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Freda Ahenakew

Freda Ahenakew (February 11, 1932 – April 8, 2011) was a Canadian author and academic of Cree descent. Ahenakew was considered a leader in Indigenous language preservation and literary heritage preservation in Canada. She was a sister-in-law to the political activist David Ahenakew.

Biography
Freda Ahenakew was born in Ahtahkakoop, Saskatchewan, the second of eight children. Her parents were Edward and Annie ( Bird) Ahenakew. She spent some of her teenage years living at St. Alban's Residential School in Prince Albert, and attended the Prince Albert Collegiate Institute.

Ahenakew married Harold Greyeyes (who attended Qu'Appelle Indian Residential School, then worked with the Saskatchewan Indian Agricultural Program through FSIN) from the Muskeg Lake Cree Nation (which henceforth made her a member of the same), and together they had 12 children. She would later return to follow her educational goals in 1968, where she attended high school with 9 of her children. In 1979, she obtained her Bachelor of Education from the University of Saskatchewan while teaching Cree language. Her marriage to Greyeyes ended the same year. Between 1976 and 1981, she found employment teaching at the Saskatchewan Indian Cultural College, the Lac La Ronge Band, and the Saskatchewan Survival School (now the Joe Duquette High School) in Saskatoon.

In 1984, she received a Master of Arts in Cree linguistics from the University of Manitoba, working closely with Professor H.C. Wolfart. Her Master's thesis, "Cree Language Structures", was later published. From 1983 to 1985, she was an assistant professor in the Native Studies department of University of Saskatchewan. She was the director of the Saskatchewan Indian Languages Institute from 1985 until 1989. After leading the institute, she was a professor in Native studies at the University of Manitoba until her 1996 retirement.

Ahenakew has been the recipient of numerous honorary awards including an honorary degree from the University of Saskatchewan. She was made a Member of the Order of Canada in 1998 and was awarded the Saskatchewan Order of Merit in 2005.

In 2016, a branch of the Saskatoon Public Library was named for Freda Ahenakew.

Selected bibliography

 * Cree Language Structures: A Cree Approach. Winnipeg: University of Manitoba Press (1987)
 * "wâskahikaniwiyiniw-âcimowina / Stories of the House People. Winnipeg: University of Manitoba Press" (1987) Coeditor.
 * How the Birch Tree Got its Stripes: A Cree Story for Children (1988)
 * How the Mouse Got Brown Teeth: A Cree Story for Children (1988)
 * kôhkominawak otâcimowiniwâwa / Our Grandmothers' Lives, as Told in Their Own Words. Told by Glecia Bear et al. Edited and translated by F. Ahenakew & H.C. Wolfart. Saskatoon: Fifth House Publishers, 1992. [facsimile reprint, with new preface: Canadian Plains Reprint Series, Canadian Plains Research Centre, University of Regina, 1998]
 * kinêhiyâwiwininaw nêhiyawêwin / The Cree Language is Our Identity: The La Ronge Lectures of Sarah Whitecalf. Edited, translated and with a glossary by H.C. Wolfart & F. Ahenakew. Publications of the Algonquian Text Society / Collection de la Société d'édition de textes algonquiens. Winnipeg: University of Manitoba Press, 1993.
 * kwayask ê-kî-pê-kiskinowâpahtihicik / Their Example Showed Me the Way: A Cree Woman's Life Shaped by Two Cultures. Told by Emma Minde. Edited, translated and with a glossary by F. Ahenakew & H.C. Wolfart. Edmonton, University of Alberta Press, 1997.
 * The Student's Dictionary of Literary Plains Cree, Based on Contemporary Texts. with H.C. Wolfart. Algonquian and Iroquoian Linguistics, Memoir 15, 1998.
 * Wisahkecahk Flies to the Moon (1999)
 * âh-âyîtaw isi ê-kî-kiskêyihtahkik maskihkiy / They Knew Both Sides of Medicine: Cree Tales of Curing and Cursing Told by Alice Ahenakew. Edited, translated and with a glossary by H.C. Wolfart & Freda Ahenakew. Publications of the Algonquian Text Society / Collection de la Société d'édition de textes algonquiens. Winnipeg: University of Manitoba Press, 2000.
 * ana kâ-pimwêwêhahk okakêskihkêmowina / The Counselling Speeches of Jim Kâ-Nîpitêhtêw. Edited, translated and with a glossary by F. Ahenakew & H.C. Wolfart. Publications of the Algonquian Text Society / Collection de la Société d'édition de textes algonquiens. Winnipeg: University of Manitoba Press, 1998. [2007]

title: Freda Ahenakew


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Wikipedia:Articles for deletion/Hot milk cake

 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 keep as rewritten. -- BD2412 talk 03:56, 30 August 2005 (UTC)

Hot milk cake
Wikipedia is not a cookbook. Transwiki to WikiBooks. Acetic Acid 00:44, August 24, 2005 (UTC)
 * Delete Recipe looks good but delete as per above I mean transwiki --Dysepsion 01:11, 24 August 2005 (UTC)
 * Transwiki; Misplaced, Weird recipe | Celcius 01:16, 24 August 2005 (UTC)
 * Keep what's left. (Changed from Transwiki).Alf 12:29, 24 August 2005 (UTC)
 * Transwiki the recipe and keep the non-recipe part. Kappa 02:02, 24 August 2005 (UTC)
 * Transwiki the lot of it.- Mgm|(talk) 07:44, August 24, 2005 (UTC)
 * The article has been transwikied into the Cookbook. All of the editors who voted transwiki above (apart from Kappa), please choose another option. Uncle G 09:54:47, 2005-08-24 (UTC)
 * Keep what is left, looks valid. Sjakkalle (Check!)  09:55, 24 August 2005 (UTC)
 * Keep Thank you for the speedy response. Acetic Acid 10:18, August 24, 2005 (UTC)
 * Keep looks like it's been transwikied already -- Ryan Norton T 10:32, 24 August 2005 (UTC)
 * Keep valid informative stub. Alphax τεχ 10:36, 24 August 2005 (UTC)
 * Keep with cookbook links to actual recipe and stub notice. If the consensus is against this, merge cookbook links with "list of varieties" in the cake article. --Eoghanacht 13:32, 2005 August 24 (UTC)
 * Keep as above. Trollderella 21:15, 24 August 2005 (UTC)
 * Merge into cake. Lacks encyclopedic content. -- Visviva 03:53, 25 August 2005 (UTC)
 * Keep better tasting than a urinal cake. Klonimus 08:06, 25 August 2005 (UTC)
 * I vote to move Klonimus' hilarious comment over to BJAODN after this VfD is finished. Acetic Acid 08:24, August 25, 2005 (UTC)
 * All together now, in four-part harmony: Klonimus, how do you know?
 * 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.

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


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Heat sink (disambiguation)

The term heat sink may refer to:

 * Heat sink, a component used to conduct heat away from an object
 * Thermal reservoir, an element of a thermodynamic system which can absorb arbitrary amounts of energy without changing temperature
 * Thermal energy storage, the storage of energy in a thermal reservoir for later reuse

title: Heat sink (disambiguation)


text: File:Virus hypocrisy.jpg

title: File:Virus hypocrisy.jpg


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Key (character)

Key is a supervillain appearing in media published by DC Comics, primarily as an enemy of the Justice League. The character continues to appear in Justice League and Batman comics, with a ghoulish appearance since 1997.

Publication history
The Key first appeared in Justice League of America #41, and was created by Gardner Fox and Mike Sekowsky.

Fictional character biography
The Key debuted in Justice League of America #41 (December 1965). The unidentified man known as the Key develops mind-expanding "psycho-chemicals" that activate his 10 senses. Assisted by henchmen known as "Key-Men" and a "key blaster" gun, the Key has several failed run-ins with the Justice League of America (JLA). The Key first drugs the Leaguers, which not only causes them to disband the Justice League, but also physically blinds them to the existence of the Key and his Key-Men. The Key fails to take into account Hawkman's sidekick, Hawkgirl, who frees him from the drug's effects. They free the other Leaguers, and the Key is imprisoned.

The Key returns three years later. During his last attack on the League, he left a subconscious command in their minds that would not allow them to leave the League's headquarters for one hour. At the end of that time, each Leaguer would turn on another and kill him or her. Superman defeats the Key by going back in time and sending his un-hypnotized self forward in time. He defeats each Leaguer in turn, and then imprisons the Key in the Fortress of Solitude in suspended animation.

The Key appeared to die six years later. He wires an entire city block of St. Louis, Missouri, with bombs, forcing the Justice League to pass through a series of traps to reach the device which will stop the detonation. The Key reveals that he was freed by a judge who found Superman's actions an unconstitutional use of cruel and unusual punishment. Incarcerated in a regular prison, he learns the psychoactive drugs he has taken have left him mere months to live. Released on humanitarian grounds, he attempts to destroy the League. The Phantom Stranger impersonates one of the Key-Men, helping to save the League. Green Lantern John Stewart uses his power ring to drive the explosive force of the bombs down into the ground, and the Key escapes at the last moment.

The Key appears again in Justice League of America #150 (January 1978). The Manhunter Mark Shaw has given up his old identity to become a new hero named the Privateer. Doctor Light attempts to gain access to the Justice League Satellite, but is driven off by the Privateer. Light encounters a new villain, the Star-Tsar, and they briefly engage in battle. When former League mascot Snapper Carr is discovered near the site of a battle with the Star-Tsar's henchmen, the Star Lords, the League becomes suspicious and travels to Snapper's home to speak with the Carr family. Light traps the League in his "Spetriminator", but they free themselves. They rush off to find Light, but instead encounter an unconscious Star-Tsar—who is unmasked as Snapper Carr. Star-Tsar is freed by his henchmen, but their getaway vehicles leave behind a distinctive radioactive trace. Several League members trace this trail to the Star-Tsar's lair, where they are captured by the "real" Star-Tsar (who has imprisoned Carr). The League free themselves and the "real" Star-Tsar is discovered to be the Key. The Key reveals that the bombs he used in St. Louis were "stellar bombs" designed to give off a peculiar kind of radiation. When the Green Lantern John Stewart used his power ring to contain the blast, it drove the radiation downward into the Key's subterranean lair where the Key had prepared machinery to utilize the radiation and prevent his death. But the dying Key was only able to close his machinery over his head. The Key's body survived albeit in a dwarfish form, while his head remained life-size. Building a robotic body for himself, he approached a disillusioned Carr, provided him with weapons and henchmen, and launched his latest attack on the Justice League. The Red Tornado, however, discloses that the Key is not the real Star-Tsar, either: Mark Shaw is. Shaw came up with the villainous identity and approached the Key for help, which the Key gave. But when Shaw refused to work with the Key, the Key manufactured a mechanical Star-Tsar body and used Snapper Carr to carry out the Key/Star-Tsar's more athletic crimes (since the Key/Star-Tsar could appear alongside Snapper, no suspicion would fall on Snapper).

Still in his dwarfish, barely mobile form, the Key attempts to cure himself a few years later by reactivating the android Amazo, which was stored aboard the Justice League Satellite. He hopes that by absorbing the League's powers, his body can be restored. New League member Zatanna uses magic to cure the Key, restoring the powers to the League (who subdue Amazo). The Key makes a cameo appearance in Justice League of America #240 (July 1985). The time-traveling villain Dr. Anomaly observes the Key's second battle with the Justice League before launching his own attack on the superhero group.

The most recent incarnation of the Key is introduced in JLA #6 (June 1997), by Howard Porter and Grant Morrison, in a teaser at the beginning of the issue. The Moon begins to fall out of orbit in JLA #7 (July 1997), and the Key is seen to not be responsible. As the Leaguers return to the Justice League Watchtower on the Moon, the Key immobilizes them. The Key's new look is explained in JLA #8 (August 1997): The Key spent years in a drug-induced coma to unlock even more potential in his brain. The "psycho-chemicals" altered his appearance so that now the Key is a pale, cadaverous, white-haired humanoid with greatly heightened mental abilities. The Key uses a programmable "psycho-virus" to knock the Justice League's members unconscious and trap them in a dream that they all share (a fantastic type of dream telepathy). The Key states he is counting on the heroes' known aptitude for dispelling such illusions, and that as they wake, he intends to siphon off the resulting energy to open a door to creation and become the center of the universe. Most of JLA #8 and JLA #9 (September 1997) consists of stories occurring in these fantasy realms—including Kal-El as the Green Lantern of Sector 2813 on a still-existent Krypton, a now-retired Bruce Wayne going back into action when Tim Drake and Wayne's son face the Joker (who is dying of cancer), Aquaman in a time where Earth has been virtually flooded, and a powerless Wonder Woman facing Nazi archaeologists and demons. The Key almost succeeds in killing the heroes. The League is saved when the new Green Arrow, Connor Hawke, teleports to the JLA headquarters to attend a pre-arranged meeting to discuss becoming a member of the League. Hawke attacks the Key before he can complete his goal. The Key is incarcerated in Arkham Asylum, where the Martian Manhunter puts him in a "mental maze" (a form of coma).

The Key next appears in Gotham City, where he uses his psycho-chemicals to remove Batman's inhibition against killing. The Key's goal is to have Batman kill him, so that he might unlock the secret of death. Batgirl and Azrael must prevent Batman from committing murder until the drug wears off. The Key makes an appearance, along with a large group of villains, attacking the Justice League and Marvel Comics' the Avengers in 2003.

The JLA disbands in the "World without a Justice League" storyline in 2006, in which the Key plays a major part. The Key emerges from the "mental maze" with his telepathic powers even more greatly enhanced. Unable to shut out the voices of millions of people, the Key comes close to insanity before realizing that killing people helps calm the voices. The Key commits a large number of murders in Metropolis, which the Justice League investigates. The Key kidnaps the heroine sorceress Manitou Dawn, and attempts to merge his mind with hers to wipe all human life from Earth. The League stops him, but his new Key-Man android delays the heroes long enough to allow him to escape. The Key mentally orders thousands of people to kill one another. As the League separately battles the Seven Deadly Sins, the personification of Envy tries to stop the Key to keep envy (a human emotion) alive. Envy tries to use the Key to enter the minds of millions of people and listen to their seedy thoughts, but the Key resists and breaks free—forcing a temporarily unpowered Envy to flee. The Key begs Manitou Dawn to kill him, but she sends him to a "dream plane" instead, where he will hear no voices and can be at peace.

During the Infinite Crisis miniseries, the Key is shown during the Battle of Metropolis, although whether this takes place just before the events of "World without a Justice League" or after is not clear. He is later briefly seen to be a member of the Injustice League.

The Key reappears in Justice League of America (vol. 2) #17-18 (March–April 2008), although neither his cure nor his escape from the "dream plane" are explained. The Suicide Squad is collecting the world's supervillains to send them to the prison planet Salvation. Several villains, led by the Key, take refuge with the Justice League and are imprisoned. The villains assume that, once the danger of exile is past, the Key will be able to free them whenever they wish, but a dampening field in the prison prevents the Key from using his enhanced intelligence. The Key next appears having escaped from the Justice League's prison (somehow), and is briefly depicted as a member of the Secret Society of Super-Villains. He is next seen meeting with the supervillain Roulette a year later to receive information she had collected on the League. The Key is apparently working for someone else, but who it is, is never revealed.

The Key's next major appearance came in Batman: The Dark Knight (vol. 2) #1 (November 2011). The Key is depicted incarcerated in Arkham Asylum (although how he got there is unclear). An aggression-enhancing toxin is released into the air at Arkham, and Batman must battle the Key and a number of other villains as he penetrates the hospital to reach Two-Face. The Key makes another major appearance in the Justice League comic a year later, when he is freed from his cell during a riot at Arkham Asylum. Although quickly captured by Batman, Superman and Cyborg, the Key reveals that he and the Weapons Master were broken out of their cells only so that they could be interrogated by a new villain, David Graves, who wanted to know the weaknesses of the Justice League.

The Key appeared in a flashback in Black Canary and Zatanna: Bloodspell (July 2014).

DC Rebirth
Talking with an unspecified force that is implied to be trapped, as seen during the DC Rebirth reboot, the Key captures Batman, Nightwing, Wonder Woman, Donna Troy, Barry Allen, Wally West, Aquaman and Tempest and traps them in a specially designed prison, with the goal of driving the mentors and protégés to destroy each other by exploiting their differences and paranoia. However, the heroes manage to overcome the Key's attempt to keep them divided and they attack him directly, forcing the Key to withdraw without gathering sufficient power to release his unknown associate. His benefactor was later revealed to be Troia, a dark future version of Donna Troy. He along with Mr. Twister and Psimon fought the Titans before driving Troia back into the abyss.

In World's Finest #8 (December 2022), the Key instils entamaphobia (the fear of doors) in everyone in Gotham City, leaving them afraid to leave their homes, and demands five billion dollars in ransom.

Powers and abilities
Originally, the Key carried a blaster in the shape of a key. The psycho-chemicals he created also allowed him to access the 90 percent of the human brain that is untapped. This vastly increased his intelligence and expanded his range of senses. The Key also had a large number of henchmen known as Key-Men, who acted as bodyguards and who had enough limited fighting skills to delay heroes (and allow the Key to effect an escape).

The Key is a master of chemistry, and utilizes chemicals (most often in the form of drugs) as weapons. He used drugs to bend the Justice League to his will twice, and Batman once. More recently, the Key created a programmable psycho-virus that initiates a dream-like state that allows the Key to produce structured hallucinations. He created a machine that allowed him to steal energy from the mind of the infected person, and conceivably could make him the most powerful telepath in the universe (even able to open dimensional doorways at will).

The Key has shown an extraordinary capacity for creating androids and various kinds of machines. Aside from building his own Key-Man servant (which has some resistance to physical attacks and limited offensive capabilities), he was able to control the highly advanced Amazo android as well. The Key built weapons and other devices capable of harnessing stellar radiation for their power, altering the Moon's orbit, harnessing dream-energy, and regenerating his own body using radiation. On one occasion, the Key developed a "vibrational prison" which was capable of immobilizing a wide range of heroes (including Superman). More recently, the Key altered his key-blaster so that instead of firing energy bolts, it fires psycho-chemicals which can disable practically any living organism.

Other versions
An unrelated villain, also called the Key, appeared in All Star Comics #57 (March 1951), which featured the last Golden Age appearance of the Justice Society of America. This version is the head of a major crime syndicate before being killed during a battle with the Justice Society.

Television

 * The Key appears in Justice League Unlimited, voiced by Corey Burton. This version is a member of Gorilla Grodd's Secret Society who specializes in penetrating secure areas, possesses a form of intangibility, and wields a key-shaped gun that can easily open doors as well as operate like a regular gun. In audio commentary, the series producers stated that the Key was originally going to be possessed by, or be connected to, Brainiac, and play a larger role in the episode "Alive!". Prior to and during the aforementioned episode, Lex Luthor takes control of the Society, but Grodd mounts a mutiny. Key sides with the latter, only to be frozen by Killer Frost and killed off-screen by Darkseid along with Grodd's other loyalists.
 * The Key appears in Beware the Batman, voiced by JB Blanc. This version is a diminutive, elderly shopkeeper who can mold his fingers to fit any lock and download information from computers into his brain.

Film
The Key makes a cameo appearance in Justice League: The New Frontier.

Video games

 * The Kay appears as a character summon in Scribblenauts Unmasked: A DC Comics Adventure.
 * The Key appears as a boss in Justice League Heroes, voiced by Carlos Alazraqui. This version is affiliated with Brainiac.

Miscellaneous

 * The Key appears in the Green Lantern Corps Quarterly short story "G'nortin' But Trouble".
 * The Key appears in Batman: The Brave and the Bold #5.
 * The Key appears in DC Super Friends #6.

title: Key (character)


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User talk:68.191.51.49

Proposed deletion of Minnie Hollow Wood

The article Minnie Hollow Wood has been proposed for deletion because of the following concern: "Fails WP:BASIC and WP:ANYBIO. Unable to locate any significant biographical details in secondary sources. The article suggests this person is notable for one event."

While all constructive contributions to Wikipedia are appreciated, pages may be deleted for any of several reasons.

You may prevent the proposed deletion by removing the notice, but please explain why in your edit summary or on the article's talk page.

Please consider improving the page to address the issues raised. Removing will stop the proposed deletion process, but other deletion processes exist. In particular, the speedy deletion process can result in deletion without discussion, and articles for deletion allows discussion to reach consensus for deletion. Magnolia677 (talk) 17:28, 25 September 2020 (UTC)

Nomination of Minnie Hollow Wood for deletion
A discussion is taking place as to whether the article Minnie Hollow Wood is suitable for inclusion in Wikipedia according to Wikipedia's policies and guidelines or whether it should be deleted.

The article will be discussed at Articles for deletion/Minnie Hollow Wood until a consensus is reached, and anyone, including you, is welcome to contribute to the discussion. The nomination will explain the policies and guidelines which are of concern. The discussion focuses on high-quality evidence and our policies and guidelines.

Users may edit the article during the discussion, including to improve the article to address concerns raised in the discussion. However, do not remove the article-for-deletion notice from the top of the article. Magnolia677 (talk) 18:34, 25 September 2020 (UTC)

title: User talk:68.191.51.49


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Talk:Stfnal

Shibboleth
There is a wikipedia reference to the pretty widely used phrase stfnal - albeit within fandom, but wide enough that it is the top phrase mentioned in the article within the first 4 example phrases: i.e. even higher priority than grok and filk: http://en.wikipedia.org/wiki/Shibboleth —The preceding unsigned comment was added by 192.18.98.64 (talk • contribs) 00:46, 24 August 2005 (UTC)

"Grok" gets over 3,000,000 Google hits, "filk" gets 870,000 and "stfnal" gets 1,790. Not really a relevant word any more. Hu 10:15, 23 November 2006 (UTC)

Scifi
How does it compare to "scifi", pronounced "skiffy", as a subcategory of Sci-Fi? -- Metahacker 20:44, 1 November 2005 (UTC)

I think that this might be an Americanism: the UK version is 'sfnal'. "Skiffy" means, generally, media SF and is used to distinguish it from (ahem) Real SF. Flick 217.146.126.149 23:15, 12 April 2006 (UTC)

No, we use 'sfnal' in the USA, too. I've never seen or heard 'stfnal', and wonder if this is a typo? Pete Tillman 20:06, 22 June 2006 (UTC)

Merged
This article has been merged into science fiction. Therefore proposing for deletion. Hu 10:10, 23 November 2006 (UTC)

title: Talk:Stfnal


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1982–1992 (Europe album)

1982–1992 is a compilation album by the Swedish rock band Europe, released in 1993 by Epic Records. Vocalist Joey Tempest chose the songs for this album. The album reached the top 10 in France compilation charts in April 1993.

This album contains some rarities, such as "On Broken Wings", which was the B-side for the "Final Countdown" single, and two songs from the Prisoners in Paradise sessions: "Sweet Love Child" and "Yesterday's News".

The album was reissued in 2000 as 1982–2000, including the bonus track "The Final Countdown 2000" – despite negative comment on the remix from some of the band's members.

Personnel

 * Joey Tempest – Vocals, acoustic guitar, keyboards (All tracks)
 * John Norum – Guitars, background vocals (Tracks 1–11)
 * Kee Marcello – Guitars, background vocals (Tracks 12–17)
 * John Levén – Bass (All tracks)
 * Mic Michaeli – Keyboards, background vocals (Tracks 7–17)
 * Tony Reno – Drums (Tracks 1–6)
 * Ian Haugland – Drums, background vocals (Tracks 7–17)
 * Nate Winger – Background vocals (Tracks 14, 16–17)
 * Paul Winger – Background vocals (Tracks 14, 16–17)
 * Joey Tempest – Compilation producer
 * Thomas Witt – Compilation producer
 * Peter Dahl – Remastering, digital remastering
 * Annmarie Gatti – Coordination
 * Michael Johansson – Photography
 * Denis O'Regan – Photography
 * Per Hökengren – Artwork

title: 1982–1992 (Europe album)


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Bill Rebane

Bill Rebane (born February 8, 1937) is an American film director, producer, and screenwriter. He is best known for low budget movies such as Monster a Go-Go and The Giant Spider Invasion. Rebane also ran for Governor of Wisconsin in 1979 and 2002 as the American Reform Party candidate.

Biography
Rebane came to the United States from Latvia in 1952 at age 15. His mother was Latvian and his father, Arnold Rebane, was Estonian.

He attended school in post-war Germany as a child, becoming conversant in four languages: Estonian, Latvian, German and Russian. By watching American cinema, he was able to master English. He attended the Art Institute of Chicago/Goodman Theatre, majoring in drama.

Accomplishments
Rebane is credited with the introduction of the first 360 degree (wrap around) motion picture process to the Motion Picture Industry of the world, an innovation that spurred the Cinemax process and today's Rotascope cameras; as the creator of the Wisconsin Film Office; as the producer, director, writer, and cinematographer on 12 independent feature films, all of which have enjoyed successful international theatrical release;  as producer/director of one of the fifty top-grossing films of 1975 (The Giant Spider Invasion, $23 million gross);  as having produced, directed, edited, and production designed at least one hundred commercial, industrial, corporate image, documentary or promotion films; and for the creation and successful operation of the first full-time feature film studio in the Midwest for over 30 years.

Recognition
In October 2009, Rebane received the Wisconsin Filmmaker 'Lifetime Achievement Award', presented to him at the 2009 Madison Horror Film Festival.

Post-college
Rebane's first positions in media included working for WGN-TV in Chicago, where he worked his way through the ranks, beginning with a position in the mailroom, and then as floor manager, assistant producer, and assistant to executive producer. Partaking in production of various live television broadcasts, also allowed him the opportunities as an actor and singer, resulting in appearances on such shows as the courtroom drama series They Stand Accused and the syndicated musical-variety series The International Cafe.

Baltes and Cinema Scope
Rebane returned to Germany at age 19, where he met and worked with producer Adalbert Baltes of Hamburg, Germany. Rebane credits working with Baltes as his start in the film industry. After working with Baltes as a production assistant, assistant director, and director on various 'Cinema Scope Theatrical Short Subjects' for 'Baltes Film', Rebane obtained the U.S. rights to the 'Cinetarium' circular motion picture process.

Rebane returned to the U.S. and introduced the proprietary process to the world film industry through United Film and Recording Studios in Chicago, attracting such notables as Samuel Goldwyn, Roy Disney, Jack L. Warner, Hugh Hefner and Mike Todd, Jr. to the process, along with industry professionals from Russia, central Europe and Japan.

By age 22, Rebane was a millionaire. However, his early wealth was temporary, as costs of patents, legal fees and research into means to manufacture vertical projection systems were at the time beyond the financial means of the companies he had formed for development of the process.

Early film production
Rebane then turned to film production. His first independent production effort was the ten-minute musical theatrical short subject called Twist Craze which was purchased by American International Pictures. The film became an international success both theatrically and financially, and enjoyed a 10-week holdover at the Oriental Theater in Chicago, which until that time, was an unheard phenomenon for independent short subject theatrical productions. The film earned twenty times its production cost.

Rebane followed this success with a 20-minute theatrical musical short titled Dance Craze, which surpassed the success of Twist Craze, ultimately being purchased by Crown International Pictures for international release.

Radio
Rebane's interests in media, and performance, and with the professional contacts he had made, led to his position as co-host of the Germania broadcast at Chicago's WGES radio station, at the time the largest and most popular German-language broadcast in America. As a daily evening one-hour live show, it allowed Rebane to create, produce, and host other radio shows on WKFM, Chicago's first FM station, as well as leaving time open for his day job as national public relations director and assistant advertising director for the American distributor for the German firm Grundig Radio.

First science fiction project
In 1961 Rebane decided to make a feature film, and in 1963 he began production of the science fiction feature film Terror at Halfday, starring June Travis and Peter Thompson, which marked Rebane's becoming the first producer in Chicago to tackle an independent feature film production with a full union crew and screen actors guild talent. A chance meeting with Ronald Reagan nearly attached Reagan to the film. However, Rebane's financial contacts would not go along, claiming Reagan was a "has been" and not worth the investment. Unable to finance the completion of the film, Rebane sold his completed footage to Herschell Gordon Lewis. Lewis went on to complete the film and release the film as Monster A Go-Go in 1965.

Studio Bendestorf
At age 23, Rebane returned to Germany as executive-in-charge of U.S. co-productions for 'Studio Bendestorf', in Bendestorf, Germany, in which he had an interest, opening offices in Chicago and Hollywood. Commuting to and from Germany on a bi-weekly basis, Rebane dealt with the major studios to attract producers to Germany and lower costs of production. Some films which found a partial or full home for production at Bendestorf Studio and through Rebane's contact efforts included $ (Goldie Hawn / Scott Brady), How I Won the War (John Lennon) and The Odessa File (Jon Voight).

The Shooting Ranch
In the late 1960s, Rebane purchased a farm property near Gleason, Wisconsin and moved there with his family. Apart from the property being used to raise cattle and horses, it also eventually became home to Rebane's studio 'The Shooting Ranch', the facility which was the first full-time feature film studio in the Midwest. 'The Shooting Ranch', held the position of "first and only" for over 30 years, eventually growing to 200 acre, and producing hundreds of commercials, industrial, and corporate image films, plus a number of theatrical features for international theatrical distribution and exposure.

Rebane acknowledges fellow filmmaker, producer Jerry Gregoris of Chicago, for allowing Rebane directorial and post-production responsibilities and subsequent credits on industrial films made for such clients as the Teamsters union, the Republican Party of Indiana, State Farm Insurance, the City of Chicago, and Wausau Insurance.

Rebane used his studio to produce and direct a number of sci-fi/horror films, the first being Invasion from Inner Earth (1974), screenwritten by his wife Barbara, it was shot in 1973 with the working title of The Selected.

His next film project was The Giant Spider Invasion, starring Alan Hale Jr., Barbara Hale, and Steve Brodie. The film grossed $23 million against its $325,000 production costs. This was followed by Rana: The Legend of Shadow Lake (1981), The Alpha Incident (1978), The Capture of Bigfoot (1979), The Demons of Ludlow (1983) and The Game (1984).

In 1984 Rebane took a break from production to assume the Presidency of The International Picture Show Company in Atlanta, where he took charge of international distribution for such products as Falling in Love Again (Elliott Gould), Slapstick (Jerry Lewis), Land of No Return (William Shatner), and many of the Don Knotts and Tim Conway comedy features.

In 1986, Rebane returned to 'The Shooting Ranch' and hosted a 1950s nostalgia concert. Among the invitees were Forrest Tucker, Jaye P. Morgan, Bill Haley's Comets, and Tiny Tim. Rebane later cast Tiny Tim in Blood Harvest in the role of an insane clown, which was Tim's first and last starring role. Also in 1986, and due to Rebane's ongoing efforts extending from 1969, Wisconsin passed legislation establishing the Wisconsin Film Office.

In 1987, Rebane released Blood Harvest, in 1988 he released Twister's Revenge!, and in 1989 Rebane suffered a stroke, which illness and the costs it incurred led to the closure of his studio.

Additional projects
In the mid-1990s, after recovery, Rebane and his wife moved to Watersmeet, Michigan where he wrote the book Film funding two-thousand, and in 1999 he moved to Hurley, Wisconsin, where he and his wife ran a hotel and a new film production company called 'Eagle's Nest Productions'. He has developed a variety of different projects, but has had no major releases since Blood Harvest.

Films

 * As director/producer
 * Monster a Go-Go (1965)
 * Invasion from Inner Earth (1974)
 * The Giant Spider Invasion (1975)
 * The Alpha Incident (1978)
 * The Capture of Bigfoot (1979)
 * Rana: The Legend of Shadow Lake (1981)
 * The Demons of Ludlow (1983)
 * The Game (1984)
 * Blood Harvest (1987)
 * Twister's Revenge! (1988)

Television
Both Monster a Go-Go and The Giant Spider Invasion were featured on TV's Mystery Science Theater 3000.

Critical response
Doug Moe of The Capital Times reported that Rebane's film The Giant Spider Invasion, first released in 1975, has a growing cult following, selling out genre festivals such as it did at the Wisconsin Film Festival in 2003.

Personal life
Rebane married Barbara J. Rebane in 1957 at age 20. They have four children: Randolph, Jutta, Kathy, and Angailica. All four children have worked in various capacities on his films; Angailica in particular has acted in many of them.

Addition reference materials

 * Who's Who in Leading American Executives 1994 (U.S Registry)
 * Gods in Polyester, or, a Survivors' Account of 70's Cinema Obscura by Suzanne Donahue, Succubus Press, 2004, ISBN 90-808700-1-3
 * Gods in Spandex, or, a Survivors' Account of 80's Cinema Obscura, by Suzanne Donahue, Succubus Press, 2007, ISBN 952-92-2409-5
 * Monthly publications:
 * Dun & Bradstreet Reports
 * Nation's Business
 * Wisconsin Report

title: Bill Rebane


text:
William Craven, 5th Baron Craven

William Craven, 5th Baron Craven (19 September 1705 – 17 March 1769) was an English nobleman and Member of Parliament.

He was born the son of John Craven of Whitley, Coventry in Warwickshire and educated at Emmanuel College, Cambridge.

He was the Member of Parliament for Warwickshire from 24 December 1746 to 10 November 1764.

In 1749 he married Jane, the daughter of the Rev. Rowland Berkeley of Cotheridge, Worcestershire but had no children. He succeeded his cousin, Fulwar Craven, as Baron Craven in 1764, inheriting and residing at Coombe Abbey in Warwickshire.

He was succeeded in turn by his nephew William Craven, 6th Baron Craven, the son of his brother John.

title: William Craven, 5th Baron Craven


text: File:Tennessee Temple University seal.jpg


text:
Talk:God Forbid

Vote for Deletion
This article survived a Vote for Deletion. The discussion can be found here. -Splash 00:49, 24 August 2005 (UTC)

That's insane. What a bunch of idiots. Don't delete this.

What twats wanted this deleted? I can't see any good reason for it. —Preceding unsigned comment added by 86.133.243.96 (talk) 16:41, 17 August 2009 (UTC)

metalcore?
god i hate this dumb genre,i guess any band can be it... I mean who made this page?... do you even listen to god forbid... where does emtacore come from...death metal my friend
 * They're not Death Metal, you need to go and look up about these genres as this is the 3rd page you've wrongly edited like this. XdiabolicalX 11:48, 9 August 2006 (UTC)
 * Then I guess I must've been dreaming when I saw them open for Death Metal bands Incantation, Vader & Morbid Angel in late June 1998 at the Birch Hill in Old Bridge, New Jersey. Reject the Sickness is indeed a death metal album & so is Out of Misery.--Hndsmepete 19:45, 16 August 2006 (UTC)

 * As a huge fan of this band, I also think that the death metal influence should be added in there somewhere. Hndsmepete is right about those early albums. The metalcore genre, however, is an acceptable label for this band. As much as I hate to say it, the metalcore influence is undeniable in their more recent albums. I have to mention that my hate for traditional metalcore and hardcore bands is limitless. God Forbid is different simply just doesn't suck at all. BTW they are also a self-proclaimed black metal band. --Dalenkwint 15:29, 11 April 2007 (UTC)

this band is a Death metal band. they started as a metalcore band but switched in "determination" if they were a metalcore band they would sound like a bunch of no talent teenage losers playing offbeat and hitting either random or the same notes on the guitar. in other words they would sound like "crap" instead of sounding like they wanted to kill you with music (which is how they sound now) —Preceding unsigned comment added by 67.67.69.148 (talk) 22:38, 5 December 2007 (UTC)

Yet again, another genre war :( Feral Mind (talk) 22:15, 23 March 2008 (UTC)
 * Another POINTLESS genre war. Do you guys even know what death metal sounds like?  God Forbid is, and always has been, metalcore.  And who they've opened for in the past has absolutely NO bearing on their genre.  Marilyn Manson opened for Slayer, that certainly doesn't make them thrash metal. 65.189.210.173 (talk) 10:43, 3 July 2008 (UTC)

They're almost certainly Melodic Metalcore with strong influences taken from Melodic Death Metal. There, problem solved. —Preceding unsigned comment added by 86.133.243.96 (talk) 16:39, 17 August 2009 (UTC)

They are a mixture of Melodeath and Metalcore with heavy Thrash influences. Kezian Avenger  18:02, 26 September 2009 (UTC)

Fair use rationale for Image:GodForbid.jpg
Image:GodForbid.jpg is being used on this article. I notice the image page specifies that the image is being used under fair use but there is no explanation or rationale as to why its use in this Wikipedia article constitutes fair use. In addition to the boilerplate fair use template, you must also write out on the image description page a specific explanation or rationale for why using this image in each article is consistent with fair use.

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If there is other other fair use media, consider checking that you have specified the fair use rationale on the other images used on this page. Note that any fair use images uploaded after 4 May, 2006, and lacking such an explanation will be deleted one week after they have been uploaded, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you.BetacommandBot 04:17, 5 June 2007 (UTC)

Fair use rationale for Image:God Forbid - IV.jpg
Image:God Forbid - IV.jpg is being used on this article. I notice the image page specifies that the image is being used under fair use but there is no explanation or rationale as to why its use in this Wikipedia article constitutes fair use. In addition to the boilerplate fair use template, you must also write out on the image description page a specific explanation or rationale for why using this image in each article is consistent with fair use.

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If there is other other fair use media, consider checking that you have specified the fair use rationale on the other images used on this page. Note that any fair use images uploaded after 4 May, 2006, and lacking such an explanation will be deleted one week after they have been uploaded, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you.BetacommandBot 04:17, 5 June 2007 (UTC)

Fair use rationale for Image:God Forbid - GF.jpg
Image:God Forbid - GF.jpg is being used on this article. I notice the image page specifies that the image is being used under fair use but there is no explanation or rationale as to why its use in this Wikipedia article constitutes fair use. In addition to the boilerplate fair use template, you must also write out on the image description page a specific explanation or rationale for why using this image in each article is consistent with fair use.

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Fair use rationale for Image:God Forbid - Determination.jpg
Image:God Forbid - Determination.jpg is being used on this article. I notice the image page specifies that the image is being used under fair use but there is no explanation or rationale as to why its use in this Wikipedia article constitutes fair use. In addition to the boilerplate fair use template, you must also write out on the image description page a specific explanation or rationale for why using this image in each article is consistent with fair use.

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If there is other other fair use media, consider checking that you have specified the fair use rationale on the other images used on this page. Note that any fair use images uploaded after 4 May, 2006, and lacking such an explanation will be deleted one week after they have been uploaded, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you.BetacommandBot 04:17, 5 June 2007 (UTC)

melodeath???
what the hell..theyre definitely not death metal, neither brutal, nor melodic. you know old In Flames and DT?? THAT is melodeath. i think that should be removed immediately.

Maybe if you're an annoying metal purist... —Preceding unsigned comment added by 86.134.55.230 (talk) 01:58, 21 August 2009 (UTC)

Citation for Genre
I have a citation for the thrash metal tag, but I'm not good enough with wikipedia to put it up. I put all the coding that I could throw together in here, http://allmusic.com/cg/amg.dll?p=amg&sql=10:jifrxqwdld6e, theres the link, could someone else throw it up? PEiP (talk) 21:04, 1 January 2008 (UTC)

WTF?
Melodic Thrash Metal is not a fucking genre.

External links modified
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title: Talk:God Forbid


text:
Talk:Beverley Mitchell

Untitled
She's engaged to MIchael Cameron, but someone put she is dating Trace Ayala(since of course everywhere (eebsite says she's engaged) and NO websites saying she dating) I am deleting it.(71.96.247.85 04:11, 17 February 2007 (UTC)).

replace the ugly picture with a better one, please --Eddie5000 20:18, 19 April 2007 (UTC)

She is still engaged to Michael Cameron, please stop removing this info. If you know different then provide a source proving that they broke up. —Preceding unsigned comment added by River4ever (talk • contribs) 16:32, 20 July 2008 (UTC)

Her website is saying that they were engaged in 2005, some sources are saying 2006, it's sort of confusing to know which is the real year. So, I guess you could say there are alot sources, but with different voices. -SwisterTwister (talk) 18:39, 20 July 2008 (UTC)

They got engaged on New Years Eve 2005 in Colorado, so of course it wasn't reported until January (early 2006), but that wasn't my point. My point is that they are still together, my information of their engagement is being wrongly removed, all because someone is claiming that they broke up, which there are NO sources to support this claim, they also told an utter lie that she announced it on her website, which she did nothing of the sort. —Preceding unsigned comment added by River4ever (talk • contribs) 19:52, 20 July 2008 (UTC)

title: Talk:Beverley Mitchell


text:
Talk:Full Blown Chaos

Vote for Deletion
This article survived a Vote for Deletion. The discussion can be found here. -Splash 00:49, 24 August 2005 (UTC)

Templates
I slapped a few templates on this article because the text is straight from the band's MySpace. I don't know enough about them to rewrite it, so I'm leaving it for someone else to rewrite. 71.201.120.42 00:16, 14 May 2007 (UTC)

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title: Talk:Full Blown Chaos


text:
File:Moods-of-marvin-gaye.jpg

Summary
Moods of Marvin Gaye

title: File:Moods-of-marvin-gaye.jpg


text: Talk:Heaven Shall Burn

title: Talk:Heaven Shall Burn


text:
David Shankle

David Lee Shankle (born March 7, 1962) is an American guitarist. He is known for his shred style of playing. Shankle was the guitarist for the heavy metal band Manowar from 1989 to 1995 and played on the album The Triumph of Steel. He was previously a member of the band Paradoxx with whom he appeared on the Chicago Class of '85 compilation, contributing the song "Night Ryder".

Today he leads his own band, the David Shankle Group. Shankle was endorsed by Dean Guitars. In 2009, he released his signature model, the DS7 "shred machine". This guitar is a seven-string model with 29 frets, EMG pickups, a custom active EQ also made by EMG and a Kahler tremolo system.

title: David Shankle


text:
Police and Criminal Evidence Act 1984

The Police and Criminal Evidence Act 1984 (c. 60) (PACE) is an Act of Parliament which instituted a legislative framework for the powers of police officers in England and Wales to combat crime, and provided codes of practice for the exercise of those powers. Part VI of PACE required the Home Secretary to issue Codes of Practice governing police powers. The aim of PACE is to establish a balance between the powers of the police in England and Wales and the rights and freedoms of the public. Equivalent provision is made for Northern Ireland by the Police and Criminal Evidence (Northern Ireland) Order 1989 (SI 1989/1341). The equivalent in Scots Law is the Criminal Procedure (Scotland) Act 1995.

PACE also sets out responsibilities and powers that can be utilized non-sworn members of the Police i.e. PCSOs, by members of the public or other government agencies e.g. FSA offiers, the armed forces, HMRC officers, et al.

PACE has been modified by the Policing and Crime Act 2017,  "which mean[s] that there is now a presumption that suspects who are released without charge from police detention will not be released on bail," a formality which was written in PACE 1984 Section 30A.

PACE established the role of the appropriate adult (AA) in England and Wales. It describes the AA role as "to safeguard the rights, entitlements and welfare of juveniles and vulnerable persons to whom the provisions of this and any other Code of Practice apply”.

Background
The 1981 Brixton riots and the subsequent Scarman report were key factors in the passage of the Act, which was brought in following recommendations set out by the Royal Commission on Criminal Procedure.

Prior to the introduction of PACE, police relied on stop and search powers that were 'piecemeal'. Such powers included those within the Vagrancy Act 1824, which developed 'sus' laws. These powers allowed police to stop a person found 'loitering' in a public place, if they suspected they had an intention to commit an offence, rather than a belief that they had committed an offence.

The Scarman report found that black people were having 'stop and search' powers disproportionately used against them. A notable example of this was at the 1976 Notting Hill Carnival, where there was a perceived threat of 'black' crime, resulting in the police justifying using 'sus' laws inappropriately, including 'flooding' resources into the area. This resulted in violence.

Furthermore, high-profile miscarriages of justice, including three innocent youths being imprisoned for allegedly murdering a mixed-raced male prostitute named Maxwell Confait, as well the Birmingham Six showed there was a requirement for police accountability.

In 1979, the government appointed a Royal Commission on Criminal Procedure, with Sir Cyril Phillips noting that in the 20th century, no review had been complete of police processes.

In 1981, the Royal Commission reported how stop and search powers had been used in an 'unsatisfactory' manner. The report proposed that across England and Wales, there should be powers and safeguards that were uniform, with the aim being to reduce the level of searches that were random and discriminatory.

The purpose of PACE was to unify police powers under one code of practice and to balance carefully the rights of the individual against the powers of the police.

Synopsis
Although PACE is a fairly wide-ranging piece of legislation, it mainly deals with police powers to search an individual or premises, including their powers to gain entry to those premises, the handling of exhibits seized from those searches, and the treatment of suspects once they are in custody, including being interviewed. Specific legislation as to more wide-ranging conduct of a criminal investigation is contained within the Criminal Procedures and Investigation Act 1996.

Criminal liability may arise if the specific terms of the Act itself are not conformed to, whereas failure to conform to the codes of practice while searching, arresting, detaining or interviewing a suspect may lead to evidence obtained during the process becoming inadmissible in court.

PACE also introduces various Codes of Practice, one of the most notable being an arrest without warrant can only be lawful if the necessity test contained within Code G of PACE is met.

PACE was significantly modified by the Serious Organised Crime and Police Act 2005. This replaced nearly all existing powers of arrest, including the category of arrestable offences, with a new general power of arrest for all offences.

PACE is applicable not only to police officers but to anyone with conduct of a criminal investigation including Her Majesty's Revenue and Customs and to military investigations conducted by service police. Any person with a duty of investigating criminal offences or charging offenders is also required to follow the provisions of the PACE codes of practice as far as practical and relevant.

Despite its safeguards, PACE was extremely controversial on its introduction, and reviews have also been controversial, as the Act was thought to give considerable extra powers to the police.

With the conjunction of the Inland Revenue and HM Customs and Excise into Her Majesty's Revenue and Customs (HMRC), HMRC essentially gained extra powers since Customs and Excise had a statutory right of entry into a private dwelling, that is to say they were allowed to break and enter without reason, but the Inland Revenue did not. PACE and its subsequent enactments limits that.

Various other government agencies including TV Licensing, the Royal Mail, BT Group (from its days of being spun off from General Post Office Telephones) and about seventeen others also have a statutory right of entry. One intent of PACE and its successors is to prevent the abuse of this right, or remove it entirely, to balance the privacy of the individual against the needs of the State.

Part I - Powers to Stop and Search
Part I provides police powers to stop and search a person or vehicle.

Section 1 - Power of constable to stop and search persons, vehicles etc
Notably, Section 1 outlines that a constable has a power to search any person or vehicle for stolen or prohibited articles, including:

 * Offensive weapons (an item made, intended or adapted for use as a weapon)
 * Fireworks (possessed in contravention of a prohibition imposed by fireworks regulations, e.g. Fireworks Act 2003)
 * Prohibited items (used in the commission of the offences of):
 * Burglary
 * Theft
 * Taking a vehicle without consent (s12 Theft Act 1968)
 * Fraud (s1 Fraud Act 2006)
 * Criminal Damage (s1 Criminal Damage Act 1971)
 * Wilful obstruction (s137 Highways Act 1980)
 * Intentionally or recklessly causing public nuisance (s78 Police, Crime, Sentencing and Courts Act 2022)
 * Causing serious disruption by tunnelling (s3 of PCSCA 2022)
 * Causing serious disruption by being present in a tunnel (s4 PCSCA 2022)
 * Obstruction etc. of major transport works (s6 PCSCA 2022)
 * Interference with use or operation of key national infrastructure (s7 PCSCA 2022)

Part II - Powers of Entry, Search and Seizure
Part II of the Act relates to the police's powers in relation to entering and searching a location, as well as the seizure of items

Section 8 - Power of justice of the peace to authorise entry and search of premises
This section provides that a constable can make an application for a warrant to a justice of the peace to enter and seize items from a premises, on the reasonable grounds they believe:

 * An indictable offence has been committed
 * There is material on the premises with substantial value to the investigation of that offence and that evidence is also relevant
 * The evidence doesn't include items subject to legal privilege, excluded material or special procedure (e.g. letters between a person and a solicitor)
 * That it isn't practicable for police to gain entry by communicating with a person who can provide them access or that they could, but doing so wouldn't be practicable (e.g. a person may destroy evidence if they were aware of the police's search)
 * That police won't gain entry unless a warrant is issued or the purpose of the search would be interrupted unless they can enter the premises immediately

Section 17 - Entry for purpose of arrest etc
This provides that a constable can enter a premises under the following circumstances, if they are:

 * Executing a warrant in relation to criminal proceedings or enforcing the payment of sums (contrary to s76 of the Magistrates' Courts Act 1980)
 * Arresting a person for an indictable offence
 * Arresting a person 'unlawfully at large', who is liable to be detained in prison, young offender institution, secure training centre or college or arresting a child or young person guilty of 'grave crimes' (s260 Sentencing Code)
 * Arresting (e.g. recapturing) a person unlawfully at large (e.g. escaped from lawful custody)
 * Saving life or limb
 * Preventing serious damage to property
 * Arresting any child or young person who has been remanded (whether to local authority accommodation or youth detention)
 * Arresting a person for:
 * Prohibition of uniforms in connection with political objects (Public Order Act 1936)
 * Offences relating to entering and remaining on property (s6 to s8 of the Criminal Law Act 1977)
 * Fear or provocation of violence (s4 Public Order Act 1986)
 * Driving etc. when under the influence of drink or drugs (s4 Road Traffic Act 1988)
 * Failing to stop (s163 Road Traffic Act 1988)
 * Offences involving drink or drugs (s27 Transport and Works Act 1992)
 * Failure to comply with interim possession order (s76 Criminal Justice and Public Order Act 1994)
 * Offences relating to the prevention of harm to animals (s4, 5, 6(1) and (2), 7 and 8(1) and (2) Animal Welfare Act 2006)
 * Squatting in a residential building (s144 Legal Aid, Sentencing and Punishment of Offenders Act 2012)
 * The landing or attempted landing of any animal (or importation or attempted importation through the tunnel system defined in the Channel Tunnel Act 1987 of any animal) that has been prohibited to prevent the introduction of rabies into Great Britain (s61(2)(a) Animal Health Act 1981)
 * Failing to have control or be in charge of any vessel or boat to prevent the introduction of rabies into Great Britain (s61(2)(b) Animal Health Act 1981)
 * Moving any animal into, within or out of a place or area to be declared to be infected with rabies (s61(2)(c) Animal Health Act 1981)
 * Failing to attend a police station at a specified time to answer bail (s30D(1) or (2A) Police and Criminal Evidence Act 1984)
 * Failing to answer bail (s46A(1) or (1A) Police and Criminal Evidence Act 1984)
 * Failure to surrender to custody in accordance with a court order (s5B(7) Bail Act 1976)
 * Person not likely to surrender to custody (s7(3) Bail Act 1976)
 * Child suspected of breaking conditions of remand (s97(1) Legal Aid, Sentencing and Punishment of Offenders Act 2012)

PACE did not effect a constable's power under Common Law, to enter a location to deal with or to prevent a breach of the peace.

Section 18 - Entry and search after arrest
This section provides that a constable may enter the premises of a person who has been arrested for an indictable offence, if they reasonably suspect that there is evidence that relates to the offence they have been arrested for or another indictable offence, connected with or similar to that offence.

A constable cannot use this power unless authorised by an officer at the rank of Inspector or above. This authorisation may be at the time or afterwards, where a constable must inform an authorising officer 'as soon as practicable'.

Section 19 - General power of seizure etc
This section provides that police have a general power of seizure, if they are lawfully on a premises. They may seize anything they reasonably believe has been obtained as a result of an offence having been committed (e.g. stolen property or drugs) and that it is necessary to seize it to prevent it's concealment, loss, damage, alteration or destruction (e.g. drugs being hidden and therefore evidence being lost). This does not include items of legal privilege, even if an officer believes that seizure would guarantee it's safety.

Section 22 - Retention
This section provides that police may retain an item seized under section 19 as long as they require, so long as it's necessary in 'all the circumstances', such as for evidence at court, for further investigation, e.g. forensic examination or to ascertain the lawful owner of the item (if there are reasonable grounds to believe the item was obtained as the result of an offence).

This section does not allow for any items seized for a person that is not evidential to be retained when they are no longer in custody.

Section 24 - Arrest without warrant: constables
This section provides that a constable may arrest a person, without requiring a warrant if:

 * A person is about to commit an offence
 * A person in the act of committing an offence
 * The constable reasonably suspects a person is about to commit an offence
 * The constable reasonably suspects a person is committing an offence
 * A person guilty of an offence, if an offence has been committed
 * A person the constable reasonably suspects is guilty of having committed an offence

The section provides that a constable must have reasonable grounds to believe that it is necessary to arrest a person in order to:

 * Ascertain their name
 * Ascertain their address
 * Prevent them from:
 * Causing physical injury to themselves or another person
 * Suffering physical injury
 * Causing loss of or damage to property
 * Committing an offence against public decency (if members of the public going about 'normal business' cannot 'reasonably be expected to avoid the person')
 * Causing an unlawful obstruction of the highway
 * Protect a child or other vulnerable person from the person
 * Allow the prompt and effective investigation of the offence or of the conduct of the person
 * Prevent prosecution being hindered by the person disappearing

Section 24A - Arrest without warrant: other persons
This section provides that a person who is not a constable (such as a member of the public), can arrest a person, in certain circumstances. This relates to citizen's arrests (however, the term later became inapplicable, following the Serious Organised Crime & Police Act 2005, which 'abolished the statutory concept of the "arrestable offence"').

It allows a member of the public to arrest a person in the act of committing an indictable offence or that they reasonably suspect is committing an indictable offence, as well as a person guilty of an offence or who the member of the public reasonably suspects to be guilty of committing the offence.

Section 28 - Information to be given on arrest
This section provides that when a person is arrested, as soon as it is 'reasonably practicable', they should be provided with information regarding their arrest. This includes:

 * That they are under arrest
 * The ground of the arrest (for example, telling a person that CCTV had caught them stealing an item from a shop, giving the 'ground' of the arrest for theft).

Section 29 - Voluntary attendance at police station etc
This section provides information about what should happen when a person attends a voluntary interview. Voluntary interviews are conducted similar to a person who has been arrested, albeit, they are arranged at a date, time and place after an offence has occurred, where arrest is either not possible (due to necessity criteria not being made out), or on the officer's decision.

Despite being called a 'voluntary' interview, a person could be subject to arrest if they fail to attend the interview, as the purpose of such an interview is to assist police with their investigation.

The section explains that a person must be told that they are able to leave the interview at any time (unless they are arrested) and that if a police officer decides to arrest them, the person must be informed that they are under arrest.

Section 31 - Arrest for further offence
This section provides that whilst a person has been arrested and is at a police station regarding that offence and another offence is discovered that he would be arrested for, a constable shall arrest him for that other offence.

For example, it may be that a person is initially arrested on suspicion of theft from a shop, where CCTV later emerges whilst they're in custody of them stealing from another shop before their arrest. Subsequently, they would be arrested for that previous shoplifting.

Section 32 - Search upon arrest
This section provides that a constable, having established reasonable grounds, may search an arrested person, in any place other than a police station (this is covered by s54 PACE 1984).

The search can only be conducted if the constable reasonably believes that the arrested person may present a danger to themselves or others, allowing a constable to search them for items that may assist them from escaping from 'lawful custody' or that may be evidence relating to an offence.

If a person has been arrested for an indictable offence, then the officer may enter and search any premises they were in immediately before they were arrested, to search for evidence in relation to the offence they have been arrested for.

Section 54
This section provides that a custody officer at a police station is responsible for ascertaining all the items an arrested person has on them, with these items being recorded.

The custody officer may seize and retain any of the items. Clothes and other personal items may only be seized if the custody officer believes the person they are seized from may use the clothing or items to:

 * cause physical injury to himself or anyone else
 * damage property
 * interfere with evidence; or
 * assist them in escaping

The custody officer may also seize an item if they have reasonable grounds to believe that the item may be evidence that relates to an offence.

An arrested person must be told the reason for items being seized, unless they are violent or likely to become violent or are incapable of understanding information explained to them.

PACE Codes of Practice
The Home Office and the Cabinet Office announced a joint review of PACE and its codes of practice in May 2002, and on 31 July 2004, new PACE Codes of Practice came into effect. Following a further review in 2010, PACE Codes A, B and D were re-issued to take effect on 7 March 2011. On 1 January 2006 an additional code came into force: On 24 July 2006 a further code came into force:
 * PACE Code A: deals with the exercise by police officers of statutory powers to search a person or a vehicle without first making an arrest. It also deals with the need for a police officer to make a record of such a stop or encounter. On 1 January 2009, Code A was amended to remove lengthy stop and account recording procedures, requiring police to only record a subject's ethnicity and to issue them with a receipt.
 * PACE Code B: deals with police powers to search premises and to seize and retain property found on premises and persons.
 * PACE Code C: sets out the requirements for the detention, treatment and questioning of people in police custody by police officers. It replaced the Judges' Rules in England and Wales.
 * PACE Code D: concerns the main methods used by the police to identify people in connection with the investigation of offences and the keeping of accurate and reliable criminal records.
 * PACE Code E: deals with the tape recording of interviews with suspects in the police station.
 * PACE Code F: deals with the visual recording with sound of interviews with suspects.
 * PACE Code G: deals with statutory powers of arrest.
 * PACE Code H: deals with the detention of terrorism suspects.

Case law
In the case of Osman v. Southwark Crown Court (1999), the search of Osman was held to be unlawful because the officers searching him did not give their names and station, contrary to PACE's requirements.

In O'Loughlin v. Chief Constable of Essex (1997), the courts held that the entry of a premises under section 17 PACE to arrest O'Loughlin's wife for criminal damage was unlawful because under PACE, anyone present on the premises must be given the reason for entry.

In the case of Christopher James Miller v. Director of Public Prosecutions (2018) Mr. Miller's conviction for drug driving was revoked because West Midlands Police had breached Code C of PACE by not providing an appropriate adult, despite him telling officers that he had Asperger's syndrome and being aware from his previous interactions that he had Asperger's.

IPCC Investigation 2012/011560 - A breach of Code C of PACE occurred in 2012 when a vulnerable 11-year-old girl Child H with a neurological disability similar to autism who was denied an appropriate adult at Crawley Police Station, after she was arrested in Horsham on 4 separate occasions for minor offences between February and March 2012. Sussex Police referred the complaint to IPCC and accepted the IPCC recommendations.

However, not all cases have gone against the police; in R. v. Longman (1988), it was held that the police entry of a premises to execute a search warrant for drugs was lawful, although deception had been utilised to gain entry, and, upon entering, the police had not identified themselves or shown the warrant.

title: Police and Criminal Evidence Act 1984


text:
Talk:Jeffrey Skinner

Vote for Deletion
This article survived a Vote for Deletion. The discussion can be found here. -Splash 00:52, 24 August 2005 (UTC)

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Help?
I'm Jeffrey Skinner. My Wikipedia page was created around twenty or more years ago; I don't know who created it. But it is now very out of date, and I've been trying to follow the directions for revising it. I'm finding them confusing and labyrinthine. If someone who is familiar with the editing system can help me I'd much appreciated it. I'll put my updated bio here. It's not "sourced," but each item in it is (I think) easily verifiable. Thanks in advance to anyone who can help me out.

bio 			           Jeffrey Skinner			  	poet/playwright

Poet, playwright, and essayist Jeffrey Skinner has been awarded a 2014 Guggenheim Fellowship in Poetry. Skinner’s Guggenheim project involves a conflation of contemporary physics, poetry, and theology. He served as the June, 2015 Artist in Residence at the CERN particle accelerator in Geneva, Switzerland. In 2015 he was awarded one of eight American Academy of Arts & Letters Awards, for exceptional accomplishment in writing. His most recent prose book, The 6.5 Practices of Moderately Successful Poets, was published to wide attention and acclaim, including a full page positive review in the Sunday New York Times Book Review. His most recent collection of poems, Chance Divine, won the Field Poetry Award, and was published in February, 2017. His previous book of poems, Glaciology, was chosen in 2012 as winner in the Crab Orchard Open Poetry Competition, and published by Southern Illinois University press in Fall, 2013. Salmon Poetry, a literary press out of Ireland, will bring out his I Offer This Container: New & Selected Poems, also in 2017. Skinner has published five other collections: Late Stars (Wesleyan University Press), A Guide to Forgetting (a winner in the 1987 National Poetry series, chosen by Tess Gallagher, published by Graywolf Press), The Company of Heaven (Pitt Poetry Series), Gender Studies, (Miami University Press), and Salt Water Amnesia (Ausable Press). He has edited two anthologies, Last Call: Poems of Alcoholism, Addiction, and Deliverance; and Passing the Word: Poets and Their Mentors. His numerous chapbooks include White Boys from Hell, C & R Press, 2018, and Salt Mother, Animal Dad, which was chosen by C.K. Williams for the New York City Center for Book Arts Poetry Competition in 2005. Over the years Skinner’s poems have appeared in most of the country’s premier literary magazines, including The New Yorker, The Atlantic, The Nation, The American Poetry Review, Poetry, FENCE, Bomb, DoubleTake, and The Georgia, Iowa, and Paris Reviews. Also a playwright, Skinner’s play Down Range had a successful runs in New York City, Chicago, and Harrisburg PA. His play Dream On had its premier production in February of 2007, by the Cardboard Box Collaborative Theatre in Philadelphia. Other of Skinner’s plays have been finalists in the Eugene O’Neill Theater Conference competition, and winners in various play contests. Skinner’s writing has gathered grants, fellowships, and awards from such sources as the National Endowment for the Arts (1986, & 2006), the Ingram Merrill Foundation, the Howard Foundation, and the state arts agencies of Connecticut, Delaware, and Kentucky. He has been awarded residencies at Yaddo, McDowell, Vermont Studios, and the Fine Arts Center in Provincetown. His work has been featured numerous times on National Public Radio. Skinner served as Poet-in-Residence at the James Merrill House in Stonington, Connecticut, at the Frost House in Franconia, New Hampshire, and for the Arts Festival in Kildare County, Ireland. He is President of the Board of Directors, and Editorial Consultant, for Sarabande Books, a literary publishing house he cofounded with his wife, poet Sarah Gorham. He teaches creative writing and English at The University of Louisville. — Preceding unsigned comment added by 96.28.166.178 (talk) 13:53, 5 July 2020 (UTC)
 * Hello, Jeffrey Skinner.I see you edited at the teahosue using the account . At least I presume that this is the same person editing here.
 * I see that you want this article updated and accurate, and so do we. But Wikipedia articles need to be verifiable which generally means that [they must cite some reliable; sources as a basis for their content. Could you please:
 * Break up the issues where an update is needed into several specific items where the article is now out of date, in each case indicating the specific changes need; and,
 * for each such change, supply one or more reliable sources that support it? If the sources are online that will make things easier and faster, but that is not required. DES (talk)DESiegel Contribs 22:05, 6 July 2020 (UTC)

title: Talk:Jeffrey Skinner


text:
User:Ordos45

Just created this account because I always browse Wikipedia, and someone sent some accusations at an IP address that wasn't mine, and the messages came to me. It recommended creating an account to stop the confusion, so I did.

title: User:Ordos45


text: Category:Governors of Baja California Sur


text:
Frozen Television

Frozen Television was a television production company specializing in documentaries and entertainment programming. Frozen Television was founded by Burt Kearns and Brett Hudson and was affiliated with the motion picture production company, Frozen Pictures.

It closed in 2012. Kearns now runs productions through his Good Story Productions.

Projects

 * Adults Only: The Secret History of The Other Hollywood for Court TV
 * The Secret History of Rock 'n' Roll with Gene Simmons for Court TV
 * All The Presidents' Movies with Martin Sheen for Bravo
 * My First Time for Showtime

title: Frozen Television


text:
Lady Death

Lady Death is a fictional goddess appearing in American comic books published by Coffin Comics. Created by Brian Pulido, Lady Death first appeared in Evil Ernie #1 in December 1991.

Lady Death then reappeared in the Evil Ernie: The Resurrection miniseries published by Pulido under his now-defunct company Chaos! Comics in 1994. The character was also the subject of a full-length animated feature film released in July 2004 by ADV Films.

Incarnations of the character have been illustrated by such comic book artists as Steven Hughes, Mike Deodato, Jr., Romano Molenaar, Dheeraj Verma and Ivan Reis. Brian Pulido has optioned publishing licenses through various independent companies such as Avatar Press. As of 2016, Lady Death was published by Pulido's Coffin Comics, LLC.

In addition, Lady Death has been depicted in artworks by a number of well-known fantasy artists such as Dorian Cleavenger, Gerald Brom, Boris Vallejo, Joe Jusko and Julie Bell.

Publication history
Lady Death was originally published by Chaos Comics and remains one of the best examples of the bad girl titles that took the American comic book industry by storm during the late 1990s. The earliest issues of Lady Death were written by Brian Pulido and illustrated by Steven Hughes. Lady Death was originally conceived as a violent anti-hero, but subsequent iterations have toned down the more controversial aspects of the character.

In August 2002, Chaos! Comics filed for Chapter 7 bankruptcy and the intellectual property rights to Lady Death were sold to CrossGen Entertainment. Pulido continued to work on Lady Death for Crossgen, creating a new series titled Medieval Lady Death that was released in February 2003. This version of Lady Death made substantial changes to the character in an attempt to capture a larger mainstream audience.

Despite Medieval Lady Death enjoying reasonable sales, CrossGen Entertainment ran into financial difficulties of its own and filed for Chapter 11 bankruptcy in June 2004, in Tampa, Florida. During the bankruptcy proceedings, the rights to Lady Death were sold to Avatar Press. The other Chaos! Comics properties were sold to Tales of Wonder.

In 2004, a feature-length animated motion picture based upon the original version of Lady Death was released. Produced by ADV films, the Lady Death animated feature premiered at Comic-Con International in San Diego on July 23, 2004. The film was poorly received and was not a major financial success.

In July 2005, Avatar Press unveiled a new version of Lady Death. Both Medieval Lady Death as well as the Classic Lady Death were published in separate series. Pulido wrote both series, which featured art by several Avatar Press artists, including Juan Jose Ryp, Daniel HDR, Richard Ortiz, Ron Adrian, Di Amorin and Gabriel Guzman.

In 2010, Avatar Press created a separate imprint, Boundless, to publish new comics starring the character later that year. Pulido and Mike Wolfer wrote the ongoing series.

In 2015, Pulido launched new Lady Death stories via Kickstarter and later in April 2016, Pulido began publishing new stories under his company Coffin Comics, LLC.

The first Lady Death
Lady Death originated as a hallucination by a troubled boy named Ernest "Ernie" Fairchild. Ernie believed Lady Death was his dream girl: a violent, sexy supervillain. She promised to "love Ernie forever" in exchange for his loyalty and a vow to kill everyone on Earth. Initially, Lady Death's appearances in Ernie's stories were that of a muse and confidant. Eventually it is revealed that she is her own demonic entity. Her true intentions and her past remained a mystery. As Ernie's story progressed, Lady Death moved on to being the protagonist of her own.

Classic Lady Death
The setting for the original Lady Death comic was medieval Sweden. The woman who would become Lady Death was born a mortal named Hope. Her father was a local nobleman named Matthias who was despised by the peasants as a cruel tyrant for forcibly conscripting peasants into military service as feudal levies. The exact nature of the war that Matthias was prosecuting is not specified, although evidence from the recent revision of the character by Avatar Press suggests that it may have been one of the Northern Crusades (also known as the Baltic Crusades).

Unknown to his innocent daughter, Matthias had a dark secret. Although congratulated by the Church for his work against the pagans and was outwardly pious, Matthias secretly dabbled in black magic and demonology. He was actually a descendant of the fallen angels who had led the rebellion against God. By contrast, Hope's mother was a woman so pure and innocent that her bloodline reached Heaven. Hope's mother died when Hope was still in her late teens, and she was left to live with her father.

Eventually, Matthias' cruelty triggered a peasant uprising. Matthias narrowly escaped death at the hands of the rebels by summoning a demon, but Hope was captured by the rebels and accused of witchcraft. Faced with the prospect of execution by burning at the stake, Hope uttered an incantation that she had overheard her father use. This incantation summoned a demon who offered her a bargain – he would rescue her from death if she would renounce her humanity and serve the powers of Hell. Hope accepted the bargain and was transported into the infernal realms.

Once in Hell, Hope became entangled in a civil war that was raging between Lucifer and an army of renegade devils led by a powerful sorcerer. Hope was devastated when she learned that the ambitious sorcerer challenging Lucifer for the control of Hell was her own father.

Gradually corrupted by the nature of her surrounding, Hope was tainted with evil. She allied herself with an exiled craftsman who forged weapons for the infernal armies. While speaking to him, she declared that the innocent woman she had once been was dead and that she would henceforth only be known as Lady Death.

In her new persona, Lady Death led an uprising against the Lords of Hell. During the final battle, Lucifer cursed her never to return to Earth while the living walked. Lady Death swore an oath that she would circumvent Lucifer's curse by exterminating all life on Earth.

Lady Death finally ended Lucifer's control over her by casting him through Heaven's Gate (a place where evil cannot go), and in doing so became the new ruler of Hell. Many of the beings living in hell believe that the ascension of Lady Death signaled the beginning of the age of judgment – the final battle between good and evil for the fate of the Earth.

Classic Lady Death at Avatar Press
Avatar Press began publishing Lady Death titles in 2005. Since they only have the rights to Lady Death alone, and not the rest of the Chaos! Comics characters that were intertwined with her original story, Lady Death has been given a new origin story, with notable differences to the story told at Chaos! Comics.

Hope is the daughter of Mary and Marius. Marius is a crusader who has been waging endless campaigns against the pagans, always returning with only his most loyal soldiers, while the peasant levies were slaughtered. This angered the survivors.

Hope, realising that her father has changed and is no longer the man he once was, follows him into the dungeons, with her mother close behind. The townsfolk meanwhile batter down the gates and invade the castle, intent on revenge. Hope discovers her father summoning dark wraiths, and sacrificing the souls of countless peasants in exchange for a kingdom in The Labyrinth. The wraiths refer to her father as Sagos.

Sagos grabs hold of Mary, revealing that he has possessed Marius' body, and they disappear through the portal, leaving Hope behind. Cheated of their revenge, the villagers decide to burn Hope at the stake as a witch. Not wishing to die, Hope casts the spell she overheard her father cast, and summons the wraiths herself. The wraiths agree to transport her through the portal, if she forsakes her humanity and pledges her soul to The Labyrinth. Hope passes through the portal, her skin and hair turning albino in the process (the mark of all those who willingly choose to pass through the portal), and finds herself in the Blacklands.

There she encounters Wargoth, who observes her uncontrolled and instinctive use of magic, and agrees to help her destroy Sagos and rescue her mother. He recruits the sorceress Satasha to teach Hope spellcraft. Wargoth also teaches her how to fight, but every weapon she wields melts in her hand due to her uncontrolled energy.

Over the next two years, Lady Death and her companions fight through the Blacklands, hunting for Sagos. All the while Sagos' undead army destroys and converts the cities of the Blacklands. Eventually, Lady Death and her companions track Sagos down to a temple in Karrion, where they discover Sagos holding Lady Death's mother in chains. Sagos defeats them easily and brings the temple down around them. Lady Death digs herself out and is attacked by Nameless Wolves, slaying all but two of them. These two wolves become her companions.

In the city of Asuwa, Lady Death recovers the sword Deathbringer, which was specially made for her by Satasha and The Silent One. Deathbringer is able to withstand her energies without being destroyed, and allows her to channel her magic through it.

Lady Death then bathes in the Fanghorn river, which grants knowledge of elemental magic to those who survive the experience. She uses this power to save Satasha's home city from destruction, but learns that Sagos does not plan to just conquer the Blacklands, but to wipe out all life, and that he has the means to do it.

Chaos! Comics
Series published by Chaos! Comics include:

 * The Reckoning #1-3, 1/2 (1994)
 * Lady Death Swimsuit Special (1994 pin-up edition)
 * Lady Death in Lingerie (1995 pin-up edition with various artists)
 * Between Heaven & Hell #1-4 (1995)
 * Chaos Quarterly 1 (1995)
 * Chaos Quarterly 2 (1996)
 * Chaos Quarterly 3 (1996)
 * The Odyssey #1-4 (1996)
 * The Crucible 1/2, 1-6 (1996)
 * Death Becomes Her (1997)
 * Wicked Ways (1998)
 * The Harrowing (1998)
 * The Covenant (1998)
 * Dragon Wars (1998)
 * Retribution (1998)
 * Inferno (1999)
 * The Rapture #1-4 (1999)

 * Judgement War #1-3 (1999)
 * Armageddon (1999)
 * Dark Millennium #1-3 (2000)
 * Tribulation #1-4 (2000)
 * Love Bites (2001)
 * Mischief Night (2001)
 * River Of Fear (2001)
 * Alive #1-4 (2001)
 * Last Rites (2001)
 * Lady Death/Chastity (2002)
 * Heartbreaker (2002)
 * Lady Death & Jade (2002)
 * The Gauntlet #1-2 (2002)
 * Goddess Returns #1-2 (2002)
 * Dark Alliance $1-3 (2002, final series from Chaos – incomplete)

CrossGen Comics
Series published at CrossGen:
 * A Medieval Tale (2003)
 * The Wild Hunt (2004; incomplete)

Avatar Press
Avatar Press published two versions of Lady Death: the Classic version (revamped slightly due to her separation from the Chaos! Comics universe), and Medieval Lady Death (the all-ages version from "A Medieval Tale" published at CrossGen).

 * Classic Lady Death:
 * Abandon All Hope (2005)
 * Death Goddess (2005)
 * The Wicked (2005)
 * Dead Rising (*) (2004)
 * Infernal Sins (*) (2006, special art & previews of future issues)
 * Lost Souls (crossover between Lady Death, War Angel, Pandora, and Unholy; 2005–2006)
 * Lady Death vs War Angel (sequel to Lost Souls)
 * Lady Death vs Pandora (conclusion to Lost Souls trilogy)
 * Lady Death / Shi
 * Sacrilege
 * Annual 2006
 * Blacklands (2006–2007)
 * 2005 Bikini Special (*) (2005)
 * Leather & Lace (*) (2005)
 * Swimsuit 2005 (*) (2005)
 * Fetishes (*) (2006)
 * 2007 Swimsuit Special (*) (2007)
 * The Art of Juan Jose Ryp (*) (2007)
 * Warrior Temptress (*) (2007)
 * Pirate Queen (*)
 * (*)=To be read in no particular order.

 * Medieval Lady Death:
 * Medieval Lady Death (2005)
 * Medieval Lady Death/Belladonna (2005)
 * Medieval Lady Death: War of the Winds (2006–2007)

Boundless Comics

 * Lady Death Series (2010-2013)
 * Origins Cursed (2012)
 * Origins (2015)
 * Lady Death Apocalypse (2015)

Coffin Comics

 * Lady Death Rules! Vol. I (collects Lady Death Rules! #1-3: Chaos Rules, Damnation Game and Extinction Express)
 * Lady Death Rules! Vol. II (collects Lady Death Rules! #4-7: Oblivion Kiss, Merciless Onslaught, Unholy Ruin and Apocalyptic Abyss)
 * Lady Death Rules! Vol. III (collects Lady Death Rules! #8-10: Nightmare Symphony, Scorched Earth and Blasphemy Anthem)
 * Malevolent Decimation (May 2020)
 * Treacherous Infamy (November 2020)
 * Cataclysmic Majesty (June 2021)
 * Sacrificial Annihilation (December 2021)
 * Hellwitch Vs. Lady Death: Wargasm (March 2022)
 * Necrotic Genesis (July 2022)
 * Diabolical Harvest (January 2023)
 * Cybernetic Desecration (August 2023)
 * Imperial Requiem (January 2024)
 * Demonic Omens (August 2024)
 * La Muerta/ Lady Death: Inferno! (October 2024)

Lady Death: The Motion Picture
Lady Death: The Motion Picture was released in 2004 by ADV Films.

The movie begins in 15th century Sweden, where Hope, the beautiful daughter of Matthias, a skilled mercenary who is in actuality a demon, is accused of being the devil's consort. Sentenced by the town priest to be burned at the stake, Matthias, through his proxy, the jester Pagan, offers her life if she surrenders herself to him and joins him in Hell. Matthias's plan to corrupt her is met with unanticipated resistance, as Hope rejects his scheme and eventually finds herself transformed into the powerful warrior Lady Death, who challenges Lucifer for control of Hell itself.

Many of the events from the comics are altered in the animated film. Instead of summoning a demon with whom she bargains for her life, Hope's spell summons a pair of flying demons that carry her physically to Hell (restoring her badly burned body in the process), dropping her in the court of her father, who intends for her to join him by his side. When she refuses, he casts her out, only for her to side with the master blacksmith Cremator, an escaped slave of his, and to lead an army of hellspawn creatures against him. In this continuity, her curse is to be trapped in Hell for as long as one of Lucifer's allies remains alive. Unlike in the comic, Lady Death is presented as more of a heroine whose goal isn't to destroy all life on Earth, but to liberate Hell from Lucifer's tyranny.

Accolades
The character was ranked 39th in Comics Buyer's Guide's "100 Sexiest Women in Comics" list.

title: Lady Death


text: User talk:212.10.39.20

title: User talk:212.10.39.20


text:
Nowshahr

Nowshahr is a city in the Central District of Nowshahr County, Mazandaran province, Iran, serving as capital of both the county and the district. It is a port city on the southern coast of the Caspian Sea.

History
Ruyan is a region in the west of Mazandaran province. This land includes Kojur, Kalārestāq and Tonekabon. The city of Kojur was the center of the land of the Ruyans. Ruyan has always been part of Tabaristan, nowadays called Mazandaran province. Ruyan was also called Rostamdār, Ostandār and Rostamdele.

The city of Chalus and its associated towns and villages were part of the Nowshahr township prior to 1996, after which they formed the new township of by legislation from the national parliament.

Language and ethnicity

The largest ethnic group in Nowshahr is the Mazandarani people and they speak the Kojuri dialect of the language. They are also fluent in Persian, the official language of Iran.

Population
At the time of the 2006 National Census, the city's population was 40,578 in 11,550 households. The following census in 2011 counted 43,378 people in 12,695 households. The 2016 census measured the population of the city as 49,403 people in 16,287 households.

Climate
Nowshahr has a humid subtropical climate (Köppen: Cfa, Trewartha: Cf), with warm, humid summers and cool, damp winters.

Industry
The city has been slow to industrialize due to environmental considerations and having an already vibrant economy based on tourism, ship transport and agriculture. Nevertheless there are local food processing, timber treatment and steel industries. Recently, a trailer assembly plant has opened in cooperation with the MAZ of Belarus.

Port facilities
The Dual-use port of Noshahr was built by a Dutch contracting firm in late 1920s and is one of the most active ports of Iran in the Caspian Sea.

Transportation
Noshahr Airport, previously an army airbase and currently a civilian-only airport is located on the western part of the city.

Tourism
With its humid, subtropical climate, sea bathing in the waters of the Caspian, and the natural environment of its mountains, Nowshahr has long been a destination for domestic tourism in Iran. It attracts visitors by the hundreds of thousands every year to its hotels and private villas, by virtue of its transport links with the other cities of Northern Iran. During the reign of Mohammad Reza Shah Pahlavi Nowshahr was known unofficially as the 'second capital' or 'summer capital' of Iran because it was the city in which the Shah and most high-level government officials chose to live and work during the summer months.

Sports and leisure
Noshahr was home the Shamoushak who competed in the Persian Gulf Pro League from 2003 to 2006. Shamoushak folded its football team in 2013.

Universities
The city is home to Imam Khomeini University for Naval Sciences, some branches and campuses of Azad University of Nowshahr and Chalus, and Royan Institute of Higher Education.

Notable people

 * Pooran Farrokhzad (b. 1933) – poet
 * Mohammad Rouyanian (b. 1960) – member of IRGC
 * Mohsen Ashouri (b. 1965) – football player
 * Parviz Shiva (b. 1963) – Businessman
 * Reza Sheykholeslam (b. 1967) – politician
 * Kianoush Rahmati (b. 1978) – football player
 * Rahman Ahmadi (b. 1980) – football player
 * Hassan Rangraz (b. 1980) – wrestler
 * Bahman Tahmasebi (b. 1980) – football player
 * Esmaeil Bale (b. 1985) – football player
 * Meysam Hosseini (b. 1987) – football player

title: Nowshahr


text:
User:Fakekevin

de:Benutzer:Fake.kevin

title: User:Fakekevin


text:
Union Multipurpose Activity Center

The Union Multipurpose Activity Center (also known as the UMAC or John Q. Hammons Arena) is a 5,662-seat multipurpose arena located in Tulsa, Oklahoma. Built in 2003 at a cost of $22 million, it is the home of the Union High School Redhawks basketball team. It hosted The Summit League's men's basketball tournament from 2005 to 2008.

The arena contains 2,934 permanent seats and can host concerts, trade shows (27480 sqft of space at the arena floor), conventions, and other events. There are 6 concession stands and 14 restrooms divided equally between the men and women. The center scoreboard at the UMAC features a 6' x 8' video screen.

title: Union Multipurpose Activity Center


text:
Maréchal Foch

Maréchal Foch may refer to:

 * Ferdinand Foch (1851–1929), French general, Marshal of France and Allied Supreme Commander in World War I
 * Marechal Foch (grape), a red wine grape variety named for Ferdinand Foch

title: Maréchal Foch