text:
Talk:Race and intelligence/References

Untitled
Please discuss the importance and use of each of these references. Which ones depend on which other ones? Which ones are particularly revered or controversial? If you are going to have a separate article for this, you should take advantage of it. +sj +  —Preceding undated comment added 07:13, 14 July 2005

TOC
if we break the sections down to single letters, we can use the tag. --Rikurzhen 03:57, July 20, 2005 (UTC)

 * Done. I'm not sure which is more usable or looks better, to chunk it up by a few letters at a time or have one heading for each letter.  Dd2 07:13, 23 July 2005 (UTC)

 * Actually, I think it is a little better done by letter. Dd2 07:40, 23 July 2005 (UTC)

POV
Missing relevant POV references from Sternberg, Gardner, etc. Jokestress 15:22, 21 July 2005 (UTC)

 * This isn't a reading list. It is an actual bibliography; to which references are added when used. --Rikurzhen 16:07, July 21, 2005 (UTC)

New fancy system
Well, I've finally made something work. The way I want it.

As D2D has already discovered, you can now make Author–Year references to this page from Race and intelligence with a pretty nice syntax. I promise to write a HOWTO real soon, but I want to play with it to make sure it works. I wrote a new template Template:AYref for this, which uses nontrivial template and variable magic. Ideally, all references from related articles now go to this page, and I want to remove full references from the footnotes.

Anyway, D2D seems to be clever enough to pick up the syntax just by staring at it, so if anybody else wants to have a shot, just follow his lead. (This is an intelligence-related page, after all!)

But a full HOWTO is coming real soon. Arbor 20:11, 29 July 2005 (UTC)

 * nice! --Rikurzhen 20:41, July 29, 2005 (UTC)

 * Note that the same syntax works from the main article as well as the two subarticles. All will get you to this page. Normally, a call to my AYref-template on article Foo will point to Foo (References). Getting more pages to share the same reference page is a simple matter of redirection. (Though I spent ages trying to solve it differently until I realised this simple solution.) Arbor 07:06, 30 July 2005 (UTC)

I have now tagged each and every entry so that it is visible to the AYref template. Actually, I wrote a small perl-script to do it for me. The logic is: As I said, it's done by a small script, and may not have gotten everything right. If you want to change an ID, just do it. (As long as you check that it isn't already used by a reference.)
 * 1) the ID of an article is the surname of the first author, followed by underscore, followed by the year of publication, followed by "a", "b", etc. to disambiguate. For example "Duck_1943a".
 * 2) For articles with two authors, the name looks like "Duck_and_Cover_1964"
 * 3) For articles with more than two authors, the name looks like "Duck_et_al._2004".

To refer to this paper's entry, use the appropriate syntax: Note that underscores exist only in the internal ID, which is only seen in editing mode when editing the References page itself. The AYref template avoids underscores. (Nasty technical problem. Don't ask.) Arbor 14:53, 1 August 2005 (UTC)

Revamping
Hey Rikurzhen, I wasn't sure if some of the changes to Pinker 2005 were intentional. It seems useful to wikify names, for example .. or is there reason not to? Anyway, Nectar 09:50, 20 December 2005 (UTC)

not really. i did the update by copying all the references into endnote, but there's no template for conference talks. i used a generic template, which didn't turn out very well. the new book template has a space for linking to the author's wp page, which i haven't filled in, but it could be updated manually. --Rikurzhen 03:40, 21 December 2005 (UTC)

This is over-the-top
Have the collective editors of Race and intelligence actually read all of these references? If so, how many of them actually relate to what is written in the article? This list needs to be reduced, and as sj said, commented. The use of templates also needs fixing (by a bot). ··gracefool |☺ 11:27, 16 February 2006 (UTC)

Many of these references are really quite badly written and obviously racist. This is poor science... Danielfong 10:20, 1 April 2006 (UTC)

 * I agree. I also would like to be able to trace the footnotes back to the places they are used to see if they are relevant. (however bad they may be)futurebird 02:49, 15 January 2007 (UTC)

Snyderman and Rothman (1988) is a dubious source
It is not accepted outside of small conservative circles. More left-leaning people have called it outright racist. It is not the kind of material that an encyclopedia article should use as a source and it is just about the only source for much of this article, which consists primarily of regurgitated findings from a single questionable study.

If not removed, I recommend out-merging most of the Snyderman and Rothman findings (except for a brief summary) to its own article. After that, this article should be expanded to include the entire history of this debate in the media and more balanced coverage of right wing bias.futurebird 06:59, 15 January 2007 (UTC)

Problems with this system of footnoting

 * Hopelessly convoluted footnoting system makes it hard to revise the articles.
 * Seems to be designed to intimidate people out of revising the current content.
 * If a source proves to be suspect it is impossible to trace it back to see the articles that reference it.
 * References should be contained in the article to which they pertain. I have found errors in the reference tags, incorrect dates, and broken links, these would be easier to fix and reconcile if the references were in the articles. futurebird 20:34, 24 January 2007 (UTC)

Not all of these sources were used.
Many of these sources are not use anywhere. I propose removing those that are not used. I'm working through the list, tagging unused sources. futurebird 15:29, 27 January 2007 (UTC)

This article makes unscientific claims that are not supported. Beginning with the politico, Charles Murray, does anyone have any objections to removing the following from this article.

Murray, C. (May 2002). "IQ and Income Inequality in a Sample of Sibling Pairs from Advantaged Family Backgrounds". American Economic Review 92 (2): 339-343.

Murray, C. (September 2005). "The Inequality Taboo". Commentary Magazine 120 (2): 13-22.

Murray, C. (November-December 2006). "Changes over time in the black–white difference on mental tests: Evidence from the children of the 1979 cohort of the National Longitudinal Survey of Youth". Intelligence 34 (6): 527-540. DOI:10.1016/j.intell.2006.07.004.

If you object to removing the above three references, please state the reasons based on science within the framework of the purpose of this article. I will wait one week for replies, and then remove them and any associated text. Thanks. Skywriter 20:32, 24 June 2007 (UTC)

 * I object, on the basis that Charles Murray is also a scientist (a geneticist and an intelligence researcher) in his own right. You cannot censure from Wikipedia views which you disagree with. What you can do is bring cited views that counter this view.--Ramdrake 13:05, 25 June 2007 (UTC)

Just a General Note About the Economics of 'Race and Intelligence' Publications
I think that it would be a good idea to make some comment concerning the nature of who it is that has funded the various references at various points within history. This may shed some light on the vested interests that have been served via the use of these references at certain points within history.

Ultimately, it is very probably that a significant amount of the references referred to are in some way politically funded and have funded sources that were deemed conducive to the policies of previous political power structures and regimes. Perhaps some analysis towards the political sources of funding, in those cases where government sponsorship has been used when funding a reference, will enable the objectively minded reader in determining whether or not a particular source of information is likely to be accurate.

I am currently not aware of whether or not there exists a separate wikipedia article along these lines that categorises the references according to the times during which they were written (it is not unreasonable to assume that references written earlier on in history are more likely to rely upon results that are not scientifically accurate and that have been deliberately written with bias). Furthermore, which sources of information provide the raw numerical results needed in order to justify the assertions that they make (for example, when attempting to analyse a statistical dataset of information – which sources provide those datasets that they seek to analyse?). Perhaps, in the case of those publications that do not provide, in an eminently reasonable way, their source data in order to verify the claims made in the paper/publication, it would be prudent to tag or otherwise indicate that such publications are featured within the references section of the race and intelligence article. Of course, as mentioned in all of the above, I am assuming that it is reasonable to assume the morality and honesty of the 'contributor' who wrote the paper – clearly this is not likely to be the case.

On a final note, I notice a distinct lack of CHINESE and ASIAN research in your list of references. Far from calling the articles SELECTION OF REFERENCES BIASED AND INHERENTLY UNTRUE, I think that it might be a good idea, in some way at least, to account for the racial and ethnic origins of authors (something along the lines of an ethnic analysis of the race and intelligence references – it would seem a little strange if one ethnic group turned out to be more qualified in regards to determining the levels of intelligence of other ethnic groups).

The above are, of course, only a few points.

--MrASingh 20:34, 23/03/2007, 2007 (UTC)

title: Talk:Race and intelligence/References


text:
List of birds of Western Australia

This is a list of the wild birds found in Western Australia. The list includes introduced species, common vagrants, recently extinct species, extirpated species, some very rare vagrants (seen once) and species only present in captivity. 629 species are listed.

The taxonomy is based on Christidis and Boles, 2008. Their system has been developed over nearly two decades and has strong local support, but deviates in important ways from more generally accepted schemes.

This list's taxonomic treatment (designation and sequence of orders, families and species) and nomenclature (common and scientific names) follow the conventions of The Clements Checklist of Birds of the World, 2022 edition. All of the birds below are included in the total bird count for Western Australia.

The following tags have been used to highlight several categories. The commonly occurring native species do not fall into any of these categories.

 * (A) Accidental – a species that rarely or accidentally occurs in Western Australia
 * (E) Endemic – a species endemic to Western Australia
 * (I) Introduced – a species introduced to Western Australia as a consequence, direct or indirect, of human actions
 * (Ex) Extirpated – a species that no longer occurs in Western Australia although populations exist elsewhere
 * (X) Extinct – a species or subspecies that no longer exists.

Ostriches
Order: StruthioniformesFamily: Struthionidae

This order is not native to Western Australia, but feral populations of one species have become established.

Cassowaries and emu
Order: CasuariiformesFamily: Dromaiidae

This family of flightless ratite birds is represented by two living species in Australia. Another two species are found in New Guinea. The extinct, geographically isolated King and Kangaroo Island emus were historically considered to be separate species to mainland emus. However, genetic evidence from 2011 suggests that all three are conspecific.

Magpie goose
Order: AnseriformesFamily: Anseranatidae

The family contains a single species, the magpie goose. It was an early and distinctive offshoot of the anseriform family tree, diverging after the screamers and before all other ducks, geese and swans, sometime in the late Cretaceous. The single species is found across Australia.

Ducks, geese, and waterfowl
Order: AnseriformesFamily: Anatidae

The family Anatidae includes the ducks and most duck-like waterfowl, such as geese and swans. These are adapted for an aquatic existence, with webbed feet, bills that are flattened to a greater or lesser extent, and feathers that are excellent at shedding water due to special oils.

Megapodes
Order: GalliformesFamily: Megapodiidae

Megapodiidae are represented by various species in the Australasian region. They are commonly referred to as "mound-builders" due to their habit of constructing large mounds to incubate their eggs.

Guineafowl
Order: GalliformesFamily: Numididae

Numididae are not native to Australia, but feral populations of one species exist in Western Australia.

Pheasants, grouse, and allies
Order: GalliformesFamily: Phasianidae

Phasianidae consists of the pheasants and their allies. These are terrestrial species, variable in size but generally plump, with broad, relatively short wings. Many species are gamebirds or have been domesticated as a food source for humans.

Grebes
Order: PodicipediformesFamily: Podicipedidae

Grebes are small to medium-large freshwater diving birds. They have lobed toes and are excellent swimmers and divers. However, they have their feet placed far back on the body, making them quite ungainly on land.

Pigeons and doves
Order: ColumbiformesFamily: Columbidae

Pigeons and doves are stout-bodied birds with short necks and short slender bills with a fleshy cere.

Bustards
Order: OtidiformesFamily: Otididae

Cuckoos
Order: CuculiformesFamily: Cuculidae

Frogmouths
Order: CaprimulgiformesFamily: Podargidae

The frogmouths are a distinctive group of small nocturnal birds related to swifts found from India across southern Asia to Australia.

Nightjars and allies
Order: CaprimulgiformesFamily: Caprimulgidae

Owlet-nightjars
Order: CaprimulgiformesFamily: Aegothelidae

The owlet-nightjars are a distinctive group of small nocturnal birds related to swifts found from the Maluku Islands and New Guinea to Australia and New Caledonia.

Swifts
Order: CaprimulgiformesFamily: Apodidae

Swifts are small birds which spend the majority of their lives flying. These birds have very short legs and never settle voluntarily on the ground, perching instead only on vertical surfaces. Many swifts have long swept-back wings which resemble a crescent or boomerang.

Rails, gallinules, and coots
Order: GruiformesFamily: Rallidae

Cranes
Order: GruiformesFamily: Gruidae

Thick-knees
Order: CharadriiformesFamily: Burhinidae

Stilts and avocets
Order: CharadriiformesFamily: Recurvirostridae

Oystercatchers
Order: CharadriiformesFamily: Haematopodidae

Plovers and lapwings
Order: CharadriiformesFamily: Charadriidae

Painted-snipes
Order: CharadriiformesFamily: Rostratulidae

Jacanas
Order: CharadriiformesFamily: Jacanidae

2 species recorded [1 extant native, 1 vagrant]

Sandpipers and allies
Order: CharadriiformesFamily: Scolopacidae

Buttonquail
Order: CharadriiformesFamily: Turnicidae

Pratincoles and coursers
Order: CharadriiformesFamily: Glareolidae

Skuas and jaegers
Order: CharadriiformesFamily: Stercorariidae

Gulls, terns, and skimmers
Order: CharadriiformesFamily: Laridae

Tropicbirds
Order: PhaethontiformesFamily: Phaethontidae

Tropicbirds are slender white birds of tropical oceans, with exceptionally long central tail feathers. Their long wings have black markings, as does the head.

Penguins
Order: SphenisciformesFamily: Spheniscidae

Penguins are a group of aquatic, flightless birds living almost exclusively in the Southern Hemisphere, especially in Antarctica. Only one species, the little penguin, breeds on the Australian coast.

Albatrosses
Order: ProcellariiformesFamily: Diomedeidae

The albatrosses are a family of large seabird found across the Southern and North Pacific Oceans. The largest are among the largest flying birds in the world.

Southern storm-petrels
Order: ProcellariiformesFamily: Oceanitidae

The southern storm-petrels are the smallest seabirds, relatives of the petrels, feeding on planktonic crustaceans and small fish picked from the surface, typically while hovering. Their flight is fluttering and sometimes bat-like.

Northern storm-petrels
Order: ProcellariiformesFamily: Hydrobatidae

Shearwaters and petrels
Order: ProcellariiformesFamily: Procellariidae

The procellariids are the main group of medium-sized "true petrels", characterised by united nostrils with medium nasal septum, and a long outer functional primary flight feather.

Storks
Order: CiconiiformesFamily: Ciconiidae

Frigatebirds
Order: SuliformesFamily: Fregatidae

Boobies and gannets
Order: SuliformesFamily: Sulidae

The sulids comprise the gannets and boobies. Both groups are medium-large coastal seabirds that plunge-dive for fish.

Anhingas
Order: SuliformesFamily: Anhingidae

Anhingas or darters are cormorant-like water birds with long necks and long, straight bills. They are fish eaters which often swim with only their neck above the water.

Cormorants and shags
Order: SuliformesFamily: Phalacrocoracidae

Cormorants are medium-to-large aquatic birds, usually with mainly dark plumage and areas of coloured skin on the face. The bill is long, thin and sharply hooked. Their feet are four-toed and webbed, a distinguishing feature among the order Pelecaniformes.

Pelicans
Order: PelecaniformesFamily: Pelecanidae

Pelicans are large water birds with distinctive pouches under their bills. Like other birds in the order Pelecaniformes, they have four webbed toes.

Herons, egrets, and bitterns
Order: PelecaniformesFamily: Ardeidae

Ibises and spoonbills
Order: PelecaniformesFamily: Threskiornithidae

Osprey
Order: AccipitriformesFamily: Pandionidae

Hawks, eagles, and kites
Order: AccipitriformesFamily: Accipitridae

Barn owls
Order: StrigiformesFamily: Tytonidae

Owls
Order: StrigiformesFamily: Strigidae

Hoopoes
Order: BucerotiformesFamily: Upupidae

Kingfishers
Order: CoraciiformesFamily: Alcedinidae

Bee-eaters
Order: CoraciiformesFamily: Meropidae

Rollers
Order: CoraciiformesFamily: Coraciidae

Falcons and caracaras
Order: FalconiformesFamily: Falconidae

Cockatoos
Order: PsittaciformesFamily: Cacatuidae

Old World parrots
Order: PsittaciformesFamily: Psittaculidae

Pittas
Order: PasseriformesFamily: Pittidae

Scrub-birds
Order: PasseriformesFamily: Atrichornithidae

Bowerbirds
Order: PasseriformesFamily: Ptilonorhynchidae

Australasian treecreepers
Order: PasseriformesFamily: Climacteridae

Fairywrens
Order: PasseriformesFamily: Maluridae

Honeyeaters
Order: PasseriformesFamily: Meliphagidae

Bristlebirds
Order: PasseriformesFamily: Dasyornithidae

Pardalotes
Order: PasseriformesFamily: Pardalotidae

Thornbills and allies
Order: PasseriformesFamily: Acanthizidae

Pseudo-babblers
Order: PasseriformesFamily: Pomatostomidae

Quail-thrushes and jewel-babblers
Order: PasseriformesFamily: Cinclosomatidae

Cuckooshrikes
Order: PasseriformesFamily: Campephagidae

Sittellas
Order: PasseriformesFamily: Neosittidae

Whipbirds and wedgebills
Order: PasseriformesFamily: Psophodidae

Australo-Papuan bellbirds
Order: PasseriformesFamily: Oreoicidae

Shrike-tits
Order: PasseriformesFamily: Falcunculidae

Whistlers and allies
Order: PasseriformesFamily: Pachycephalidae

Old World orioles
Order: PasseriformesFamily: Oriolidae

Woodswallows, bellmagpies, and allies
Order: PasseriformesFamily: Artamidae

Fantails
Order: PasseriformesFamily: Rhipiduridae

Drongos
Order: PasseriformesFamily: Dicruridae

Monarch flycatchers
Order: PasseriformesFamily: Monarchidae

Shrikes
Order: PasseriformesFamily: Laniidae

Crows, jays, and magpies
Order: PasseriformesFamily: Corvidae

Australasian robins
Order: PasseriformesFamily: Petroicidae

Larks
Order: PasseriformesFamily: Alaudidae

Cisticolas and allies
Order: PasseriformesFamily: Cisticolidae

Reed warblers and allies
Order: PasseriformesFamily: Acrocephalidae

Grassbirds and allies
Order: PasseriformesFamily: Locustellidae

Swallows
Order: PasseriformesFamily: Hirundinidae

Bulbuls
Order: PasseriformesFamily: Pycnonotidae

Leaf warblers
Order: PasseriformesFamily: Phylloscopidae

Bush warblers and allies
Order: PasseriformesFamily: Scotocercidae

White-eyes, yuhinas, and allies
Order: PasseriformesFamily: Zosteropidae

Starlings
Order: PasseriformesFamily: Sturnidae

Thrushes and allies
Order: PasseriformesFamily: Turdidae

Old World flycatchers
Order: PasseriformesFamily: Muscicapidae

Flowerpeckers
Order: PasseriformesFamily: Dicaeidae

Waxbills and allies
Order: PasseriformesFamily: Estrildidae

Old World sparrows
Order: PasseriformesFamily: Passeridae

Wagtails and pipits
Order: PasseriformesFamily: Motacillidae

Finches, euphonias, and allies
Order: PasseriformesFamily: Fringillidae

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

title: List of birds of Western Australia


text: User talk:69.64.213.146

title: User talk:69.64.213.146


text:
Ellen Spencer Mussey

Ellen Spencer Mussey (May 13, 1850 - April 21, 1936) was a lawyer, educator, and pioneer in the field of women's rights to legal education. Mussey self-tutored in the law, helped establish educational opportunities for women in that field, and campaigned to improve women's legal rights. She was the daughter of Platt Rogers Spencer, a reformer and promoter of the Spencerian Method, the widely used form of handwriting.

Biography
Mussey was born on May 13, 1850, in Geneva, Ohio, United States. Between the age of 12 and the time of her father's death, when she was age 14, she was an assistant at his penmanship school. Thereafter she took up residence with relatives and attended Rice's Young Ladies' Seminary in Poughkeepsie, New York, Lake Erie College in Painesville, Ohio, and Rockford College in Rockford, Illinois.

In 1871 she married Reuben D. Mussey, a former Union Army colonel, who was nominated but not confirmed to the grade of brevet brigadier general; he was also a successful lawyer. Having been denied admission at the law schools of National University and Columbian College (now George Washington University), Ellen Mussey tutored herself in the field of law and underwent legal training in her husband's law office and began to practice law. Reuben Mussey died May 29, 1892, which might have ended Ellen Mussey's law practice carried out under her husband's name. She obtained special consideration and was allowed to qualify for the bar by oral examination, which she passed in March, 1893. In 1896, Ellen Spencer Mussey was admitted to practice before the Supreme Court of the United States.

Career
She was approached in 1895 by Delia Sheldon Jackson, an aspiring attorney, to apprentice her as a student of law. Realizing both the scope of the task and the significance of the opportunity, Mussey sought out the assistance of a colleague and friend, Emma Gillett. The two opened the first session of the Woman's Law Class on February 1, 1896. The class had an enrollment of three: Jackson and two other women, Nanette Paul and Helen Malcolm.

Within a few years, the program had expanded and several prominent Washington, D.C., attorneys were brought in for assistance. Although Mussey and Gillett had not initially aspired to establish an independent law school, when Columbian College refused their request to take on the women they had educated for their final year of education—-on grounds that "women did not have the mentality for law"—they decided to establish a co-educational law school specifically open to women.

Thus, in April 1898, the Washington College of Law (now merged with American University) was incorporated in Washington, D.C., as the first law school in the world founded by women. Mussey served as the first dean of the college as serving until her retirement in 1913.

With Emma Gillett, Mussey founded the Women's Bar Association of the District of Columbia on May 19, 1917, and was elected its first President. The WBA was one of the first organizations for women lawyers in United States. In 1919, Mussey also helped to found the National Association of Women Lawyers. Mussey also served as the first chairwoman of the Women's City Club of Washington, D.C., which was founded in the same year.

Mussey died on April 21, 1936, in Washington, D.C.

title: Ellen Spencer Mussey


text:
1999 MTV Movie Awards

The 1999 MTV Movie Awards were hosted by Lisa Kudrow. Musical performances included Kid Rock, Robbie Williams, and Will Smith with Dru Hill, Nine Inch Nails and Kool Moe Dee. The winners were announced on June 5, 1999.

Performers

 * Will Smith — "Wild Wild West"
 * Kid Rock — "Bawitdaba"
 * Robbie Williams — "Millennium"

Presenters

 * Courtney Love and James Van Der Beek — presented Best On-Screen Duo
 * Whitney Houston — introduced Will Smith
 * Tobey Maguire and Heather Graham — presented Breakthrough Female
 * Hugh Grant and Salma Hayek — presented Best Comedic Performance
 * Dylan McDermott and Kate Hudson — presented Breakthrough Male
 * Jay-Z and Rebecca Romijn — presented Best Action Sequence
 * Catherine Zeta-Jones and Ricky Martin — presented Best Kiss
 * Omar Epps and Taye Diggs — introduced Kid Rock
 * Samuel L. Jackson and Jake Lloyd — presented Best Villain
 * Keri Russell and Brendan Fraser — presented Best Female Performance
 * Rose McGowan and Jon Stewart — presented Best Fight
 * Ben Affleck and Kevin Smith — presented Best New Filmmaker
 * Lisa Kudrow — presented Best Dramatic Pause
 * Shawn Hatosy and Rachael Leigh Cook — introduced Robbie Williams
 * Janeane Garofalo and Mike Myers — presented Best Male Performance
 * Keanu Reeves and Jennifer Lopez — presented Best Movie

Awards
Winners are listed at the top of each list in bold.

Best Movie
There's Something About Mary
 * Armageddon
 * Saving Private Ryan
 * Shakespeare in Love
 * The Truman Show

Best Male Performance
Jim Carrey – The Truman Show
 * Ben Affleck – Armageddon
 * Tom Hanks – Saving Private Ryan
 * Adam Sandler – The Waterboy
 * Will Smith – Enemy of the State

Best Female Performance
Cameron Diaz – There's Something About Mary
 * Jennifer Love Hewitt – Can't Hardly Wait
 * Jennifer Lopez – Out of Sight
 * Gwyneth Paltrow – Shakespeare in Love
 * Liv Tyler – Armageddon

Breakthrough Male
James Van Der Beek – Varsity Blues
 * Ray Allen – He Got Game
 * Joseph Fiennes – Shakespeare in Love
 * Josh Hartnett – Halloween H20: 20 Years Later
 * Chris Rock – Lethal Weapon 4

Breakthrough Female
Katie Holmes – Disturbing Behavior
 * Cate Blanchett – Elizabeth
 * Brandy – I Still Know What You Did Last Summer
 * Rachael Leigh Cook – She's All That
 * Catherine Zeta-Jones – The Mask of Zorro

Best On-Screen Duo
Jackie Chan and Chris Tucker – Rush Hour
 * Ben Affleck and Liv Tyler – Armageddon
 * Nicolas Cage and Meg Ryan – City of Angels
 * Freddie Prinze Jr. and Rachael Leigh Cook – She's All That
 * Ben Stiller and Cameron Diaz – There's Something About Mary

Best Villain
Matt Dillon – There's Something About Mary / Stephen Dorff – Blade (tie)
 * Chucky – Bride of Chucky
 * Jet Li – Lethal Weapon 4
 * Rose McGowan – Jawbreaker

Best Comedic Performance
Adam Sandler – The Waterboy
 * Cameron Diaz – There's Something About Mary
 * Chris Rock – Lethal Weapon 4
 * Ben Stiller – There's Something About Mary
 * Chris Tucker – Rush Hour

Best Song From a Movie
Aerosmith — "I Don't Want to Miss a Thing" (from Armageddon)
 * Aaliyah — "Are You That Somebody?" (from Dr. Dolittle)
 * Goo Goo Dolls — "Iris" (from City of Angels)
 * Green Day — "Nice Guys Finish Last" (from Varsity Blues)
 * Jay-Z — "Can I Get A..." (from Rush Hour)

Best Kiss
Gwyneth Paltrow and Joseph Fiennes – Shakespeare in Love
 * George Clooney and Jennifer Lopez – Out of Sight
 * Matt Dillon, Denise Richards and Neve Campbell – Wild Things
 * Jeremy Irons and Dominique Swain – Lolita
 * Ben Stiller and Cameron Diaz – There's Something About Mary

Best Action Sequence
Asteroid Destroys New York City – Armageddon
 * Gibson/Glover Car Chase on Freeway and Through Building – Lethal Weapon 4
 * Car Chase in France with De Niro Pursuing Natasha McElhone – Ronin
 * Tom Hanks and Company Land on Normandy Beach – Saving Private Ryan

Best Fight
Ben Stiller vs. Puffy the Dog (created by Industrial Light & Magic) – There's Something About Mary
 * Wesley Snipes vs. Vampires – Blade
 * Antonio Banderas vs. Catherine Zeta-Jones – The Mask of Zorro
 * Jackie Chan and Chris Tucker vs. Chinese Gang – Rush Hour

Best New Filmmaker

 * Guy Ritchie – Lock, Stock and Two Smoking Barrels

title: 1999 MTV Movie Awards


text: Category:Lists of unsolved problems

title: Category:Lists of unsolved problems


text:
Hours (David Bowie album)

Hours (stylised as  'hours...' ) is the 22nd studio album by the English musician David Bowie. It was originally released on 21 September 1999 through the Internet on the artist's website BowieNet, followed by a physical CD release on 4 October through Virgin Records. It was one of the first albums by a major artist available to download over the Internet. Originating as a soundtrack to the video game Omikron: The Nomad Soul (1999), Hours was the final collaboration between Bowie and guitarist Reeves Gabrels, with whom he had worked since 1988. The album was recorded in mid-1999 between studios in Bermuda and New York City. A song contest conducted on BowieNet in late 1998 resulted in a fan contributing lyrics and backing vocals to one of the tracks.

In contrast to the experimental nature of Bowie's other works throughout the decade, Hours presents a pop rock and art pop style reminiscent of Hunky Dory (1971), further evoking styles and ideals previously explored on Bowie's past works. The lyrics are introspective, detailing topics such as the collapse of relationships and subjects of angst. Also present are overtly Christian themes, which is reflected in the cover artwork. Inspired by the Pietà, it depicts the short-haired Bowie persona from the Earthling era, resting in the arms of a long-haired, more youthful version of Bowie. The title, originally The Dreamers, is a play on "ours".

Accompanied by multiple UK top 40 singles, Hours peaked at number five on the UK Albums Chart but was Bowie's first album to miss the US Billboard 200 top 40 since 1972. It also received mixed reviews from music critics, many of whom praised individual tracks but criticised the album as a whole, sentiments echoed by later reviewers. Bowie promoted the album through the Hours Tour and various television appearances. Retrospective lists ranking all of Bowie's studio albums have placed Hours among Bowie's weaker efforts. The album was reissued with bonus tracks in 2004 and remastered in 2021 for inclusion on the box set Brilliant Adventure (1992–2001).

Background and writing
After maintaining a relatively large media profile throughout 1997, David Bowie retreated from the limelight in 1998, primarily devoting his time to ventures outside of music, such as establishing his website BowieNet, but nevertheless continued making film appearances. He mixed a potential live album from the Earthling Tour, later released in 1999 as LiveAndWell.com, but was mostly inactive in the studio throughout 1998; his sole recording from the year was a cover of George and Ira Gershwin's "A Foggy Day in London Town", which appeared on the Red Hot + Rhapsody: The Gershwin Groove compilation. He also reconciled with his former collaborator and producer Tony Visconti.

In late 1998, Bowie composed the soundtrack for the upcoming video game Omikron: The Nomad Soul, developed by Quantic Dream and published by Eidos Interactive. Writer and director David Cage chose him over a list of applicants including Björk, Massive Attack and Archive. Biographer Nicholas Pegg contends that Bowie was drawn to the game due to its Buddhist overtones, noting that when a character died, he or she was reincarnated. Along with composing the music, Bowie appeared in the game, along with guitarist Reeves Gabrels and bassist Gail Ann Dorsey, as the singer of an in-game band performing gigs in the bars of Omikron City.

The Omikron project was the springboard for Bowie's next studio album. Between late 1998 and early 1999, he and Gabrels amassed a large number of songs, some of which were written for Omikron and others for a Gabrels solo album, including "Survive", "The Pretty Things Are Going to Hell" and the B-side "We All Go Through". Unlike the experimental cut-up nature of Bowie's other 1990s recordings, the tracks were written in a more conventional style reminiscent of his mid-1980s works. He explained: "There was very little experimentation in the studio. A lot of it was just straightforward songwriting." As a result, the demos were primarily written on guitar, while "Thursday's Child" and "The Dreamers" were written on keyboards. Gabrels stated that Omikron provided the musical direction for the songs, elaborating:

"Firstly, we sat down and wrote songs with just guitar and keyboard before going into the studio. Secondly, the characters we appear as in the game, performing the songs, are street/protest singers and so needed a more singer-songwriter approach. And lastly, it was the opposite approach from the usual cheesy industrial metal music one would normally get."

At an E3 press conference in 1999, Bowie said that his main priority was to imbue Omikron with "emotional subtext" and regarded this as a success. In the end, the game featured variants of most Hours tracks except "If I'm Dreaming My Life", "Brilliant Adventure" and "What's Really Happening?", along with "We All Go Through". Various instrumentals also appeared in the game, some of which were further developed for release as B-sides.

Recording
After Bowie completed collaborations with the band Placebo in February and March 1999, he and Gabrels entered Seaview Studios in Bermuda—his new residence after he sold his home in Switzerland—the following month to commence recording. Bowie and Gabrels completed most of the work by themselves, although musician Mark Plati and drummer Sterling Campbell, who played on Earthling (1997) and Outside (1995), respectively, returned to contribute. Other musicians Bowie hired included Mike Levesque on drums and percussion, Everett Bradley on percussion ("Seven"), Chris Haskett on rhythm guitar ("If I'm Dreaming My Life") and Marcus Salisbury on electric bass ("New Angels of Promise"). Bowie initially wanted R&B trio TLC to perform backing vocals for "Thursday's Child", but the idea was vetoed by Gabrels, who instead hired his friend Holly Palmer; she later joined Bowie's touring band.

In late 1998, Bowie launched a songwriting competition on BowieNet where the winner earned a chance to complete the lyrics for "What's Really Happening?". He or she would also earn the chance to be flown to New York to observe the recording session. Ohio native Alex Grant was revealed as the winner in January 1999 and was flown to New York for the vocal and overdub session on 24May, which was broadcast live on BowieNet. Grant also contributed backing vocals. On the experience, Bowie stated: "The most gratifying part of the evening for me was being able to encourage Alex and his pal Larry to sing on the song that he had written." Plati later commended the idea to biographer Marc Spitz, saying that "it was a new way to reach out to his fans".

Unlike the quick rush of the Earthling sessions, the sessions for Hours were more relaxed and Bowie himself was calmer. When speaking with biographer David Buckley, Plati described having leisurely conversations with Bowie and Gabrels about the Internet and contemporary topics of the time. Nevertheless, disagreements arose between Bowie and Gabrels regarding the musical direction. The latter wanted to do an Earthling follow-up in a manner similar to Ziggy Stardust (1972) and Aladdin Sane (1973). Later on, he revealed that Hours initially sounded like Diamond Dogs (1974). He was also frustrated at the hiring of Plati and the demotion of "We All Go Through" and "1917" to B-side status. According to O'Leary, the finished album was mixed and mastered by June.

Music and lyrics
Hours marks a major departure from the experimental nature of its two predecessors. Deduced by Plati as "the anti-Earthling", it represents a style more akin to the acoustic and conventional textures of 1971's Hunky Dory. Author James E. Perone writes that the record evokes folk rock, 1960s soul and rock, while retrospective commentators have categorised it as pop rock and art pop.

Several themes pervade Hours. Surmised by Perone as "Bowie's angels album", Hours encompasses overtly Christian themes last seen on the Station to Station track "Word on a Wing" (1976); it contains paraphrases from the Bible and the poetry of John Donne, along with numerous references to life and death, heaven and hell, "gods", "hymns" and "angels". Some analysed the tracks as Bowie looking at his own mortality. Additionally, the use of the number seven on "Thursday's Child" and "Seven" led Perone to deduce: "The number that governs the passing of days into words appears in several guises. The listener is left with the feeling that not only is the passage of time controlled by some indefinable supreme power, but possibly are the events of one's life."

With an overall ideal of introspection, "Something in the Air" and "Survive" examine the downfall of relationships, "If I'm Dreaming My Life" and "Seven" question the reliability of memory, while "What's Really Happening?", "The Dreamers" and "The Pretty Things Are Going to Hell" reflect the helplessness of age felt when meditating on life. Bowie explained that "I wanted to capture a kind of universal angst felt by many people of my age. You could say that I am attempting to write some songs for my generation. Due to the retrospection of the material, some commentators wondered if Hours was autobiographical, to which Bowie refuted, telling Uncut:

"It's a more personal piece but I hesitate to say it's autobiographical. In a way, it self-evidently isn't. I also hate to say it's a 'character', so I have to be careful there. It is fiction. And the progenitor of this piece is obviously a man who is fairly disillusioned. He's not a happy man. Whereas I am an incredibly happy man!... I was trying to capture elements of how, often, one feels at this age... There's not much concept behind it. It's really a bunch of songs, but I guess the one through-line is that they deal with a man looking back over his life."

Songs
Album opener "Thursday's Child" establishes the introspective mood of the album, reflecting a theme of optimism. Its title comes from Eartha Kitt's autobiography. Using an R&B style, the song follows a "born out of [his] time" character who sees hope for the future. "Something in the Air" contains numerous musical and lyrical references to Bowie's past work, from "All the Young Dudes" (1972) to "Seven Years in Tibet" (1997). It dissects the collapse of a relationship and was examined by Bowie as "probably the most tragic song on the album". "Survive" was reportedly Bowie's favourite song on the album. Musically, it is highly reminiscent of Hunky Dory while lyrically, it is, in Spitz's words, "haunted by regret". The female character is abstract; in O'Leary's words, "a place-filler used by a sad man to stand for his loss of potential." Pegg deems the longest track on the album, "If I'm Dreaming My Life", as a "turgid interlude" between "Survive" and "Seven". Similar to other tracks, the lyrics concern a relationship. Containing a "sprawling" musical structure, Spitz finds it "musically indecisive" but thematically fits the overall album.

Described by Bowie as "a song of nowness", "Seven" uses the days of the week as "an index of time", similar to "Thursday's Child". On the appearance of a mother, father and brother in the lyrics, Bowie denied allegations that the track was autobiographical, telling Q magazine's David Quantick: "They're not necessarily my mother, father and brother, it was the nuclear unit thing." "What's Really Happening?" is the first of two harder rocking songs on the album compared to the sombre quality of the previous tracks. The title asserts the theme of "mistrust of reality and memory", while Grant's lyrics fit the overall "chronometric" concept. According to O'Leary, it was originally planned as a BowieNet-exclusive track before being placed on Hours. "The Pretty Things Are Going to Hell" is "the rockiest piece" on Hours. Buckley and Dave Thompson believe that it harkens back to Bowie's glam rock period of the early 1970s. Incidentally, the title recalls material from that era, particularly Hunky Dory, Pin Ups and the Stooges' Raw Power, which Bowie mixed. The lyrics recall themes previously showcased in "Changes" (1971) and the Scary Monsters tracks "Teenage Wildlife" and "Fashion" (1980). Perone finds that it presents a counterbalance to the positivism of "Thursday's Child". The song was first released in remixed form in the film Stigmata (1999) and its accompanying soundtrack; this version also appeared in Omikron.

"New Angels of Promise" musically and lyrically revisits Bowie's late 1970s Berlin Trilogy, particularly "Sons of the Silent Age" (1977). The concept reflects the Christian themes throughout the album, as an "angel of promise" is an angel who, in O'Leary's words, "heralds a covenant with God". Originally titled "Omikron", it featured heavily in the Omikron game. "Brilliant Adventure" is a short Japanese-influenced instrumental that harkens back to "Heroes" (1977), particularly the instrumentals "Sense of Doubt" and "Moss Garden"; like the former, the track uses the Japanese koto. Perone believes it does not fit the album concept or theme, while O'Leary states that it links the two tracks it is sequenced between. The lyrics of "The Dreamers" dissect a traveller who is past his prime. Like other tracks on the album, it musically recalls Bowie's past works. An "easy-listening" version appeared in Omikron. O'Leary finds a demo-like quality to the recording, noting its "acerbic chord structure, shifting rhythms [and] lengthy coda".

Artwork and title
The cover artwork for Hours depicts the short-haired Bowie persona from the intensely energetic Earthling exhausted, resting in the arms of a long-haired, more youthful version of Bowie. The artwork reflects the Christian themes of the tracks and was inspired by the Pietà, which depicts the Virgin Mary cradling the dead body of Jesus. Bowie acknowledged the inspiration, further explaining, "since I didn't want to wear a dress anymore, we made it a man. It can be visualised as life and death, past and present". Pegg interpreted the artwork as the closing of a career phase and the beginning of a new one. The back cover depicts a serpent alongside three versions of Bowie that Pegg states represent "the Fall of Man: Adam, Eve and the central figure of God", forming a theme of "Fall and Redemption". For the album's initial release, a number of copies featured a lenticular version of the cover, lending a three-dimensional effect to the image.

The artwork was taken by photographer Tim Bret Day at Big Sky Studios in Ladbroke Grove, West London. An outtake from the session depicted Bowie burning on a crucifix; this shot was included in the Hours CD booklet. Bret Day explained: "We shot Bowie and then made a dummy of him and set the whole thing alight...Lee Stewart did the rest in post-production," intending to represent the "burning [of] the old". Graphic designer Rex Ray created the typography for the cover, which featured letters and numerals swapped around overlaying a barcode design. The cover has received negative responses, with Trynka panning it as "a hammy mix of designer clutter and mawkishness". Consequence of Sound's David Sackllah agreed, stating: "This is the most '90s cover made by an artist who was over 50 at the time, and its embarrassing sprawl is a bit of juxtaposition to the actual songs on the record."

Bowie stated that the title was intended as a play on "ours", or in Buckley's words, "an album of songs for his own generation". The album's initial title was The Dreamers, which was changed after Gabrels stated it made him think of a Mariah Carey or Celine Dion album, as well as its resemblance to Freddie and the Dreamers. Further explaining the title, Bowie stated: "[It's] about reflecting back on the time that one's lived...how long one has left to live [and] shared experience." Pegg makes comparisons to the Book of hours, a medieval book that separates the day into canonical hours one must use for prayer.

Release
On 6August 1999, Bowie began releasing 45-second snippets of each song on BowieNet and gave track-by-track descriptions, which was followed by a square-by-square reveal of the album cover during the ensuing month. On 21September, Hours appeared in its entirety on BowieNet available for download, making Bowie the first major artist to release a complete album for download through the Internet. Bowie stated: "I am hopeful that this small step will lead to greater steps by myself and others, ultimately giving consumers greater choices and easier access to the music they enjoy." However, some music retailers were critical of the move. British-based retailer HMV announced: "If artists release albums on the Net before other people can buy them in the shops, it's not a level playing field. Records should be available to everyone at the same time, and not everyone has access to the Internet," and "It's unlikely that we would stock the artist in question. Retailers are not going to stand for it." Nevertheless, with the internet release, Buckley states that "Bowie had accurately foreseen the revolution in the music industry that would be brought about by the download generation."

"Thursday's Child" was released as the lead single from the album on 20September 1999, backed by "We All Go Through" and "No One Calls". Various remixes were also issued, including a 'Rock Mix'. It reached number 16 on the UK Singles Chart. The song's music video, shot in August and directed by Walter Stern, reflects the introspective mood of the song, depicting Bowie gazing at a younger version of himself through a mirror. "The Pretty Things Are Going to Hell" first appeared as an A-side in Australia and Japan in September 1999, replacing "Thursday's Child" as the first single from the album. The video was directed by Dom and Nic and shot in New York on 7September. It depicts Bowie rehearsing the song on stage while being confronted by various characters of his past, reflecting the theme of wanting to avoid being confronted by his own past.

Hours received an official CD release on 4October 1999 through Virgin Records. In Japan, "We All Go Through" appeared as a bonus track. It was a commercial success in the UK, peaking at number five on the UK Albums Chart, becoming Bowie's highest chart placement there since Black Tie White Noise (1993), but dropped off soon after. In the US however, it peaked at number 47 on the Billboard 200, becoming Bowie's first studio album since Ziggy Stardust to miss the top 40. Elsewhere, Hours reached the top ten in France, Germany and Italy, and the top 20 in Japan.

"Survive" was released as the third single from the album on 17January 2000 in a new remix by the English producer Marius de Vries. It reached number 28 in the UK. The music video, directed by Walter Stern, features Bowie sitting alone at a table waiting for an egg to boil before he and the egg start to float; it reflects the reflective quality of the recording. For its release as the fourth and final single on 17July 2000, "Seven" appeared in its original demo form along with remixes by de Vries and Beck. This release reached number 32 in the UK.

Critical reception
Hours received mixed reviews from critics on release. Among positive reviews, Mojo's Mark Paytress announced that the album was "no masterpiece" but nonetheless "crowns a trilogy that represents significantly more than a mere coda to a once-unimpeachable career." Q considered it "a richly textured and emotionally vivid set", adding that "This time around, Bowie sounds influenced by nobody except himself, and he couldn't have picked a better role model." Rolling Stone critic Greg Tate analysed the record as "an album that improves with each new hearing" and "further confirmation of Richard Pryor's observation that they call them old wise men because all them young wise men are dead". Similarly impressed, Alternative Press described Hours as "a masterpiece", adding that it "finds Bowie returning to basics he never should have left behind". Keith Philips of The A.V. Club found that the album "hits the mark more often than it misses it," highlighting "Survive", "Seven" and "What's Really Happening?".

Other reviewers gave more negative assessments. Besides "Thursday's Child", The Guardian's Adam Sweeting found the album "sludgy and laborious". Chris Willman agreed in Entertainment Weekly, praising "Thursday's Child" as "the loveliest ballad Bowie's written in an aeon", but felt the rest of the album was subpar. Both The Independent and The Observer unfavourably compared Hours to Hunky Dory, with the former calling it "fairly traditional" and "not one of his best"; the latter criticised the songs as unremarkable. Additionally, Time Out magazine dismissed the album as "Bowie's most pointless and desultory record since Tin Machine II." Spin's Barry Walters praised "Thursday's Child" but felt that throughout its runtime, the album goes from a "promising disclosure" but sinks into "another mediocre, not-quite-modern rock posture", giving the album a six out of ten.

Ryan Schreiber of Pitchfork criticised the album, saying: "Hours opts for a spacy, but nonetheless adult-contemporary sound that comes across with all the vitality and energy of a rotting log." He further stated: "No, it's not a new low, but that doesn't mean it's not embarrassing." PopMatters writer Sarah Zupko found many of the tracks have poor pacing, leading to "a frankly uncomfortable state of boredom". She ultimately scored the album a four out of ten and concluded: "David Bowie is much too good for this." Writing for Select, John Mullen recognised the album as an improvement over Earthling, but likened Bowie to a "more high-brow" version of Sting and concluded: "Even on the personal exorcism of 'Seven' there's a lack of urgency that suggests that the 'confessional' is just another style Bowie's trying out for size." Robert Christgau of The Village Voice dismissed the album as a "dud."

Promotion
Bowie promoted the album on the Hours Tour, which ran eight shows from 23 August 1999 to 12 December. The first date of the tour—Bowie's first live set since the end of the Earthling Tour—was a performance at Manhattan Center Studios for VH1's Storytellers series. Of his appearance, VH1 executive producer Bill Flanagan stated: "This is going to be the best thing that VH1 has ever shown. Scratch that, this is probably the best thing you're going to see on TV this year." Broadcast in edited form on 18 October, the full performance was later released in 2009 as VH1 Storytellers. The Storytellers performance was also Bowie's final work with Gabrels, one of his regular collaborators since the formation of Tin Machine in 1988; Plati took over as bandleader. After Bowie's death in 2016, Gabrels said of his departure:

"I was running out of ideas for him. I was afraid that if I stayed, I would become a bitter kind of person. I'm sure you've spoken to people who have done one thing for too long, and they start to lose respect for the people they work for, and I didn't want to be that guy. The most logical thing for me to do at that point was to leave and do something else. I departed on good terms."

Personnel-wise, the tour consisted of returning members from the Earthling Tour, although drummer Zack Alford was replaced with Campbell. Starting in late September, Bowie made numerous television appearances to promote Hours, including on The Howard Stern Show, Late Show with David Letterman, Late Night with Conan O'Brien, Chris Evans' TFI Friday and Saturday Night Live. During the tour he primarily played in small venues, save for one appearance at the NetAid benefit concert at Wembley Stadium in late October. Performances from the tour were later released on Something in the Air (Live Paris 99) and David Bowie at the Kit Kat Klub (Live New York 99), as part of the Brilliant Live Adventures series (2020–2021).

Songs played during the tour included Hours material, various hits such as "Life on Mars?" (1971) and "Rebel Rebel" (1974), as well as tracks Bowie had not played in decades, such as "Drive-In Saturday" (1973) and "Word on a Wing". Returning pianist Mike Garson found the Hours material was better live, telling Buckley he thought the studio recordings were "underdeveloped". This sentiment was echoed by Pegg, who viewed the Hours tracks as the highlights of the shows. Additionally, Bowie revived his 1966 single "Can't Help Thinking About Me", marking the first time since 1970 Bowie had performed any of his pre-Space Oddity material. Bowie re-recorded the song in the studio a year later for the Toy project.

Legacy
Hours continues to be viewed with varying reactions. On the positive side, AllMusic editor Stephen Thomas Erlewine wrote: "It may not be one of Bowie's classics, but it's the work of a masterful musician who has begun to enjoy his craft again and isn't afraid to let things develop naturally." Following its 2004 reissue, a writer for PopMatters considered the trilogy of Hours, Heathen (2002) and Reality (2003) Bowie's finest works since Scary Monsters, arguing that whereas Outside and Earthling saw Bowie experiment with genres already viewed as outdated at the time, Hours saw him embrace a "hip and modern" sound that provided a "welcome" on release. Perone, who criticises the non-linear track sequencing, finds that the album works in expressing a message of hope to the listener and commends the growing maturity of both the music and lyrics as well as the overt spirituality throughout. Meanwhile, Spitz considers much of Hours as "strong" as its three predecessors. Observing it as "easy listening for uneasy people", he summarises: "Hours is a good record to put on the morning after you did something regrettable." Thompson hails Hours as Bowie's "latter-day masterpiece", recognising a "sense of self-contained innocence" that exemplified Hunky Dory. Besides a few tracks, he further praises the production as timeless, "an attribute that few other David Bowie albums can claim".

On the more negative side, critics praise individual tracks, from "Seven", "Thursday's Child" and "The Dreamers", to "Survive" and "Something in the Air" but find the album as a whole lackluster. In his book Starman, Trynka summarises: "Like Space Oddity [1969], Hours, for all its finely crafted moments, end[s] up being less than the sum of its parts." Calling it the "most neglected" of Bowie's later records, O'Leary describes Hours as "an unsettled, moody, lovely, sketchy, washed-out collection of unreconciled songs" and "a lesser work that knows it's lesser and takes modest pride in it. A finer album lies within it, just out of reach." Additionally, biographers have criticised the production as "thin", "underdeveloped" and "cluttered", and find the overall mood "sad", "bitter" and "refreshingly unadorned". In The Complete David Bowie, Pegg writes that the album overall "lack[s] the focus and attack of the best Bowie albums and betraying unwelcome signs of padding". Nevertheless, he concludes:

"Hours makes a less aggressive artistic statement than any Bowie album since the mid-1980s, but on its own terms it's a success: a collection of lush, melancholic and often intensely beautiful music, and a necessary stepping-stone towards a new maturity of songwriting which would soon yield more spectacular results." In lists ranking Bowie's studio albums from worst to best, Hours has placed in the low tier. Stereogum placed it at number 22 (out of 25 at the time) in 2013. Michael Nelson stated that the "results range from decent to dull, maybe occasionally irritating". Three years later, Bryan Wawzenek of Ultimate Classic Rock placed Hours at number 22 out of 26, primarily criticising Bowie's vocal performances as sounding "tired" and the music mostly boring except for the occasional interesting melody. Sackllah ranked Hours Bowie's worst album in a 2018 Consequence of Sound list, finding it "dull and uninspired".

Reissues
An expanded edition of the album with additional tracks was released in 2004 by Columbia Records. In January 2005, Bowie's new label ISO Records reissued Hours as a double CD set with the second CD comprising remixes, alternate versions, and single B-sides. It received its first official vinyl release in 2015. In 2021, a remastered version of the album was released on both vinyl and CD as part of the box set Brilliant Adventure (1992–2001).

Personnel
According to the liner notes and biographer Nicholas Pegg.
 * David Bowie – vocals, drum programming, 12-string guitar, keyboards
 * Reeves Gabrels – drum programming, guitar, synthesiser programming
 * Mark Plati – bass guitar, acoustic and electric 12-string guitar, synth and drum programming, mellotron ("Survive")
 * Mike Levesque – drums, percussion
 * Sterling Campbell – drums ("Seven", "New Angels of Promise", "The Dreamers")
 * Everett Bradley – percussion ("Seven")
 * Chris Haskett – rhythm guitar ("If I'm Dreaming My Life")
 * Marcus Salisbury – bass guitar ("New Angels of Promise")
 * Holly Palmer – background vocals ("Thursday's Child")

Technical
 * David Bowie – producer
 * Reeves Gabrels – producer
 * Ryoji Hata – assistant engineer
 * Jay Nicholas – assistant engineer
 * Kevin Paul – engineer
 * Andy VanDette – mastering

title: Hours (David Bowie album)


text:
Talk:Falcon 1

Infobox rocket
why is this info box so wide? --Duk 06:10, 29 September 2008 (UTC)

 * It doesn't look too wide to me. What screen resolution are you using? -- GW_SimulationsUser Page 10:57, 29 September 2008 (UTC)
 * I was just comparing it to template:Infobox rocket. Something seems to be stretching it out here on the article page and I couldn't figure out why. --Duk 16:06, 29 September 2008 (UTC)

 * Probably the image. -- GW_SimulationsUser Page 21:33, 29 September 2008 (UTC)

 * Yah, that was it. I'm blind - didn't see the imsize parameter. thanks. --Duk

first privately funded launch vehicle
I think the Falcon 1 is the first privately funded launch vehicle. The only other launcher that come close is the pegasus, but that's not a complete launcher as it requires a large jet aircraft for its first stage. --Duk 07:17, 29 September 2008 (UTC)
 * I would still argue that Pegasus was the first. Either way, there is still Taurus to consider. I would argue it is better to list it as the first privately funded liquid-propelled rocket to reach orbit. -- GW_SimulationsUser Page 10:57, 29 September 2008 (UTC)
 * Would Taurus really count as privately developed? The first stage is derived from the Peacekeeper ICBM.  I agree that Pegasus would count as privately developed launch vehicle though. Blackeagle (talk) 14:41, 29 September 2008 (UTC)

 * So, let's see. In order to make the Pegasus into a space launch vehicle, you have to add an extra stage, which is exactly what the Taurus is. I don't think either qualify as a privately developed space launch vehicle. They are either a partial launch system (Pegasus) or they use military hardware (Taurus) --Duk 16:12, 29 September 2008 (UTC)
 * I don't see how Pegasus is a 'partial launch system'. The aircraft is just another part of the system, same as a launch pad is for any other launch vehicle. Blackeagle (talk) 19:55, 29 September 2008 (UTC)
 * No, the aricraft is the first stage. Without it, the Pegasus needs another stage, which is exactly what the Taurus is; a Pegasus mounted on top of an ICBM booster. --Duk 20:00, 29 September 2008 (UTC)
 * So what? Why should using an aircraft for the first stage disqualify it as the first private launch vehicle?  Whichever definition you choose (launch pad or reusable first stage) the Pegasus is still a complete launch system. Blackeagle (talk) 20:36, 29 September 2008 (UTC)
 * I guess we'll have to agree to disagree. I remember when the EELVs were under development, the companies went out of their way to talk about how much of the hardware was already flight proven on earlier rockets. There is a reason for that; new hardware is difficult and expensive to de-bug. It's not splitting hairs to disqualify Pegasus on this point; after all, it's missing the entire first stage! That's a hell of a lot of hardware to prove-out. Just to put this into perspective, SpaceX has developed a new vehicle from scratch, including it's two liquid propellent engines for under $100 million. Meanwhile, Pratt and Whitney is being paid $1.2 billion just to upgrade the J-2 for Project Constellation. With that perspective, I think it's obvious that the Falcon 1 is the only complete launch vehicle developed without government funding to make orbit. --Duk 20:52, 29 September 2008 (UTC)
 * You said the aircraft was the first stage, so under that definition, Pegasus isn't 'missing' anything. Orbital Sciences just went out and bought one off the shelf. Blackeagle (talk) 21:00, 29 September 2008 (UTC)
 * Buying a jet doesn't make one a rocket engineer ;) --Duk 21:10, 29 September 2008 (UTC)
 * Neither does buying a bolt, or a a piece of aircraft aluminum, or anything else that goes into these launch vehicles. It's how one uses them that matters, and what Orbital does with it's jet is definitely rocket engineering.  Blackeagle (talk) 21:19, 29 September 2008 (UTC)
 * Exactly my point - where do you draw the line? Bolts or entire first stages. --Duk 21:27, 29 September 2008 (UTC) judgement.
 * Why do we need to draw a line? Blackeagle (talk) 21:40, 29 September 2008 (UTC)
 * Does anyone have a breakdown of the "private investment" sources? Mwahcysl (talk) 10:29, 5 October 2008 (UTC)
 * Either way, I think you'll find that the L-1011 was privately funded and developed anyway, regardless of whether it is a first stage or launch platform. -- GW_SimulationsUser Page 21:33, 29 September 2008 (UTC)
 * Initially, a NASA-owned B-52 Stratofortress served as the carrier aircraft. --Duk 21:37, 29 September 2008 (UTC)
 * Yup, but they replaced it with the L-1011 long before the Falcon 1 flew, so I don't think it has any relevance for which was the first privately funded launch vehicle. Blackeagle (talk) 21:40, 29 September 2008 (UTC)
 * So, in addition to saying the Pegasus is a complete launcher (it isn't), you're saying that its development funding was completely private? --Duk 21:43, 29 September 2008 (UTC)
 * "world's first privately-developed space launch vehicle" Blackeagle (talk) 01:33, 30 September 2008 (UTC)

 * To bad it can't make it to orbit without a little help. ;) --Duk 01:47, 30 September 2008 (UTC)
 * I was under the impression that the first privately developed (and also liquid-fuel driven) rocket was the OTRAG Rocket. After being chased from Libya they managed one last successful launch for ESA from Kiruna, Norway, in 1983, with scientific experiments aboard. 87.164.230.64 (talk) 20:32, 22 November 2008 (UTC)
 * You appear to be correct from what I can find. However, no orbital version was ever completed more or less launched.  I have edited the article to include orbital in the increasing number of adjectives making the statement entirely accurate.  I think this hardly a small distinction given the tremendous difference in energy between a suborbital and orbital vehicle, so even with the orbital designation I think it is a remarkable milestone.  aremisasling (talk) 16:20, 24 November 2008 (UTC)

RazakSAT
What happens to RazakSAT now? Does everything else get pushed back by one launch or does RazakSAT get pushed to the end of the que after the ones already schedules? Nil Einne (talk) 10:53, 29 September 2008 (UTC)
 * It will go on Flight 5 in January 2009. -- GW_SimulationsUser Page 10:57, 29 September 2008 (UTC)

Time/date of fifth launch
Compare "The launch on Monday, July 13th was successful, placing RazakSAT into its initial parking orbit." and "5 	14 July 2009[35] 03:35 	Omelek 	RazakSAT/Malaysia 	Successful[1] 	"

Dates and times above probably depends on the observers. Should we change to GMT? What are the Wikipedia guidelines on time/date specification? Supermagle (talk) 10:03, 14 July 2009 (UTC)
 * Launch was on 14 July in both GMT and at the launch site, so I'd say yes. -- G W … 10:10, 14 July 2009 (UTC)

Split flight history into a new article
With five flights listed now, I think it may be time to split the Falcon 1 flight history into a separate article. Let's keep a small paragraph with a thumbnail overview and the table in the main article but move the longer marrative into a separate article. For the title, I'd suggest Falcon 1 flight history. Agree? --StuffOfInterest (talk) 13:07, 16 July 2009 (UTC)

 * Sounds good. Maybe start by renaming Falcon 1 Flight 4 to List of Falcon 1 launches (which seems to be the naming convention used by other rockets). --IanOsgood (talk) 14:01, 16 July 2009 (UTC)

 * I like that idea. It bothered me before having an entire article for one launch.  Unfortunately, I won't likely have time to work on it today, but if anyone else out there wants to start tackling it I'm all for it. --StuffOfInterest (talk) 14:06, 16 July 2009 (UTC)

 * Support idea, oppose proposed implementation, whist I agree that it should be split out, we should do the same as we do for all other rockets — launch details should be included in payload articles, with a brief tabular list on either the rocket article, or at list of X launches - there aren't really enough yet to justify a new article just for that. The Flight 4 article exists due to the absence of a functional payload (it could be renamed RatSat if you want). Articles should be created for FaclonSAT-2 and Falcon 1 DemoFlight 2 (the official name for the second flight), and details split to the relevant articles. -- G W … 14:15, 16 July 2009 (UTC)
 * To expand on that, I think that there will either be a loss of content depth, or a ridiculously long article will be produced, if all prose flight histories are integrated into one article (taking into account the possibility of large numbers of future launches). -- G W … 14:26, 16 July 2009 (UTC)
 * I'd suggest to start off moving the content into a single launch history article and then migrate anything that can into the individual mission (or craft) articles. This avoids losing content, gives a place to keep content which does have a final destination article, and still pushes us to migrate the content out to other articles as possible. --StuffOfInterest (talk) 14:32, 16 July 2009 (UTC)
 * I will support that on the condition that the Flight 4 article is not merged. -- G W … 14:46, 16 July 2009 (UTC)
 * Should there be a separate articles for each flight. It would sound OK with manned-spacecraft launches but not for all launchers. I would recommend a merger of Flight-4 with the main article. --Johnxxx9 (talk) 17:01, 16 July 2009 (UTC)
 * Its not a case of it being on a per-flight basis for the rocket. As I stated above, the flight article exists due to a lack of an equivalent satellite article to cover the launch, and there is de facto consensus that unmanned orbital spaceflights usually warrant their own articles. Its the same principle as Vanguard TV3, where, because the satellite was not named, the rocket's designation was used for the title. We could move it to RatSat if you'd prefer that. -- G W … 17:05, 16 July 2009 (UTC)
 * But, doesn't the Flight-4 article lay excessive importance on the launch rather than the payload ? In the case of Vanguard TV3, the article is concerned more with the payload and the failure of the launcher. --Johnxxx9 (talk) 17:21, 16 July 2009 (UTC)
 * "the article is concerned more with the...failure of the launcher" - so other than outcome, what's the difference? -- G W … 17:29, 16 July 2009 (UTC)

 * There is obviously consensus that the content in this article should be split out, so I've gone ahead and done that. I am still opposed to merging F4, so I have not done that, and if a merger is pursued, it should go through the established procedures. Finally, I would just like to clarify that my opposition to the F4 merger is because it was an orbital launch, and all orbital launches are generally considered (although there is no de jure policy on it) to be worthy of at least one article. This is usually the name of the satellite, however as none was launched on this flight, the flight number has been used. If the unofficial payload name, RatSat, would be more acceptable, then I have nothing against a move to that location. There is an established precedent for using flight numbers in place of payloads - Ariane 5 Flight 501 and Vanguard TV3 to give two examples (the former in place of multiple payload articles, the latter due to the absence of an agreed name for the payload (as is the case here). -- G W … 09:03, 20 July 2009 (UTC)

Reusability
There is nothing to support the reusability of the first stage. Has any of the five first stages which have been launched been retrieved ? Is it still foreseen to retrieve future first stages ? Hektor (talk) 09:51, 2 October 2009 (UTC)
 * I have removed the info as unsourced. Offliner (talk) 04:33, 2 November 2009 (UTC)

"Small discounts"
I think the "small discounts available" info isn't notable or encyclopedic enough. WP is not the correct place for advertisement material. Offliner (talk) 08:17, 3 November 2009 (UTC)

 * The discount scheme may be advertising but many people are interested in the price of the rocket - they use it when planning/dreaming about space projects.
 * Andrew Swallow (talk) 07:39, 9 February 2010 (UTC)

 * Hmmm. Well, I agree with both of you.  People who dream about space may care about "actual prices" rather than manufacturers' published prices, as Andrew asserts; but I suspect that is true in any industry about any product.  And Offliner is correct that Wikipedia is not the place for manufacturers' price info to be published.
 * Seems to me that the best solution is to eliminate all refs to pricing info that come from primary source materials from the manufacturer. Then, and only if interested editors can find published material about SpaceX's pricing (or perhaps, their lower relative pricing than other aerospace companies), an encyclopedic summary of that info could be added to the article.  This, it seems, would meet the objections of both Andrew and Offliner.  N2e (talk) 13:08, 9 February 2010 (UTC)

Launch site
Why does the infobox list Vandenberg under launch history? RadioBroadcast (talk) 02:42, 10 March 2010 (UTC)

Why the thrust difference between Falcon1 and Falcon1e with the same Merlin 1C engine?
The article states (as of 9 Dec 2010) that the thrust of Falcon 1 and Falcon 1e, with the same Merlin 1C engine, is 343 kN and 454 kN, respectively (Initial Thrust claim, from the table in the Variants section of the article). Why the difference if they both use the exact same Merlin 1C engine? I don't get it, and am not sure how to fix the article. N2e (talk) 17:46, 9 December 2010 (UTC)
 * If memory serves, the Merlin 1C is not run at full power on a Falcon 1. If it was at full power the acceleration would be too high.  The Falcon 1e is designed around the improved performance of the Merlin 1C engine vs. the Merlin 1A. --StuffOfInterest (talk) 18:08, 9 December 2010 (UTC)

price update 22/jan/2011
price of launch of e1 is 10.9 M http://www.spacex.com/falcon1.php —Preceding unsigned comment added by 79.181.209.102 (talk) 21:06, 22 January 2011 (UTC)

Difference between SpaceX values and those given here
For example, SpaceX states the lift-off thrust of the Falcon 1 as 347kN (https://spacex.com/falcon1.php), whereas here the first stage thrust is given as 454kN. These values might be correct for the (never flown) Falcon 1e, however on the Falcon 1e site, it is claimed that the thrust is 569kN. Also, the mass values appear to vary wildly (according to SpaceX takeoff weight is 27670kg). — Preceding unsigned comment added by 46.128.195.44 (talk) 15:23, 28 May 2013 (UTC)
 * Good point. If you have sources for the data, and can add full citations (that include the date of the source material, and the date you accessed the source), please just be bold and fix the article.  Cheers.  N2e (talk) 20:36, 28 May 2013 (UTC)

Merging launch history
This rocket only flew 5 times and has been retired for several years. It would be more convenient to read the list of launches on the same page. Besides, contents will likely not grow much. — JFG talk 21:45, 17 February 2016 (UTC)

 * SUPPORT—seems reasonable, based on no likely future growth in launches (with the LV retired) and a merged (and copyedited) result would all fit well within the not-too-large article guideline. N2e (talk) 13:22, 18 February 2016 (UTC)
 * Oppose dut to WP:SIZE violation. 109.108.250.225 (talk) 08:56, 11 March 2016 (UTC)
 * SUPPORT-And suggest we should set up a standard for splitted rocket launch list. PSR B1937+21 (talk) 13:58, 12 March 2016 (UTC)

 * ✅ — JFG talk 04:51, 10 May 2016 (UTC)

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Launch 2
The manifest table about launch 2 has some text I suggest deleting.

"Failed to recover first stage." Falcon-1 was not expected to recover the first stage; I'm not sure why this is here.

"Though it did not reach orbit, the vehicle gathered enough data for operational flights". Apparently it did not, since the next flight was not operational. This sounds like the usual public-relations "positive spin" on a failure: it didn't make orbit, but it gathered data. 86.43.78.214 (talk) 17:03, 13 August 2019 (UTC)

Kindly do not change the primary thrust unit
What we do here must be collectively useful for ever one to understand.

Below are examples from CEO/CTO Elon himself, I hope you accept the primary unit accordingly.

Time and again Elon Musk posted unit of thrust in tonne-force (tf) rather than Newton.

Reason is, As you could take this below tweet as example,

With 1.5 Thrust/Weight ratio, you need like 150 tf of thrust to lift 100 t rocket, Just simple as that.

Even simpler example is 1N = 100 gram of force which not practical unit, thats why kgF & tF are used by Elon.

https://twitter.com/elonmusk/status/1300700639786340353 Chandraprakash (talk) 22:01, 6 June 2021 (UTC)

Falcon 1
Slovakia 85.237.227.37 (talk) 20:24, 21 May 2022 (UTC)

Мир
Мир 91.193.178.248 (talk) 01:43, 4 October 2022 (UTC)

title: Talk:Falcon 1


text:
Andrew Carnell

Andrew Greene Carnell, (April 10, 1877 – January 26, 1951) was a Canadian politician who served as mayor of  St. John's, Newfoundland.

Born in St. John's, Carnell received his early education at Bishop Feild College and the Methodist College before going into his father's business as an undertaker. He married Mabel Payne in 1904. They had two sons and four daughters. His son Geoffrey later served in the Newfoundland assembly.

After several failed attempts in colonial politics, he decided to enter municipal politics. In the municipal elections of 1929 for St. John's, he was elected deputy mayor. After the sitting mayor, Charles Howlett, died in 1932, Carnell became acting mayor until he was elected to the post officially by acclamation the following year. He was reelected to the position continuously until 1949. Carnell's term spanned the time under which Newfoundland was a Crown colony of the United Kingdom after the Dominion government had gone bankrupt and collapsed. To many Newfoundlanders, the mayor was the voice of the people as the highest-ranking official on the island that had been elected. To the colonial government, however, the city council was an inefficient nuisance. Nevertheless, Carnell was made a Commander of the Order of the British Empire in 1939.

Throughout his term, Carnell's administration continued to provide relatively stable and solvent government to St. John's, leading the way in debt relief, improving the standard and affordability of housing in the city and beginning construction on Memorial Stadium, which was finished in 1955. The 'LaGuardia of St. John's' was defeated by his deputy mayor, Harry Mews, in the 1949 election.

title: Andrew Carnell


text:
Eyebeam

Eyebeam may refer to:

 * Eye beam, an emission theory of sight
 * Eyebeam (comic), a daily comic strip written and illustrated by Sam Hurt
 * eyeBeam (software), a VoIP softphone developed by CounterPath Corporation
 * Eyebeam (organization), a not-for-profit arts and technology center based in New York City
 * I-beam, a beam with an I- or H-shaped cross-section

title: Eyebeam