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Revolver (2005 film)

Revolver is a 2005 action thriller film co-written and directed by Guy Ritchie, and starring Jason Statham, Ray Liotta, Vincent Pastore and André Benjamin. The film centres on a revenge-seeking confidence trickster whose weapon is a universal formula that guarantees victory to its user, when applied to any game or confidence trick.

This is the fourth feature film by Ritchie and his third to centre on crime and professional criminals, but also has a strong philosophy and Buddhist moral content. It was released in UK cinemas on 22 September 2005. It performed poorly at the box office and received negative reviews. A reworked version was released to a limited number of US theatres on 7 December 2007.

Plot
There are two different versions of Revolver. This plot synopsis is for Ritchie's preferred Directors Cut.

In an unidentified city, cockney gangster and gambler Jake Green is released from prison after a seven year stretch in solitary confinement for an unspecified crime. Because of this, Jake developed claustrophobia: he becomes incredibly anxious in tight spaces and despises riding in elevators.

Two years later, Jake and his brother Billy travel to a casino owned by Dorothy Macha (Ray Liotta), a gang boss involved in illegal gambling all over the city. Macha had ordered Green to commit the crime that led to his prisonment. Though Billy is reluctant, the brothers have arrived to collect the debt that Green believes the gangster owes them. Macha promptly calls them up to a private area of his casino where a high rollers' game is taking place. Jake bets a fortune on a chip toss with one of the table's players, and loses. Manipulating Macha into a sense of false security, he makes the same bet with him, but this time, he wins. Humiliated, Macha orders his right-hand man Paul to have Jake murdered.

As Jake and his brothers leave the casino, a man hands Jake a card and tells him that he can help him. Jake's phobia forces him to take the stairs. In the stairwell, Jake looks at the card and collapses, falling down the stairs. The card is revealed to read "Take the Elevator". Jake is rushed to the hospital. The doctors report that they don't know why he fainted, but inform him they will have the results in a few days. Later Jake arrives home, without Billy, where Macha's assassin Sorter is waiting for him.

On his doorstep there is another card, which reads "Pick This Up". As Jake bends to retrieve the card, bullets fly over his back. As the shooting continues, the same mysterious individual, a loan shark named Zach, arrives and rescues Jake, who is the only person to survive the hit. Zach introduces Jake to his partner Avi. They offer him a deal: they will take all of his money and he will do what they say, no questions asked. In exchange, they will protect Jake from Macha. In the course of their proposal, they show Jake his medical file, which they have mysteriously obtained. It indicates that the blackout occurred due to a rare blood disease which will cause his death within three days. Jake suspects he is being conned and leaves.

Later, at a visit to his doctor, he is given the same prognosis and said to have three days to live. Jake returns to Avi and Zach's poolhall with a satchel of money and agrees to their terms. The mysterious men reveal that his money will be used to fund their money lending enterprise, then question Jake about his time in prison. Jake explains that he was given a choice to either spend 14 years in the general prison population or 7 years in solitary confinement, of which he chose the latter.

During his stint in solitary confinement, Jake learns of a specific strategy (referred to as "The Formula") that is supposed to let its user win every game. The Formula itself was discovered by two unnamed men who inhabited adjacent cells on either side of Jake's own. They are referred to as a chess expert and a con man. During the first five years of his seven-year sentence, the three men communicate their thoughts on confidence tricks and chess moves via messages hidden inside library books, such as The Mathematics of Quantum Mechanics.

The chess expert and the con man plan to leave their cells simultaneously, and promise to take Jake with them. But when they disappear from their cells, they leave Jake behind to serve the remaining two years of his sentence. When Jake is released, he finds that all of his possessions and money have been taken by the two men with whom he had shared everything. Disheartened, he uses The Formula, to go about winning at various casinos. Jake garnered a reputation that led many gambling houses to fear his freakishly good 'luck', and is blacklisted by many casinos. The Formula applies to any game, and is often exemplified by Jake's apparent mastery of chess.

Meanwhile, Macha brokers a cocaine deal with Lily Walker, the advisor of unseen crime kingpin Sam Gold, who is supposedly the "ultimate figure" that all other underworld members aspire to be. Walker warns Macha that Sam Gold is not someone to be delayed and emphasizes that he "hates publicity". Jake accompanies Avi and Zach as they perform a heist of a vault full of the cocaine from Macha's casino. Desperate that he is now indebted to Gold, Macha sends Paul to appeal to his rival, Triad kingpin Lord John, to sell him replacement cocaine at a heavily inflated price. Lord John insultingly declines making a deal with his enemy. With Jake, Zach and Avi then rob John for millions of dollars, framing Macha for the theft.

Furious, Lord John sends a hitwoman dressed as a waitress to kill Macha at his restaurant. Sorter shoots the assassin, but only wounds her. Then he travels outside and kills her getaway driver as he attempts to flee in a car. Inside, Macha struggles with the hitwoman, during which she shoots his finger off. In a rage, Macha empties his bodyguard's pistol into the assassin. In retaliation, Macha has Sorter kill Lord John, then sends Paul and his henchmen to interrogate members of John's triad to find the location of the stolen cocaine. The Chinese gangsters deny any involvement, and implicate Jake even when Paul tortures them to death.

Zach and Avi have Jake donate all the money he has given them so far to a child's charity in Macha's name. Macha takes the credit, believing it will improve his reputation. However, he is later visited by Walker, who claims that Gold is furious at Macha's newfound publicity and his constant delaying of the deal. Macha pleads for more time to settle business but Walker simply leaves with a cryptic threat.

Three days after Jake found out about his terminal diagnoses, he awakes to a call from Avi, who tells him he is "free" of his disease. Jake returns to his physician, who reveals that the original diagnosis was incorrect; Jake suffers from a rare blood disease, but it is treatable and not terminal. The doctor apologizes profusely for the mistake. Meanwhile, Macha, now believing Jake is the one conspiring against him, doubles down on the contract against him. His henchmen track him down to a house inhabited by Avi and Zach, but he evades them. In the chase, one of the hitmen falls on his shotgun and dies. The gangsters misinterpret this accident, and believe that Jake killed him.

Jake meets Avi and Zach on a rooftop, where it is revealed that they were Jake's "neighbors" during his years of incarceration. They reveal that Sam Gold is an ultimately powerless cipher, whose power is granted only by those who invest in him. He represents ego and is the personification of greed. Avi attempts to get Jake to understand the nature of the ego and to challenge his own lifelong investment in it. The men explain to Jake that by stripping him of the physical embodiment of ego (his money) they have freed him from Gold's "game".

Elsewhere, to settle a debt with Macha, Jake's brother Billy is betrayed by his bodyguard, who lets Sorter and Paul into Billy's home. Paul tortures Billy, threatens to kidnap Billy's daughter and set him on fire in order to find out where Jake is. The violent acts unsettle Sorter, and allow him to find his conscience. Against his better judgement, he rejects his ego by killing Paul and all his companions to rescue the girl. (In the theatrical release, Sorter is killed by Macha's last remaining henchman and the girl is taken.)

That night, an armed Jake breaks into the penthouse where Macha is sleeping. Surprisingly, he kneels before the bed and asks a half naked Macha for forgiveness. Jake leaves in the elevator, which gets stuck at the 13th floor. Macha retrieves his own handgun, and rushes down the stairs to meet Jake on the ground floor. While waiting in the elevator, Jake has a conversation in his mind in which he rejects his ego. By doing this, Jake steps off the proverbial chess board by making a conscious effort to reverse everything his ego tells him to do. This is seen to be the truest and most fundamental application of the Formula.

As the doors open on Jake and he is about to leave the building, Macha holds him at gunpoint, but a calm Jake refuses to fear him. He leaves Macha a crying, pathetic mess, weeping in the foyer of his penthouse - Jake has rejected the ego, whereas Macha has been seen to be consumed by it, resulting in his humiliation. (This is where the director's cut ends.)

In the theatrical release of the film, Jake finds out about the niece's kidnapping and decides to return the crime bosses money to save her. When he arrives, Macha points a gun on Jake's niece, but Jake shows no fear. A humiliated Macha remarks that Jake can't kill him if he is already dead. Then he puts the gun to his head and pulls the trigger as the screen cuts to black.

Themes
Guy Ritchie, while conceiving and executing the film, was interested in Kabbalah. The film itself is laced with references to Kabbalistic ideas, symbols and numerological references.

The trinity of Zach (either from Hebrew זְכַרְיָה Zechariah ′Yah has remembered′ or יִצְחָק Yitskhak [Isaac] '[he] will laugh'), Jake (from Hebrew יַעֲקֹב Yaʿaqov [Jacob] from the root עקב ʿqb 'to follow', 'to be behind', 'to supplant', 'circumvent', 'assail', 'overreach') and Avi (Hebrew אֲבִי ′my father′) are representative of Kabbalistic right, centre and left pillar energies, respectively. The 'left pillar' or 'left column' in Kabbalistic traditions is often associated with 'the feminine' and with the colour black. Jake's surname is "Green", and the colour green is associated with Netzach, the sphere ruled by Venus (Love) on the Tree of Life. Zach is a hefty, gargantuan, white man who 'dresses down' in a very archetypically 'masculine' way. Both masculinity and the colour white are associated with right column or right pillar energies in Kabbalistic traditions.

The number 32 comes up repeatedly. "The chess game has many mystical meanings. The Temple of Solomon was chequered like a chessboard, which has 64 squares and 32 pieces." The lift that Jake enters near the end of the movie has buttons for 32 floors.

The dollar bills shown in Jack's money bags have a denomination of 12 (Twelve). No explanation for this has yet been discovered.

Soundtrack
According to director Guy Ritchie, the music for the film was initially intended to follow in a similar vein to his previous crime movies, Lock, Stock and Two Smoking Barrels and Snatch, in that it was to be primarily source-based (i.e. using non-original music). Those source tracks would all have been classical in nature. However, during the production process, Ritchie changed his mind and decided to score a majority of the film with original music, leaving only some small sections to non-original music tracks (such as the restaurant shoot-out during Lord John's attempted assassination of Dorothy Macha). Ritchie selected Nathaniel Méchaly to compose the score.

The score was performed by Méchaly on Mini Moog and other keyboards, with drummer Maxime Garoute.

All tracks composed by Nathaniel Méchaly and Maxime Garoute except where otherwise noted.
 * 1) "Revolver" – 03:58
 * 2) "Later That Night" – 02:02
 * 3) "Atom's Tomb" (Electrelane) – 02:11
 * 4) "The Heist" – 02:52
 * 5) "Fear Me" – 03:42
 * 6) "Mucchio Selvaggio" (Ennio Morricone, performed by 2raumwohnung) – 05:06
 * 7) "Chess Room" – 02:03
 * 8) "Sorter Shoot Out" – 01:56
 * 9) "Purple Requiem" – 04:00
 * 10) "3 Eddie Story" – 02:40
 * 11) "End Casino" – 02:50
 * 12) "Opera" (from Antonio Vivaldi's Nisi Dominus, third movement, performed by Emmanuel Santarromana) – 04:03
 * 13) "Casino" – 01:54
 * 14) "Jack Accident" – 02:02
 * 15) "The Mental Traveler" – 04:08
 * 16) "To Never Miss" – 01:18
 * 17) "Ask Yourself" (Plastikman) – 08:51
 * 18) "Gnossienne No. 1" (from Erik Satie performed by Alessandra Celletti) – 04:18
 * 19) "Metropolitan" (Emmanuel Santarromana) – 3:18

Home media

 * Extras featuring director Guy Ritchie.
 * The Concept: an interview with director Guy Ritchie and editor James Herbert on the subject of the film's conceptual and editorial development.
 * The Game: The Making Of Revolver
 * Stills gallery (over 100 stills against film soundtrack).
 * 7 deleted scenes with director's commentary.
 * Outtakes
 * Music Trailer
 * Audio
 * Dolby Digital 5.1
 * DTS Digital Surround 5.1
 * Aspect ratio
 * 2.35 Widescreen / Color
 * Regional format
 * Revolver is currently available in both Regions 1 & 2 on DVD.
 * Region 2 is the original 2005 theatrical release, while Region 1 is the 2007 reedited version, created by Ritchie to simplify and/or clarify some plot points after criticism that the film was too hard to follow.

Critical response
The film was generally panned by critics, who viewed it as pretentious with an over-complicated plot. On Rotten Tomatoes it has an approval rating of 15% based on reviews from 67 critics, with an average score of 3.50/10. The consensus reads, "In attempting to meld his successful previous formulas with philosophical musings, Guy Ritchie has produced an incoherent misfire." Reviews were so poor in the UK that a positive quote placed prominently on the film's poster, saying that the director was "back to his best" and attributed to the newspaper The Sun, in fact came from a promotional section of the Sun's website created and paid for by a PR agency on behalf of the film's distributors.

There are, however, some positive reviews. Mark R. Leeper conceded that it was "a film for a narrow audience", but said that he personally rather "liked it" and gave it a score of 7/10. According to Brian Orndorf, Revolver "is the perfect movie for those who like to crack things open and dig around the innards", saying that it "reminded [him] quite a bit of Richard Kelly's film, Donnie Darko". He goes on to explain that "both films have a taste for the deliberately confusing, sharing scripts that take the viewer on a ride that requires much more than one simple viewing."

Box office
As of 20 December 2005 the film had grossed $6,811,925.

title: Revolver (2005 film)


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Kim So-yeon

Kim So-yeon (born November 2, 1980) is a South Korean actress. She is best known for starring in a number of well-known television dramas, notably All About Eve (2000), Iris (2009), Prosecutor Princess (2010), Happy Home (2016), and The Penthouse: War in Life (2020–2021).

Career
When she was 14, Kim So-yeon entered the Miss Binggrae beauty pageant without her parents' approval. She had no makeup, so she used a marker pen as her eyeliner and ended up winning the top prize thus launching her entertainment career. She debuted with a role in the SBS Drama Dinosaur Teacher, and continued to star in popular TV shows such as Reporting for Duty (1996) and Soonpoong Clinic (1998). She also hosted the music program Inkigayo and appeared in numerous commercials, becoming the first Korean teen star to earn more than from commercial modeling. Because of her preternaturally mature looks and poise, she was often cast in older roles notably as a manipulative, villainous, anchorwoman in All About Eve, which drew a peak viewership rating of 45.2% when it aired in 2000.

However, being typecast as prim, cold-hearted characters had a negative effect on Kim's career, and her fame went downhill in the mid-2000s. Her attempt to crossover to China via Hong Kong director Tsui Hark's wuxia film Seven Swords (in which she played a Joseon noblewoman-turned-slave) and the Chinese dramas Just Like a Beautiful Flying Butterfly and Anhui Merchants also proved unsuccessful. Kim took a break for three years, questioning whether she wanted to continue being an actress. She returned to television in 2008 with Gourmet (adapted from Huh Young-man's titular manhwa).

A year later, Kim's career saw a resurgence with the 2009 high-budget series Iris. She cut her trademark long hair and worked hard on her action scenes in order to look convincing in her role as a North Korean spy, drawing praise for her portrayal of a tough woman conflicted about her loyalty to her country and her love for a South Korean agent.

Kim was cast in the leading role in romantic comedy Prosecutor Princess in 2010 and showcased her versatility by playing a Legally Blonde-inspired newbie district attorney who's initially more interested in shopping and dating, yet surprises her colleagues with her intelligence and learns to strive for justice. Kim said that the cheerful, unpredictable character was similar to her own real-life personality. Later in the year, she played a rigid doctor in sports drama Dr. Champ.

In 2012, Kim appeared on the big screen as a royal barista embroiled in a plot to assassinate Emperor Gojong in Gabi, adapted from the historical fiction novel by Kim Takhwan. She spent months studying the Russian language and coffee brewing even before shooting began. Gabi was Kim's first Korean feature film in 15 years, since Change in 1997. This was followed by another period drama The Great Seer, where she played a healer in Goryeo.

Kim reunited with Prosecutor Princess screenwriter So Hyun-kyung in Two Weeks (2013), in the role of a prosecutor who teams up with a fugitive to bring down a corrupt politician and her gangster henchman. In 2014, she played a fashion merchandiser who falls for her much younger childhood friend in I Need Romance 3. Kim then appeared in the "Female Soldier Special" of military boot camp reality show Real Men.

In 2015, she starred in her second cable series Beating Again, about a businessman who falls for his secretary after he gets a heart transplant. Kim also joined the fourth season of We Got Married, pairing up with Kwak Si-yang.

In 2016, Kim starred MBC's weekend drama Happy Home, playing a mother who has lost her son in an accident.

In March 2018, Kim left her previous agency Namoo Actors and signed an exclusive contract with J Wide Company on April 3, 2018. She was then cast in SBS weekend drama Secret Mother.

In March 2019, Kim returned to small screen with the KBS weekend drama Mother of Mine.

In 2020, she starred in the SBS TV series The Penthouse: War in Life, playing the role of a wicked but famous soprano and musical school director. Kim compared the role to her famous villain role in All About Eve 20 years earlier, commenting "The goal for this drama is that when people think of a female villain, they think of Cheon Seo-jin, just like how Heo Young-mi was remembered." The series drew a peak viewership rating of 28.8% nationwide, and was renewed for 2 more seasons, where Kim reprised her role. Additionally, Kim won the Award for Best Actress – Television at the 57th Baeksang Arts Awards and the Grand Prize (Daesang) at 2021 SBS Drama Awards.

In 2023, Kim made a special appearance in the SBS drama Taxi Driver 2 playing the role of the organization's first deluxe taxi driver.

Personal life
Kim married actor Lee Sang-woo in June 2017. Their romantic relationship started in 2016. The pair met on the set of MBC's weekend drama Happy Home.

Ambassadorship

 * Government Lottery Ambassador (2021–2023)

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

title: Kim So-yeon


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Wikipedia:Articles for deletion/Phwcomics

 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. Redwolf24 (talk) 02:53, 28 August 2005 (UTC)

Phwcomics
Gets a lot of google hits, but it seems very NN. Thunderbrand 04:08, August 21, 2005 (UTC)
 * Delete 99 unique googles, nn webcomic, ad. --TheMidnighters 10:04, 21 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:
Wikipedia:Articles for deletion/Ryan Andrews

 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 --Ryan Delaney talk 06:29, 10 September 2005 (UTC)

Ryan Andrews
Completing vfd - no vote--Doc (?) 13:10, 4 September 2005 (UTC)

Not notable enough...yet. --Hooperbloob 04:09, 21 August 2005 (UTC)
 * Delete. Sound like a nice bloke, good luck to him. Alf melmac 14:26, 4 September 2005 (UTC)
 * Delete NN musician. Denni ☯ 23:25, 2005 September 4 (UTC)
 * Speedy A7. I see an explicit claim to non-notability in the first few words. -Splash 23:49, 4 September 2005 (UTC)
 * Delete. Unsigned artist who does cover versions at the local pub. Capitalistroadster 00:48, 5 September 2005 (UTC)
 * Delete This is crap. The "man from Nantucket" was more noteworthy than this. McA 19:29, 6 September 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.


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Snowmaking

Snowmaking is the production of snow by forcing water and pressurized air through a "snow gun", also known as a "snow cannon". Snowmaking is mainly used at ski resorts to supplement natural snow. This allows ski resorts to improve the reliability of their snow cover and to extend their ski seasons from late autumn to early spring. Indoor ski slopes use snowmaking. They can generally do so year-round as they have climate-controlled environments.

The use of snowmaking machines has become more common as changing weather patterns and the popularity of indoor ski resorts create a demand for snow beyond that which is provided by nature. Snowmaking machines have addressed the shortage in the supply of snow; however, there are significant environmental costs associated with the artificial production of snow.

According to the European Environment Agency, the length of snow seasons in the northern hemisphere has decreased by five days each decade since the 1970s, thus increasing the demand for the production of artificial snow. Some ski resorts use artificial snow to extend their ski seasons and augment natural snowfall; however, there are some resorts that rely almost entirely upon artificial snow production. Artificial snow was used extensively at the 2014 Winter Olympics in Sochi, the 2018 Winter Olympics in Pyeongchang and the 2022 Winter Olympics in Beijing to supplement natural snowfall and provide the best possible conditions for competition.

The production of snow requires low temperatures. The threshold temperature for snowmaking increases as humidity decreases. Wet-bulb temperature is used as a metric since it takes air temperature and relative humidity into account. The bulb temperature is always below the outside temperature. The damper the air, the less moisture it can absorb. The higher the atmospheric humidity, the colder it must be to turn the small water droplets into snow crystals.

Examples:

 * 0 °C dry temperature and a humidity of 90% are equal to a wet-bulb temperature of -0.6 °C
 * 0 °C dry temperature and a humidity of 30% are equal to a wet-bulb temperature of -4.3 °C
 * +2.0 °C dry temperature and a humidity of 90% are equal to a wet-bulb temperature of +1.5 °C
 * +2.0 °C dry temperature and a humidity of 30% are equal to a wet-bulb temperature of -2.8 °C

To start a snowmaking system a wet-bulb temperature of -2.5 °C is required. If the atmospheric humidity is very low, this level can be reached at temperatures slightly above 0 °C, but if the air humidity is high, colder temperatures are required. Temperatures around freezing point are referred to as borderline temperatures or limit temperatures. If the wet-bulb temperature drops, more snow can be produced faster and more efficiently.

Snowmaking is an energy-intense process, and has environmental impacts, both of which inherently limit its use.

History
Americans Art Hunt, Dave Richey, and Wayne Pierce invented the snow cannon in 1950, but secured a patent sometime later. In 1952, Grossinger's Catskill Resort Hotel became the first in the world to use artificial snow. Snowmaking began to be used extensively in the early 1970s. Many ski resorts depend heavily upon snowmaking.

Snowmaking has achieved greater efficiency with increasing complexity. Traditionally, snowmaking quality depended upon the skill of the equipment operator. Today, computer control supplements that skill with greater precision, such that a snow gun operates only when snowmaking is optimal.

Operation

The key considerations in snow production are increasing water and energy efficiency and increasing the environmental window in which snow can be made.

Snowmaking plants require water pumps – and sometimes air compressors when using lances – that are both very large and expensive. The energy required to make artificial snow is about 0.6–0.7 kW h/m3 for lances and 1–2 kW h/m3 for fan guns. The density of artificial snow is between 400 and 500 kg/m3 and the water consumption for producing snow is roughly equal to that number.

Snowmaking begins with a water supply such as a river or reservoir. Water is pumped up a pipeline on the mountain using very large electric pumps in a pump house. This water is distributed through an intricate series of valves and pipes to any trails that require snowmaking. Most resorts also add a nucleating agent to ensure that as much water as possible freezes and turns into snow. These products are organic or inorganic materials that facilitate the water molecules to form the proper shape to freeze into ice crystals. The products are non-toxic and biodegradable.

The next step in the snowmaking process is to add air using an air plant. This plant is often a building which contains electric or diesel industrial air compressors the size of a van or truck. However, in some instances air compression is provided using diesel-powered, portable trailer-mounted compressors which can be added to the system. Man fan-type snow guns have on-board electric air compressors, which allows for cheaper and more compact operation. A ski area may have the required high-output water pumps, but not an air pump. Onboard compressors are cheaper and easier than having a dedicated pumping house. The air is generally cooled and excess moisture is removed before it is sent out of the plant. Some systems even cool the water before it enters the system. This improves the snowmaking process as the less heat in the air and water, the less heat must be dissipated to the atmosphere to freeze the water. From this plant the air travels up a separate pipeline following the same path as the water pipeline.

Ice nucleation-active proteins
The water is sometimes mixed with ina (ice nucleation-active) proteins from the bacterium Pseudomonas syringae. These proteins serve as effective nuclei to initiate the formation of ice crystals at relatively high temperatures, so that the droplets will turn into ice before falling to the ground. The bacterium itself uses these ina proteins in order to injure plants.

Infrastructure

The pipes following the trails are equipped with shelters containing hydrants, electrical power and, optionally, communication lines mounted.

Whereas shelters for fan guns require only water, power and maybe communication, lance shelters usually need air hydrants as well. Hybrid shelters allow maximum flexibility to connect each snow machine type as they have all supplies available. The typical distance for lance shelters is 100 –, for fan guns 250 –. From these hydrants 1+1/2 - 2 in pressure resistant hoses are connected similar to fire hoses with camlocks to the snow machine.

The infrastructure to support snowmaking may have a negative environmental impact, altering water tables near reservoirs and mineral and nutrient content of the soil under the snow itself.

Snowmaking guns
There are many forms of snowmaking guns; however, they all share the basic principle of combining air and water to form snow. For most guns the type or "quality" of snow can be changed by regulating the amount of water in the mixture. For others, the water and air are simply on or off and the snow quality is determined by the air temperature and humidity.

In general there are three types of snowmaking guns: internal mixing, external mixing and fan guns. These come in two main styles of makers: air water guns and fan guns.

An air water gun can be mounted on a tower or on a stand on the ground. It uses higher pressure water and air, while a fan gun uses a powerful axial fan to propel the water jet to a great distance.

A modern snow fan usually consists of one or more rings of nozzles which inject water into the fan air stream. A separate nozzle or small group of nozzles is fed with a mix of water and compressed air and produces the nucleation points for the snow crystals. The small droplets of water and the tiny ice crystals are then mixed and propelled out by a powerful fan, after which they further cool through evaporation in the surrounding air as they fall to the ground. The crystals of ice act as seeds to make the water droplets freeze at 0 °C (32 °F). Without these crystals the water would supercool instead of freezing. This method can produce snow when the wet-bulb temperature of the air is as high as −1 °C. The lower the air temperature is, the more and the better snow a cannon can make. This is one of the main reasons snow cannons are usually operated in the night. The quality of the mixing of the water and air streams and their relative pressures is crucial to the amount of snow made and its quality.

Modern snow cannons are fully computerized and can operate autonomously or be remotely-controlled from a central location. Operational parameters are: starting and stopping time, quality of snow, maximum wet-bulb temperature in which to operate, maximum windspeed, horizontal and vertical orientation, and sweep angle (to cover a wider or narrower area). Sweep angle and area may follow wind direction.

 * Internal mixing guns have a chamber where the water and air are mixed together and forced through jets or through holes and fall to the ground as snow. These guns are typically low to the ground on a frame or tripod and require a lot of air to compensate for the short hang time (time the water is airborne). Some newer guns are built in a tower form and use much less air because of the increased hang time. The amount of water flow determines the type of snow that is to be made and is controlled by an adjustable water valve.
 * External mixing guns have a nozzle spraying water as a stream and air nozzles shooting air through this water stream to break it up into much smaller water particles. These guns are sometimes equipped with a set of internal mixing nozzles that are known as nucleators. These help create a nucleus for the water droplets to bond to as they freeze. External mixing guns are typically tower guns and rely on a longer hang time to freeze the snow. This allows them to use much less air. External mixing guns are usually reliant on high water pressure to operate correctly so the water supply is opened completely, though in some the flow can be regulated by valves on the gun.
 * Fan guns are very different from all other guns because they require electricity to power a fan as well as an on-board reciprocating piston air compressor; modern fan guns do not require compressed air from an external source. Compressed air and water are shot out of the gun through a variety of nozzles (there are many different designs) and then the wind from the large fan blows this into a mist in the air to achieve a long hang time. Fan guns have anywhere from 12 to 360 water nozzles on a ring on the front of the gun through which the fan blows air. These banks can be controlled by valves. The valves are either manual, manual electric, or automatic electric (controlled by logic controller or computer).
 * Snow lances are up to 12 meter long vertically inclined aluminum tubes at the head of which are placed water and/or air nucleators. Air is blown into the atomized water at the outlet from the water nozzle. The previously compressed air expands and cools, creating ice nuclei on which crystallization of the atomized water takes place. The height and the slow rate of descent allow sufficient time for this process. This process uses less energy than a fan gun, but has a smaller range and lower snow quality; it also has greater sensitivity to wind. Advantages over fan gun are: lower investment (only cable system with air and water, central compressor station), much quieter, half the energy consumption for the same amount of snow, simpler maintenance due to lower wear and fewer moving parts, and regulation of snowmaking is possible in principle. The working pressure of snow lances is 20-60 bar. There are also small mobile systems for the home user that are operated by the garden connection (Home Snow).

Home snowmaking
Smaller versions of the snow machines found at ski resorts exist, scaled down to run off household size air and water supplies. Home snowmakers receive their water supply either from a garden hose or from a pressure washer, which makes more snow per hour. Plans also exist for do-it-yourself snowmaking machines made out of plumbing fittings and special nozzles, or pressure washer nozzles. Pressurized air is typically supplied from standard air compressors.

Volumes of snow output by home snowmakers depend on the air/water mixture, temperature, wind variations, pumping capacity, water supply, air supply, and other factors. Using a household spray bottle will not work unless temperatures are well below the freezing point of water.

Extent of use

By the 2009–2010 ski season, it was estimated that around 88% of ski resorts belonging to the National Ski Areas Association were using artificial snow to supplement natural snowfall. In the European Alps the proportion of ski slopes that can be covered by artificial snow varies among countries (Germany 25%, France 37%, Switzerland 53%, Austria 70%, Italy 90%). Since 1985, average aggregate temperatures in the contiguous United States for the months of November through February have consistently been above the average temperatures for those months measured between 1901 and 2000. See Figure 1. Such a trend both limits and encourages the use of artificial snow. Rising temperatures will result in greater snowmelt and decreased snowfall, thus forcing ski resorts to depend more heavily upon the use of artificial snow. However, once temperatures approach 43 °F, snowmaking is not viable given the current technology. The image to the right, Photo 1, demonstrates the use of artificial snow to supplement natural snowfall. The strip of white going down the mountain is a ski slope that has been opened due to extensive use of snowmaking technology.

As the use of artificial snow becomes more common and efficient, developers may seek to build new or expand existing ski resorts, as was the case with the Arizona Snowbowl ski resort. Such an action could cause significant deforestation, the loss of fragile and rare ecosystems, and cultural opposition. The high costs associated with the production of artificial snow serve as a barrier to entry for its use. It was estimated that in 2008 it cost approximately US$131,000 to purchase a snow gun and develop the necessary infrastructure. Overall, approximately US$61 million have been invested in snowmaking technology in the French Alps, US$1,005 in Austria, and US$415 in Switzerland. Furthermore, 50% of the average American ski resort's energy costs are generated by the production of artificial snow.

Economics
Snowmaking machines allow ski resorts to extend their seasons and sustain their businesses in times of low snowfall. With changing climate trends, snowfall is becoming increasingly unpredictable, thus jeopardizing the economic success of ski resorts. Between 2008 and 2013, American ski and snowboard resorts experienced annual revenues of about US$3 billion. Such high levels of revenue increase the demand for predictable and adequate amounts of snow cover, which can be achieved through artificial snowmaking practices. While the economic benefit of ski resorts has been around US$3 billion in recent years (see Figure 2), the additional economic value of winter tourism in the United States is estimated to be around US$12.2 billion per year. These additional benefits come in the form of spending at hotels, restaurants, gas stations, and other local businesses. Additionally, winter tourism supports around 211,900 jobs in the United States, which amounts to a total of approximately US$7 billion paid in benefits and salaries, US$1.4 billion paid in state and local taxes, and US$1.7 billion paid in federal taxes. The economic benefits of snow sports are great, but also fragile. It is estimated that in years of lower snowfall, there is about a US$1 billion decrease in economic activity.

Mountain reservoirs
The implementation and use of artificial snow making technologies requires the undertaking of major infrastructural projects. These projects result in significant disruptions to local ecosystems. A major infrastructural project associated with the use of artificial snowmaking technology is the mountain reservoir. Many mountain reservoirs are embankment dams that feed underground water pipelines, and pose significant safety risks to nearby populations and ecosystems. In addition to the hazards posed by conventional reservoirs and dams, mountain reservoirs are subject to a variety of mountain-specific hazards. Such hazards include avalanches, rapid flows, and landslides. Approximately 20% of mountain reservoirs are built on avalanche-prone sites, and about 50% are prone to very high hazards. Additionally, mountain reservoirs expel water very quickly, causing massive floods, and significantly jeopardizing public safety. The severity of these hazards is augmented due to their potential impact on lower populations and properties.

Water and energy use
Snowmaking machines generally require between 3,000 and 4,000 cubic meters of water per hectare of slope covered. Accordingly, it takes approximately 106 gallons (400 litres) of water to produce one cubic meter of snow, and snowmaking machines use about 107 gallons (405 litres) of water per minute. A significant amount of this water is lost due to evaporation, and thus is not returned to the water table. Furthermore, it takes approximately 3.5 to 4.3 kWh of energy to produce one cubic meter of snow; however, this number can be as high as 14kWh, or as low as 1kWh per cubic meter of snow. Snowmaking accounts for approximately 50% of the average American ski resort's energy costs, which amounts to about $500,000.

Effects on ground and drinking water
Ski resorts often use mineralized water in the production of artificial snow, which has adverse impacts on surrounding ecosystems and water tables. Mountain reservoirs are often filled with highly mineralized water, and the runoff from these reservoirs affects the mineral and chemical composition of groundwater, which in turn pollutes drinking water. Furthermore, mountain reservoirs do not allow water to seep back into the ground, so water is only returned to the water table through runoff.

Environmental conditions and forecasts
As a result of changing weather patterns, snowmaking has become a major revenue-making activity due to a shortage in the supply of natural snow. However, it poses significant environmental threats that may serve to perpetuate the issue that resulted in an increased demand for artificial snow in the first place.

The EPA forecasts temperatures to increase by between 0.5 F-change and 8.6 F-change globally with a likely increase of 2.7 F-change, and an average increase in temperatures in the US of between 3 F-change and 12 F-change by 2100. Furthermore, scientists predict that snow cover in the northern hemisphere will decrease by 15% by the end of the century with snowpack decreasing and snow seasons shortening concurrently. It's been projected that by the 2050s, fewer than half of the 21 locations historically used for the Winter Olympics and Paralympics (up to Beijing 2022) would still have reliable weather conditions. These predicted changes in temperature and snowfall patterns will induce ski resorts to rely more heavily upon artificial snow which uses significant amounts of water and electricity. As a result, ski resorts will further contribute to the production of greenhouse gases and the issue of water scarcity.

In addition to long-term environmental impacts, artificial snow production poses immediate environmental challenges. Artificial snow takes around two to three weeks longer to melt than does natural snow. As such, the use of artificial snow introduces new threats and challenges to local flora and fauna. Furthermore, the high mineral and nutrient content of the water used to produce artificial snow changes soil composition, which in turn affects which plants are able to grow.

Secondary effects
In addition to the direct effects of the production of artificial snow, snowmaking practices result in various secondary effects.

Positive
Positive externalities resulting from the production of artificial snow include positive impacts on local economies, increased opportunities for physical activity, and improved competition conditions. Furthermore, producing artificial snow allows ski resorts to extend the amount of time that they are operational, thus increasing opportunities for people to participate in outdoor physical activities. Finally, the composition of snow produced using snow guns differs from that of natural snow, and as such provides for improved conditions for winter sports competitions. It is often favoured by professionals for being fast and "hyper-grippy" but also raises their fear of falling on it.

Negative
The most visible negative externalities resulting from snowmaking are the adverse environmental impacts. However, in addition to environmental impacts, the production of artificial snow results in significant negative cultural and social externalities. Such externalities include issues regarding land use and land rights. Many ski resorts rent out mountains and slopes from the US Forest Service, which raises questions surrounding how the land can and should be used, and who should be the arbiter of determining appropriate uses.

A specific example of a negative cultural externality is the contention surrounding use of artificial snow at Arizona Snowbowl, a ski resort in Northern Arizona. Arizona Snowbowl is situated in the San Francisco peaks, which are one of the holiest sites for various Native American tribes in the Four Corners area, including the Navajo Nation. In 2004, Arizona Snowbowl was renting its slopes from the US Forest Service, and was looking to build new ski slopes and increase the production of artificial snow. The proposed project would involve the clearing of approximately 74 acres of forest, the use of reclaimed water to produce artificial snow, the construction of a three-acre holding pond for reclaimed water, and the installation of an underground pipeline. A group of plaintiffs made up of members from six Native American tribes and various other organizations filed a lawsuit against the US Forest Service and Arizona Snowbowl. Plaintiffs alleged that undertaking such a project would significantly alter and damage the cultural and spiritual nature of the mountain. This legal challenge ultimately failed in 2009.

Other uses
In Swedish, the phrase "snow cannon" (Snökanon) is used to designate the lake-effect snow weather phenomenon. For example, if the Baltic Sea is not yet frozen in January, cold winds from Siberia may lead to significant snowfall.

title: Snowmaking


text:
A Piece of Monologue

A Piece of Monologue is a fifteen-minute play by Samuel Beckett. Written between 2 October 1977 and 28 April 1979 it followed a request for a “play about death” by the actor David Warrilow who starred in the premiere in the Annex at La MaMa Experimental Theatre Club, New York on 14 December 1979.

Synopsis
Diffuse light fades up on a room in which a white-haired old man – identified simply as Speaker – stands motionless facing a blank wall. To his left is a standard lamp the same height as the actor with a globe about the size of a human skull; it is faintly lit. Just visible to his extreme right is the white foot of a pallet bed. “[I]t is much like the room in the television play Ghost Trio, although without the mirror.” The man is wearing a white nightgown and white bed-socks. After a ten-second pause the actor begins speaking and continues without a break till the end of the play. All is lit dimly. This invites us, along with a lack of any specified internal staging to focus on listening as the primary way to experience the play.

Speaker “tells a ‘story’ of a man so much like himself that it is easy to suppose that he is simply speaking of himself in the third person" who is first seen staring out of a window at “that black vast.” He has been contemplating the length of his life, which he totals up to “two and a half billion seconds” or “thirty thousand nights.” (This works out to 79 years of seconds and 82 years of nights ). He focuses at first on only two things, being handed around as an infant and the various funerals that have punctuated his time on earth. The birth/death dyad is announced in the opening line: Birth was the death of him." This pervades the play and appears in various forms throughout much of Beckett's writing.

Speaker goes on to describe the man’s efforts to light an old-fashioned oil lamp in great detail. The linguistic discipline and repetition of precise phrases lends a ritualistic quality to these sequences which end in reduced light as he lastly "turns wick low." This sequence of variations ultimately reduces to the single word: "lights" closer to ending the play. In the initial, larger variations he uses up three matches in the process each time.

Now able to see the man turns eastward to face a blank wall. This appears to be another nightly ritual. The wall that the man stands before used to be “covered with pictures” of once “loved ones” (an expression he doggedly avoids saying as Beckett employs ellipses each time this phrase is uttered, forcing the character to interrupt himself immediately after each utterance). He looks at specific marks left on the wall and remembers a photo of his father, one of his mother, one of them on their wedding day – Perhaps what he refers to right before the end as “the dead and gone” – and one of “He alone” which is likely one of himself – yet another, with his parents and possibly others of “the dying and the going.” These pictures have been “ripped from the wall and torn to shreds” though not in a single emotional scene, as with the character O in Film, but rather over a period of time and then swept “under the bed with the dust and spiders.” (Beckett manages to create a sense of their presence haunting the room. This seems increasingly likely as ghosts are mentioned in a sequence of lines leading to the closing section of the play.)

Speaker then recalls the "Room once full of sounds. Faint sounds. Fewer and fainter as time wore on." He links this to recollections of rain, which is falling at that moment as he states: "Rain some nights still slant against the panes. Even now." Rain is further utilized in funeral sequences to come.

The Speaker describes going to the window and lighting the lamp again in a truncated variation. For the third lamp-lighting a single lighted spill (a slender piece of wood or of twisted paper, for lighting lamps, etc.) is used rather than matches. An additional element is added with disappearing and reappearing hands and the globe. (Perhaps this is evocative a magic trick? A disappearing act as if one more verging on death?) Later follows the final mention of lighting the lamp with the aforementioned final, single-word variation "lights."

The action at an open grave is recalled in a series of variations and narrated in cinematic terms: “Umbrellas round a grave. Seen from above … Thirty seconds … Then fade.” The funeral is taking place in the pouring rain. The man describes watching someone speak at the graveside – (presumably the minister?) – but only “half hearing what he’s saying.” Confusion as to whose funeral gives way to indication that the funeral is of a woman, very likely that of his mother(?). The fact that Speaker corrects himself, “his way” becoming “Her way”, suggests that the death of this female loved one is perhaps the critical event of this partial and oblique story. Or, more accurately, the attempt to speak of this specific event and renounce it from memory is the most significant behaviour represented in the narrative.”

The text fragments from this point on. The narrator jumps back and forth from the funeral to the window to the lamp to the wall to his birth. The action does progress somewhat however: in the first mention of the funeral the grave is empty, in the second the coffin is “out of frame” and in the third the coffin is “on its way.”

Interpretations
“[One] of Freud’s theories that had an impact on Beckett because it reinforced his own experience was that the agony of birth induced a primal anxiety in human beings.” Beckett claimed to have remembered his time in utero along with his own painful birth. The word ‘birth’ preoccupies Speaker. He returns to it over and over again describing graphically at one point, in as great a detail as he does the lighting of the lamp, how the word is said. This is an important moment and one that caused Beckett major problems when he came to adapt the piece into French since “no similar word is vocalised in this way in French.” This resulted in his omitting whole passages and “reduced the piece to a free version, shorter, entitled Solo.” “Parting the lips is both a condition for and a result of pronouncing the plosive consonant “b”; thrusting the tongue forward, more precisely, pushing it out through the parted lips and teeth, describes in turn the action involved in pronouncing the sound “th”... This connection links the parting of lips and thrusting forward of the tongue, necessary for the articulation of the word “birth,” with the actual act of birth. In other words, the pronunciation of this word is simultaneously the image or symbol of that which it signifies.”

There is also the familiar mathematical precision, which provides a structuring order to the old chaos. Not for the first time Beckett plays on the number three. There are three fully articulated attempts to light the lamp, three images of the advancing spectre of death, and three denials—‘No such thing as none’; ‘No such thing as no light’; ‘No such thing as whole’. And there are the multiples of six: six references to loved ones, six descriptions of the pictures which once adorned the now blank wall the speaker faces, six steps in the ritual” and six uses of the word ‘birth’, three included in the expression – or a slight variation of the opening line: “Birth was the death of him.”

“The isolated man in A Piece of Monologue … has ruthlessly cut himself off from his past, ‘exorcising’ his ‘so-called’ loved ones by removing their photographs, tearing them up and scattering them ... In seeking ‘less to die’, in deliberate acts of emotional desiccation, he attempts to abjure the memories of himself in former relationships. As he destroys the photographs that reduce his once-loved mother and father to grey voids, and him to another, he tries to obliterate the memories that connect him with life and intimacy. Nothing remains but dim recollection and an anticipated funeral to mark the end of his slow death mark from birth to oblivion”... Hovering as Old Father Time in his shroud, he is ‘waiting on the rip word’ ... to avaunt his ‘so-called loved ones’ and his ‘ghastly grinning’ self.

Kristin Morrison argues, "The rip word in A Piece of Monologue is `begone', that word by which the speaker dismisses from his life that which he has always really wanted.” Linda Ben-Zvi considers the word as "the pun on R.I.P., requiescat in pace (rest in peace), which suggests that death is the final way of ripping the dark." The Faber Companion to Samuel Beckett (p 365) proposes that ‘love’ is the “rip word” because his ripping the photographs of his “loved ones” from the wall “fails to bring about the consummation desired.” This demonstrates the multiple possibilities of interpretation that make Beckett so richly challenging to anyone attempting to reach fixed conclusions regarding specific meanings.

Beckett effectively attempts to achieve on stage what he has previously achieved in fiction: to allow the two parts of the self to exist simultaneously. There is Speaker framed on stage who does not move (effectively a Tableau Vivant) – he resembles a photograph – and then there is the man in his story. F. Scott Fitzgerald's remark, "Action is character," has never been truer than in this short play.

“The play ends on the growing pull of the image of death: ‘Treating of other matters. Trying to treat of other matters. Till half hears there are no other matters. Never were other matters. Never two matters. Never but the one matter. The dead and the gone. The dying and the going. From the word go. The word begone’. The two issues, birth and death, ultimately become only death. From birth, the beginning—‘the word go’—the presence of death is constant, just as the word ‘go’ is part of the word ‘begone.’”

Background
In August 1977, the actor David Warrilow, who had had such a resounding success with the adaptation of The Lost Ones wrote to Beckett asking him if he would write a solo piece for him to perform. After clarifying what exactly he was after Beckett declined: “My birth was my death. But I could not manage 40 min. (5000 words) on that old chestnut. Not with it now within reach.” The day afterwards he did however sit down and attempt a piece with the opening words: ‘My birth was my death.’ Written in the first person singular; it was provisionally entitled ‘Gone’.

“It broke down … after a few thousand groans” but he considered it salvageable and returned to it in January 1979 when Martin Esslin wrote to him to ask if he had an unpublished work that could appear in The Kenyon Review. He added a set of stage directions to what had been up till then simply a monologue and, on his seventy-third birthday, he posted copies to both Esslin and Warrilow. He considered it “unsatisfactory … I do not expect you to use it,” he wrote to Warrilow.

“The piece drew on childhood memories: “his father teaching him to light a match on his buttocks; the various operations involved in lighting an old-fashioned oil lamp … what his mother had told him about how he was born just as the sun was sinking behind the larches ‘new needles turning green’; a gleam of light catching the large brass bedstead that had stood in his parents’ bedroom.” He had also recently calculated his own age in days and incorporated a figure of “Twenty five thousand five hundred and fifty dawns” in his initial draft.

A few days after Beckett began work on ‘Gone’ he arranged for his whole house to be painted “grey like the proprietor” and, on his return from a trip to Germany seeing the walls now bare and uncluttered, he chose to let them remain that way. As James Knowlson puts it in Damned to Fame (p 650): “Life here emulated art, or at least echoed the mood that inspired it.”

Breath
The oxymoron "Birth was the death of him" evokes a fusion of the two events. We find this in Breath, in which a stage littered with rubbish is accompanied by a faint cry, followed by inspiration, silence, expiration, another cry and silence again. End of piece.

Krapp's Last Tape
To access his memories (i.e. to see the wall) the man in Monologue has first to turn on the lamp. In Krapp's Last Tape before Krapp can access his he needs to locate the appropriate tape and switch on the machine. Today, when digital technologies accentuate the process of the externalisation of memory begun with the invention of written language, these plays are more relevant than ever.

title: A Piece of Monologue


text:
Moravany

Moravany may refer to places:

Czech Republic

 * Moravany (Brno-Country District), a municipality and village in the South Moravian Region
 * Moravany (Hodonín District), a municipality and village in the South Moravian Region
 * Moravany (Pardubice District), a municipality and village in the Pardubice Region
 * Moravany, a village and part of Řehlovice in the Ústí nad Labem Region
 * Moravany, a village and part of Ronov nad Doubravou in the Pardubice Region

Slovakia

 * Moravany, Michalovce District, a municipality and village in the Košice Region
 * Moravany nad Váhom, a municipality and village in the Trnava Region

title: Moravany


text:
The Greatest and Rarest

The Greatest & Rarest is the first "greatest hits" album by the Christian third-wave ska band, The Insyderz. The album was released in 2001 and re-released in 2003 as Peace of God.

Track listing

 * 1) "Here We Come" (Previously Unreleased)
 * 2) "Jigsaw" (Single Mix Never Before Available On CD)
 * 3) "Carnival"
 * 4) "Trigger Happy"
 * 5) "The Hunted"
 * 6) "Walking Dead"
 * 7) "Enthos"
 * 8) "Paradise" (Single Mix Never Before Available On CD)
 * 9) "Awesome God"
 * 10) "Peace Of God"
 * 11) "I Could Sing Of Your Love"
 * 12) "He Has Made Me Glad"
 * 13) "Shout To The Lord"
 * 14) "Who Is This?"
 * 15) "Oh Lord- You're Beautiful"
 * 16) "Walking On Sunshine" (Previously Unreleased)
 * 17) "Only A Sailor Knows" (From Surfonic Water Revival)
 * 18) "Our Wars" ('B' Side Of CD Single)
 * 19) "Memorial Song"
 * 20) "Forgive And Forget"
 * 21) "Manual Transmission"

title: The Greatest and Rarest


text:
Robert J. Meder

Robert John Meder (August 23, 1917 – December 1, 1943) was a lieutenant in the United States Army Air Forces who participated in the Doolittle Raid. In February 1942, he volunteered to participate in the raid, which took place on April 18 that year. Meder and his bomber crew was captured by the Japanese after the completion of his bombing mission. He died while in Japanese captivity in 1943.

Early life
Meder was born on 1917 in Cleveland, Ohio, to Martin and Rose Meder. He graduated from Lakewood High School where he was a cheerleader and in 1935, he entered Miami University where he was a member of Phi Kappa Tau Fraternity. He graduated in 1939 and worked as a salesperson.

Military career
On November 22, 1940, he enlisted in the Aviation Cadet Program of the U.S. Army Air Corps and was commissioned a second lieutenant and awarded his pilot wings on July 12, 1941. After receiving his pilot wings, he was assigned as a B-25 Mitchell pilot with the 95th Bomb Squadron of the 17th Bomb Group at Pendleton Army Airfield in Oregon, on July 1941. Following the Japanese attack on Pearl Harbor on December 7, 1941, the 17th BG immediately began anti-submarine patrols off the coast of Oregon and Washington.

Doolittle Raid
In February 1942, Meder volunteered for a "secret mission", which ended up being the critical Doolittle Raid. Led by Lieutenant Colonel Jimmy Doolittle, the raid was daring not only because of the intended targets, the Japanese homeland, but because the pilots trained to take-off in a B-25 bomber from the deck of an aircraft carrier, something neither the designers of the B-25, nor the aircraft carrier, ever envisioned.

Meder was the navigator for sixth bomber, plane# 40-2298 nicknamed "The Green Hornet", to depart the deck of the USS Hornet during the mission. On April 18, 1942, Meder and his B-25's four crewmembers, took off from the Hornet and reached Tokyo, Japan. They bombed their target; a steel mill in the north of the city. They then headed for their recovery airfield in China. Running low on fuel due to the early launch of the raid, the B-25s failed to reach any of the designated safety zones in China. The pilot of Meder's bomber, First Lieutenant Dean E. Hallmark, was forced to ditch at sea off the coast of Wenzhou, China. Second Lieutenant William J. Dieter (bombardier) and Sergeant Donald E. Fitzmaurice (gunner) drowned when the aircraft ditched into the sea, while Meder, Hallmark and navigator Chase Nielsen managed to swim ashore. The next day, they buried the bodies of Fitzmaurice and Dieter.

On April 27, as they tried to reach safety with the help of friendly local Chinese, all three men were captured by Japanese troops and interred as POWs in Shanghai, along with crew of the sixteenth bomber. Meder and other American prisoners were held in solitary confinement, where they were threatened and tortured by the Japanese, but resisted weeks of interrogation. The Japanese government sentenced all the eight prisoners to death and after a mock trial on October 14, 1942, Dean E. Hallmark, Second Lieutenant William G. Farrow (pilot of bomber#16) and Sergeant Harold A. Spatz (gunner of bomber#16) were selected for execution, while the Japanese commuted others to life in prison. The three men were executed on October 15, 1942, at Shanghai’s Public Cemetery No. 1.

Meder and other prisoners of the raid were placed in solitary confinement and on the anniversary of the Doolittle Raid in 1943, the prisoners were transferred to a military prison at Nanjing, where they were able to exercise with each other for 30 minutes each day. Months of starvation and disease resulted in Meder becoming weaker and requiring medical assistance. He died of malnutrition and beri-beri on December 1, 1943, while still in captivity. His death resulted in the improvements of conditions for the remaining prisoners of the raid. He was cremated by the Japanese and his ashes, along with that of Farrow, Spatz and Hallmark, were located after the war and returned home. On January 17, 1949, Meder was buried with full military honors at Section 12, Site 159 of Arlington National Cemetery.

Awards and honors
Meder was posthumously given multiple awards. These included the Order of the Sacred Tripod (寶鼎勳章) of the Republic of China, the Distinguished Flying Cross, and the Purple Heart. He was also awarded the Prisoner of War Medal, which, by authorization of Congress in 1985, was given to all members of the United States Armed Forces who had been a prisoner of war after April 5, 1917.

An extremely compelling story of Meder's experience is related in the 1947 book, Deadline Delayed in a chapter titled "Tea and Ashes" by NBC's Irene Kuhn, a member of the Overseas Press Club of America. He is a charter member of the Phi Kappa Tau Hall of Fame and a member of the Lakewood High School Hall of Fame. Miami University's squadron of the Arnold Air Society, the Air Force ROTC honor society is named the Robert J. Meder Squadron in his memory.

title: Robert J. Meder


text:
Talk:Mount Tabor, Portland, Oregon

More research
Needs more research-- I think "crater" may not be the correct term here? And what is the hill that is higher than the cut-away cone, is that another cone? Or some debris pile? -Chira 04:15, 21 August 2005 (UTC)

The area in question should be referred to as a cross-section exposure of the cinder cone and ejecta.

The whole of Mt. Tabor is technically a cinder cone, but is mostly comprised of quartzite. The Troutdale Gravel Field once covered the area, and this area was not washed away with the surrounding area due to heat and moisture from the volcanic activity. -BridgedToMono 08:03, 27 February 2006

USGS

Consistancy
This article is inconsistant with the article on Pilot Butte regarding extinct volcanoes within the limits of US cities. Here it states that there are at least 3 in Portland alone while in the Pilot Butte article it states that there are only two within all US cites. I don't know which is correct and I would even guess that the number of cities containing some sort of extinct volcanic feature in the US is much much larger. --Burntnickel 16:15, 25 July 2006 (UTC)

 * Burntnickel: There are at least 3 within Portland city limits: Mt. Tabor, Kelly Butte, Rocky Butte. I think there are others, they're all listed at the Boring Lava Field article. Mount Tabor is frequently referred to as "the only," but I think that's just because it's the most-visited one. The other city is Bend. -Pete 21:33, 4 March 2007 (UTC)

Disambiguation
Per Wikipedia naming conventions, the article with this title should be about the neighborhood, and an article named Mount Tabor (Oregon) about the volcano should be split off from it. Any objections? Katr67 21:20, 4 March 2007 (UTC)

 * Go for it- I like the current arrangement, but I'm sure once the neighborhood article gets expanded a bit your suggestion will make more sense. -Pete 21:33, 4 March 2007 (UTC)

✅ Done! by Pete. Two years later. WikiIsSlow. I like it. Katr67 (talk) 18:11, 22 April 2009 (UTC)

 * :) -Pete (talk)

title: Talk:Mount Tabor, Portland, Oregon


text:
Spanish aircraft carrier Dédalo

Dédalo (Spanish for Daedalus) was the first Spanish aircraft carrier and the second aviation ship in the Spanish Navy (after the seaplane tender and balloon ship Dédalo that took part in the landings at Al Hoceima in 1925). She remained the fleet's flagship until Príncipe de Asturias replaced her. Dédalo was formerly the World War II-era light aircraft carrier USS Cabot, which was acquired from the United States in the 1960s.

History

In 1953 the Spanish government signed military agreements with the United States, which would be endorsed in the following years. The Spanish Navy studied several options to incorporate a helicopter carrier/aircraft carrier of North American design; specifically studied requesting the delivery of a Casablanca-class escort carrier (USS Thetis Bay) or an Essex-class aircraft carrier (USS Lake Champlain) or an Independence-class light aircraft carrier (USS Cabot or USS San Jacinto).

Finally in 1967, after over twelve years in mothballs in the United States, Cabot was chosen and loaned to Spain. The loan was converted to a sale in 1972. Dédalo initially deployed with the Spanish Navy as a helicopter-only antisubmarine warfare carrier operating the SH-3D Sea King and other helicopters from 1967 to 1976.

On 8 November 1972, a Harrier was successfully tested on the Dédalo deck, a first in the history of the plane.

It was decided to order and deploy short-take-off-and-vertical-landing (STOVL) AV-8S Matadors (AV-8A Harrier) when Dédalo was overhauled. Since the Harriers' downdraft on vertical landing would have damaged the wooden deck, protective metal sheathing was installed on the rear area of the flight deck. The first batch of six AV-8S single seat and two TAV-8S two seat aircraft were delivered to the Armada Española throughout 1976. A second batch of four AV-8S aircraft was delivered in 1980. Unlike some carriers used for Harrier operations, a ski-jump to assist STOVL takeoff was never installed on Dédalo, limiting the maximum takeoff weight of the Harriers.

She then typically carried an air group of eight AV-8S fighters, four Sea King antisubmarine warfare helicopters and four AB 212ASW Twin Hueys although Sikorsky S-55/CH-19s, AH-1 Cobras, and other specialized helicopters from the Spanish army, air force, and navy flew from her flight deck.

During her Spanish service, Dédalo logged 1,650 days' steaming, covering 300000 nmi, registering 30,000 landings and takeoffs, losing an AV-8A and three AB 212ASW helicopters to accidents.

Disposal
Replaced by the Spanish-built S/VTOL carrier Príncipe de Asturias in 1988, the Dédalo was struck by the Spanish Navy in August 1989, and she was given to a private organization in the U.S. for use as a museum ship. However, that private organization was unable to pay its creditors, and on 10 September 1999, the ship was auctioned off by the United States Marshals Service to Sabe Marine Salvage of Rockport, Texas. The scrapping of the hulk was completed in 2002.

title: Spanish aircraft carrier Dédalo


text:
Richard Rigg (Canadian politician)

Richard Arthur Rigg (January 5, 1872 – August 1, 1964) was a Methodist minister and politician in Manitoba, Canada. He served in the Legislative Assembly of Manitoba from 1915 to 1917, and is notable as the first member of the Social Democratic Party to serve in that body.

Rigg was born in Todmorden, Lancashire, England, and came to Canada in 1903. He was a bookbinder as well as a Methodist minister, and served as a first permanent business agent of the Winnipeg Trades Council. He was initially a member of the Socialist Party of Canada, but broke away from the SPC in 1911 to help form the Social Democratic Party. Along with Jacob Penner and Herman Saltzman, he co-authored the SDP's first manifesto.

By 1917 he had a wife and five children.

Rigg campaigned for the House of Commons of Canada in the 1911 federal election, but finished third in the riding of Winnipeg against Conservative Alexander Haggart.

In 1913, Rigg was elected to the Winnipeg City Council for Ward Five in the city's north end. He received considerable support from the city's Jewish community, and in his victory speech pledged to support religious, national and political equality for all members of Canada's working class. Rigg's victory began a tradition of social-democratic representation in Winnipeg's council which has continued to the present day.

Rigg was elected to the Manitoba legislature in the provincial election of 1915, defeating Liberal candidate Solomon Hart Green by 231 votes in the Winnipeg North "B" constituency. Nominated as an SDP candidate, Rigg also received support from the more centrist Labour Representation Committee.

During the 1915 campaign, Rigg and fellow SDP candidate Arthur Beech emphasized both general reforms and the broader working-class struggle. Their meetings were often disrupted by members of the more hardline Socialist Party, who accused Rigg and Beech of being "sentimentalists and Christ-lovers". The Socialists did not field candidates against them, however, and could not prevent Rigg's victory. Rigg's success was credited, in part, to a strong support base among ethnic communities in Winnipeg's north end.

In the legislature, Rigg pressed for improvements to Manitoba's Factories Act, and unsuccessfully attempted to raise the minimum age of factory labour. Rigg was generally supportive of the provincial Liberal government of Tobias Norris, claiming that the Norris administration did more for labour in its first six months than the previous Conservative administration of Rodmond Roblin had done in fifteen years.

Rigg resigned from the legislature in 1917 to campaign for the Canadian House of Commons a second time. The SDP had initially nominated John Queen as its candidate in Winnipeg North, but the city's centrist labourites declared that Queen could not win and nominated Rigg in his place. Rigg's nomination was subsequently confirmed by special convention of Winnipeg's working-class organizations. He also received the endorsement of the "Laurier Liberals", who declined to offer a candidate of their own.

Rigg's campaign was based primarily on opposition to Prime Minister Robert Borden's policy of conscripting men for military service in World War I. He made the following statement during the campaign: "I regard human life as the supremely sacred thing and believe that if the state had adopted the policy of the conscription of money, industry and natural resources, there would be absolutely no necessity for the passing and enforcing of any scheme to conscript men".

He called for a referendum on the conscription issue, and also advocated the nationalization of industry. Government supporters responded by accusing Rigg's supporters of disloyalty. He was defeated, losing to government candidate Matthew Robert Blake by a margin of 9,656 votes to 3,472. Many working-class voters in Winnipeg were unwilling to oppose Borden's government in wartime.

Rigg himself joined the Canadian Army in 1917 and served overseas. In 1919, he drafted a motion supporting the Winnipeg General Strike that was approved by the Great War Veterans' Association. He served as Superintendent of Employment Offices for Western Canada from 1919 to 1922, and as Director of the Employment Service of the Department of Labour in 1922. He retired in 1940.

title: Richard Rigg (Canadian politician)


text:
Havre City–County Airport

Havre City–County Airport is a public use airport located three nautical miles (6 km) west of the central business district of Havre, a city in Hill County, Montana, United States. It is owned by the City of Havre and Hill County. The airport is served by one commercial airline, subsidized by the Essential Air Service program. Per the Bureau of Statistics Havre was the least used airport in the Continental United States flying around 5000 passengers in the year ending 2022.

As per the Federal Aviation Administration, this airport had 180 passenger boardings (enplanements) in calendar year 2008, 744 in 2009, and 961 in 2010. The National Plan of Integrated Airport Systems for 2011–2015 categorized it as a general aviation airport (the commercial service category requires 2,500 enplanements per year, and Havre does not have that).

Scheduled air service temporarily ceased on March 8, 2008, when Big Sky Airlines ended operations in bankruptcy. Great Lakes Airlines was given United States Department of Transportation approval to take over Essential Air Service (EAS) and flights began in 2009. The airport is now served by Cape Air under EAS contract.

Facilities and aircraft
Havre City–County Airport covers an area of 720 acres (291 ha) at an elevation of 2,591 feet (790 m) above mean sea level. It has two asphalt paved runways: 8/26 is 5,205 by 100 feet (1,586 x 30 m) and 3/21 is 3,699 by 60 feet.

For the 12-month period ending May 16, 2023, the airport had 9,790 aircraft operations, an average of 27 per day: 70% general aviation, 15% air taxi, 15% commercial, and <1% military. At that time 29 aircraft were based at this airport: 28 single-engine and 1 multi-engine.

Airline and destination
The following airline offers scheduled passenger service:

Other sources

 * Essential Air Service documents (Docket DOT-OST-1997-2605) from the U.S. Department of Transportation:
 * Order 2005-12-20 (December 30, 2005): selecting Big Sky Transportation Co., d/b/a Big Sky Airlines, to continue providing essential air service at seven Montana communities (Glasgow, Glendive, Havre, Lewistown, Miles City, Sidney, and Wolf Point) for a new two-year period beginning March 1, 2006...
 * Order 2007-11-21 (November 26, 2007): selecting Big Sky Transportation Co., d/b/a Big Sky Airlines, to continue providing essential air service at seven Montana communities for a new two-year period beginning March 1, 2008...
 * Order 2007-12-22 (December 21, 2007): allowing Big Sky Transportation Co., d/b/a Big Sky Airlines, to suspend its subsidized essential air services at seven Montana communities on the date that Great Lakes Aviation, Ltd., begins replacement service, and selecting Great Lakes to provide those services at subsidy rates totaling $8,201,992.
 * Order 2011-1-27 (February 2, 2011): selecting Gulfstream International Airlines, to provide subsidized essential air service (EAS) with 19-passenger Beechcraft B-1900D aircraft at Glasgow, Glendive, Havre, Lewistown, Miles City, Sidney, and Wolf Point, Montana, for a two-year period beginning when the carrier inaugurates full EAS at all seven communities through the end of the 24th month thereafter (two-year period ended May 31, 2013)...
 * Notice (June 28, 2013): from Silver Airways of its intent to discontinue scheduled subsidized Essential Air Service between Glasgow, Glendive, Havre, Lewistown, Miles City, Sidney, Wolf Point, Montana and Billings, Montana.
 * Order 2013-6-3 (June 4, 2013): extending the contract established under Order 2011-1-27, issued on February 3, 2011, for Silver Airways, Inc. (formerly Gulfstream International Airlines), to provide Essential Air Service (EAS) operations at Lewistown, Miles City, Glasgow, Glendive, Havre, Sidney, and Wolf Point, Montana, from June 1, 2013, until further notice.
 * Order 2013-9-4 (September 5, 2013): selecting Hyannis Air Service, Inc., d/b/a Cape Air, to provide Essential Air Service (EAS) with 9-passenger Cessna 402 aircraft at Glasgow, Glendive, Havre, Sidney, and Wolf Point, Montana, for a two-year period beginning December 1, 2013...
 * Order 2013-12-1 (December 2, 2013): Cape Air will commence full EAS at all five of the above communities beginning December 10, 2013, thereby establishing an end date for this contract of December 31, 2015.

title: Havre City–County Airport


text:
User talk:Twister594

Aloha
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text:
User:Slappydappy

Hey, you are being annoying. Please stop editing Hordes.--Mylakovich 04:19, 21 August 2005 (UTC)

title: User:Slappydappy


text: User talk:69.222.66.113

title: User talk:69.222.66.113


text:
User talk:Canvascanoe

Insert Random Thing Here
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title: User talk:Canvascanoe


text:
Betong Division

Betong Division, formed on 26 March 2002, is one of the twelve administrative divisions in Sarawak, Malaysia. Formerly part of Sri Aman Division, Betong is in the Saribas area. It has a total area of 4,180.8 square kilometres, and is the smallest of the administrative divisions of Sarawak.

Saribas is famous for its Iban longhouses and is regarded as the center for Iban culture. It was annexed to Sarawak by Rajah James Brooke, after his victory over the Sekrang and Saribas Iban at the Battle of Beting Maru on 31 July 1849.

Betong Division contains two administrative districts: Betong and Saratok. The total population is 99,800. The population is culturally mixed, with the majority Iban interacting well with the Malay and Chinese in almost all spheres of activity since the pre-colonial days.

In Sarawak, Betong has the most administrative sub-districts. The sub-districts under Betong district are Pusa, Spaoh, Debak and Meludam, while those under Saratok district are Roban, Kabong and Budu.

There is about 222 longhouses

Demography
The population of Betong Division (year 2008 estimate) was 116,700.

Ethnics
Betong division is traditionally a home to Iban, Malay and Chinese people. Most Ibans are scattered throughout rural areas of Betong and Saratok. Whilst, Malay people are concentrated at the town and major village areas in Betong (especially at Pusa and Maludam area) and Saratok. Chinese people are more concentrated at town areas, such as at Betong and Saratok, while some resides at Pusa. Other races such as Bidayuh, Melanau and Orang Ulu are not native to Betong division. However, due to migration all over Sarawak, more and more of them coming to Betong to settle.

Foreign workers is a rare sight in Betong division. Many of them work in palm oil plantations.

Geography and economy
Betong Division is divided into three broad topographical regions — the coastal or riverine region, the midland region, and the inland or hilly interior region. The coastal or riverine region is mainly made up of peat swamp with very limited suitable area for agricultural activities in its natural condition. In areas with improved irrigation systems, the soil has gradually improved to enable some agricultural activities to be carried out. Some of the crops planted in the coastal or riverine region are wet paddy, sago, coconuts and perennial crops. Some of the coastal or riverine areas have potential for aquaculture activities such as brackish water fish, tiger prawn and crab cultivation. The midland region has more suitable areas for agricultural activities. Crops such as pepper, rubber, paddy, and oil palm are planted in the midland region. Most of the livestock and pond fish rearing are also found in this region. All the commercial livestock in the division area are in this region. The inland or hilly interior region is mountainous with steep terrain and only pockets of the areas are cultivated with hilly paddy, pepper and rubber.

Transportation
Although Betong is well connected to other parts of Sarawak with good networks of road, river transports still play the vital role in Betong. People of Betong District can opt for rural shuttle bus service to Saratok, even to neighbouring Sarikei and Sri Aman division.

As for people who wish to travel to upriver areas which are inaccessible by road, they have to use available ferry and boat services. River transport charges remain high in Betong Division due to the long distance of the upriver areas.

There are some rural areas which are accessible by timber tracks and palm estate roads. Availability of transports to these areas are limited through bookings at Betong town, using private vans or four-wheel drive vehicles.

Infrastructure
Pan-Borneo Highway is a trunk road linking Betong to the rest of Sarawak. Betong District is growing rapidly due to being upgraded from a district to a full division status.

Shopping malls

 * Medan Mall
 * Everrise
 * Doremon
 * Supersave Discount Store
 * Nam Leong
 * Kedai Konyong
 * Lian Yi

Education
Betong Division has a moderate number of public schools. Primary schools are scattered throughout Betong and Saratok. Some of them are located deep in the Betong district's interior to cater for rural students.

Primary schools
SK Belingan, Spaoh SK Tg Asam, Spaoh SK Bungin, Spaoh SK Sebemban, Spaoh, SK Serembang, Spaoh SK Manggut, Spaoh SK Buda, Spaoh SK Supa, Pusa SK Medang, Pusa SK Beladin, Pusa SK Tui, Debak SK Dit, Debak SK Tambak, Debak SK Suri, Debak. SK Serabang, Pusa SK Beladin, Pusa SK Sepinang, Pusa SK Semarang, Pusa
 * SK St. Augustine, Betong
 * SK Abang Abdul Kadir, Betong
 * SJK (C) Chung Hua, Betong
 * SJK (C) Chung Hua, Debak
 * SJK (C) Chung Hua, Meludam
 * SJK (C) Chung Hua, Pusa
 * SJK (C) Chung Hua, Spaoh

Secondary schools

 * SM Teknik Betong
 * MRSM Betong
 * SMK Ulu Layar
 * SMK Kalaka
 * SMK Saratok
 * SMK Kabong
 * SMK (BM) Saratok
 * SMK St. Augustine (M)
 * SMK Spaoh
 * SMK Datuk Patinggi Kedit
 * SMK Beladin
 * SMK Pusa
 * SMK Saribas

Healthcare
Betong District has two government hospital which are Betong Hospital and Saratok Hospital, and two government policlinic at each towns. There are no private-owned hospital. As for sub-districts, some has their own health clinic. Smaller government health clinics do exist at major villages and settlement areas.

Security
Betong division has a police divisional office or IPD. There are also police stations and police bits located at strategic locations, as well as rural areas.

Government services
Many government offices have set up their branches in Betong Division (fairly at both Betong and Saratok districts) such as Royal Customs, Fire and Rescue Department, Education Department, etc.

title: Betong Division


text:
Dick Nolan (American football)

Richard Charles Nolan (March 26, 1932 – November 11, 2007) was an American football player and coach in the National Football League (NFL), and served as the head coach of the San Francisco 49ers and New Orleans Saints.

Early years
In his youth, Nolan was the starting quarterback at White Plains High School. He accepted a scholarship from the University of Maryland, where he was converted to running back and safety. He received honorable-mention All-American honors as a senior. He was a key contributor to the school's 1953 championship team.

Professional career
In the NFL, he played for a total of nine seasons (1954–62) in the defensive halfback, safety, and defensive back positions. He was selected in the fourth round (41st overall) of the 1954 NFL Draft by the New York Giants. On May 10, 1958, he was traded to the Chicago Cardinals. He returned to the Giants in 1959.

On April 27, 1962, he was traded to the Dallas Cowboys in a three-team deal, with the Green Bay Packers acquiring kicking specialist Allen Green and the Giants obtaining a draft pick from the Packers. He reunited with former teammate Tom Landry, who used Nolan as a "player-coach". When Nolan was injured halfway through his first season, he became the Cowboys' defensive coordinator.

Coaching career
Nolan was on the Cowboys' staff for six years, the last year being the season in which the Cowboys played in the Ice Bowl. Landry came up with the "flex defense", a 3-4 alignment that Nolan would utilize for his head coaching career. On January 19, 1968, he was hired as head coach of the San Francisco 49ers. With a focus on defense that featured future Hall of Famer Dave Wilcox alongside Skip Vanderbundt and defensive end Cedrick Hardman to go with a line ready to protect quarterback John Brodie, the Niners soon became a threat in the NFC. He would coach there for eight seasons from 1968 through 1975, noted for developing the defense and taking the team to three straight NFC West division titles (1970–72), twice missing the Super Bowl by only one game (1970–71). The playoff victory over Minnesota in 1970 was the first playoff win for the 49ers since 1949. Brodie was named MVP after the 1970 season, the first player to win the award in team history.

Nolan was hired to coach the linebackers for the New Orleans Saints in 1977. When Hank Stram was fired at the end of the season, Nolan was promoted to head coach on February 6, 1978, becoming the 6th head coach in the twelfth season of the franchise. He coached the Saints from 1978–80 going 15–29. He was the first Saints head coach to win more than five games in a season. They went 7–9 in 1978, with quarterback Archie Manning having his first Pro Bowl selection on the strength of his first 3,000 yard season as a pro. With three games to go in the 1979 season, the Saints were tied for first in the NFC West with Los Angeles at 7-6, having gone from 0-3 to winning seven of the next ten. They cratered from there, with a 35–14 lead versus the Oakland Raiders at home unraveling into a 42–35 loss (with 21 coming in the final quarter). They lost the following week to San Diego before a victory over the Rams had them finishing 8–8, which was their first .500 season in team history. They had five Pro Bowl selections, most notably with Manning, Chuck Muncie, and Wes Chandler. Nolan was fired by the Saints in 1980 after an 0–12 start on November 26, a season that saw Chuck Muncie traded four weeks in. His last game was on November 24 of that season, a 27–7 loss to the Los Angeles Rams on Monday Night Football at home, where fans took to throwing paper airplanes. Upon the dismissal, GM Steve Rosenbloom stated Nolan was "a man of character, class and dignity." The Saints finished the 1980 season 1–15, as interim coach Dick Stanfel won only one of his four games, a 21–20 victory over the New York Jets in week 15.

His alma mater, the University of Maryland, College Park, interviewed Nolan for the head coach vacancy created when Jerry Claiborne left for Kentucky, but ultimately, chose Bobby Ross, instead.

Nolan holds the dubious distinction of being the head coach of the Arena Football League's San Antonio Force in 1992, the only team in Arena history to be shut out, 50-0 by the Orlando Predators on June 13, 1992

Nolan was well known for wearing business suits while coaching, as did many other coaches during his era. The NFL has since disallowed this practice in most circumstances due to the league signing exclusive apparel deals with sportswear companies (specifically Reebok and Nike). The league made an exception after Nolan's death in 2007, allowing Nolan's son Mike, coach of the San Francisco 49ers and Jack Del Rio, coach of the Jacksonville Jaguars, to wear suits in the elder Nolan's honor.

title: Dick Nolan (American football)