text:
User talk:Xinger

Welcome!

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Tables
Great addition with the tables for artists! Just a heads up to let you know that there's actually a link to the UK Singles Chart that can be added to the tables. Cheers. --Madchester 02:03, August 25, 2005 (UTC)

Hi. Thanks, I think the tables make it a lot quicker and easier to view the singles and their chart performances. -Xinger 10:19, August 24, 2005 (MST)

Hey, there's no need to wikify each album in the tables. Simply wikifying the first mention of an album is sufficient. --Madchester 08:42, September 8, 2005 (UTC)

 * Don't you think it'd easier and more sensible to only list the highest rank that a single has achieved in your single charts? It just makes more sense, if you ask me.

Enfestid 00:17, 14 October 2005 (UTC)

Exceptional newcomer
Hi, I hereby give you this Exceptional Newcomer's Award for continued efforts on Wikipedia:

Take care, D. J. Bracey (talk) 18:32, 30 August 2005 (UTC)

 * I hearby second the award, a lot of great edits to music-related articles, good stuff. :) Func( t, c, @,) 23:44, 30 August 2005 (UTC)

Thanks! Xinger 23:56, 30 August 2005 (UTC)

Erasure page - your changes
Hi Xinger: Please see the Talk:Erasure page regarding the changes you are doing to the singles/EP section. Thanks! -- eo 00:49, 31 August 2005 (UTC)

Fairground Attraction
Hello! Why did you remove "Perfect" from the list of singles? --Mel Etitis ( Μελ Ετητης ) 08:40, 31 August 2005 (UTC)

 * I think that it should be in the list too — it's misleading otherwise. --Mel Etitis ( Μελ Ετητης ) 09:41, 31 August 2005 (UTC)

Gorillaz
"Fixed poor edits. What's being shown here is airplay and digital sales, not physical sales, therefore it is not a subsection of Discography."

Hehe, sorry about that. The inclusion of digital sales and airplay statistics in a discography is iffy, admittedly. However, the main UK singles chart is based solely on sales of hard copies; there are separate digital charts and airplay charts here. How about adding a subsection in discography for the UK singles, with a note saying something like "see table in for chart placings"? A discography should surely include these major discs. Also, I think there should be some explicit distinction between those singles that have been commercially released and those that have only been "released" to radio stations - but this may be a misunderstanding on my part: I don't know whether these singles have been released as discs in the US. By the way, the reason I moved the UK singles chart column to the left was that I thought it made more sense (not to mention looked less ugly) to have the column with the most data first.

Oh, and "poor edits" was a bit harsh, I thought; hope I've explained myself a little more clearly now :-) --CapitalLetterBeginning 14:49, 8 September 2005 (UTC)

The White Stripes tables
Was there any particular reason why you reverted the tables back to its older state? What I had was more comprehensive and more accurate (the older table is missing at least 5 singles).--Weebot 01:41, 9 September 2005 (UTC)

Personal Attacks
Please refrain from using Personal Attacks; they are not tolerated in Wikipedia. I won't take it personally, but some other admins or users may be more sensitive, and you could have been blocked immediately for your actions. So please show more restraint while you're working within the confines of Wikipedia. Thank you. :-) --Madchester 14:12, 15 September 2005 (UTC)

Coldplay and other artist pages
Please don't make any more reverts, or you will be in violation of the 3 revert rule. Despite recommendations over the table format (such as giving UK charts precedence for UK bands) raised by various users, you've unilaterally changed them to cater to your own liking.

It's also a very POVslant to claim that artists are "unimportant" if they haven't broken onto the American charts. So if a Japanese artist like Utada or someone like Kylie Minogue has sold million of records outside of the United States, they're still deemed, in your eyes not to be "important"? --Madchester 17:18, 18 September 2005 (UTC)

Don't hide your POV; it's right in your edit summary: ''doesn't matter where a band is from -- if they haven't made it in the US, they haven't really made it. And UK charts are definitely not more important even to UK bands.''

You're basically stating that the US charts are superior to the UK charts, which is obviously a slanted POV opinion. And that's just the tip of the iceberg in your personally biased opinion.

And once again, there's no need to over-wikify every entry per Avoiding common mistakes. It's not whether "you like it that way" or not; you need to be consistent with the manual of style. There's no need to wikify every single entry, especially when it's the same item being repeated in the same table. --Madchester 06:06, 19 September 2005 (UTC)

I don't know if the US charts are anymore indicative of a band's popularity than the UK charts. Considering that Clear Channel owns 1200+ radio stations in the United States, it has the clout to determine whether a certain band makes it on the airwaves or not. Does this really really a better indicator of an artist's popularity?

Regardless, I believe that an artist's native charts are most important; most it not all artists have to "make it" at home before they can "conquer America". Consequently they should be listed first, it's no disrespect to your table, but that makes the most sense. It's just like how Wikipedia's MoS suggests that American articles use American spelling, Canadian articles follow Canadian spellings, etc. The native format should be taking precedence first and foremost. --Madchester 06:03, 20 September 2005 (UTC)

3RR block, September 19
You have been blocked for 24 hours for violating Wikipedia's 3 Revert Rule. Please listen to the constructive critcisim suggested by other users to prevent further edit/revert wars in the future. Thank you. --Madchester 18:10, 19 September 2005 (UTC)

That's a bunch of bullshit. I can't believe they let you be an administrator. Please learn about the rules before blocking someone. Xinger 02:30, 20 September 2005 (UTC)

No personal attacks, thank you. I think you may need a wiki-break to cool down. I've seen other users like you who have tried to challenge the system and by acting unilaterally, only to leave Wikipedia on a bitter note. --Madchester 04:26, 20 September 2005 (UTC)

The personal attack being you're a corrupt administrator? Do me a favor and tell me who I should contact to have your admin priviledges revoked. Xinger 04:28, 20 September 2005 (UTC)

Artist/Table changes
Once again, please don't:

1) Re-arrange the order for the charting information; before your tables system we always presented a band's native charts first, before any international chart positions. For example, the Oasis Singles Discography is an ideal layout for the band, since it shows the native UK charts, followed by any relevant international charts.  The original Coldplay singles discography shows a similar format of listing UK positions before any international ones.

This is for the sake of consistency and avoids a biased point of view. The American charts are not a universal litmus test for chart success. Most artists find the most success in their home country, so it's important to present those figures before any other international ones. For an artist like Kylie Minogue it's somewhat ridiculous to present her US chart success first, since she really didn't promote any albums in the United States for over a decade. For an artist like her, the AU or UK Singles Chart take precedence, followed by the, then any relevant US Dance or Billboard charts. To place the American charts first would be misleading and confusing, since it is Oz and the UK where she found initial success.

2) Wikify every album entry, it's a common mistake on Wikipedia. For example, look at the setlist for Live 8, whether it's for the London, Philly or Barrie shows, each artist is only wikified once, even if they multiple appearances on stage.  It's very tempting to provide links for every instance, but that's just excessive and goes against the manual of style.

3) Album ordinals should only be included when there's multiple entries within that category. To date, Coldplay only has 1 live album, so adding a "1." to the listing is simply excessive.

You're free to create all the tables you want; but you still have to work within Wikipedia's guidelines.

Cheers. --Madchester 15:07, 21 September 2005 (UTC)

 * As per Wikproject Songs: "The chart positions included should probably be for the artist's home chart, charts in English speaking countries and charts in which the single reached the Top 40." I'm sorry but the guidelines are there; the home charts take precedence over any other charts.  If you have an issue with that, instead of reverting all my edits and making personal attacks, I'd suggest that you state your concerns on the project's talk page. --Madchester 18:15, 21 September 2005 (UTC)

 * Home charts are listed first; i.e., they take precedence over all other charts. If you look at the singles infoboxes, home charts are almost always listed first, followed by any other relevant charts... i.e., "Fix You", "Take Me Out", "Wonderwall", "Boulevard of Broken Dreams". This is the consistent system being used across Wikipedia, as per Wikproject Songs. --Madchester 05:09, 22 September 2005 (UTC)

3RR warning Sept. 21
Any fourth reverts within 24 hours on an article will result in a three revert rule violation. As I suggested, if you have any qualms with the current system, please address them in the WikiProject Songs talk page. Thanks. --Madchester 19:15, 21 September 2005 (UTC)
 * Xinger, you're out of line, and you're getting yourself in trouble for a dumb reason (formatting of a table, for bog's sake). Madchester has been very patient with you. It does look like you were starting to build a good reputation; please review Wikipedia guidelines and reconsider your actions. --Dhartung | Talk 21:43, 21 September 2005 (UTC)

 * Well at least you did some research on the 3RR and I get FOUR reverts this time! Xinger 03:51, 22 September 2005 (UTC)

Moses
I've seen stations air a video for "One I Love" when Live 2003 was released, never anything for Moses. Can you show me a source indicating that "Moses" actually received any substantial radio airplay? Thanks. --Madchester 06:27, 22 September 2005 (UTC)

Please cite sources
You have made a large number of edits to a wide range of articles today, but have not provided any source for your data. If you would, please WP:CITE source(s) for your changes in the future or they may be reverted. Best regards, Hall Monitor 16:11, 22 September 2005 (UTC)
 * I can't link to the charts because half of each chart is not visible to those who are not subscribed to billboard.com. Xinger 16:14, 22 September 2005 (UTC)
 * That is a problem. If you could atleast state the source in plain text and provide a date when the information was captured that would be very helpful.  These figures are frequently vandalised as-is, unfortunately.  Hall Monitor 16:20, 22 September 2005 (UTC)

Singles Lists
This is referring to some articles you've been created about some artists. Would you please stop creating lists of singles of artists who you don't even explain who they are? If you bother to create an article about these artists, put some information about themselves.Leptictidium 15:03, 23 September 2005 (UTC)

Reverts
Xinger, was wondering why you reverted my edit of the Coldplay discography tables? While I do appreciate your extensive research on chart positions (I for one am interested in seeing artists' chart histories), perhaps you could rethink portions of the table template you are using? Some of what you designed looks good (such as the "chart positions" column being split into sub-columns), but overall sometimes the tables come out looking a bit sloppy because of the "#" symbol before each number and the over-linking of album titles. Would it be possible for you to slightly modify/compromise on your table design in the future to elimiate the unnessary "#" and/or perhaps format the columns so that the numbers are centered? Ultimately I think that would help to make the information cleaner and more easily readable. -- eo 18:52, 23 September 2005 (UTC)
 * Yes, I saw the White Stripes table. In fact I recently removed all the "#"s from it.  "#" is an English/American abbreviation not recognized in all languages and it really just is not necessary.  The column says "chart positions" and everyone can see that, well, they are numbers.  Do we really need to put a "#" there?  If an artist has an extensive chart history, all those #'s take away from what the important data is: the chart positions. -- eo 19:02, 23 September 2005 (UTC)
 * OK, I see you've reverted three of my edits. I will not get into an edit war with you, but judging from the comments already on your page, you may want to get some sort of consenus and/or compromise on the table template you're using before going ahead with your "plan to format all tables to look like The White Stripes' table", or you may see a lot of the hard work you do altered anyway.  Reasons such as "I like that look" probably won't fly with too many people.  Just a thought. -- eo 19:38, 23 September 2005 (UTC)

My Chemical Romance
If you're certain that the song should be "The Ghost of You", why have you just piped the link instead of renaming the article? --Mel Etitis ( Μελ Ετητης ) 16:45, 25 September 2005 (UTC)

 * Up at the top of the page there's a "move" tab (to the left of the "watch/unwatch" tab); click on it and follow the instructions from there. You need to be absolutely sure that you're right about the correct name, though. --Mel Etitis  ( Μελ Ετητης ) 18:27, 25 September 2005 (UTC)

More on your tables
I've noticed in your quest to insert your discography table template into every musical artist article that you have actually been omitting and removing previously-listed singles from articles and replacing text with your limited information. The lastest one (out of many) I saw was for Fantasia... the table you put there lists only two of her singles, and even so, you've shown only R&B chart positions and left additonal columns blank, including the Hot 100. This is not the first time I've seen this with tables you've put onto articles. Why are you doing this to articles for which you do not have all of the information? Most of the time a simple Google search can bring up most or all of an artist's chartographies. You really need to do the research before putting this stuff into articles. This is supposed to be an encyclopaedia, remember? I found another article by a popular British pop band who have released (and charted) many singles in the UK, and your table listed only one of their songs, with a US Modern Rock Tracks chart peak, completely ignoring some of their big hits - yet the table had a column for UK chart peaks, which you left blank. Another British rock band had one of your tables in its article with only two of their many singles listed and again, had none of their UK peaks... and they have several UK top 40 hits. This is not cool and I doubt I am the only one who is noticing all of this. I've seen you also changed yet another chart table I made back to your awkward-looking template (# symbols, columns with varying widths, etc). The look of your table is bad enough... but please... if you're going to insist on putting chart histories in every article... make sure you have the full chart history! -- eo 02:51, 30 September 2005 (UTC)

STOP ADDING THE FOO FIGHTERS CHART
You haven't bothered to explain why this chart is necessary. Regardless, here's why it isn't:

1) The US Modern Rock chart is NOT AN IMPORTANT CHART. Your claim that most of their singles are top 20 hits is dubious as the Modern Rock chart is largely meaningless.  It's a niche chart.  Not even half of their singles made the top 20 on any other chart.

2) MORE THAN HALF OF YOUR CHART HAS DASHES IN IT. Use your fingers and count the entries if you have to.  It's clutter of the highest order.

But, furthermore, several people have made it clear that they feel the chart is unnecessary for a band of the Foo Fighters' level. They are popular, yes, but not by charts.

Making charts seems to be your primary contribution to Wiki, and I think it's extremely useful where it's welcome. But don't just ignore complaints and add the chart again and again because YOU feel it's a worthy addition. -- ChrisB 04:23, 30 September 2005 (UTC)

Edits to Mariah Carey

 * 1) The rule of thumb on Wikipedia is that an edit of a page that consists of spelling corrections, formatting, and minor rearranging of text should be flagged as a "minor edit". Marking a real change (such as reverting to a previous version of a page for reasons other than vandalism) as a minor edit is considered bad behaviour. See Minor edit.
 * 2) Please do not reinsert the incomplete singles discography into the Mariah Carey article again. The article is large enough as it is already (62kb, which is roughly twice the recommended size). One of the subarticles that was created to reduce its size is Mariah Carey singles discography, so there isn't really much point duplicating the information presented there elsewhere.
 * 3) Please cite your sources so that others can verify your work. Thank you. Extraordinary Machine 15:55, 30 September 2005 (UTC)

 * Well, please make your edits to the singles discography article, and not the main Mariah Carey article. If we listed four singles in the main article, we'd end up having to list them all. Extraordinary Machine 16:12, 30 September 2005 (UTC)

Bornscar
Is this a real band? I can't verify their existance. Friday (talk) 18:44, 3 October 2005 (UTC)

Deletion of Guest Appearances
Please stop deleting the guest appearances from the Pop Singles Discography on the page for Akon. According to Billboard's policy for determining the success of artists in the music industry, when guest artists appear on a single, and have their names credited to it on the Hot 100, full credit is awarded to each artist. Sebastian Prospero 01:13, 7 October 2005 (UTC)

According to Billboard's policy (and I am quoting Joel Whitburn's Billboard Book of Top 40 hits verbatim), "when 2 or more artists collaborate on a hit single, the full point value is given to each artist." According to this logic, the chart rank of guest appearences should be listed as a sub-heading under Singles. Sebastian Prospero 00:12, 9 October 2005 (UTC)

Siouxsie & the Banshees
Xinger: Thank you for redoing the table on the Siouxsie page.... this looks much better than tables you've done up until now. If all your tables looked this neat I can compromise on the # symbol you use. Just make sure you don't omit singles, even if they were not Modern Rock hits. Any chance you can update the "pretty table" template to look more like the Siouxsie one (make it permanent)? -- eo 14:27, 11 October 2005 (UTC)
 * what I meant by "update the template": i see that the table you use is called "pretty table" or something like that? i thought perhaps this was a template that you have saved, so that every time you use it (no matter what artist you are working on), the table would always look the same (with variations on the charts, obviously).  my question to you was whether or not you would modify the template so that going foward, future tables you insert would look neat and tidy like the one you just did on Siouxsie's page. -- eo 14:54, 11 October 2005 (UTC)

Garth Brooks singles
... belong in Garth Brooks discography, not Garth Brooks. Wasted Time R 16:24, 15 October 2005 (UTC)

Singles sectioning
If there's a Discography section at the "==" level, then Singles should be a subsection under that at the "===" level, not another section at the "==" level. Wasted Time R 11:00, 17 October 2005 (UTC)

> You'd be correct if Singles were actually discography. Just take a look at Rascal Flatts' extensive > collection of physical singles on AMG. Case closed. Xinger 11:22, 17 October 2005 (UTC)

 * The article Discography clearly states that it's a list of all sound recordings; it doesn't distinguish between album or single, physical or digital. As for AMG, it has a Discography tab which includes Albums and Singles/EPs as sub-tabs underneath it, which is exactly what I'm saying is proper for Wikipedia. Then they also have a separate Songs tab, which highlights notable songs. The Rascal Flatts example is odd because they seem to have omitted most of their singles.  See Shania Twain for a better AMG example.  Wasted Time R 12:16, 17 October 2005 (UTC)

 * No, it's not odd. Not every single is released on DISC, therefore singles don't belong under Discography. Xinger 12:49, 17 October 2005 (UTC)

 * While the term Discography does originate with grammophone discs, it is now extended to include all forms of recorded audio -- 8-track, cassette tapes, compact discs, "released to radio stations as a single", digital downloads, the works. It's the history of the music that's important, not the exact media it was heard through.  By your reasoning, all of the articles like The Rolling Stones discography and Celine Dion discography would have to get hacked apart, splitting their singles out into separate articles.  There are dozens of such articles ... what would be the point?    Wasted Time R 13:11, 17 October 2005 (UTC)

Chart updates
Hey Xinger, any way you can add some sort of indicator to your singles table to show songs that are currently charting/moving up? The way that all (not just yours) discography tables are set up, the chart positions show where a song has peaked, which obviously is not the case for something currently climbing a chart. Maybe an asterisk or symbol or something with a brief "currently charting" notation? As they look now, the tables insinuate that a song has "peaked" at position X, when it isn't the case (example: Depeche Mode's "Precious" with a "99" in the Hot 100 column... the song just debuted this week and could very possibly move up on the next chart). An indicator would paint a more accurate (i.e. encyclopedic) picture of a song's performance. -- eo 19:16, 20 October 2005 (UTC)

 * Hi there. In reponse to the confusion mentioned by eo above, I created a notes section to explain oddities in the Depeche Mode singles chart (i.e. songs like "Dangerous" and "Halo" charting despite not being standard singles).  Anyway, when you last updated the singles chart, you erased the section, which I feel is useful to clear up confusions like the one mentioned above.  If you have a significant problem with the notes section, please take it up on the talk page first, before just erasing the entire thing.  Thank you.  John5008 20:24, 28 October 2005 (UTC)

 * Xinger's canned scripts do what he wants them to do, regardless of the context of the article. If the scripts don't do the right thing, you've got to put the article on your watchlist and fix up after Xinger once a week. Very amusing.   Wasted Time R 14:10, 3 November 2005 (UTC)

 * Okay, this has happened a second time now...if you disagree with the inclusion of a notes section in the Depeche Mode singles table, could you please discuss your problems first before eliminating the section. I would appreciate it if you discussed things first.  Thank you.  john 5008 15:23, 12 November 2005 (UTC)

Edits to Rascal Flatts
Hey Xinger!!! The last time I checked (which was about thirty seconds ago) the single "Skin (Sarabeth)" IS on their newest CD, Feels Like Today. Rascal Flatts have released TWO versions of this CD. On the first one, it is the hidden track following track #11, Oklahoma-Texas Line. On the second version of this CD, it is track #12, instead. Please take note of this as I have changed this on their page. Thank you very much. Happyface162 21:56, 1 November 2005 (UTC)

Your charts
Xinger, I've been noticing your chart. Great job! They truly do look good. Have you thought of doing Jay-Z yet? He does so many guest appearances and has so many singles that its hard to keep track which came from where. OmegaWikipedia 14:24, 1 November 2005 (UTC)

Piped [19XX in music|19XX] links
Hi, I would first like to thank you for all the contributions you've made to music-related articles, it's great, especially since it seems that people willing to use tables and make them nice seems to be such a small subset of wikipedians.

However, could you please stop using those piped [19XX in music|19XX] links in your charts? It is against recommended style policy, both at WP:ALBUMS and WP:MOS. Thankyou --Qirex 16:04, 6 November 2005 (UTC)

Nine Inch Nails charts
The singles section of Nine Inch Nails has been moved to Nine Inch Nails discography. Actually, the table format was removed completely, along the lines of The Beatles discography and David Bowie discography. I think it'd look better to keep the whole discography in a constant format, but if your bot is going to add a table, could you put it on the discography page? Thanks. -- Rynne 18:04, 7 November 2005 (UTC)

singles table you added to article
I started to ask where to find the citation for othe info you added to the Throwing Muses article, but I found the answer online at billboard. Thanks for adding it! Emerman 15:02, 13 December 2005 (UTC)

Chris Brown
A while back you edited Chris Brown (diff). Piping does not go on disambiguation pages. See Manual of Style (disambiguation pages) for further details. Also, you should use edit summaries, in consideration of other users.--Commander Keane 15:31, 16 December 2005 (UTC)

Slick 23
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Big Trell
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Rustic (hip hop artist)
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title: User talk:Xinger


text:
Muse Sick-n-Hour Mess Age

Muse Sick-n-Hour Mess Age is the fifth studio album by American hip hop group Public Enemy, released on August 23, 1994, by Def Jam Recordings. The title is a reverse mondegreen of the phrase "music in our message" (emphasizing that their message is more important than the music, rather than the typical "message in our music"). Alternatively, it could be interpreted as "music and our message." The album debuted at number 14 on the US Billboard 200 chart, selling 56,000 copies in its first week.

The album's first single, "Give It Up", peaked at number 33 on the US Billboard Hot 100 in August 1994, and was the group's only American top 40 hit in their career.

Upon its release, Muse Sick-n-Hour Mess Age received generally mixed-to-positive reviews from most music critics, amid controversy among critics and fans over Public Enemy's relevance in hip hop at the time.

Mark Texeira illustrated the cover and inside sleeve.

Critical reception
According to music journalist Neil Strauss, music critics initially accused Public Enemy of "being out of touch, of launching a weak attack against the trend toward gangster rap, of writing second-rate rhymes, of producing the album poorly, of using a bad pun for the title ('music in our message') and of being too old".

Spin (8/94, p. 84) - Highly Recommended - "Knee deep in the age of gangsta, at the anticlimactic millennial edge of a world already gone wrong, Public Enemy has dropped its latest."

Entertainment Weekly (8/26 - 9/2, p. 112) - "... it takes true guts to dis gangsta rap and to challenge the black community to confront its problems ..." - Rating: B

Q magazine (9/94, p. 106) - 4 Stars - Excellent - "Fact is, the lay off has just made Public Enemy sound fresh again ... because they've regained the wicked combination of sonic disturbance and loose, rabblerousing funk that drove classic jams like 911 is A Joke."

Alternative Press (9/94, pp. 80–81) - "Yeah, we've heard it before but Chuck can make waves even when he's treading water ... MESSAGE may be PE's most consistently enjoyable disc."

Vibe (8/94, p. 105) - "... a tour de force of densely constructed music and verbiage. Snippets of Stax-Volt grooves, reggae, soul, and metal bop and weave over gut-punching bass lines and wicked drumming while front man Chuck D lets fly with ... pronouncements, warnings, and accusations ..."

Melody Maker (8/20/94, p. 35) - Recommended - "This LP isn't just a stunning return to form for Public Enemy, it's perhaps the most powerful horrified answer to what you are doing to black culture yet."

NME (12/24/94, p. 22) - Ranked #20 in NME's list of the 'Top 50 Albums Of 1994.'

Commercial performance
Due to a change of the album's release date, negative reviews from publications such as Rolling Stone and The Source were published a month prior to the album's first sales week. In spite of this, the album performed well. Muse Sick-n-Hour Mess Age debuted at number 14 on the US Billboard 200 chart, selling 56,000 copies its first week. This was more than most of Public Enemy's previous albums. The album quickly fell off the charts, as sales were negatively impacted by Def Jam's move from Sony Music to PolyGram prior to its release. On October 25, 1994, the album was certified gold by the Recording Industry Association of America (RIAA) for sales of over 500,000 copies in the United States.

Track listing
All songs were written or co-written by members of Public Enemy, except "Godd Complexx", which was written by Jalal Mansur Nuriddin a/k/a Alafia Pudim.

 * 1) "Whole Lotta Love Goin on in the Middle of Hell" – 3:13
 * 2) "Theatrical Parts" - 0:28
 * 3) "Give It Up" – 4:31
 * 4) "What Side You On?" – 4:07
 * 5) "Bedlam 13:13" – 4:07
 * 6) "Stop in the Name ..." - 1:21
 * 7) "What Kind of Power We Got?" – 5:31
 * 8) "So Whatcha Gone Do Now" – 4:41
 * 9) "White Heaven/Black Hell" - 1:06
 * 10) "Race Against Time" – 3:21
 * 11) "They Used to Call It Dope" - 0:30
 * 12) "Aintnuttin Buttersong" – 4:23
 * 13) "Live and Undrugged, Parts 1 & 2" – 5:55
 * 14) "Thin Line Between Law & Rape" – 4:45
 * 15) "I Ain't Mad at All" – 3:25
 * 16) "Death of a Carjacka" - 2:00
 * 17) "I Stand Accused" – 3:57
 * 18) "Godd Complexx" – 3:40
 * 19) "Hitler Day" – 4:28
 * 20) "Harry Allen's Interactive Super Highway Phone Call to Chuck D" - 2:55
 * 21) "Livin in a Zoo (remix)" – 3:38

An extra track titled "Ferocious Soul" is included on the CD as a pregap hidden track.

Personnel
Credits adapted from CD Universe.

 * Flavor Flav – bass, keyboards, producer, rap vocals
 * Chuck D. – liner notes, producer, rap vocals
 * Terminator X – scratches
 * Tom Costello – various instruments
 * Paul Reisch – various instruments
 * Gerry Comito – guitar
 * Darryl Dixon – horns
 * David Watson – horns
 * Bill Mobley – horns
 * Kerwin "Sleek" Young – bass, Producer
 * Nathaniel Townsley III – drums
 * John B. Smooth – congas
 * Hank Shocklee – producer
 * Keith Shocklee – programming, background vocals, producer
 * Gary G-Wiz – producer
 * Kamron – scratches
 * Kevin Boone – scratches
 * Tet – background vocals
 * Norma Jean Wright – background vocals
 * Paulette McWilliams – background vocals
 * Bemshi – background vocals

 * Carl DeHaney – background vocals
 * The Punk Barbarians – background vocals
 * Grandell Thompson – background vocals
 * Jamel Bazemore – background vocals
 * Sean Chaplin – background vocals
 * Victor Brownlee – background vocals
 * Harry Allen – background vocals
 * Errol Nazareth – background vocals
 * Jesse Smith – background vocals
 * Andre Guilty – background vocals
 * Mike Williams – background vocals
 * Akilah Watkins – background vocals
 * Raymond Mattry – background vocals
 * Sheila Cabllero – background vocals
 * Jeanette Harrod – background vocals
 * Prince Yellordy – background vocals
 * Jean Victor – background vocals
 * Nick Sansano – engineer
 * Gerry Comito – engineer
 * Jimmy O'Neil – engineer

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

title: Muse Sick-n-Hour Mess Age


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Bomb the System

Bomb the System is a 2002 drama film written and directed by Adam Bhala Lough. It stars Mark Webber, Gano Grills, Jaclyn DeSantis, Jade Yorker, Bönz Malone, Kumar Pallana and Joey SEMZ. The story revolves around a group of graffiti artists who decide to make a mark on New York City.

Bomb the System was the first major fictional feature film about the subculture of graffiti art since 1982’s Wild Style. Several well-known graffiti artists participated in the making of the film, including Lee Quiñones, Cope2, Chino BYI and Keo X-Men. The film's score and soundtrack were composed by El-P.

In December 2002, the film premiered at the Anchorage International Film Festival. It went on to screen at various film festivals including the Tribeca Festival. It was given a limited theatrical release in American theaters on May 27, 2005. It was nominated for an Independent Spirit Award for Best First Feature and won the Audience Award at the 2003 Athens International Film Festival.

Cast

 * Mark Webber as Anthony 'Blest' Campo
 * Jaclyn DeSantis as Alexandria
 * Jade Yorker as Kevin 'Lune' Broady
 * Gano Grills as Justin 'Buk 50' Broady
 * Bönz Malone as Officer Nole Shorts
 * Kumar Pallana as Kumar Baba
 * Joey SEMZ as Knife

Production
The film was expanded from Lough’s thesis project at NYU. Lough’s fellow NYU graduates collaborated with him on the film as producer, cinematographer, and other key members of the crew.

Release
The film had its world premiere at the Anchorage International Film Festival in December 2002, winning the award for Best Feature.

After a 1-minute clip of the film was shown during the 2004 Independent Spirit Awards, Now on Media in Japan offered to acquire distribution rights. The film received a wide theatrical release in Japan on September 3, 2005.

In the US, the film was distributed by Palm Pictures and was shown in New York City and Los Angeles on May 27, 2005. The film grossed a per-screen average of $4,588.

Sticker controversy
Shortly after the theatrical release, a movie theater in Delaware was closed down after a promotional Bomb the System sticker was found illegally posted in the theater. Due to fear of terrorism, the theater manager called the police and bomb squad and the theater was shut down for a few hours while the canine unit sniffed for bombs. Nothing was found. In graffiti terminology, "bombing" has nothing to do with actual explosives, and instead refers to slang for covering a surface with graffiti.

Home media
The film was released on DVD on October 11, 2005.

Critical response
Rolling Stone called the film a "next-gen [sic] update of 1982's Wild Style. With strong whiffs of Trainspotting and Kids" that "distinguishes itself with streaky, Krylon-bright editing and El-P's eerie soundtrack beats." Village Voice noted the movie was "birthed from a blunt-fueled blend of Aronofskian frenzy and nostalgia for the agreeable griminess of mid-'90s Wu-Tang Clan videos." Los Angeles Times critic Kevin Crust wrote, "Lough's impressive, if uneven, debut feature captures the adrenaline rush and contradictory nature of the simultaneously creative and criminal activity." Stephen Holden of The New York Times reviewed the film positively: "The movie runs on the synergy between this grimy but glamorous urban landscape and the emotional intensity of characters who at moments suggest contemporary descendants of the innocent, tormented teenagers in Rebel Without a Cause. Bomb the System, which rides on a subtle hip-hop soundtrack, might be described as soulful pulp; cult recognition awaits it."

On the critical side, The New York Post called the film "a mild, slow-moving drama that belatedly tries to argue that graffiti writers are political artists, not an urban blight". The New York Daily News called the film "brashly passionate in its desire to express the power and validity of graffiti art. But it's also preachy and single-minded, populated by a world of sympathetic heroes and hissable villains". Sean Axmaker in the Seattle Post-Intelligencer likened the film to "tomcats spraying outside their yards."

Filmmaker Jim Jarmusch wrote, "For Bomb the System director Adam Lough takes far more inspiration from the on-going graffiti culture than from the depleted stylistic formulas of recent commercial cinema. His refreshing use of skewed camera angles, blasts of color, and inventive cutting are deftly blended, becoming much more than calculated atmosphere. The performances are also consistently strong, and Mark Webber in particular, in the central role, never hits a false note. Bomb the System is welcome proof that the spirit of graffiti writing has a continuing cultural influence on both the subtleties of form and explosive personal expression." Parts of the quotation ran in a Village Voice ad on the second weekend of the film's release.

On review aggregate website Rotten Tomatoes, Bomb the System has an approval rating of 32% based on 22 reviews. The site’s critics consensus reads, "Given the movie's premise, one would assume it's gritty and street-smart, but in reality it's a slave to stale cliches and formula."

title: Bomb the System


text:
Category:Hebereke

Contains all the articles that have to do with the Hebereke series by Sunsoft.

title: Category:Hebereke


text:
Wikipedia:Articles for deletion/Www.Kerrydalestreet.co.uk

 This page is an archive of the proposed deletion of the article below. Further comments should be made on the appropriate discussion page (such as the article's talk page or on a Votes for Undeletion nomination). No further edits should be made to this page.

The result of the debate was Delete --Allen3 talk 14:18, August 30, 2005 (UTC)

Www.Kerrydalestreet.co.uk
Forum vanity. 17 distinct hits on Google. Kurt Shaped Box 22:13, 24 August 2005 (UTC)
 * Delete Vanity Groeck 22:44, 24 August 2005 (UTC)
 * Delete. Nn web site. --GraemeL (talk) 11:29, 25 August 2005 (UTC)
 * Delete - not notable - Tεx  τ  urε  16:43, 29 August 2005 (UTC)
 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in an undeletion request). No further edits should be made to this page.


text: User talk:141.153.230.207

title: User talk:141.153.230.207


text:
List of Arizona Coyotes head coaches

The Arizona Coyotes were an American professional ice hockey team that was based in Phoenix, Arizona Glendale, Arizona, and later Tempe, Arizona. They played in the Central Division of the Western Conference in the National Hockey League (NHL). The team started out as a charter member of the World Hockey Association (WHA), and were named the Winnipeg Jets. The WHA then merged with the NHL in 1979, the Jets relocated to Phoenix in 1996, and were renamed the Phoenix Coyotes. Having first played at America West Arena, the Coyotes have played their home games at the Gila River Arena, formerly named the Glendale Arena and the Jobing.com Arena, since 2003. The Coyotes are owned by IceArizona.

There have been seven head coaches for the Coyotes team. The team's first head coach was Don Hay, who coached for one season. Dave Tippett is the team's all-time leader for the most regular season games coached (622), the most regular season game wins (282), the most regular season points (647), the most playoff games coached (27), and the most playoff game wins (12). Tippett was the head coach of the Coyotes from the 2009–10 season until the end of 2016–17 season. The Jack Adams Award has been awarded twice to a Coyotes' coach; Bob Francis for the 2001–02 season and Tippett for the 2009–10 season. None of the Coyotes coaches have been elected into the Hockey Hall of Fame as a builder, though Wayne Gretzky has been elected into the Hockey Hall of Fame as a player in 1999. Francis and Gretzky have each spent their entire NHL head coaching careers with the Coyotes. Rick Tocchet served as head coach from 2017 to 2021. The team's current head coach is Andre Tourigny, who was named to the position on July 1, 2021. Tourigny coached the Coyotes until he was transferred to the Utah Hockey Club, along with the rest of the Coyotes staff and players, at the end of the 2023–24 season.

Coaches
Note: Statistics are correct through the 2020–21 season.

title: List of Arizona Coyotes head coaches


text:
Rammellzee

Rammellzee (stylized RAMM:ΣLL:ZΣΣ, pronounced "Ram: Ell: Zee"; December 15, 1960 – June 28, 2010) was a visual artist, gothic futurist "graffiti writer", painter, performance artist, art theoretician, sculptor and a hip-hop musician from New York City, who has been cited as "instrumental in introducing elements of the avant-garde into hip-hop culture".

Early life
Rammellzee was born on December 15, 1960, in Far Rockaway, Queens to an African-American mother and Italian father who worked as a transit detective. He grew up in the Carlton Manor Projects near the Far Rockaway–Mott Avenue A train terminal station. His graffiti work started to show up in the 1970s on New York City's subway cars and stations, specifically on the A-train since it was his local train.

Rammellzee studied dentistry at the Clara Barton High School for Health Professions, was a model for Wilhelmina (under the name Mcrammellzee), and briefly studied jewelry design at the Fashion Institute of Technology (FIT).

Career
Discovered by a larger audience through the 1982 cult movie Wild Style by Charlie Ahearn, Rammellzee's earlier fame in graffiti circles was established when he painted New York subway trains with DONDI, OU3, and Ink 76, and doctor Revolt under his aliases Hyte, Hytestyr, EG (Evolution Griller the Master Killer), Sharissk Boo, Razz, and Maestro on the A, CC, 2 and 5 subway lines.

Rammellzee was an occasional member of the Death Comet Crew, with Stuart Argabright, Michael Diekmann and Shinichi Shimokawa. He also formed the crew Tag Master Killers, consisting of A-One, Delta2, Kool Koor and Toxic.

Rammellzee became a friend and collaborator of artist Jean-Michel Basquiat. In 1982, Rammellzee and Toxic accompanied Basquiat to Los Angeles while he prepared for his show at the Gagosian Gallery. They called themselves the Hollywood Africans as a social and political statement to counter the stereotypical portrayals of African Americans in Hollywood.

The trio are depicted in Basquiat's paintings Hollywood Africans in front of the Chinese Theater with Footprints of Movie Stars (1983) and Hollywood Africans (1983). Rammellzee was an original hip hop artist who introduced specific vocal styles which date back to the early 1980s.

His 12-inch single "Beat Bop," in collaboration with rapper K-Rob and with cover art by Basquiat, is considered by some to be the most valuable (meaning collectible) hip-hop record of all time. "Beat Bop" was also featured in the film Style Wars.

Rammellzee makes a cameo appearance near the end of Jim Jarmusch's 1984 film Stranger Than Paradise. Rammellzee's influence can be heard in artists such as Beastie Boys and Cypress Hill.

In 1988, Rammellzee and his band Gettovetts recorded the album Missionaries Moving, with producer Bill Laswell, a frequent collaborator. Laswell also paired Rammellzee with writer William Burroughs on the 1989 album, Seven Souls, and featured him on several albums recorded by his revolving super-group, Praxis.

He also wrote an opera "The Requiem of Gothic Futurism" in 1985, "offered to send the U.S. military some of the intelligence he had gathered for national defense," and "tried to promote his ideas by producing a comic book and a board game."

Rammellzee was the first artist to collaborate with the streetwear brand Supreme, making hand-painted trucker hats at their first store in 1994.

In 2003, Rammellzee released his debut album, This Is What You Made Me, and performed at the Knitting Factory in New York with the newly reformed Death Comet Crew. Subsequently, Troubleman Unlimited re-released recordings made by DCC between 1982 and 1984.

Their single for Exterior St was featured on the compilation Anti-NY with Ike Yard, Sexual Harassment, and Vivien Goldman, among others. In 2004, Rammellzee released his second album Bi-Conicals of the Rammellzee, produced by Gamma Records.

In 2009 Rammellzee exhibited what was to be his final work, Atomic Note Maestro Atmosferic, at an exhibition housed in the Grand Palais, Paris.

Gothic Futurism
Rammellzee's graffiti and art work are based on his theory of Gothic Futurism, which describes the battle between letters and their symbolic warfare against any standardizations enforced by the rules of the alphabet.

His treatise, Ionic treatise Gothic Futurism assassin knowledges of the remanipulated square point's one to 720° to 1440°, details an anarchic plan by which to revise the role and deployment of language in society. Rammellzee performed in self-designed masks and costumes of different characters which represented the "mathematical equation" that is Rammellzee.

On the basis of his Gothic Futurism approach, he described his artistic work as the logical extension into a new phase which he calls Ikonoklast Panzerism. This artistic work has been shown in art galleries throughout the US and Europe. His Letter Racers, and other Noise includes artistic works by individuals mostly identified with their musical contributions.

Afrofuturism
Rammellzee's work is considered to contribute to the canon of Afrofuturism, primarily through his repeated use of language as a technology. One of the central themes of Afrofuturist content is the use of language as a technology to transcend the Digital Divide. Conversely, Rammellzee had stated that "there is no such thing as Afro Futurism" and considered his work to be more part of a larger European monastic tradition than any part of an Afrofuturist tradition.

The theory of Gothic Futurism attempts to deconstruct the English language as it is currently conceived. The battle between letters seen in the Ionic treatise deploys language as a technology to fight the oppressive nature of the alphabet. The introduction of a new mythology in the treatise suggests that Rammellzee's language can serve as a force of liberation, thereby lessening the Digital Divide.

In addition, Rammellzee's Letter Racers are intended to pit each individual letter in galactic battles against each other, symbolically challenging the accepted standards and functionality of the 26-letter alphabet.

Rammellzee's description of the Letter Racers is as follows:

"Humans...in the 14th Century the monks ornamented and illustrated the manuscripts of letters. In the 21st and 22nd century the letters of the alphabet through competition are now armamented for letter racing and galactic battles. This was made possible by a secret equation known as THE RAMM:ELL:ZEE."

Rammellzee is celebrated in Big Audio Dynamite's song, 'C'mon Every Beatbox'.

Personal life
Rammellzee was married to Carmela Zagari Rammellzee. He died in New York City on June 28, 2010, at the age of 49. The official cause of death was listed as heart disease. He also had liver problems, and health issues caused or exacerbated by exposure to glue, paint fumes, resin and other toxins used in his works.

Rammellzee was a member of the Five-Percent Nation.

Name
He legally changed his name to Rammellzee in 1979 and friends who knew his birth name were unwilling to reveal it, in accordance with his wishes. He sometimes went by the shortened name of "Ramm". He has stated that his name is derived from RAM plus M for Magnitude, Sigma (Σ) the first summation operator, first L – longitude, second L – latitude, Z – z-bar, Σ, Σ – summation. He has credited Jamel-Z, a mentor from the Nation of Gods and Earths he met in 1977, with inspiration for his name.

Battle Station
Rammellzee's live/work loft studio space on 46 Laight Street in the TriBeCa neighborhood, which he shared with his wife Carmela, was named Battlestation. It was a popular place in the 1980s and 1990s for artists to visit, because Rammellzee's artwork and costumes created a unique atmosphere. After 9/11, the building was sold in order to build luxury condos and this forced Rammellzzee and Carmela to move to a smaller place in Battery Park City, and relocate his 20 years worth of artwork into a storage unit. Some of this stored work was included in the 2011 art exhibition, Art in the Streets at Museum of Contemporary Art Los Angeles. In May 2018, Red Bull Arts New York opened its exhibition RAMMΣLLZΣΣ: Racing for Thunder, in collaboration with architect firm studioSTIGSGAARD.

Collections
Rammellzee's work is held in the following public collection:
 * Museum of Modern Art, New York: one 12-inch vinyl record (Beat Bop) and a series of ten drawings titled Alphabet, undated
 * Museum of Graffiti, Miami

Discography

 * Studio albums
 * Singles & EPs

title: Rammellzee


text:
Sally Barsosio

Sally Barsosio (born 21 March 1978 in Keiyo District) is a Kenyan distance runner. , Barsosio is the youngest ever medallist at the World Junior Championships in Athletics, at 14 years and 182 days.

Career
In 1993, aged 15 years 153 days, she won the 10,000 metres bronze medal at the 1993 World Championships in Athletics after initially being disqualified for impeding fellow runners, most notably Elana Meyer who rather dramatically dropped out of the race. This made her the youngest ever person to win a medal at the World Championships in Athletics.

She was the winner of the inaugural Cross Internacional de Soria meeting in 1994.

Sally returned to the world championships in 1995 taking 11th place and in 1997 when she won the 10,000m gold medal, becoming the first Kenyan woman to win a senior track title. Adding to her position as the youngest medallist, this win made her the youngest ever champion of the 10,000 m.

She trains with PACE Sports Management and is coached by Ricky Simms.

Her sisters Florence Barsosio and Chepkemoi Barsosio and her cousin Susan Sirma are also Kenyan runners.

title: Sally Barsosio


text:
Khaleej Times

Khaleej Times is a daily English language newspaper published in Dubai, United Arab Emirates. Launched on 16 April 1978, Khaleej Times is the UAE's longest-running English daily newspaper.

History and profile
A partnership between the UAE government, the Galadari Brothers and the Dawn Media Group in Pakistan began publishing the daily on 16 April 1978, making it the first English daily in the UAE. The founding team consisted of Mahmoud Haroon, Muzammil Ahmed, M.J. Zahedi, Malcolm Payne (the first editor-in-chief) and Iqbal Noorie (in charge of circulation). They were soon joined by Patrick Heyland who was in charge of advertising and promotion.

The editorial staff of the paper includes multiple nationalities, mostly from the Indian subcontinent (India, Pakistan, Bangladesh and Sri Lanka), but also Emiratis, Arabs from the wider region (notably Egyptians, Syrians and Jordanians), Lebanese, Mexicans, British, Americans and Filipinos. The broadsheet comprises the general news section, City Times (lifestyle and entertainment), a business section, a sports section, the WKND magazine, and a classifieds section (Buzzon). The newspaper also consists of special reports and supplements which allow for community advertisements and other services. Its main competitors are The National, Gulf News and, formerly, 7days, which closed in December 2016.

In September 2020, Khaleej Times introduced a free news subscription service on Telegram, sending regular news updates every day to its subscribers. On June 1, 2023, Khaleej Times, in an editorial published on its front page, announced that it will stop its print edition on weekends starting from June 3, 2023.

Additional publications
Young Times is aimed at children and is a magazine among 9 to 14 year olds.

Buzzon carries local advertisements about cars, real estate, recruitment, educational services and matrimonial announcements.

WKND, a feature product, is published on Fridays. It discusses a range of topics that are of interest to men, women and children. Stories are balanced between topics and themes of local interest and international relevance.

KhaleejTimes.com is the global face of the newspaper on the internet. The online version offers additional stories and exclusives not found in the print version.

Khaleej Times also publishes special supplements, including on the national days of countries including the UAE, Pakistan and India.

title: Khaleej Times


text:
Ezra Butler Eddy

Ezra Butler Eddy (August 22, 1827 – February 10, 1906) was a Canadian businessman and political figure. Born in Vermont, Eddy moved to Canada and founded the E. B. Eddy Company, which produced matches, and related wood products, and later diversified into pulp and paper, growing to a major manufacturer. Eddy later became a politician, serving as mayor of Hull, Quebec and Quebec legislator.

Early life
Ezra Butler Eddy was born near Bristol, Vermont on August 22, 1827, the son of Samuel Eddy and Clarissa Eastman. His father was of Scottish ancestry. With respect to his religious connections, he was brought up a Baptist. He was brought up on the farm until he was about ten and during some of that time he attended the district school. His father then moved from the farm into the village of Bristol and began hotel-keeping, and young Eddy became his assistant. While here he again had the privilege of attending school for four winters.

Not caring for this mode of life, and having a strong inclination for general business, at the age of fifteen, Ezra left home and went to New York City, and here he procured a situation in a mercantile at three dollars a week, and on that sum had to board himself. He was, however, promoted in three months and received ten dollars per week, and he was soon entrusted with the banking business of the firm. After a year, not enjoying city life, he returned to Vermont, and commenced business for himself, by purchasing butter, cheese, etc., and taking the same to Boston and New York markets.

Manufacturing
Eddy first began manufacturing wooden matches by hand in Burlington, Vermont in 1851. In 1854, he brought his business to Hull, Canada East (now Gatineau, Quebec) when he was only twenty-four, where he began producing matches using discarded wood from the nearby sawmills. With the help of his first wife, Eddy produced his matches by hand at his home in Hull. His business grew rapidly, becoming one of the largest match factories in the world. In 1856 he added the manufacture of wooden ware, such as pails, tubs, washboards, clothes-pins, etc., to his business.

In 1858, he commenced lumbering in a small way; but all these branches increased in volume from year to year, up to 1868, when the business had reached a magnitude of one million dollars per annum; and at the present time the yearly out-put is upwards of $1,500,000. In 1882 his entire premises were consumed by fire, and this entailed upon him a loss of $250,000, over and above insurance. With characteristic enterprise and courage, in the space of twelve months new premises were erected, and he was able to turn out nearly the same quantity of goods, as during former years. By 1886, he had reorganized and established the E. B. Eddy Company. He set up a factory, acquired timber rights and built his sawmill. At the same time, he expanded into the pulp and paper business.

Mayor
For thirteen years, at different times he occupied the position of Mayor of Hull. He represented Ottawa electoral district in the Legislative Assembly of Quebec from 1871 to 1875. He was a member of the municipal council for Hull from 1878 to 1888 and mayor from 1881 to 1885, from 1887 to 1888 and from 1891 to 1892. He tabled the bill creating the City of Hull in 1875. Besides running his factories, he was an administrator of the Canada Central Railway Company.

1900 fire
After the great fire on April 26, 1900, Eddy was able to re-establish operation in less than a year in spite of the fact that he had suffered an estimated loss of 3 million dollars in the fire. Despite the fires that repeatedly ravaged his factories and his house, Eddy persevered. He was an astute and canny industrialist whose success during this era of industrial capitalist expansion was due, in part, to his involvement in politics.

Personal life
He was highly esteemed, not only in Hull but throughout Canada. He founded the Eddy Lodge, A. F. & A. M. of the Grand Lodge of Quebec, and was also a Knight Templar. He was married twice, first in Bristol, Vermont, on December 29, 1884, to Zaida Diana Arnold. They had three children, two sons and one daughter. The boys, Rollin and Samuel, died in infancy, but his daughter, Ella Clarissa, survived him. Zaida died in 1893. He wed his second wife, Jennie Grahl Shirreff, in Halifax on June 27, 1894. Upon his death, she became his principal heir.

Death
He died at Standish Hall, Hull, Quebec, on February 10, 1906, and his body was taken to Bristol, Vermont where he was buried at the Bristol Board Cemetery. Eddy's company was one of the major employers in the region for over a hundred years. The pulp and paper business is now a division of Domtar and Eddy Match Company is now a brand name of Atlas Matches of Euless, Texas.

In 1976, a plaque was dedicated to Ezra Butler Eddy in Hull, Quebec.

title: Ezra Butler Eddy


text:
Talk:Rammellzee

Untitled

 * Merge/Delete Ok, Rammellzee may not be non-notable but you could at least add more content instead of just making a link to another page. Maybe this can be merged with hip hop or some such.Tucats 22:19, 24 August 2005 (UTC)
 * Keep He may be notable. 4000+ hits on Google. --Kurt Shaped Box 22:25, 24 August 2005 (UTC)

Removed the following badly worded sentences. The mask thing is interesting enough, if someone can reword this: ''No-recognized by the media,he's now perform his old school rap on stage with mask made by himself. This mask all represent characters born with his gothic futism theory.One of the father of Hip Hop culture.'' --duncan 23:33, 2 July 2006 (UTC)

 * Will do. He actually discusses his masks in the interview available as an external weblink. Cheers, --Mabuse 19:34, 3 July 2006 (UTC)

This entry about Rammellzee shouldn't be merged with hip-hop, as he's identified more as a visual artist now than as a musician. Well, actually he's always been better known for his graffiti than his musical contributions. However, if he is mentioned in the hip-hop section, that would be great, as his lyrical attack IS legendary. His part in Wild Style is the best part, and has obviously been influential-- I hear it in Slick Rick, Beastie Boys, a few others. However, it would seem with the costume component, and some of the theatrics, that his live shows are more or less considered performance art.

Also, Gothic Futurism is more his aesthetic than his theory. The theory that the Rammellzee works with is Iconic Panzerism. It's loosely based on poststructuralist reevaluation of language systems. Rammellzee is the subject of my thesis, so as my research evolves, I'll add more to this page so that the gods on Mt. Wikipedia don't delete this.--James gang 17:11 12 December 2006

 * Yes, by all means, go ahead - My knowledge about Rammellzee is limited, so any expansion is very welcome. Cheers, -- Mabuse 02:52, 12 December 2006 (UTC)

Big Audio Dynamite connection
Big Audio Dynamite's 1986 hit "C'mon Every Beatbox" references Rammellzee in the chorus...anyone know how this came about and what the lyric means?Bawtyshouse 04:55, 20 February 2007 (UTC)

Birth name?
Anybody know his birth name? 130.243.113.44 13:39, 2 April 2007 (UTC)

Huh?

 * Rammellzee's graffiti and art work are based on his theory of Gothic Futurism, which describes the battle between letters and their symbolic warfare against any standardizations enforced by the rules of the alphabet

What does that even mean? — Gwalla | Talk 22:30, 27 August 2008 (UTC)

I have no fucking clue. If somebody could enlighten me on what this guy is rambling about because I went through one of his articles and it was one big incoherent mess. Richardt

death is rumored :( btw should some of this entry be incorporated here? http://en.wikipedia.org/wiki/Beat_Bop  —Preceding unsigned comment added by 198.185.164.128 (talk) 19:32, 29 June 2010 (UTC)
 * He died of AIDS / HIV. — Preceding unsigned comment added by 70.120.93.186 (talk) 06:02, 26 February 2012 (UTC)

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Uncited exibitions
Moved the un-cited, list to the talk page. Please do not move it back to the article space without the proper sources. Thank you. Jooojay (talk) 22:54, 30 April 2018 (UTC)

Exhibitions and appearances
 * 2018 - Rammellzee - Racing for Thunder - Red Bull Arts - New-York - Solo
 * 2018 - Le musée du street Art et du Graffiti - L'Aérosol - Paris - Group
 * 2016 - Graffiti Art - Tableau de légende (Collections Gallizia) - Institut culturel Bernard Magrez - Bordeaux - Group
 * 2016 - Pressionnism, graffiti masterpieces on canvas (Collections Gallizia) - Fort Canning Museum - Singapour - Group
 * 2015 - Pressionnisme, de Bando à Basquiat (Collections Gallizia) - Pinacothèque de Paris - Group
 * 2014 - City as Canvas: Graffiti Art (Collection Martin Wong) - Museum of the City of New York - NY - Group
 * 2013 - The Shadows Took Shape - The Studio Museum in Harlem - New York City -NY - Group
 * 2013 - Urban Art Biennale 2013 - Urban Art Biennale - Völklingen - Group
 * 2013 -Graffiti, Thanks a Lot - Fun Gallery (Curateur Patti Astor) - New-York - Group
 * 2013 - Tekens aan de Wand: Ferenc Gögös/Graffiti Art - Museum Tongerlohuys - Roosendaal - Group
 * 2013 - White Petals Surround Your Yellow Heart - Institute of Contemporary Art - University of Pennsylvania - Philadelphia - Group
 * 2013 - Last of the Hollywood Africans: Toxic - Londonewcastle Project Space - London - Group
 * 2013 - Abstract Mash-Up II: A Group Exhibition - Crown Point Press Gallery - San Francisco - Group
 * 2012 - Radical Presence: Black Performance In Contemporary Art - Contemporary Arts Museum Houston - Houston - Group
 * 2012 - God Save the Queen: Punk in the Netherlands 1977-1984 - Centraal Museum - Utrecht - Group
 * 2012 - Brucennial 2012 - Harder. Betterer. Fasterer - Group
 * 2012 - Strongerer - Brucennial - New York City - Group
 * 2012 - Letter Racers - The Museum of Modern Art - NY - Solo
 * 2012 - Letter Racers - The Suzanne Geiss Company - NY - Solo
 * 2012 - The Rammellzee Galaxseum - Children’s Museum of Art - New York - Solo
 * 2011 - Perfect Man II - White Columns - New York City - NY - Group
 * 2011 - Graffiti - New York 80´s - Galerie Jérôme de Noirmont - Paris - Group 2011
 * 2012 - Art in the Streets - The Geffen Contemporary at MOCA - Los Angeles - CA - Group - solo
 * 2011 - L'Art du Graffiti : 40 ans de Pressionnisme (Curateur A.D. Gallizia) - Grimaldi Forum - Monaco - Group & solo
 * 2011 - The Aerosol Experience - Zieglerzwei - Zurich - Switzerland - Group
 * 2011 - The Rudolf and Ute Scharpff Collection - Kunstmuseum Stuttgart - Germany - Solo
 * 2010 - Street and Studio - Von Basquiat bis Séripop - Kunsthalle Wien (Museumsquartier) - Vienna - Group
 * 2010 - Un musée à ciel ouvert (Collections Gallizia-Emerige) - Bâche Wagram - Paris - Group
 * 2010 - Printin - The Museum of Modern Art - NY - Group
 * 2010 - Rammellzee: The Equation - Suzanne Geiss’s Gallery - New York - Solo
 * 2009 - Gothic Futurism - Galerie Renée Ziegler - Zurich - Solo
 * 2009 - Subcultural Capital - Anonymous Gallery - New York City - NY - Group
 * 2009 --The New Yorkers - V1 Gallery - Copenhagen - Group
 * 2009 - Ramm:Ell:Zee - Galerie Ziegler SA - Zurich - Switzerland - Solo
 * 2009 - Tag au Grand Palais (Collections Gallizia) - Grand Palais - Paris - Group
 * 2007 - Futuro del Futurismo - Gamec -Galleria d´Arte Moderna e Contemporanea di Bergamo - Group
 * 2007 -L’art modeste sous les bombes - Musee International des Arts Modestes - Sete - France - Group
 * 2006 - Music is a Better Noise - MoMA PS1, New York City - NY - Group
 * 2006 - Sound Zero - Kunst Meran - Meran - Group
 * 2005 - Bi-Conicals of Rammellzee Tour - Venice Biennale - Solo
 * 2004 - Smile away the parties and champagne - Zeen keuze uit de collectie - Gemeentemuseum Helmond - Boscotondohal, Helmond - Group
 * 2002 - Americas Remixed - Careof – Fabbrica del Vapore - Milan - Group
 * 2002 -Cowboys en kroegtijgers - Gemeentemuseum Helmond - Boscotondohal - Helmond - Group
 * 2002 - Americas - Fabbrica del Vapore - Milan - Group
 * 2001 - Oostduitse meisjes en andere stukken - Gemeentemuseum Helmond - Boscotondohal - Helmond - Group
 * 1998 - Smile away the parties and champagne - Gemeentemuseum Helmond - Boscotondohal, Helmond - Group
 * 1994 - Rammellzee vs Gen U One (Gen Atem) - Exercises in Self Presentation - Eigen + Art - New York City - Group
 * 1991 - American Graffiti: A Survey - Liverpool Gallery - Brussels - Group
 * 1989 - Hip Hop ’til You Drop - Whitney Museum of American Art - New York - Group
 * 1988 - Comic Iconoclasm - Cornerhouse - Manchester - England - Group
 * 1986 - Retrospective - Gemeente museum - Helmond - Netherlands - Solo
 * 1985 - 18° Bienal de Sao Paulo - Bienal de Sao Paulo - São Paulo - Group
 * 1985 - Ikonoklast Panzerim - Galerie Renée Ziegler - Zurich - Switzerland - Group
 * 1985 - Between Science and Fiction - Bienal de Sao Paulo - Group
 * 1984 - Rapid Enamel The Art of Graffiti - The Renaissance Society at The University of Chicago - Group
 * 1984 - Ein anderes klima - a different climate (II) - Kunsthalle Düsseldorf - Dusseldorf - Group
 * 1984 - Graffiti - Groninger Museum - Groningen - The Netherlands - Group
 * 1984 - New York Graffiti - Louisiana Museum - Humlebaek - Denmark - Group
 * 1983 - Post-Graffiti - Sydney Janis Gallery - New-York - Group
 * 1983 - Graffiti, Thanks a Lot - Fun Gallery (Patti Astor) -Group
 * 1983 - Museum Boymans - Van Beuningen - Rotterdam - The Netherlands - Group
 * 1982 - New York - Institute of Contemporary Arts - London - Group
 * added a few selected exhibitions to the article. Not sure what sources you need. Cheers, Not Sure (talk) 02:45, 27 May 2018 (UTC)

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title: Talk:Rammellzee