorm! #1 (with Walt Simonson) (1995)

Marvel Comics

 * Adventures in Reading Starring the Amazing Spider-Man #1 (promo) (1990)
 * Amazing High Adventure #1 (1984)
 * The Amazing Spider-Man Annual #19 (1985)
 * Avengers: Earth's Mightiest Heroes #9 (2013)
 * Avengers Origins #1 (promo) (2015)
 * Captain America Meets the Asthma Monster #1 (promo) (1988)
 * Chaos War: X-Men #1 (2011)
 * Fantastic Four #645, Annual 2000 (2015, 2000)
 * Galactus: The Devourer #1–6 (1999–2000)
 * Girl Comics #3 (2010)
 * Havok and Wolverine Meltdown #1–4 (1989)
 * Heroes for Hope Starring the X-Men #1 (1985)
 * Iron Age #3 (2011)
 * Jean Grey #1–4 (2023)
 * Life of Christ: The Christmas Story #1 (1993)
 * Life of Christ: The Easter Story #1 (1993)
 * Marvel Adventures: Super Heroes #7, 11 (2009)
 * Marvel Super Special #38 (1985)
 * Marvel Team-Up #149–150, Annual #7 (1984–1985)
 * Mystic Arcana: Magik #1 (2007)
 * New Mutants #55–80, 82–91, 93–97, Annual #4–6 (1987–1991)
 * Power Pack #1–20, 22–33, 35, 37, 39–41, Holiday Special #1 (1984–1988, 1992)
 * Power Pack: Grow Up #1 (2019)
 * Power Pack: Into the Storm 1–5 (2024)
 * Red Sonja #8–13 (1985–1986)
 * Sensational She-Hulk #29–30 (1991)
 * Spellbound #1–6 (1988)
 * Spider-Man and Power Pack #1 (promo) (1984)
 * Starriors #1–4 (1984–1985)
 * Warlock #1–9 (1999–2000)
 * Web of Spider-Man #1–3 (1985)
 * Women of Marvel #1 (foreword) (2021)
 * X-Factor #6–64, Annual #3, 5 (1986–1991)
 * X-Factor Forever #1–5 (2010)
 * X-Men: Black Sun #4 (2000)
 * X-Men: Gold #1 (2014)
 * X-Men: Legends (X-Factor) #3–4; (New Mutants) #11 (2021–2022)
 * X-Terminators #1–4 (1988–1989)

Tokyopop

 * Warcraft Legends #5 (2009)

Valiant

 * Faith #5–6 (2016)

Virtual Comics

 * The 6 #2–3 (1996)

Warren Publishing

 * Creepy #101 (1978)
 * Eerie #81 (with David Michelinie), #99 (1977–1979)

Welsh Publishing Group

 * Superman & Batman Magazine #5 (1994)

title: Louise Simonson


text:
File:Dickies - Dawn Of The Dickies album cover.jpg

Summary
The Dickies - Dawn Of The Dickies. Original UK LP album cover

Licensing
Original UK release album cover - album covers are fair use. Picture scanned by me Ian Dunster from original UK LP album.


text:
Jeanette Lee

Jeanette Lee (born Lee Jin-Hee,, July 9, 1971, in Brooklyn, New York) is an American professional pool player. She was nicknamed the Black Widow because, in spite of her sweet demeanor, she would "eat people alive" when she got to a pool table and always wear black when playing pool.

Career
Lee was born to Korean-immigrant parents in Brooklyn in 1971. She attended the Bronx High School of Science before dropping out, earning money as a teenager by nannying and waitressing. Lee started playing pool in 1989, after watching pro Johnny Ervolino at Chelsea Billiards in Manhattan. She began her career playing in the local and regional scenes of New York City, including the Howard Beach Billiard Club in Queens, owned by music producer Gabe Vigorito, who first compared her demeanor to a black widow spider and financed her early tournament expenses. She went on to rank as the No. 1 female pool player in the world during the 1990s, and received the Women's Professional Billiard Association (WPBA) Sportsperson of the Year Award in 1998. She was three times runner-up at the World Nine-ball Championships (women's), from 1993 to 1996. In addition to many top finishes on the WPBA Tour, she won the gold medal for the United States at the 2001 World Games in Akita, Japan, and won the ladies' US$25,000 winner-take-all Tournament of Champions twice, in 1999 and 2003. Lee also co-wrote The Black Widow's Guide to Killer Pool.

In 2001, Lee challenged Efren Reyes to a -to-13 exhibition match at nine-ball, in Manila, Philippines, but lost 4-13.

For 2007, she was ranked #4 in Pool & Billiard Magazine ' s "Fans' Top 20 Favorite Players" poll.

In 2013, Lee was inducted into the Billiard Congress of America Hall of Fame.

Titles and achievements

 * 2020 Billiard Congress of America 2020 President’s Award
 * 2015 Asian Hall of Fame
 * 2013 Billiard Congress of America Hall of Fame
 * 2013 Women's Professional Billiards Association (WPBA) Hall of Fame
 * 2013 Four Bears Classic 8-Ball
 * 2007 Billiards Digest Sports Most Powerful Person
 * 2007 Skins Billiards Championship
 * 2007 Team Cup Championship
 * 2007 Empress Cup Championship
 * 2005 Billiards Digest Sports Most Powerful Person
 * 2005 China Invitational Championship
 * 2004 Atlanta Women's Open
 * 2004 ESPN Ultimate Challenge
 * 2004 Ladies Trick Shot Challenge
 * 2004 WPBA Florida Classic Hard Rock Casino
 * 2003 Billiards Digest Sports Most Powerful Person
 * 2003 Tournament of Champions
 * 2001 Billiards Digest Sports Most Powerful Person
 * 2001 World Games Nine-ball Singles
 * 2001 BCA Open Nine-ball Championship
 * 1999 ESPN Ultimate Shootout
 * 1999 Tournament of Champions
 * 1998 WPBA Sportsperson of the Year
 * 1998 WPBA Penn Ray Classic
 * 1998 WPBA Cuetec Cues Hawaii Classic
 * 1997 WPBA Huebler Classic
 * 1997 WPBA Olhausen Classic
 * 1996 WPBA BCA Classic
 * 1995 WPBA Olhausen Classic
 * 1995 WPBA Brunswick Classic
 * 1995 McDermott World 9ball Bar Table Championships
 * 1994 Billiards Digest Player of the Year
 * 1994 Mosconi Cup
 * 1994 WPBA U.S. Open 9-Ball Championship
 * 1994 WPBA Baltimore Billiards Classic
 * 1994 WPBA Kasson Classic
 * 1994 WPBA San Francisco Classic
 * 1994 WPBA National Championship
 * 1994 Connecticut State Championship
 * 1993 North East Regional
 * 1993 WPBA Connecticut Classic

Outside competition
As someone who has suffered from scoliosis, Lee is a strong supporter of those affected by the disease, and now serves as the national spokesperson for the Scoliosis Association. Lee appeared on Fox Sports Net's Sport Science, where she 12 balls in one trick shot, on March 30, 2008. Orange County Choppers built the Black Widow Bike in Lee's honor on the TV show American Chopper.

Personal life
Lee lives in Tampa, Florida, with her three daughters and foster-son. Lee has three additional adult children, two of whom are her step-daughters from her marriage to George Breedlove, a professional pool player nicknamed "the Flamethrower". Lee and Breedlove married in 1996, but have since separated.

In February 2021, she announced that she had been diagnosed with stage IV ovarian cancer. In May 2022, it was reported that her chemotherapy treatments were "successful" A documentary about her life directed by Ursula Liang, Jeanette Lee Vs., premiered at the Doc NYC film festival on November 12, 2022. The film is part of the acclaimed ESPN series 30 for 30. The film had its television debut on December 13, 2022, on ESPN. The film was also shown at the 2024 Freep Film Festival as part of the Asian American Pacific Islander Film Series.

title: Jeanette Lee