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Music (Madonna song)

"Music" is a song recorded by American singer Madonna as the title track for her eighth studio album of the same name (2000). It was released as the lead single from the album to radio on August 1, 2000, by Maverick and Warner Bros. Records and commercially released on August 21. "Music" was inspired by a Sting concert Madonna attended and was written and produced by her with Mirwais Ahmadzaï. It is a electropop, disco, electro-funk and dance-pop song in a static key of G minor. Madonna's vocals are electronically manipulated in the track, with the lyrics having political and social undertones and reiterating the uniting power of music.

Before its official release, "Music" leaked onto the internet and was put up for listening in websites like Napster, which prompted Madonna's team to issue a statement threatening legal action. "Music" had different release formats with a number of remixes commissioned for the song. Music critics praised the track's production, catchiness and club-friendly nature, and compared it with Madonna's previous releases. It became a commercial success, peaking at number-one on the record charts of 25 countries, including major markets such as Australia, Canada, Italy, New Zealand, Switzerland, the United Kingdom and the United States. In the latter, "Music" became Madonna's twelfth and last number-one single to date on the Billboard Hot 100 chart. It was also the longest running number-one song on the US Dance Club Songs chart, spending a total of five weeks at the top. "Music" has been included in many critic lists for Madonna's top singles and is often ranked as one of the best songs of the 2000s.

Its accompanying music video, directed by Jonas Åkerlund, portrayed Madonna and her friends enjoying themselves, while traveling in a limousine driven by comedian Sacha Baron Cohen as Ali G. Academics noted the use of American imagery in the clip, especially Madonna's cowboy garb and her popularizing of cowboy fashion. In order to promote its parent album, Madonna performed "Music" at the 2000 MTV Europe Music Awards and at the 43rd Annual Grammy Awards the following year, where it was nominated in the categories of Record of the Year and Best Female Pop Vocal Performance. Additionally, the song has been a regular staple in the set list of five of Madonna's concert tours, the last being the Rebel Heart Tour (2015–2016).

Background and writing
After the critical and commercial success of her seventh studio album, Ray of Light (1998), Madonna intended to embark on a new concert tour in 1999, but due to the delay of her film, The Next Best Thing, it was cancelled. By 2000, Madonna was dating director Guy Ritchie, and was pregnant with their child. Wanting to distract herself from the media frenzy surrounding the pregnancy, she concentrated on the development of her eighth studio album, Music. Ray of Light's success had made Madonna keen to go into a recording studio and she was introduced to French DJ and producer Mirwais Ahmadzaï through photographer Stéphane Sednaoui.

In an interview with CNN, Madonna recalled that her Maverick Records company partner Guy Oseary "was given a demo by a French artist called Mirwais [Ahmadzaï]". He wanted Madonna's opinion on whether Ahmadzaï could be signed to Maverick, as he was still largely unknown in the United States. Ahmadzaï had always preferred taking musical risks and hence he wanted the collaborations with Madonna to get the best out of her. "The challenge was to make something current appear, something hidden in her personality. Everybody knows [Madonna] as a chameleon, as a businesswoman. I wanted to show her potential as a musician," he said.

Following the introspective mood on Ray of Light, Madonna was ready to be energetic with the new album, and for the title track she wanted something that would make her "feel like an animal, ready to sprung". Madonna said that the inspiration behind "Music" came from a Sting concert that she had attended at New York City's Beacon Theatre in November 1999. There, the audience was well-behaved until Sting began playing old hits by his band, The Police. The lights were dimmed and everyone came closer to the stage to listen to Sting. "Suddenly, people lost their inhibition and their politeness, and everyone was practically holding hands... I mean, it really moved me," she told Rolling Stone's Jancee Dunn. "And I thought, 'That's what music does to people'". This experience inspired Madonna to write the primary hook of the song, "Music makes people come together / Music, mix the bourgeoisie and the rebel".

Recording and composition
Recording sessions for Music began in September 1999 at Sarm West Studios in West London. An energetic Madonna wanted to make the title track a party song and a statement about love. Together with Ahmadzaï she started writing down the different parts of the song, picking up chords on guitar and lyrics. Following the completion of the song "Paradise (Not For Me)", they started experimenting with electro funk for "Music" and created the primary base of the track. "It's not experimental", Ahmadzaï recalled "but its not completely easy. It was a small victory for underground music". According to Madonna, writing and producing "Music" with Ahmadzaï set the tone of the rest of the parent album. But she faced communication problems with Ahmadzaï since he barely spoke English. "The first couple of days we were recording, I wanted to rip my hair out," Madonna recalled. She asked his manager to step in as translator.

"Music" begins with Madonna's androgynous voice uttering the line "Hey Mr. DJ, put a record on, I wanna dance with my baby". After that lyric, her electronically manipulated voice asks "Do you like to boogie woogie?". The producer used an EMS 2000 vocoder to twist the vocals and described to Ernie Rideout of Keyboard as an effect of going "in fits and starts". Mark "Spike" Stent recorded the song on a SSL 9000J console using a Sony 3348 HR and a BASF 931 tape. He mixed it at London's Olympic Studios using SSL G Series Quantegy magnetic tapes. Tim Young mastered the track at Metropolis Studio at Chiswick, London. According to Rikky Rooksby, author of Madonna: The Complete Guide to her Music, the whole production has a dry sound with heavy usage of equalization which created contrast in the vocal, continuing till the first chorus. Guitar flicks can be heard with keyboard chords on the bridge. The music travels from right to left and vice versa when heard on a headphone. Musician Stuart Price, who worked the song for Madonna's 2001 Drowned World Tour, added that the rhythmic structure of "Music" was inspired from Kraftwerk's 1977 single, "Trans-Europe Express".

Harmonically, "Music" has a time signature of common time, and its composition is based on a static key of G minor with a moderate tempo of 120 beats per minute. Madonna's vocals range from G♭3 to two-lined note of D5, with a basic sequence of Gm–F–Gm–F as its chord progression. According to the book Madonna's Drowned Worlds, written by Santiago Fouz-Hernández and Freya Jarman-Ivens, "Music" is a "disco anthem, and the beat commands [the people] to get up and dance". The authors noted that the music was the central identification for the song, with its "splashes of electronica and production tricks" from reverse cymbal crescendo, and "tightly quantized" pitch and sounds from a Hammond organ. Madonna sang with her mouth close to the recording microphone, which Fouz-Hernández found gave the track a natural sound. Barry Walters from Billboard found the composition to also contain a blend of French electronica and 1970s electro funk, while Richard S. He of the same publication described the record as "postmodern, escapist dance-pop". Another Billboard writer, Jason Lipshutz said the song was an "electro-pop euphoria". The instrumental riff in the track is created by a 1970s analogue Moog synthesizer, which ultimately leads to the song fading out. The production in "Music" not only referenced disco and funk, but was also campy in nature as noted by Jarman-Ivens.

Lyrically the song reiterates the uniting power of music. The primary hook was deemed as having political implications, with Madonna renouncing the bourgeoisie. Fouz-Hernández believed that the line "I wanna dance with my baby" reinforced a connection with gay listeners because of its "casual, campy style". He compared the track to Madonna's first single, "Everybody" (1982), because in both songs she declares that music "has the power to overcome divisions of race, gender, and sexuality". It also recalled Madonna's early days of being carefree and living alone in New York, while being a staple in the city's night-club scene. According to Billboard, Madonna's vocals "binds a mind-blowing melange of hyperactive beats, grooves, and stinging percussive elements" in the track. The magazine adds that the song is also "saturated" with the influence of Cameo, Herbie Hancock, Nitzer Ebb and Roger Troutman.

Release detail and leaks
On June 2, 2000, an unauthorized incomplete demo of the song leaked onto the internet. Snippets of the tracks, ranging from 30 seconds to almost three minutes were circulated through fan websites and music download site, Napster. Madonna's spokeswoman Caresse Norman said that it was an unfinished version. Warner Bros. Records also issued another statement threatening legal actions against Napster lest the song was removed and added their expectation for "the owners who have included this material on their site will comply immediately with our legitimate request that they cease permitting unauthorized downloads of this song." Madonna was disappointed, publishing a letter about the leak on Icon, the magazine released quarterly for her official fanclub. The threatened lawsuit against the leak was reported in the media as Madonna being against Napster, which Madonna clarified was contrary and she "found it a great way for listeners to access music".

Warner Bros. Records initially targeted the single to be released to radio in July 2000, but it was pushed back to August 1, with the commercial release for the CD single taking place on August 21. A new website called madonnamusic.com was created for the single's release with Madonna releasing a message to her fans: "You've probably been hearing about my new record 'Music' for a while, but I just wanted to make sure that you know the single is going to drop very soon. I worked on this track with a French guy called Mirwais and he is the shit."

The B-side of the CD and cassette single featured the track "Cyberraga", a collaboration with Talvin Singh. "Music" was remixed by Groove Armada, Deep Dish, Victor Calderone, Hex Hector, and Tracy Young; all of them were handpicked by Madonna since it was "more important to [her] that my records get played in the clubs. That's where I got my start, and that's where I will probably always feel most at home". Contemporary club music was inspiration behind the remixes with Calderone adding tribal beats and synths around Madonna's vocals. A house beat and bassline was used in Deep Dish's remix, while Hector utilized electro-skewed beats, guitar licks and breakbeat. Young's 13 minute remix used ambient interludes, house music rhythms, trance and 1970s music with Madonna's singing sounding fresh. Club DJs received the promotional remixes on August 2, 8 and 15, while they were released to retailers on August 22 in maxi-CD and double vinyl formats.

Critical reception
Upon release, the song received generally positive reviews from critics. J. Randy Taraborrelli, author of Madonna: An Intimate Biography, declared "Music" as a dance-anthem "that reaches into the future but also slyly conjures images and feelings of the good ol' disco days". In a similar review, Lucy O'Brien, author of Madonna: Like an Icon, relegated the track as "a resurrection of the disco girl" image. She listed "Music" as a career-defining moment for Madonna, like previous singles "Vogue" and "Justify My Love" (both released in 1990). O'Brien clarified the song as "the same genre defining quality, robotic, tinny, trashy and audacious... She resurrects the Madonna imperative. Dance. Party. Surrender". Stephen Thomas Erlewine of AllMusic called it "a thumping track which sounds funkier, denser, sexier with each spin". Jim Farber of the New York Daily News gave a positive feedback, stating that it is "everything a single should be: pithy, simple and maddeningly catchy, her most instantly embraceable single since 'Holiday'". Farber also highlighted the lyrics, which he felt covered familiar ground for Madonna by talking about the power of dance music. This thought was shared by Fouz-Hernández, who believed that like her debut single "Everybody", "Music" defined Madonna's artistic credibility.

Reviewing the parent album for Rolling Stone, Barry Walters also compared it to Madonna's earlier work. Sal Cinquemani from Slant Magazine called it Madonna's best dance track since "Vogue", also comparing it to her 1985 single, "Into the Groove". In his review of Madonna's 2001 compilation GHV2, Cinquemani praised the single's "retro club beats and vintage synth sound". Giving it a B rating, he concluded that "only a former material girl living in a NASDAQ world could get away with a song like this". Dimitri Ehrlich from Vibe found "Music" to be "a bouncing parade of synthesizers that pose the question 'Do fortysomething baby-mamas still have the divine right to get down?' (The answer is yes)". Chuck Arnold from Entertainment Weekly, called it one of Madonna's "most eccentric hits ever" and found it to be reminiscent of her earlier works, specifically "Holiday".

Billboard's Chuck Taylor praised the song as a "stunning enterprise, a ballsy testament to [Madonna's] insistence on being a style-setter and one of the industry's most savvy—and now critically accountable—tunesmiths". He believed that both radio and the audience would be shocked with the experimentation Madonna achieved in the track. Larry Flick from the same publication described the song as "anthemic", also predicting a positive commercial reception. Another Billboard writer Joe Lynch highlighted that Madonna had successfully created a "surefire radio winner with cross-generational appeal", he also said the song was a "dancefloor call-to-arms boasting a faint patina of electroclash for the club kids, a throbbing techno beat for suburban ravers and enough old-school electro-funk that her middle-aged fans could still nod along". Ethan Brown, from New York magazine, stated that the song "elicits memories of past pop odes to dance culture", and praised its "giddy mix of electro-bounce, campy vocoder chants, and funky keyboard squeals". Charlotte Robinson of PopMatters believed that "Music"'s appeal lay in the "freewheeling, fun spirit" nature of Madonna, which had initially made her popular. However, she also called it a "goofy Rick James rip-off". For Medium's Richard LaBeau, "this bold and aggressive electro-funk song may not be particularly lyrically inspired but it is rightfully hailed as one of her finest and most unexpected hours".

Negative criticism came from The Guardian's Garry Mulholland, who described the track as "the sound of a bunch of middle-aged trend-watchers second-guessing what today's kids go for [...] the absolute definition of mutton-dressed-as-lamb middle-youth". Alex Pappademas from Spin, pointed out that "its dancefloor liberation mantra feels forced". Danny Eccleston from Q described the song as "daring gambit" and found that the track did not resemble any Madonna endeavor. He panned the over-usage of the electronic sounds and compared "Music" unfavorably to Daft Punk's "Around the World" (1997).

Chart performance
"Music" topped the charts in 25 countries. Prior to the official release of the song, it started receiving airplay in US radios due to public demand, as noted by Paul Bryant, program director at WHTZ (Z100) station in New York. There was equal anticipation regarding retail sales of the track. On August 12, 2000, "Music" entered at number 41 on the Billboard Hot 100, becoming the second-highest debuting single based solely on radio play. Fred Bronson from Billboard noted that it was Madonna's highest-debuting single on the Hot 100 since "The Power of Good-Bye" entered at number 24 in October 1998. The song debuted at number 38 on the Hot 100 Airplay chart, garnering an audience of 38 million. "Music" continued ascending up the Hot 100 and following the commercial release, it jumped from number 14 to number 2 on the chart dated September 9, 2000. The CD maxi and 12-inch vinyl sold a combined 62,500 copies, leading it to debut at number three on the Hot 100 Singles Sales chart. Silvio Pietroluongo from Billboard observed that only Madonna's "This Used to Be My Playground" single had debuted with more sales, 76,000 copies in August 1992.

The next week, "Music" sold a further 156,234 units and topped the Hot 100, replacing Janet Jackson's "Doesn't Really Matter". It was Madonna's 12th song to reach the summit, her first number-one single since "Take a Bow" in February 1995 and her most recent number one on the chart to this day. She tied the Supremes and moved to fifth rank among artists with most Hot 100 number-ones. The song amassed the highest weekly sales total and the highest points (23,110) for a song topping the chart. "Music" was certified platinum by the Recording Industry Association of America (RIAA), for shipment of over a million copies, and as of August 2009 had sold 1.136 million in physical CD sales, and an additional 217,000 in digital download. "Music" placed at number 17 on the Billboard Year-End Hot 100 singles of 2000. Aided by the official remixes, the song also reached number-one on the Dance Club Songs chart, remaining atop for five weeks. It was the top ranking Dance Club song of 2000 and the second most-successful Dance Club song of the 2000s decade in the United States, behind Madonna's own "Hung Up" (2005). In Canada, the song debuted at number 23 on the RPM Singles Chart and reached the top after five weeks. It was present on top of the charts for a total of nine weeks and was the final song to remain atop the chart when RPM ceased publication in November 2000.

"Music" was also a success in Australia and New Zealand. The song debuted at number one on the ARIA Singles Chart, where it stayed for three consecutive weeks and a total of four weeks. It was the fourth best-selling single in the country and was certified double platinum by the Australian Recording Industry Association (ARIA) for shipment of 140,000 copies. In New Zealand, "Music" debuted at number 33 on the New Zealand Singles Chart, and ascended to the top ten, finally peaking at number one on the week of October 1, 2000.

In the United Kingdom, "Music" debuted on the UK Singles Chart at number one with first-week sales of 115,000 copies. It faced tough competition with Spiller's "Groovejet (If This Ain't Love)" and beat the latter by 1,000 sales. Madonna became the first solo female artist to collect ten number-one singles. The song was present on the chart for 24 weeks, and was the 24th best selling release of 2000 in the country. The British Phonographic Industry (BPI) certified it gold in July 2013, and according to the Official Charts Company, "Music" is Madonna's 14th best-selling single and sold 510,000 units in the region as of August 2023. Making its debut at its peak position of number 8, "Music" charted for a total of 20 weeks in France, before falling out on January 6, 2001. On August 31, 2000, "Music" debuted at number two on the Swedish Singles Chart. Similarly in Switzerland, the song debuted at number one, and spent 21 weeks in the chart. The single's performancein the UK and Europe enabled it to debut atop the European Hot 100 Singles chart, with greatest gaining points on the radio and dance charts. It was present in the position for six weeks In Italy, "Music" debuted at the top of the Musica e Dischi charts, spending seven weeks at the number one, of which six were consecutives.

Conception and filming
The accompanying music video was directed by Jonas Åkerlund, who had previously helmed Madonna's "Ray of Light" clip in 1998. It stars Madonna, her longtime backup singer Niki Haris and her friend, actress Debi Mazar, as well as comedian Sacha Baron Cohen as his famous character Ali G. Madonna became a fan of the comedian after watching his Christmas special, Ali G, Innit (1999). When the video was planned Madonna thought that Baron Cohen "would be great in it", although it was confirmed that he was not going to be involved in the musical aspects. Åkerlund stated that originally they intended to have American comedian Chris Rock in the video. Since Baron Cohen was not known in the US at that time, the director showed everyone clips from Da Ali G Show so they could see the Ali G character. When we did the 'Music' video, it was a weird time. [Madonna] was pregnant and we didn't want her to look pregnant—so we had to work around that. We had an idea to do a fun party video with her and her girls, make it a little bling and cowboy hats and all that. We wanted to have some comedy in there and I wanted to do some animation. The video was shot in Los Angeles, California in April 2000, to accommodate Madonna's pregnancy and her then-growing waistline. Crew members were asked to sign confidentiality documents for the filming. Madonna conceptualized the clip, wanting to show her take on the stereotypical R&B and rap music videos. She wanted to do role reversals with females enacting characters generally reserved for males. However, her range was limited being pregnant so she "had to think of a concept that would incorporate me being almost a voyeur rather than the central force in the video. So I figured if I played this kind of mack-daddy/pimp character, where things just came to me, happened to me and happened around me while I was watching it all happen, I could kill two birds with one stone."

Madonna's look in the clip was described by O'Brien as a "ghetto-fabulous female in a feather boa and stetson; all diamonds and bling, going to lapdancing bars and travelling in the back of a luxury limousine". She had initially enlisted some actors to portray her accompaniments in the video, but she did not feel comfortable with their stiffness, their model-like appearance and lack of personality. So she called up Mazar and Harris to come and star in the video. "I was at home when Madonna called me. She said 'I need my girlfriend, not these fake girl-friends trying to be my girlfriends. Throw on some clothes and come down'", recalled Harris. Ali G kept entertaining everyone in the set with Madonna not being able to "keep a straight face" during her takes. She kept her coat shut all the time and had to sit in the limousine to hide her belly.

Release and reception

The music video debuted on MTV and VH1 on August 2, 2000. VH1 channel aired a special hour-long program, Madonna's Music, in which Madonna called in for a phone interview. It was hosted by VH1's Rebecca Rankin who presided a discussion with Rolling Stone music critic Joe Levy about Madonna and her looks, as well as a video interview with Mazar and Harris. VH1 also aired a countdown of Madonna's previous videos and offered its viewers to listen to a remix of "Music". In addition, about 700 Madonna fans saw a free preview of the video at New York City's Irving Plaza a few days before the premiere.

The clip starts with Madonna and her friends getting into a limousine, driven by Ali G. As the music starts Ali G is directed to take them to a club where Madonna and her friends dance and drink. He later takes them to a strip-club, where Madonna goes inside but he is denied entrance. An animated section follows where Madonna, as a superhero character with superpowers, flies above rooftops, swims underwater, and works as a DJ at a club with a dozen arms like a Hindu deity. Madonna's animated character also attacks various neon signs displaying the names of her previous singles. The video ends with Madonna and her friends traveling in the limousine packed with the strippers and Ali G engaging in a rendezvous with them. According to author Georges Claude Guilbert, throughout the clip Madonna wears a gold necklace around her neck that says "Mommy", a reference to her apparent pregnancy. In the extended version of the music video, there is a variation at the end of the animated section. Ali G briefly interrupts the song to demonstrate his rap skills to persuade Madonna to include him on her next single. An annoyed Madonna asks him to stop and to turn the song back on.

Jarman-Ivens noted the use of American imagery in the clip, especially Madonna's cowboy garb and her popularizing of cowboy fashion. She found it interesting that Madonna "turned" to Americana, "underlining her interest in exploring her relationship to mainstream America through a fashion and cultural style that is rich and multi-layered in its meaning". The author also emphasized Madonna's sexual assertiveness in the music video, and emphatic defining of herself as "a sexual free spirit", as well as portrayal of expensive accouterments. "Music" was released as a DVD single on September 5, 2000. It reached the top of the UK Music Video charts and number three on the US Music Video charts, receiving gold certification in both regions. The clip was parodied on the sixth season of Mad TV and was called "My Movies". It featured Mo Collins as Madonna and poked fun at Madonna's filmography, with an animated version of Madonna attacking signs displaying her commercially flop films. In 2009, the video was included on Madonna's compilation, Celebration: The Video Collection.

Accolades and recognition
"Music" earned two nominations at the 43rd Annual Grammy Awards, in the categories of Record of the Year and Best Female Pop Vocal Performance. It also won the ASCAP Awards in the categories of Most Performed Pop Songs and Top Dance Songs. The video won several awards, including "Best Pop Clip of the Year" at the 2000 Billboard Music Video Awards and "Best Dance Video" at the International Dance Music Awards in 2000. At the Danish Music Awards it won the trophy of Best International Hit. The 2000 MTV Europe Music Awards nominated the track in the category of Best Song. "Music" also received a nomination at the 2001 TEC Awards, for its record production, and International Song of the Year at the 2001 NRJ Music Award.

"Music" has been included in many critic lists for Madonna's top singles and is often ranked as one of the best songs of the 2000s. Dotmusic placed it within its top-ten singles for 2000. In 2003, Q Magazine ranked the song at number 778 in their list of the "1001 Best Songs Ever". Rolling Stone listed "Music" as the 66th best of the 2000s decade, commenting that "despite all the new pop starlets out there trying to jump her train, Madonna definitely [is] not slackening pace. When she dropped "Music", she was older than Britney and Christina combined, yet she took them to school with vintage electro-boom, Eurodisco flourishes from French producer Mirwais, and her own inimitable sass." The publication also ranked it at number nine on their list of Madonna's 50 Greatest Songs, writing that "After years spent making albums that bridged boundaries of race, gender and sexual orientation, Madonna finally wrote a tune explicitly devoted to the democratizing power of music itself." The Huffington Post's Matthew Jacobs ranked it at number 11 on his list "The Definitive Ranking Of Madonna Singles". Jacobs believed that the phrase "Hey Mr. DJ" gave rise to the usage of name-checking in songs thereafter, employed by other artists like Jennifer Lopez, Black Eyed Peas and Mariah Carey.

In 2011, VH1 created a countdown of the top songs of 2000 decade and placed Music" at number 28. Entertainment Weekly likewise ranked "Music" at number seven on their list of Madonna's 35 top singles, saying that the "message [in the song] is universal". Michael Roffman from Consequence of Sound listed the track at number 15, feeling that the commercial reception to the release of "Music" was "almost meta come to think of it; the song did make people come together". Enio Chola of PopMatters placed "Music" at number five in his list of The Top 15 Madonna Singles of All Time, feeling that "After the confessional Ray of Light, Madonna was ready to dance again, and like no one else can, she proved that her ability to write pure unadulterated mega pop hits was still in full form as she began the third decade of her music career." LA Weekly's Michael Cooper ranked the track at number 12 in his list of Madonna's Top 20 Singles. He opined that Ahmadzaï's production of the track "[helped] to cement Madonna as the queen of reinvention". Ed Masley of The Arizona Republic placed it at number 13 on his Essential Madonna playlist. Writing for The Guardian, Jude Rogers listed "Music" at number 10 on her ranking of Madonna's singles, in honor of her 60th birthday. Similarly, Entertainment Weekly listed it as her seventh best single.

Live performances

The first live performance of "Music" took place during the promotional concerts for the album, held on November 5, 2000, at New York City's Roseland Ballroom, and on November 29 at London's Brixton Academy. During the New York performance, she wore a black tank top with "Britney Spears" written on it, along with cowboy hats and boots. For the London performance, Madonna wore a different T-shirt, with the names of her son Rocco and daughter Lourdes printed on it. On November 16, 2000, Madonna performed "Music" during the MTV Europe Music Awards 2000. She was introduced by Ali G as "Maradona" and wore a tank top with "Kylie Minogue" printed on it. A day later, she later performed "Music" and "Don't Tell Me" on British television program Top of The Pops and one week later on French television program Nulle Part Ailleurs.

On February 21, 2001, Madonna opened the 43rd Grammy Awards with a performance of the track. The stage had five giant video screens, which showed clippings from her career. Madonna entered the stage in a Cadillac driven by rapper Bow Wow. She emerged dressed in a full-length fur coat, which she removed to reveal a tight leather jacket and jeans. She took off the jacket to reveal a black tank top with the words "Material Girl" and performed the song, joined by backup singers Niki Haris and Donna De Lory. For the Drowned World Tour in the same year, "Music" was used as the final encore. Madonna wore tight black jeans and a customized Dolce & Gabbana halter top that proclaimed "Mother" in the front and "F*cker" in the back. She sang the song surrounded by her dancers, while images from her past music videos were displayed on the backdrops. In his review, NME's Alex Needham commented that the performance "underlines how easily [Madonna] could have brought the audience to collective orgasm by simply reeling out her classics". The performance on August 26, 2001, at The Palace of Auburn Hills was recorded and released in the live video album, Drowned World Tour 2001.

"Music" was later added to the Re-Invention World Tour of 2004. Set to a slower, hip-hop inspired remix, the performance featured Madonna and her dancers wearing Scottish kilts and a lighted staircase surrounding a DJ Station. At the end, Madonna and her dancers lifted up their kilts to spell the word "FREEDOM", with glitter letters on their underpants. MTV's Corey Moss opined that during the performance "Madonna and her dancers transformed the arena into a steamy nightclub". The next year, Madonna performed "Music" at the Live 8 benefit concert in London. On the 2006 Confessions Tour, Madonna performed "Music Inferno", a mashup of "Music" and The Trammps's "Disco Inferno". It began with several dancers on roller skates emerging from beneath the stage to perform "Xanadu-worthy tricks", while the stage was bathed in deep red lights. Madonna appeared wearing a white suit and performed the track; the performance also included a sample from her song "Where's The Party", from her third studio album True Blue (1986), at the beginning. Halfway through the performance, Madonna walked to the center stage where, according to MTV's Corey Moss, she did "her best Saturday Night Fever-era John Travolta routine, complete with the 'hitchhike' (you know, thumbs to the side)". The performance of the song at the August 15–16, 2006 shows in London, at the Wembley Arena, were recorded and included on Madonna's second live album, The Confessions Tour (2007).

"Music" was the closing song on the Hard Candy Promo Tour. Madonna wore a skintight black suit and a lace top, and began the performance by singing the song at the very front of the stage a cappella, before all her dancers joined. It ended with Madonna racing up the stage to the subway doors, behind which she disappeared. It was also included as the last song of the Old School segment of her Sticky & Sweet Tour (2008–09), where Madonna performed the same version as the promotional tour, but sampling Indeep's "Last Night A DJ Saved My Life" at the beginning as well as mashing it up with Fedde le Grand's "Put Your Hands Up 4 Detroit"; the backdrop screens depicting a graffiti-splattered New York City Subway train. Madonna's outfit, a pair of gym shorts with long socks and sneakers, was a reference to her old days in New York. The performance of the song at River Plate Stadium of Buenos Aires, Argentina, was recorded and released on the live CD-DVD album, Sticky & Sweet Tour (2010).

In 2012, Madonna included the song on her Super Bowl XLVI halftime show set list, where it was remixed with LMFAO's "Party Rock Anthem" and "Sexy and I Know It". The same year, she performed it on The MDNA Tour at New York City's Madison Square Garden, on November 13. She invited South Korean rapper Psy and performed together his song "Gangnam Style" and her 2008 single, "Give It 2 Me". "Music" opened the final section of the Rebel Heart Tour (2015–2016), with Madonna decked in a "Harlem-flapper-meets-Paris-in-the-Twenties" dress, adorned with thousands of Swarovski crystals. The song "began as a Jazz Age ballad before kicking into banger mode". Madonna's dancers were dressed in Golden Twenties inspired costumes with one of them topless. Joe Lynch from Billboard, opined that "the presence of 'Music' was an effective reminder that while some compulsive naysayers tsk the Queen of Pop for trend chasing with Diplo, she brought techno to the pop mainstream years before EDM was an ubiquitous term". The performance of the song at the March 19–20, 2016 shows in Sydney's Allphones Arena was recorded and released in the live album, Rebel Heart Tour. On December 6, 2016, Madonna performed "Music" during the Carpool Karaoke segment of The Late Late Show with James Corden. On April 30, 2022, Madonna joined singer Maluma during his Medallo en el mapa concert in Medellín, Colombia to perform "Music" along with their 2019 single "Medellín". The song's refrain was also incorporated into the encore of Madonna's Celebration Tour in 2023. The full version of the song was also included on the final show of the Celebration Tour, on Copacabana beach. The rendition featured samba music, elements of her Madame X song Faz Gostoso and the crew dressed in the Brazil flag and Madonna and Pabllo Vittar dancing together on stage.

Cover versions and media appearance
In 2004, Canadian tech-metal band Out of Your Mouth released a cover version of "Music" as their debut single. Vocalist Jason Darr commented, "I absolutely love her, I've bought her records and when she came out with that song it was like I was hit over the head with it". In 2007, The Dynamics recorded and released an eight-minute reggae cover on their album Versions Excursions. David Dacks from Exclaim! was satisfied with the recording, saying that it "fares well too, with the lyrics adapting well to a reggae context". French metal band Eths added a cover of the song as a bonus track on their third studio album III (2012). In addition, remixed eurodance cover versions of the song have appeared on the Dancemania series albums, including an uptempo cover remix by Nancy and the Boys on the 2001 album Dancemania Speed 6.

"Music" was featured during the ninth season of American reality competition series, RuPaul's Drag Race. It was used as the lip-sync song for the sixth episode, between contestants Peppermint and Cynthia Lee Fontaine, with the former winning the round. The runway that week was themed around Madonna's iconic looks. Madonna herself referenced "Music" in her 13th studio album, Rebel Heart (2015), in the track "Veni Vidi Vici" by singing the line: "I saw a Ray of Light / Music saved my life".

Track listings and formats

 * US 7-inch, CD, and cassette single
 * 1) "Music" (album version) – 3:44
 * 2) "Cyberraga" – 5:31

 * US DVD single
 * 1) "Music" (long video version) – 4:45
 * 2) "Music" (short video version) – 4:23

 * US 2× 12-inch vinyl
 * A1. "Music" (HQ2 club mix) – 8:50
 * A2. "Music" (Groove Armada 12-inch mix) – 5:30
 * B1. "Music" (Calderone Anthem mix) – 11:55
 * B2. "Music" (album version) – 3:44
 * C1. "Music" (Deep Dish Dot Com remix) – 11:21
 * D1. "Music" (The Young Collective club remix) – 13:16

 * Canadian, Japanese, and US CD maxi-single; digital single (2020)
 * 1) "Music" (HQ2 club mix) – 8:50
 * 2) "Music" (Calderone Anthem mix) – 11:55
 * 3) "Music" (Deep Dish Dot Com remix) – 11:21
 * 4) "Music" (Groove Armada club mix) – 9:29
 * 5) "Music" (The Young Collective club mix) – 13:16
 * 6) "Music" (HQ2 radio mix) – 3:59
 * 7) "Music" (Calderone radio edit) – 4:25
 * 8) "Music" (Deep Dish Dot Com radio edit) – 4:15
 * 9) "Music" (Groove Armada 12-inch mix) – 5:30

 * European 12-inch picture disc; UK 12-inch vinyl
 * A1. "Music" (Deep Dish Dot Com remix) – 11:21
 * A2. "Music" (album version) – 3:44
 * B1. "Music" (Groove Armada club mix) – 9:29
 * B2. "Music" (Groove Armada GA 12-inch mix) – 5:30

 * Australian CD single 1
 * 1) "Music" (album version) – 3:44
 * 2) "Music" (Deep Dish Dot Com UK radio mix) – 3:59
 * 3) "Music" (Groove Armada's 7-inch edit) – 3:38
 * 4) "Music" (Deep Dish Dot Com remix) – 11:21
 * 5) "Music" (Groove Armada GA 12-inch mix) – 5:30
 * 6) "Music" (Groove Armada Bonus Beats) – 4:51
 * 7) "Music" (Groove Armada club mix) – 9:29
 * 8) "Music" (short video version) – 4:23
 * 9) "Music" (long video version) – 4:45

 * Australian CD single 2
 * 1) "Music" (album version) – 3:44
 * 2) "Music" (Calderone eadio rdit) – 4:25
 * 3) "Music" (HQ2 7-inch mix) – 3:59
 * 4) "Music" (The Young Collective radio mix) – 3:48
 * 5) "Music" (Calderone Anthem mix) – 11:55
 * 6) "Music" (HQ2 club mix) – 8:50
 * 7) "Music" (The Young Collective club mix) – 13:16

Credits and personnel
Credits are adapted from the liner notes of the CD single and Music.

Management

 * Recorded at Sarm West Studios, Notting Hill, London
 * Mixed at Olympic Studios, London
 * Mastered at Metropolis Studios, London
 * Managed by Caresse Henry for Caliente Management
 * Webo Girl Publishing, Inc., Warner Bros. Music Corp (ASCAP), 1000 Lights Music Ltd, Warner-Tamerlane Publishing Corp. (BMI)

Personnel

 * Madonna – songwriter, producer, vocals
 * Mirwais Ahmadzaï – songwriter, producer, programming, guitar, keyboard
 * Keeling Lee – additional guitar
 * Jonathan 'Stan' White – bass guitar
 * Patrick Dawes – percussion
 * Mark "Spike" Stent – mixing
 * Jake Davies – engineer
 * Mark Endert – engineer
 * Kevin Reagan – art direction, design
 * Matthew Lindauer – design
 * Jean-Baptiste Mondino – photography

Certifications and sales
!scope="col" colspan="3"| Physical

!scope="col" colspan="3"| Digital

!scope="col" colspan="3"| Video

title: Music (Madonna song)


text:
User:Tyger

About Me
rawr

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

title: User:Tyger


text:
Talk:The Draughtsman's Contract

References to use

 * Please add to the list references that can be used for the film article.

Original long version
In a TV magazine I read that only the original long version of the film revealed how all the details of the murder fit together, and that this version is lost. Anybody know more? -- 790 10:28, 14 July 2005 (UTC)
 * It seems unlikely to me that more of the same would be of any assistance in understanding this film. DavidFarmbrough 13:30 BST 14/ Jul 2005

Fair use rationale for Image:TheDraughtsmansContractDVD.jpg
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If there is other fair use media, consider checking that you have specified the fair use rationale on the other images used on this page. Note that any fair use images uploaded after 4 May, 2006, and lacking such an explanation will be deleted one week after they have been uploaded, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you.

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Genre?
The article currently describes The Draughtsman's Contract as a "British comedy-drama film", previously as a "British mystery comedy-drama film", and prior to that as a "British film". While there are elements of black or absurd comedy, to me the film seems to be essentially not a comedy. Can we come up with a better description? Period mystery drama? Jean-de-Nivelle (talk) 22:46, 17 March 2022 (UTC)
 * That struck me as well. I think Wikipedia--and people in general--have a compulsion to define and categorize everything and everyone, often to the point of distraction and misdirection. So I might err on the side of "British film" or "British period film". Eric talk 12:24, 18 March 2022 (UTC)

William Croft
I believe Pwyll is the source of this claim but I don't have access to the book to check or put the page number. I think I got it through interlibrary loan, but I may have just gotten it from the public library. --Scottandrewhutchins (talk) 14:44, 29 October 2022 (UTC)

title: Talk:The Draughtsman's Contract


text: Category:Companies of Slovenia

title: Category:Companies of Slovenia


text:
User talk:Eurosun

Welcome! (We can't say that loud/big enough!)

Here are a few links you might find helpful:

 * Be Bold!
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You can sign your name on talk pages and votes by typing ~ ; our software automatically converts it to your username and the date.

If you have any questions or problems, no matter what they are, leave me a message on my talk page.

We're so glad you're here!

Also, you might want to make sure you're logged in; it looks like an anonymous user is editing your userpage, and that usually means the user was accidentally logged out. -- Essjay ·  Talk 10:29, July 14, 2005 (UTC)

title: User talk:Eurosun


text:
Arve

The Arve (L'Arve, ) is a river in France (département of Haute-Savoie), and Switzerland (canton of Geneva). A left tributary of the Rhône, it is 108 km long, of which 9 km in Switzerland. Its catchment area is 1976 km2, of which 80 km2 in Switzerland. Its average discharge in Geneva is 79 m3/s.

Rising in the northern side of the Mont Blanc massif in the Alps, close to the Swiss border, it receives water from the many glaciers of the Chamonix valley (mainly the Mer de Glace) before flowing north-west into the Rhône on the west side of Geneva, where its much higher level of silt brings forth a striking contrast between the two rivers.

The Arve flows through Chamonix, Sallanches, Oëx, Cluses, Bonneville, Annemasse and Geneva. Tributaries include, from source to mouth: Arveyron, Diosaz, Bon-Nant, Sallanche, Giffre, Borne, Menoge, Foron, Seymaz and Aire.

title: Arve


text:
User:Allroy

I am User Allroy. I used to be Peacethruvandalism, but was banned becasue they said that user name was not good. I didn't really see the big deal. Oh well I use this account now.

I only edit Death By Stereo-related stuff

title: User:Allroy


text: Category:Upcoming albums

title: Category:Upcoming albums


text:
Gonospermum ptarmiciflorum

Gonospermum ptarmiciflorum, formerly Tanacetum ptarmiciflorum, is a shrub with silvery leaves in the family Asteraceae. The species is endemic to the Canary Islands, where it is endangered in the wild. Suited to dry climates, the shrubby silvery-leaved perennial is cultivated an ornamental plant, commonly known as the silver lace bush.

title: Gonospermum ptarmiciflorum


text:
Xiao Qin

Xiao Qin (born January 12, 1985) is a Chinese gymnast. He specializes in the horizontal bar and parallel bars, but is best known for his work on the pommel horse for which he has won Olympic, world, national, East Asian Games, and World Cup titles. He joined the China national team in 1999 and is part of the People's Liberation Army.

Competitive highlights
He has qualified for two Olympics. At the 2004 Olympics in Athens, Xiao Qin was one of the favorites for the Olympic title on pommel horse, but his dreams were shattered when he fell during the qualification round. He qualified for the horizontal bar event final but placed 6th. It was also a disappointing Olympics for his team favored to win gold but instead finished 5th. At the 2008 Olympics in Beijing, he redeemed himself by winning gold on the pommel horse along with gold for his team.

title: Xiao Qin


text:
Leighfield

Leighfield is a civil parish in the county of Rutland in the East Midlands of England. There is no settlement centre in the parish, only a few isolated properties. In the 2001 census it had a population of 10, which was the fourth smallest of Rutland's parish populations. At the 2011 census the population remained less than 100 and was included in the civil parish of Ridlington. It shares its name with Leighfield Forest, a much larger area from Braunston-in-Rutland to Stockerston and from Skeffington to Ridlington, a triangle of land roughly 4 mile in each direction.

The village's name means 'Wood/clearing'. Spellings with the addition of the Old English word 'feld' meaning 'open land' started to appear from the 14th century.

The Leighfield Way is a 7.4 mile waymarked route joining the Leicestershire and Rutland Rounds at Belton-in-Rutland with the Hereward Way and Viking Way at Oakham.

Leighfield Forest
In the medieval period, Leighfield Forest was an extensive Royal forest straddling the borders of Rutland and Leicestershire. It included large numbers of sizeable wooded areas, which would mostly have been individually enclosed. The Forest also included roads, villages and farmland so was not ideal for Forest administration. It had been created soon after Henry I became king in 1100 and it was initially known as the Forest of Rutland (although a significant portion was in Leicestershire). Sauvey Castle, near Withcote, was probably built by King John in 1211 as a secluded hunting lodge. In 1235 all the Leicestershire sections were released from Forest Law, and in 1299 an eastern section was similarly disafforested.

Abuses by the Royal Officers would seem to have been at least as big a problem as poaching by the lower orders. One forester was found to be keeping 300 pigs in the woods. In 1269 the forester Peter de Neville was arraigned by the king's justices for taking for his own use timber, firewood and charcoal to the amount of 7,000 oaks and other trees. At least four deer parks were enclosed within the Forest, at Lyddington, Ridlington, Flitteriss Park and Cold Overton Park. Of these only Cold Overton still has ancient woodland. By the late 16th century, the Hastings family of Ashby de la Zouch were the Forest Wardens. It was by then known as Leighfield Forest, and was administered as three bailiwicks: Braunston, Ridlington and Beaumont. 33 individual woods are named in an inquisition of 1566, totalling 1060 acres. The end of the Forest came about in 1630 when Charles I removed the royal protection, and sold off his lands. It was rapidly given over to agriculture, whether pasture or tillage, and by 1700 nearly all the woodland has been cleared. The surviving ancient woodlands in the area include Prior's Coppice, Bolt Wood, Owston Woods, Skeffington Woods (listed as Leighfield Forest SSSI), Great Merrible Wood, the Launde woods, Wardley Wood and Stoke Dry Wood. The greater part of the former Forest, including Leighfield parish, is now an open landscape, although with species-rich hedgerows. Removal of many hedgerows during the 20th century has made the Leighfield woodlands increasingly isolated, but the Leicestershire and Rutland Wildlife Trust's 'Living Landscape' project has targeted Leighfield as one of its landscape-scale projects, and is working with the Forestry Commission to create new woodlands that can act as links between the ancient sites.

Several fragments have been designated a Site of Special Scientific Interest as Leighfield Forest SSSI.

title: Leighfield


text:
Talk:Mount Waverley Secondary College

THIS ARTICLE HAS BEEN RE-WRITTEN
This aritcle was defamatory and full of groundless assertions. After reading it I decided to change it almost entirely.

I have used infomation from a range of education resources, many of which are not accessable to the general public.

I will post infomation about the school's history after I've check it.

I think you will find this article to be balanced and fair.

Tim Andrews —Preceding unsigned comment added by Tim.andrews (talk • contribs)

WikiProject class rating
This article was automatically assessed because at least one WikiProject had rated the article as start, and the rating on other projects was brought up to start class. BetacommandBot 10:25, 10 November 2007 (UTC)

title: Talk:Mount Waverley Secondary College


text:
Explicit knowledge

Explicit knowledge (also expressive knowledge) is knowledge that can be readily articulated, conceptualized, codified, formalized, stored and accessed. It can be expressed in formal and systematical language and shared in the form of data, scientific formulae, specifications, manuals and such like. It is easily codifiable and thus transmittable without loss of integrity once the syntactical rules required for deciphering it are known. Most forms of explicit knowledge can be stored in certain media. Explicit knowledge is often seen as complementary to tacit knowledge.

Explicit knowledge is often seen as easier to formalize compared to tacit knowledge, but both are necessary for knowledge creation. Nonaka and Takeuchi introduce the SECI model as a way for knowledge creation. The SECI model involves four stages where explicit and tacit knowledge interact with each other in a spiral manner. The four stages are:
 * Socialization, from tacit to tacit knowledge
 * Externalization, from tacit to explicit knowledge
 * Combination, from explicit to explicit knowledge
 * Internalization, from explicit to tacit knowledge.

Examples
The information contained in encyclopedias and textbooks are good examples of explicit knowledge, specifically declarative knowledge. The most common forms of explicit knowledge are manuals, documents, procedures, and how-to videos. Knowledge also can be audio-visual. Engineering works and product design can be seen as other forms of explicit knowledge where human skills, motives and knowledge are externalized.

In the scholarly literature, papers presenting an up-to-date "systemization of knowledge" (SoK) on a particular area of research are valuable resources for PhD students.

title: Explicit knowledge


text:
Raúl Ibañez

Raúl Javier Ibañez (born June 2, 1972) is an American former professional baseball left fielder in Major League Baseball (MLB) now serving as vice president of baseball development and special projects for the Los Angeles Dodgers. He played 11 of his 19 big league seasons for the Seattle Mariners, while also playing for the Kansas City Royals, Philadelphia Phillies, New York Yankees, and Los Angeles Angels of Anaheim. While primarily a left fielder, Ibañez often saw considerable time as a designated hitter (DH), throughout his career.

An All-Star in 2009, Ibañez won the Player of the Week Award five times. Despite not reaching 500 plate appearances in a single season until the age of 30, Ibañez batted .272 with 424 doubles, 305 home runs and 1,207 runs batted in (RBI) over nineteen major league seasons. He had eight seasons with at least 20 home runs, two seasons with at least 30 home runs, six seasons with at least 90 RBI, four seasons with at least 100 RBI, and ten consecutive seasons (2002–2011) with at least 30 doubles. In 2004, Ibañez tied an American League record with six hits in one game.

Early life and amateur and college
Ibañez's parents emigrated from Cuba to New York in 1970. His father, Juan Armando, who was a chemist in Cuba, worked in a warehouse in the United States. Ibañez attended Miami Sunset Senior High School, where he played on the baseball team as a catcher. Fredi González, who worked at the school as a security guard during the minor league baseball offseason, worked with Ibañez on catching. After graduation, he attended Miami-Dade Community College, and was a baseball letterman and an All-Conference selection.

Draft and Minor Leagues (1992–96)
Ibañez was selected by the Seattle Mariners in the 36th round of the 1992 Major League Baseball draft. Ibañez played as a catcher and outfielder at various levels in the Mariners minor league organization. He began his professional career with the rookie-level AZL Mariners in 1992. Ibañez batted .308 with 37 hits, 8 doubles, 2 triples, 1 home run, and 16 RBIs in 33 games that season. The next season, 1993, Ibañez split the season between the Class-A Short-Season Bellingham Mariners, and the Class-A Appleton Foxes. He batted a combined .278 with 81 hits, 14 doubles, 2 triples, 5 home runs, and 36 RBIs in 95 games. Ibañez played for the Class-A Appleton Foxes again in 1994, and batted .312 with 102 hits, 30 doubles, 3 triples, 7 home runs, 59 RBIs, and 10 stolen bases in 91 games. That season, Ibañez led the team in RBIs, and doubles.

In 1995, Ibañez was promoted to the Class-A Advanced Riverside Pilots of the California League. He batted .332 with 120 hits, 23 doubles, 9 triples, 20 home runs, and 108 RBIs in 95 games. Ibañez was second in the league in RBIs, and was tied for seventh in the league in home runs. Ibañez played for two minor league teams in 1996. He started the season with the Double-A Port City Roosters where he batted .368 with 28 hits, 8 doubles, 1 triple, 1 home run, and 13 RBIs in 19 games. He was later promoted to the Triple-A Tacoma Rainiers where he batted .284 with 115 hits, 20 doubles, 3 triples, 11 home runs, and 47 RBIs in 111 games.

Seattle Mariners (1996–2000)
On August 1, 1996, after being called up from the minor leagues, Ibañez made his first major league appearance against the Milwaukee Brewers. That season, Ibañez appeared in four games and went hitless. In 1997, Ibañez began the season in the minor leagues with the Triple-A Tacoma Rainiers. He batted .304 with 133 hits, 30 doubles, 3 triples, 15 home runs, 82 RBIs in 111 games. On August 10, Ibañez made his first appearance of the season in the majors against the Chicago White Sox. He got his first major league hit, a triple, on August 16 against White Sox's pitcher Doug Drabek. On September 27, Ibañez hit his first major league home run against the Oakland Athletics' pitcher Mike Oquist. After 11 games in the majors, Ibañez batted .154 with 4 hits, 1 triple, 1 home run, and 4 RBIs.

Ibañez started the 1998 season with the Triple-A Rainiers and batted .216 with 41 hits, 8 doubles, 1 triple, 6 home runs, and 25 RBIs in 52 games. Ibañez was called up in August to the majors and batted .255 with 25 hits, 7 doubles, 1 triple, 2 home runs, and 12 RBIs in 37 games. Ibañez played the majority of the 1999 season with the Mariners, however, he did spend 8 games with the Triple-A Tacoma Rainiers and batted .335 with 11 hits. In 1999 with the Mariners, Ibañez batted .254 with 54 hits, 7 doubles, 9 home runs, and 27 RBIs in 87 games. Ibañez hit the first grand slam home run in Safeco Field history, at the park's third-ever game. In 2000, Ibañez again split the season between the Mariners and the Triple-A Rainiers. With the Rainiers, Ibañez batted .250 with 10 hits, 4 doubles, and 6 home runs in 10 games. Ibañez appeared in 92 regular season games with the Mariners in 2000. He batted .229 with 32 hits, 8 doubles, 2 home runs, and 15 RBIs. Ibañez appeared in three games in the 2000 American League Division Series and in 8 at-bats got 3 hits. During the next round of the playoffs, the 2000 American League Championship Series, Ibañez appeared in six games and went hitless. He became a free agent after the season.

Kansas City Royals (2001–03)
Ibañez was signed by the Kansas City Royals as a free agent before the season. In 2001 with the Royals, Ibañez batted .280 with 78 hits, 11 doubles, 5 triples, 13 home runs, and 54 RBIs in 104 games. He also played with the Triple-A Omaha Royals for 8 games and batted .148 with 4 hits. The next season, 2002, Ibañez played the entire season in the majors for the first time in his career. On June 9, Ibañez hit a walk-off home run against St. Louis Cardinals' pitcher Mike Timlin to give the Royals a three-to-two win. On June 26, Ibañez hit a double, triple, and a home run in the same game against the Detroit Tigers. About the opportunity to play everyday, Ibañez said this:

"[During my career], my confidence sometimes wavered because I wasn't playing as much. I put a lot of pressure on myself to perform. But I knew if I got an opportunity to play consistently then I would be able to perform."

- Raúl Ibañez

At the end of 2002, Ibañez batted .294 with 146 hits, 37 doubles, 6 triples, 24 home runs, and 103 RBIs in 137 games. His 6 triples stood as his career high. Ibañez was second on the team in doubles, and RBIs; and was tied for second in triples, and home runs. Ibañez received the Joe Burke Special Achievement Award as voted upon by the Kansas City, Missouri chapter of the Baseball Writers' Association of America. Before the start of the 2003 season, Ibañez filed for salary arbitration. The Royals avoided arbitration hearings with Ibañez after he accepted their one-year $3 million contract offer. In 157 games with the Royals, Ibañez batted .294 with 179 hits, 33 doubles, 5 triples, 18 home runs, and 90 RBIs.

Second stint with Mariners (2004–08)
After three seasons with the Royals, Ibañez returned to Seattle in and had a career-high .304 batting average. He also collected a 24-game go-ahead RBI string, matched a club record by reaching base 11 consecutive times, set a career-high and a club record and matched the American League record with six hits, and joined Ichiro Suzuki as only Mariners ever with two five-hit games in one season. He also ranked third among qualifying big league left fielders in UZR, an all-inclusive fielding statistic.

With Edgar Martínez retired, Ibañez moved to the DH spot before the season. In 2005, Ibañez hit .280 with 20 home runs and 89 RBIs. The Mariners acquired the switch hitting designated hitter Carl Everett from the Chicago White Sox during the 2005 offseason, forcing Ibañez to move back to where he played before, namely left field. Ibañez enjoyed his most productive season with the Mariners in, when he collected career-highs in home runs (33), RBIs (123), doubles (33) and triples (5), and hit .289 with 103 runs. In, the Mariners acquired José Vidro to assume the role of DH. Ibañez moved back out to left field and posted a .291 batting average with 21 home runs, 105 RBI, 80 runs and 35 doubles in 149 games. Ibañez hit 12 home runs and 55 RBIs with a .321 batting average in the second half of the 2008 season. He finished the season with a .293 batting average, 23 home runs, 110 RBI, 85 runs and a career-high 43 doubles by playing 162 games that year.

Philadelphia Phillies (2009–11)
On December 16, 2008, Ibañez signed a 3-year, $31.5 million deal with the Philadelphia Phillies. On April 9, 2009, Ibañez hit his first home run as a member of the Phillies, a deep, two-run shot to right field at Citizens Bank Park. Ten days later, on April 19, he hit a 2-run, walk-off home run to help the Phillies defeat the San Diego Padres. He hit his eighth career grand slam on April 27 as part of an eighth-inning comeback to help defeat the Washington Nationals at Citizens Bank Park.

In voting for the 2009 All Star Game, Ibañez received the second-most votes for a NL outfielder with 4,053,355, trailing only the Brewers' Ryan Braun (4,138,559). In the World Series, he batted .304 with four doubles, a home run and four RBI. In 134 regular season games, the 37-year-old Ibañez hit .272 with 32 doubles, 93 runs and 93 RBI. He posted career-highs in home runs (34), slugging percentage (.552), and OPS (.899). He had a .991 fielding percentage with two errors in 129 games in left field. He also ranked fourth among qualifying big league left fielders in UZR. Ibanez was the left fielder in Roy Halladay's perfect game on May 29, 2010.

During the 2010 season, Ibañez played in 155 games with a .275 average, 37 doubles, 16 home runs, and 83 RBI. In 2011, on defense he had the lowest range factor of all major league left fielders, at 1.60. He played 144 games with a .245 average, 31 doubles, 20 home runs, and 84 RBI.

New York Yankees (2012)
On February 20, 2012, Ibañez agreed to a contract worth $1.1 million with the New York Yankees. The deal was made official one day later. Ibañez struggled during spring training. When Brett Gardner suffered an injury in April, Ibañez saw increased playing time in left field against right-handed pitchers. On September 22, Ibañez hit a game-tying home run in the 13th inning of a game against the Oakland Athletics. In the second to last game of the regular season, Ibañez hit a pinch hit home run in the ninth inning and a game-winning RBI single in the 12th inning to keep the Yankees one game ahead of the Baltimore Orioles in the division. During the regular season, Ibañez appeared in 130 games, hitting .240 with 19 home runs and 62 RBI.

In Game 3 of the 2012 American League Division Series against the Orioles, Ibañez pinch hit for Alex Rodriguez and hit home runs in consecutive at bats. He hit the first home run off of Jim Johnson to tie the game 2–2 in the bottom of the 9th inning; the second one came off of Brian Matusz in the bottom of the 12th—a walk-off home run to give the Yankees a 3–2 victory and a two-games-to-one series advantage. The pinch-hit performance set several major league records: he became the first player in major league history to hit two home runs in a postseason game he did not start; the first to hit two home runs in the 9th inning or later of a postseason game; the oldest player to hit a postseason walk-off home run; and the oldest player to hit two home runs in a postseason game.

Two days later in the deciding game 5 against the Orioles, Ibañez ended a scoreless tie with a single in the bottom of the 5th inning. The Yankees would rally around Ibañez, and win the game 3–1 and win the series. The next day, Ibañez once again hit a game-tying home run in the bottom of the 9th inning, this time in Game 1 of the 2012 American League Championship Series against the Detroit Tigers, becoming the first player ever to hit 3 home runs in the 9th inning or later in a single postseason. Despite the Yankees losing the series to the Tigers, Ibañez became a beloved New York sports figure.

Third stint with Mariners (2013)
On December 22, 2012, Ibañez agreed to a one-year deal worth $2.75 million with Seattle. The deal was made official four days later. Ibañez hit .158 in April, but rebounded in May by batting .297 with 7 home runs and 17 RBI. On July 2, he hit his 20th home run of the season, becoming the oldest player in major league history to hit 20 home run before the All-Star break. On September 21, Ibañez hit his 29th home run, the 300th of his career and tying Ted Williams for most home runs in a season by anyone 40 or older. After the season, Ibañez was honored with the Hutch Award. During the 2013 season, Ibañez batted .242 with 29 home runs and 65 RBI in 124 games played.

Los Angeles Angels of Anaheim (2014)
On December 27, 2013, the Los Angeles Angels of Anaheim and Ibañez officially agreed to terms on a one-year contract. On June 21, the Angels released Ibañez. In 57 games with the Angels, Ibañez hit .157 with 3 home runs and 21 RBIs.

Second stint with the Royals (2014)
On June 30, the Kansas City Royals signed Ibañez. On July 2, he hit his first home run of the season.

With the team struggling with a 48–50 win–loss record on July 21, following comments by manager Ned Yost that the team needed to improve its play, Ibañez led a players-only meeting, which players including Eric Hosmer and Lorenzo Cain credited with turning around the attitudes of the players. The Royals then won 24 of their next 30, secured a wild card berth, swept the Oakland A's, Los Angeles Angels and Baltimore Orioles in the playoffs and reached the 2014 World Series, losing to the San Francisco Giants. Ibañez was not on the Royals' postseason roster, except for the Wild Card Game, in which he did not appear.

Having interviewed for Tampa Bay's managerial position vacated by Joe Maddon, the club named Ibañez as one of three finalists on November 21, 2014. He had not yet officially retired as a player at the time.

Post-playing career
On February 2, 2016, Ibañez was hired by the Los Angeles Dodgers as a special assistant to the President of Baseball Operations, Andrew Friedman. In April 2016, ESPN hired Ibañez as an analyst. Ibañez also appeared on ESPN Deportes.

In 2021, Ibañez and Michael Hill were named Major League Baseball's senior vice presidents of on-field operations, with responsibility for overseeing umpiring, discipline, and other on-field issues. In 2024, he left that role to return to the Dodgers as vice president of baseball development and special projects.

Ibañez served as the bench coach for the American League team in the 2024 All-Star Futures Game.

Personal life
Ibañez is also of Spanish descent, through his grandparents. He turned down an offer to play for the Spain national baseball team.

Ibañez and his wife Teryvette have two sons and three daughters.

In the 2009 offseason, Ibañez discovered he had allergies to gluten and dairy and went on a special diet, for which he had meals delivered from Philadelphia, even while on the road.

In a poll of 290 Major League players by Sports Illustrated, Ibañez was voted the second nicest major league player, after Jim Thome.

title: Raúl Ibañez


text:
Horn, Rutland

Horn is a former civil parish, now in the parish of Exton and Horn, in the county of Rutland, England. In 2001 it had a population of 9, which was included in the civil parish of Empingham at the 2011 census. The parish is part of the Exton Hall estate of the Earls of Gainsborough. The civil parish, with just three properties, was abolished on 1 April 2016 and merged with Exton to form "Exton and Horn".

History
The village's name means 'Horn-shaped feature'. It has been thought that this alludes to a slight bend in the North Brook, yet the earthworks of the village are likewise situated close to a ridge.

The village of Horn was mentioned in the Domesday survey, as 'Two hides in Horn of which Langfer had been tenant under Edward the Confessor were held of the king by the Bishop of Durham'.

In 1287, Richard son of Richard de Seyton had a manor house at Horne and in 1378 Sir John Seyton had his capital messuage here, although the manor was reportedly valueless in 1376. The land was turned from arable to pasture, which has been suggested as the cause of depopulation.

All Saints' Church, fell into disrepair and new rectors were installed under a thorn tree in 1471, and until the last appointment in 1832.

Horn is part of the Alstoe hundred of Rutland.

Proximity to the parish meant that the 1470 Battle of Losecoat Field during the War of the Roses was once called the Battle of Hornfield.

title: Horn, Rutland


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Everything Louder than Everyone Else

Everything Louder than Everyone Else is the sixth live album by the band Motörhead, recorded on 21 May 1998, and released on 9 March 1999, on Steamhammer; their first live album with the label, but fourth album release.

Recording
Vocalist/bassist Lemmy recalled making this during the Snake Bite Love tour, having decided to include an entire show on the release, which they hadn't done before because of the limitations of vinyl. The title refers to a remark repeated by Ian Gillan of Deep Purple on that group's Made in Japan live album: ""..could we have everything louder than everything else?..""

Recorded at The Docks nightclub in Hamburg, Germany, on 21 May 1998, Everything Louder than Everyone Else is produced 'undubbed' in a two-disc format. It was first released as a digipak version, later followed by a slimline 2CD jewel-case run. Lemmy says he chose to record it in Hamburg, Germany, because: ""..the Germans have been such loyal fans of ours. They always rescued our ass when we were going down for the third time. They stuck with us, and we knew Hamburg would be a great audience. It's like Liverpool — a seafaring town, and you know where you are with a sailor!..""

Release
In Joel McIver's 2011 book Overkill: The Untold Story of Motörhead, Lemmy is quoted as saying he believes the album is better than the classic 1981 live LP No Sleep 'til Hammersmith, stating: ""..it's a double, for starters, and this is a better band, I think. We function better as a trio. We get more money, for one thing — ha ha! — but you have to do better as a three-piece because people can hear the holes more easily..""

Critical reception
At the start of the concert Lemmy announces, "We are Motörhead; and we’re gonna kick your ass." Critics picked this theme up, with some advocating that those thinking of buying this record first will be disappointed with studio versions of the songs after listening to the show. Andy Hinds of AllMusic writes: ""..mixed unbelievably loud and in-your-face, it captures Motörhead's overwhelming live power in all its toothy glory and reflects a veteran band working at the peak of its skill..""

Personnel

 * Lemmy – lead vocals, bass
 * Phil Campbell – lead guitar
 * Mikkey Dee – drums
 * Motörhead - producer
 * Joe Petagno – Snaggletooth

title: Everything Louder than Everyone Else


text:
Wikipedia:Articles for deletion/Plants in the star wars universe

Plants in the star wars universe
This article is a smaller duplicate of Plants from Star Wars universe article. It should be deleted since it is redundant. Tavilis 10:36, 14 July 2005 (UTC)
 * Redirect might perhaps work? Sjakkalle (Check!)  10:37, 14 July 2005 (UTC)


text:
For Him and the Girls

For Him and the Girls is an album by Canadian artist Hawksley Workman, released in 1999. Written and produced by Hawksley Workman with arrangement collaboration by John Southworth. Recorded and mixed in the basement of 59 Hillsdale Ave E., Toronto, Ontario, Canada. Mastered by Joao Carvalho at Umbrella Sound, in Toronto, ON. CD Jacket design by Wade Gilpin.

The record was recorded on a Tascam 1/2" 8-track analog reel to reel tape recorder. All instruments except those listed below were played by Hawksley Workman. Hawksley began each song by recording the drums as single performances, which gives the listener an insight into his extraordinary ability to visualize a complete song. He subsequently added each instrument to build the tracks.

A Yamaha DX-100 keyboard was used for sine wave bass notes on the record.

Several of the final mixes on DAT format were almost lost when the tape was mangled badly. That tape was successfully repaired allowing recovery of the mixes for this record.

Additional artists: Lenni Jabour (back vox), John Southworth (back vox), Doug Tielli (trombone), Sarah McElcheran (trumpet), Karl Mohr (clarinet, earthmen).

Track listing

 * 1) "Maniacs"
 * 2) "No Sissies"
 * 3) "Sad House Daddy"
 * 4) "Tarantulove"
 * 5) "Sweet Hallelujah"
 * 6) "Bullets"
 * 7) "Don't Be Crushed"
 * 8) "Stop Joking Around"
 * 9) "All of Us Kids"
 * 10) "Safe and Sound"
 * 11) "Paper Shoes"
 * 12) "Baby This Night"
 * 13) "No More Named Johnny"
 * 14) "Beautiful and Natural"

title: For Him and the Girls


text:
User:Tyhjiö/monobook.css

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title: User:Tyhjiö/monobook.css


text:
File:We Were Wolves.jpg

Source
Derived from a digital capture (scan/photo) of the album/CD cover (creator of this digital version is irrelevant as the copyright in all equivalent images is still held by the same party). Copyright held by the record company or the artist. Claimed as fair use regardless.

Fair use in (Last Night We Were) The Delicious Wolves
Though this image is subject to copyright, its use is covered by the U.S. fair use laws because:
 * 1) It's a low resolution copy of a CD/album cover.
 * 2) It doesn't limit the copyright owner's rights to sell the CD/album in any way, in fact, it may encourage sales.
 * 3) Because of the low resolution, copies could not be used to make illegal copies of the album artwork on another CD.
 * 4) The image is itself a subject of discussion in the article or used in the infobox thereof.
 * 5) The image on the cover is significant because it was made by a famous artist.

title: File:We Were Wolves.jpg


text:
Ibn Sahl (mathematician)

Ibn Sahl (full name: Abū Saʿd al-ʿAlāʾ ibn Sahl أبو سعد العلاء ابن سهل; c. 940–1000) was a Persian    mathematician and physicist of the Islamic Golden Age, associated with the Buyid court of Baghdad. Nothing in his name allows us to glimpse his country of origin.

He is known to have written an optical treatise around 984. The text of this treatise was reconstructed by Roshdi Rashed from two manuscripts (edited 1993).: Damascus, al-Ẓāhirīya MS 4871, 3 fols., and Tehran, Millī MS 867, 51 fols. The Tehran manuscript is much longer, but it is badly damaged, and the Damascus manuscript contains a section missing entirely from the Tehran manuscript. The Damascus manuscript has the title Fī al-'āla al-muḥriqa "On the burning instruments", the Tehran manuscript has a title added in a later hand Kitāb al-harrāqāt "The book of burners".

Ibn Sahl is the first Muslim scholar known to have studied Ptolemy's Optics, and as such an important precursor to the Book of Optics by Ibn Al-Haytham (Alhazen), written some thirty years later. Ibn Sahl dealt with the optical properties of curved mirrors and lenses and has been described as the discoverer of the law of refraction (Snell's law). Ibn Sahl uses this law to derive lens shapes that focus light with no geometric aberrations, known as anaclastic lenses. In the remaining parts of the treatise, Ibn Sahl dealt with parabolic mirrors, ellipsoidal mirrors, biconvex lenses, and techniques for drawing hyperbolic arcs.

Ibn Sahl designed convex lenses that focus light rays that are parallel, which can cause an object to burn at a specific distance.

title: Ibn Sahl (mathematician)


text:
(Last Night We Were) The Delicious Wolves

(Last Night We Were) The Delicious Wolves is an album by Canadian artist Hawksley Workman, released in 2001 by Isadora Records/Universal Music and re-released for the UK by Ba Da Bing!. It was produced and recorded by Workman at his 'Hawksleytown' studio, with additional recording, mixing & mastering by Joao Carvalho at Umbrella Sound.

Features performances by Sarah Slean (background vocals on tracks 7 & 10) and Sarah McElcheran (trumpet).

Track listing (original)

 * 1) "Striptease"
 * 2) "Jealous of Your Cigarette"
 * 3) "You, Me and the Weather"
 * 4) "Little Tragedies"
 * 5) "What a Woman"
 * 6) "Your Beauty Must Be Rubbing Off"
 * 7) "Old Bloody Orange"
 * 8) "Clever Not Beautiful"
 * 9) "No Beginning No End"
 * 10) "Dirty and True"
 * 11) "Lethal and Young"

Track listing (UK re-release)

 * 1) "Striptease"
 * 2) "Jealous of Your Cigarette"
 * 3) "You, Me and the Weather"
 * 4) "Little Tragedies"
 * 5) "What a Woman"
 * 6) "Your Beauty Must Be Rubbing Off"
 * 7) "Old Bloody Orange"
 * 8) "Clever Not Beautiful"
 * 9) "No Beginning No End"
 * 10) "Dirty and True"
 * 11) "Lethal and Young"
 * 12) "It Shall Be" (Bonus Track)
 * 13) "Watching the Fires" (Bonus Track)
 * 14) "Striptease" (Video)
 * 15) "Jealous of Your Cigarette" (Video)
 * 16) "No Beginning No End" (Video)


text:
Campanula takesimana

Campanula takesimana (Korean bellflower,, seomchorongkkot) is a species of bellflower. It bears pink to white flowers. There are several cultivars available for the home gardener.

Takesimana is seen as a less invasive alternative to Campanula punctata, its close relation. They are similar in appearance, though the flower shape of takesimana can appear more flared. Both range in colour from white to pink.

The Korean herbal root, doraji, does not come from this plant, but rather from the Chinese bellflower (Platycodon grandiflorus), although do-ra-ji is usually translated from Korean as "bellflower".

title: Campanula takesimana


text: Portal:Technology/box-footer

title: Portal:Technology/box-footer


text:
Japanese Communist Party (Action Faction)

The Japanese Communist Party (Action Faction) (日本共産党 (行動派)) is an anti-revisionist Marxist–Leninist communist party in Japan that was founded in 1980 by former members of the Japan Communist Party (Marxist–Leninist). JCP (Action Faction) adheres to Marxism–Leninism and Maoism, as well as the thought of Kyuichi Tokuda (徳田 球一)) and Otake Reichirou (大武 礼一郎)). The popular front of the JCP (Action Faction) is the Japanese People's Front (日本人民戦線)).


text:
Talk:Miranda Seymour

Untitled
This article links to the New Zealand Listener. I suspect that it is wrong. Alan Liefting 10:42, 14 July 2005 (UTC)

 * There was a British magazine called the Listener - IIRC it gave a resume of political and current affairs issues covered on the previous week's British televeison and radio. That will almost certainly be what is being referred to, so I've changed the link. I think a dab page may be in order. Grutness...  wha?  10:13, 15 August 2005 (UTC)

Updates April 2024
This article had a heading notice for lack of citation. Well deserved as there were almost no citations at all. I've added more than 20 over the last few weeks. It was relatively easy - all of the claims could readily be verified and indeed there were other notable achievements to add. Certainly no problem with spin or promotional tone. More could still be done particularly on ISBNs and critical reception, but it does not merit a notice any more so I have removed it. CoalsCollective (talk) 07:17, 22 April 2024 (UTC)

title: Talk:Miranda Seymour


text:
Talk:Cherokee Nation v. Georgia

Untitled
However was not the right transition to use, it is used for contrast it should have read " Later established with the case Worchester v. Georgia.

Expansion
I'm starting an expansion of this article, to try an move to a GA, and later to a FA. I'll be using the Bluebook citation style, per WP:MOSLAW. In addition, there will be times where the structure of the article will be a little unusual as I move it to comply with MOS requirements. I am aware of article requirements, and will comply with them. GregJackP  Boomer!   04:28, 27 December 2012 (UTC)

 * WP:MOSLAW: The use of 'supra' is discouraged in footnotes. Mauls (talk) 12:51, 10 July 2020 (UTC)

title: Talk:Cherokee Nation v. Georgia


text: Portal:Technology/box-header

title: Portal:Technology/box-header


text:
Sai Wan Ho Civic Centre

Sai Wan Ho Civic Centre is a community arts centre in Sai Wan Ho, Hong Kong Island, Hong Kong and maintained by the Leisure and Cultural Services Department, one of the successors to the territory's Urban Council. It was opened on 4 December 1990.

The 3-floor venue consists of:

 * Cultural Activities Hall (seats 110)
 * Music Practice Rooms - 2 rooms seating 20 each
 * Theatre (1/F) - 471 seat auditorium with stage
 * Art Studios - 2 rooms seating 20 and 30 people
 * URBTIX Box Office

It is serviced by Sai Wan Ho station of the MTR Island line.

title: Sai Wan Ho Civic Centre


text:
National Federation of Cypriots

The National Federation of Cypriots in the United Kingdom is a London-based umbrella organisation incorporating Cypriot associations in the United Kingdom. Its member associations include "refugee organisations; village organisations; missing persons organisations; UK branches of Cypriot political parties; educational societies; cultural, professional, sports and student groups; and philanthropic organisations".

The Federation is a member association of the international organisation, POMAK (The World Federation of Overseas Cypriots).

History
The Federation was founded immediately after the Turkish invasion of Cyprus in 1974. It functions under a President, an Executive and a Secretariat elected every two years and is headquartered in North London.

Christos Karaolis was elected as the fifth President of the Federation in June 2015. Karaolis is the first third generation Greek Cypriot elected to that position following eight years as President of NEPOMAK (the World Organisation for Young Overseas Cypriots).

Summary of roles and aims
As the foremost representative body of UK Cypriots, the Federation performs a two-fold role. Firstly, it spearheads the British Cypriot community's efforts to promote the cause of a reunited Cyprus, free from Turkish occupation troops and illegal colonists, for the benefit of all Cypriots. Secondly, it coordinates the work of UK Cypriots in the political, social, cultural and educational spheres as well as lobbies for and articulates the interests and concerns of the Cypriot community in the United Kingdom. In pursuing its objectives, the Federation co-operates closely with the democratically elected President and the Government of the Republic of Cyprus. The Federation also fosters close links with the British Government, the leadership of British political parties, British parliamentarians, civic and community leaders, ethnic minorities, the mass media and other relevant institutions in the United Kingdom.

Description by the House of Commons
The National Federation of Cypriots in the UK "is an organisation representing almost all Greek Cypriot community associations in the UK, many of which are themselves "special purpose federations".

title: National Federation of Cypriots


text:
User talk:Martin Fasani

Please click here to leave me a new message.

Welcome from Redwolf24
Welcome!

Hello, and welcome to Wikipedia. Thank you for your contributions. I hope you like the place and decide to stay. We as a community are glad to have you and thank you for creating a user account! Here are a few good links for newcomers:
 * The Five Pillars of Wikipedia
 * How to edit a page
 * Editing, policy, conduct, and structure tutorial
 * Picture tutorial
 * How to write a great article
 * Naming conventions
 * Manual of Style
 * Merging, redirecting, and renaming pages
 * If you're ready for the complete list of Wikipedia documentation, there's also Topical index.

Yes some of the links appear a bit boring at first, but they are VERY helpful if you ever take the time to read them.

Remember to place any articles you create into a category so we don't get orphans.

I hope you enjoy editing here and being a Wikipedian! By the way, please be sure to sign your name on Talk and vote pages using four tildes (Redwolf24 10:45, 14 July 2005 (UTC)) to produce your name and the current date, or three tildes (Redwolf24) for just your name. If you have any questions, see the help pages, add a question to the village pump or ask me on my Talk page. Again, welcome.

Redwolf24

P.S. I like messages :-P

Yogurt (social network)
A template has been added to the article Yogurt (social network), suggesting that it be deleted according to the proposed deletion process. All contributions are appreciated, but this article may not satisfy Wikipedia's criteria for inclusion, and the deletion notice explains why (see also "What Wikipedia is not" and Wikipedia's deletion policy). You may contest the proposed deletion by removing the  notice, but please explain why you disagree with the proposed deletion in your edit summary or on its talk page. Also, please consider improving the article to address the issues raised. Even though removing the deletion notice will prevent deletion through the proposed deletion process, the article may still be deleted if it matches any of the speedy deletion criteria or it can be sent to Articles for Deletion, where it may be deleted if consensus to delete is reached. If you endorse deletion of the article, and you are the only person who has made substantial edits to the page, please tag it with db-author. Gudeldar 22:05, 3 August 2007 (UTC)

Orphaned non-free image (Image:YogurtSocialSoft.jpg)
Thanks for uploading Image:YogurtSocialSoft.jpg. The image description page currently specifies that the image is non-free and may only be used on Wikipedia under a claim of fair use. However, the image is currently orphaned, meaning that it is not used in any articles on Wikipedia. If the image was previously in an article, please go to the article and see why it was removed. You may add it back if you think that that will be useful. However, please note that images for which a replacement could be created are not acceptable for use on Wikipedia (see our policy for non-free media).

If you have uploaded other unlicensed media, please check whether they're used in any articles or not. You can find a list of 'image' pages you have edited by clicking on the "my contributions" link (it is located at the very top of any Wikipedia page when you are logged in), and then selecting "Image" from the dropdown box. Note that any non-free images not used in any articles will be deleted after seven days, as described on criteria for speedy deletion. Thank you. BetacommandBot 06:18, 11 August 2007 (UTC)

title: User talk:Martin Fasani


text:
North Colonie Central Schools

North Colonie Central Schools is a public school district located in Colonie, New York. It shares Colonie along with the South Colonie Central School District and covers the communities of Latham, Loudonville, and Cohoes. It was ranked the number 4 school district in the Capital District by The Business Review in their 2012 Schools Report. On the official website of North Colonie, it is stated that over 6,000 students attend the school district.

Board of education
Current members of the board of education are:
 * Linda Harrison, President
 * Matthew Cannon, Vice President
 * Mary Alber
 * Nicholas Comproski
 * Michelle Dischiavo
 * Samuel Johnson
 * Pennie Grinnell
 * Mary Nardolillo
 * Sandy Pangburn

Schools
The district is made up of 6 elementary schools for students in kindergarten through 5th grade. 6th, 7th and 8th grade students attend Shaker Middle School, which feeds Shaker High School for grades 9 through 12.

The district contains the following schools:
 * Southgate Elementary School, Loudonville, Principal - Jerri Lynne Dedrick
 * Latham Ridge Elementary School, Latham, Principal - Aaron Thiell
 * Loudonville Elementary School, Loudonville, Principal - Scott Thompson
 * Forts Ferry Elementary School, Latham, Principal - Casey Parker
 * Boght Hills Elementary School, Cohoes, Principal - Hilary King
 * Blue Creek Elementary School, Latham, Principal - Christopher Turcio
 * Shaker Middle School, Latham, Principal - Davis Chamberlain
 * Shaker High School, Latham, Principal - Marcus Puccioni

title: North Colonie Central Schools


text:
Almost a Full Moon

Almost a Full Moon is a Christmas album by Canadian artist Hawksley Workman released in 2001. The album was written, produced, and performed by Hawksley Workman. It was recorded & mixed at Recall Rooms in Paris, France by Stephane Lumbroso (except "Common Cold" which was recorded & mixed by James Paul at the Rogue, Toronto, Ontario).

The album was re-released in 2002 with new cover art and a new track list by Isadora Records/Universal Music

In 2022, a holiday musical based on the album written by playwright Charlotte Corbeil-Coleman with Workman premiered at the Citadel Theatre in Edmonton.

title: Almost a Full Moon


text:
Party of the Angolan Communist Community

Party of the Angolan Communist Community (Partido da Comunidade Comunista Angolana) was a political party in Angola. Baptista André José Simão was the chairman of the party.

The party was registered at the Supreme Court in 1994. Ahead of the 2008 parliamentary election, the party was not allowed to participate as it failed to obtain the necessary 5 000 voters signatures. The party presented 4,573 signatures, out of which 1,846 were deemed correct according to the Constitutional Court. The party forms part of the 'Group of Seven', a grouping of parties which either had their candidacies rejected or never attempted to put candidates in the election. The grouping supported the ruling People's Movement for the Liberation of Angola (MPLA) in the 2008 election.