title: Mitsubishi Minica

abstract: Mitsubishi Minica The Mitsubishi Minica is a model series of kei cars, produced by Mitsubishi Motors Corp. (MMC) over five generations, from 1962 to 2011, mainly for the Japanese domestic market. The Minica was first built by Shin Mitsubishi Heavy-Industries, one of Mitsubishi Heavy Industries' three regional automotive companies, until they were merged in 1964. As such, the badge predates M.M.C. itself. In Japan, it was sold at a specific retail chain called Galant Shop. The Minica range was replaced by the Mitsubishi eK and the Mitsubishi i in 2007 and 2011, respectively.

text:
# Mitsubishi Minica

The **Mitsubishi Minica** (Japanese: 三菱・ミニカ, Hepburn: *Mitsubishi Minika*) is a model series of kei cars, produced by Mitsubishi Motors Corp. (MMC) over five generations, from 1962 to 2011, mainly for the Japanese domestic market.

The Minica was first built by Shin Mitsubishi Heavy-Industries, one of Mitsubishi Heavy Industries' three regional automotive companies, until they were merged in 1964. As such, the badge predates M.M.C. itself. In Japan, it was sold at a specific retail chain called *Galant Shop*.

The Minica range was replaced by the Mitsubishi eK and the Mitsubishi i in 2007 and 2011, respectively.

## First generation

### Mitsubishi 360

| Mitsubishi 360 (commercials) | |
| --- | --- |
| 1968-69 Mitsubishi 360 Light Van | |
| Overview | |
| Also called | Mitsubishi Minica Pick |
| Production | * April 1961 – July 1969 (Light Van) * October 1961 – September 1972 (pickup) |
| Body and chassis | |
| Body style | 2-door, 2-seater van (LT20)
2-door light van (LT21/23)
2-seat pickup truck (LT22/25) |
| Layout | Front-engine, rear-wheel-drive |
| Powertrain | |
| Engine |  |
| Dimensions | |
| Wheelbase | 1,900 mm (74.8 in) |
| Length | 2,995 mm (117.9 in) |
| Width | 1,295 mm (51.0 in) |
| Height | 1,390–1,400 mm (54.7–55.1 in) |
| Curb weight | 480–525 kg (1,058–1,157 lb) |

The precursor of the Minica was the **Mitsubishi 360**, a series of light trucks introduced in April 1961. Designed for the lowest kei car vehicle tax classification, it was powered by an air-cooled 359 cc, 17 PS (13 kW) engine, providing a lowly 80 km/h (50 mph) top speed but with a fully syncromeshed four-speed transmission. After the successful 1962 introduction of the passenger car version, called Minica, the 360 van and pickup continued alongside the Minica, sharing its development. The Mitsubishi 360/Minica competed with the established Subaru 360, Daihatsu Fellow Max, and the Suzuki Fronte in the late sixties. The somewhat unexpected success of the 360/Minica led Mitsubishi to end production of three-wheeled vehicles.

Originally available as a panel van or light van (really a Station Wagon, but registered as a commercial vehicle for tax purposes), with a pickup version added in October, the Mitsubishi 360 was rather quaintly styled. Suicide doors and a swage line which continued across the hood were often accented by whitewall tires and lace curtains (both standard on the Light Van DeLuxe, introduced in April 1962) to complete the picture. The 360 and Minica were given a thorough facelift in November 1964, with an entirely new front clip with a pressed metal chrome grill. The more modern look was accompanied by the new, somewhat more powerful ME24 engine, affording a top speed of 85 km/h (53 mph).

The four-seat version of the light van (LT21-4) could carry 200 kg (440 lb), while the strict two-seater (LT20) could take a full 300 kg (660 lb). The Pickup was rated for carrying 350 kg (770 lb).

In August 1966, the Mitsubishi Minicab cab-over pickup truck was launched to complement the Mitsubishi 360 light truck. Powered by the same air-cooled two-stroke 359 cc engine as the Minica, it came with cargo gates on three sides to simplify loading and unloading. In December, the 360 received a less ornate grille. In May 1967, the 360 and Minica were both updated with the new 21 PS ME24D, increasing top speed to 90 km/h (56 mph). In September 1968 a Super Deluxe version of the light van was added, featuring a new plastic grille and more modern interior. At the same time, the pickup dropped the "360" model name and was from now on sold as the "Minica Pick" (ミニカピック, *Minika Pikku*). By 1969, the new Minica Van had superseded the LT23 and it was no longer produced, although the LT25 pickup continued to be built until September 1972. These late models have the air-cooled ME24E engine with 26 PS (19 kW), although the claimed top speed remained 90 km/h (56 mph). It also has the same blacked-out plastic grille as fitted to the Super Deluxe and late first-generation Minicas.

Mitsubishi 360 Pickup1961–1964 **LT22**1967–1969 **LT25**rear view of **LT25**

### Minica Sedan

| 1st generation | |
| --- | --- |
| 1962 Mitsubishi Minica | |
| Overview | |
| Production | October 1962 – July 1969 |
| Body and chassis | |
| Body style | 2-door sedan |
| Platform | **LA20/21/23** |
| Powertrain | |
| Engine | ME21/ME24/ME24D 359 cc air-cooled two-stroke I2
2G10 359 cc two-stroke I2
*ME21*: 17 PS at 4,800 rpm
*ME24*: 18 PS at 4,800 rpm
*ME24D*: 21 PS at 5,500 rpm
*2G10*: 23 PS at 5,500 rpm |

The first Minica (LA20) was first introduced in October 1962 as a two-door sedan based on the Mitsubishi 360 light truck, sharing its front-mounted ME21 359 cc twin-cylinder air-cooled engine driving the rear wheels, transverse leaf springs in front and beam axle/leaf springs at the rear. Top speed was marginally higher at 86 km/h (53 mph). Initially featuring tailfins and a scalloped rear windshield, in November 1964 the Minica (and 360) received a facelift and the improved ME24 engine (LA21). Power output was up by one, to 18 PS (13 kW), with the new "Auto Mix" system removing the need for premixing oil and gasoline.

Rear view of 1965/66 **LA21** Minica**LA23** Super DeLuxe, note different grille and twin headrests

In December 1966, along with a slightly different grille and new badging, a basic "Standard" Minica sedan was added, while the regular version was promoted to "Deluxe". Prices were ¥340,000 and ¥368,000 respectively.

In May 1967, the Minica was given another minor update, with a modified dashboard and a padded center to steering wheel. The engine was also upgraded, with the new reed valve ME24D providing a useful 21 PS. In September of the following year, a Super Deluxe grade was added, using the new 23 PS (17 kW) water-cooled 2G10 engine developed for the next-generation Minica. This (the LA23) also featured a full vinyl interior and a new plastic grille (as on the Mitsubishi 360 van pictured above). With the July 1969 introduction of the second-generation Minica, the **LA** series was discontinued.

## Second generation

| 2nd generation | |
| --- | --- |
| Mitsubishi Minica 70 (A100) | |
| Overview | |
| Production | Sedan: 1969–1973
Van: 1969–1981
Skipper: 1971–1974 |
| Body and chassis | |
| Body style | 3-door hatchback
2-door wagon
2-door coupé |
| Platform | A100/100V・A101/101V・A102・A104V/105V・A106V |
| Powertrain | |
| Engine |  |
| Dimensions | |
| Wheelbase | 1,900 mm (74.8 in) |
| Length | 2,995 mm (117.9 in) |
| Width | 1,295 mm (51.0 in) |
| Height | 1,305–1,390 mm (51.4–54.7 in) |
| Curb weight | 445–490 kg (981–1,080 lb) |

The second-generation **Minica 70** was introduced in July 1969 with a three-door hatchback body called a "sedan" by Mitsubishi. Alone in the kei car class, the traditional, front engine, rear-wheel drive layout was retained. The chassis has coil springs front and rear, MacPherson struts up front, and a five-link rigid rear axle. The new styling featured a rear hatch, a Kei class first. Two 359 cc 2G10 water-cooled two-stroke powerplants were optionally available (A101), either the *Red* 28 PS (21 kW) engine (Super Deluxe, Sporty Deluxe) or the *Gold* engine fitted with twin SU carburetors developing 38 PS (28 kW). The *Gold* engine, introduced in December 1969, was fitted as standard to the SS and GSS sport models introduced at the same time. The basic Standard and Deluxe versions (A100) were still fitted with the old 26 PS (19 kW) ME24E air-cooled engine *Yellow* engine, for a top speed of 105 km/h (65 mph). The better equipped Hi-Deluxe version also appeared in December 1969.

A two-door wagon body was also added in December 1969 and was to remain in production until its eventual replacement by the Minica Econo in 1981. In October 1970 the ME24F *Yellow* engine gained four horsepower for a total of 30 PS (22 kW) (the Van did not receive this upgrade) while the *Red* engine went up to 34 PS (25 kW). The GSS version gained integrated foglights and four round headlight, while the SS was discontinued at the same time. A luxurious GL version was also introduced for 1971, featuring high-back bucket seats in front.

Other bodystyles1969–1973 Mitsubishi Minica Van (A100V)Rare LHD Minica Skipper in Okinawa, a "729 car"

In February 1971 a very minor facelift meant the car was now called **Minica 71**. Revised styling featured wider taillights and trim changes, and the water-cooled 2G10 engine was available in the lower priced Family Deluxe.

The **Minica Skipper** (A101C) was introduced in May 1971 as a two-door coupé with liftable rear window, and a choice of *Red* or *Gold* 2G10 engines. The Skipper was available either as the S/L, L/L or GT. This also meant that the GSS sedan was gradually becoming obsolete, as the focus of the sportier Minicas shifted to the coupé versions. Styling wise, the Skipper represented a miniature version of the seminal hardtop Mitsubishi Galant GTO. To allow for a combination of fastback styling with rearward visibility, the rearmost panel featured a small window. The top rear window opened for access to the luggage area, which featured a folding rear seat. Besides chassis and internals, the Skipper shared the front clip and lower door panels with the sedan.

By September 1971, with the introduction of the **Minica 72**, the sedan versions were no longer available with the powerful *Gold* engine. Changes were limited to a new honeycomb grille, taillights (incorporating amber turnsignals) and a new dash similar to that of the Skipper. The Sporty Deluxe version was also discontinued.

In October 1972 the 2nd-generation Minica received its last facelift, becoming the **Minica 73** as a low-cost alternative to the new F4. Marketed either as a Standard or a Deluxe, only the de-tuned 31 PS (2G10-5) *Red* engine also used in the Van versions was now available, placing the "73" firmly at the bottom of the Minica lineup, and air-cooled engines were nolonger available. One year later, a Van Custom was added, with four headlights and more extensive equipment. In late 1974 or early 1975 the Van was updated to accept new larger license plates that were now required. The Van continued with the two-stroke 2G10-5 engine until being replaced by the bigger-engined Minica 5 Van (A104V) in March 1976.

Also in October 1972 the renamed **Skipper IV** (A102) received the new four-stroke 2G21 engine from the Minica F4, with either 32 or 36 PS. A new F/L replaced the S/L in the lineup. Along with some safety improvements in October 1973 both engines were replaced by the 30 PS (22 kW) "Vulcan S" engine, as the Skipper IV lineup was further narrowed. The coupé continued in production until July (or perhaps December) 1974, and was more restricted by emissions regulations. Mitsubishi revived the "Skipper" nameplate in 1996 on a special, "town" version of the Pajero Mini.

### Minica Van

The Minica Van, based on the 1969 Minica 70, was kept in production until eventually replaced by the Minica Econo in 1981.

The Van's history begins with the air-cooled A100V, which was replaced by the water-cooled A101V in late 1972. There was no A102 nor A103 Van (numbers retained for the water-cooled and four-stroke derivatives), as the A101V remained available only with the air-cooled "Red" two-stroke engine until the introduction of the larger displacement, four-stroke Minica 5 Van (A104V) in March 1976. This was soon followed by the bigger engined "Minica 55 Van" (A105V), which has the newer 2G23 engine with 29 PS (21 kW) at 5500 rpm. The 55 Van was available in a few different equipment levels, from the Standard at the bottom to the Super Deluxe on top.

## Third generation

| 3rd generation | |
| --- | --- |
| 1973/74 Minica F4 GL | |
| Overview | |
| Production | 1972–1977 |
| Body and chassis | |
| Body style | 3-door sedan |
| Platform | A103A・A104A |
| Powertrain | |
| Engine |  |
| Dimensions | |
| Wheelbase | 2,000 mm (78.7 in) |
| Length | 2,995–3,175 mm (117.9–125.0 in) |
| Width | 1,295–1,395 mm (51.0–54.9 in) |
| Height | 1,315 mm (51.8 in) |
| Curb weight | 515–565 kg (1,135–1,246 lb) |

The third-generation Minica was introduced as the **Minica F4** (A103A) in October 1972 with a 359 cc OHC engine in the same layout, but featuring a liftable clam-shell rear window as on the coupé. The Skipper continued in production, as of October 1973 with the new engine (becoming the Minica Skipper IV). The new four-stroke Vulcan 2G21 MCA engine (Mitsubishi Clean Air) was much cleaner than, but not as smooth running as its two-stroke predecessors. The six single-carb-engined versions provided 32 PS (24 kW) while the twin-carb version listed for the GS and GSL models offered 36 PS (26 kW). The Van range continued to use the previous body.

In late 1973, facing shrinking Kei-car sales, Mitsubishi narrowed the Minica F4 range down to four equipment levels (Hi-Standard, Deluxe, GL and SL), with the cheaper versions featuring a new grille. The sporty versions were discontinued, as the twin-carb engine fell foul of new emissions regulations. The modified *Vulcan S* engine came equipped with a balance shaft (later baptised "Silent Shaft") and was cleaner yet, hence the "MCA-II" tag. Power, however, was down to 30 PS. Top speed was 115 km/h (71 mph). In December 1974, the lineup was again revamped, with the GL and SL becoming the Super Deluxe and Custom. Mitsubishi also lightly redesigned the Minica to accept the new, bigger license plates now required for Kei cars.

On 12 April 1976 (March for the Minica 5 Van), corresponding to revised kei car regulations of January 1976 (length up to 3.2 m, width to 1.4 m and engine size to 550 cc) both the sedan and the van received a new long-stroke 471 cc engine, a small increase in length (entirely due to new, larger bumpers), and a new name, the **Minica 5**. The Minica 5 was the first kei passenger car to meet the new regulations. Both models were also lightly facelifted, featuring new grilles, while equipment levels remained the same. While power output of the new Vulcan 2G22 did not change for the sedan (A104A), the van (A104V) received a lower powered 28 PS (21 kW) version thereof. The Minica 5 was a mere interim model, anticipating the more thoroughly revised Minica Ami 55 which was soon to arrive.

## Fourth generation

| 4th generation | |
| --- | --- |
| Minica Ami 55 XL (*A105A*) | |
| Overview | |
| Production | 1977–1984 |
| Body and chassis | |
| Layout | FR |
| Platform | A105A・A106A・A107A/V |
| Powertrain | |
| Engine | 3-cylinder watercooled |
| Dimensions | |
| Wheelbase | 2,050 mm (80.7 in) |
| Length | 3,175 mm (125.0 in) |
| Width | 1,395 mm (54.9 in) |
| Height | 1,315 mm (51.8 in) |
| Curb weight | 565 kg (1,246 lb) |

In June 1977 the car and engine grew once again, creating the **Minica Ami 55**. While the side body panels remained the same, length increased yet a little more (3175 mm) and the entire car was widened by 10 mm (0.4 in). The updated 546 cc Vulcan 2G23 engine provided 31 PS (23 kW) for the A105A. Its sibling, the **Minica 55 Van** (A105V) was updated in March 1977 and was almost impossible to distinguish from the previous Minica 5 Van, aside from badging and a slightly less plasticky front end. The bigger engine provided some useful additional torque, but the sporting Minicas of the early seventies were now a memory. The traditional (and unusual amongst Kei cars) Panhard layout remained.

September 1978 brought another engine upgrade: The new "Vulcan II" G23B featured the lean burn MCA-Jet emissions control system with a hemispherical head, aluminium rocker arms and three valves per cylinder, but power outputs remained static. The model code became A106, with A106V used for the van which continued to use the bodywork of the second generation.

In September 1981 the car received another redesign. An entire new rear end meant a slightly longer wheelbase (up to 2,050 mm) and a somewhat longer and taller body. The somewhat boxy rear end, still with a clamshell rear window, looked a bit incongruous paired with the original Minica F4 front wings and doors. The new Minica was renamed the **Minica Ami L** (A107A), but bigger news was that the Minica 55 Van, based on the 1969 A100V, was finally retired. The new A107V **Minica Econo** ("Econo" hinting at its primary use as a private economy car rather than as a commercial vehicle) looked very similar to the Ami L but featured a proper rear hatch and folding rear seat, allowing it to be registered as a light commercial vehicle like its competitors the Daihatsu Mira, Suzuki Alto and Subaru Rex. Cargo capacity, compared to the more workmanlike Minica 55 Van, was reduced from 300 to 200 kg (441 lb).

A two-speed, semi-automatic gearbox was also available on all models, while the standard four-speed manual received lower gearing for the Econo model. The engine was more quiet than before, featuring a milder cam profile. Power output of the G23B remained the same, although the Econo was stuck with a 29 PS (21 kW) version of the old 2G23 engine. Top speed of the Ami was 110 km/h (68 mph). In December 1981 a strict two-seater version of the Econo was added. One year later, the Minica was sold with the new "MMC" logo rather than the old "three diamonds". In March 1983 the Minica Ami L Turbo became the first kei car to be offered with a turbocharger, offering 39 PS (29 kW) and glitzy graphics. This proved short-lived, as by January 1984 production of the A107 Minicas had ended, with Mitsubishi preparing for the release of an all new, front-wheel drive Minica.

## Fifth generation

| 5th generation | |
| --- | --- |
|  | |
| Overview | |
| Also called | Mitsubishi Towny |
| Production | 1984–1989 |
| Body and chassis | |
| Platform | H11A/V・H12V・H14A/V・H15A/V |
| Powertrain | |
| Engine | 546 cc *G23B* SOHC I2
548 cc *3G81* SOHC I3
783 cc *2G25* SOHC I2
796 cc *3G82* SOHC I3 |
| Dimensions | |
| Wheelbase | 2,260 mm (89.0 in) |
| Length | 3,195 mm (125.8 in) |
| Width | 1,395 mm (54.9 in) |
| Height | 1,430 mm (56.3 in) |
| Curb weight | 580 kg (1,280 lb) |

The fifth-generation Minica was introduced in February 1984 as a front engined, front wheel drive vehicle for the first time. It offered three- and five-door configurations, increased size and a torsion beam/coil spring rear suspension. With its "tall-boy" design it was much more spacious inside. It retained the G23B engine, but modernized with a timing belt rather than the old noisy timing chain. The Minica sedan had 33 PS (24 kW), the sparsely trimmed Econo commercial version 31 PS (23 kW), and the Turbo gained an intercooler and now offered 42 PS (31 kW). Air conditioning finally became an option. Reflecting the design improvements, Mitsubishi advertised the car as a worthy competitor for the considerably larger cars of the one-litre class. A considerable improvement on the old model, sales of the passenger model tripled year-on-year in its first month on the market. Sales of the Econo doubled.

In September 1985 a four-wheel drive model with a live rear axle was introduced. In January 1988, as the bubble economy and the kei-class horsepower war were both heating up, an aero-kit version of the Turbo was introduced to compete with Suzuki's Alto Works and Daihatsu's Mira Turbo TR-XX. Called the Turbo ZEO it was equipped with the same 50 PS (37 kW) carburetted engine as the regular Turbo model; sales were low. There was also a low-priced, well-equipped version of the Minica Econo called the Tico, as well as a new top-of-the-line five-door sedan called the Minica Exceed.

This generation was the first to reach export markets, usually labelled Mitsubishi Towny, originally with a two-cylinder 783 cc engine and a four-speed manual transmission. Beginning in March 1985, the Towny was also locally manufactured by CMC in Taiwan, only as a five-door. In 1987 a three-cylinder 796 cc engine with 45 PS (33 kW) and a five-speed gearbox replaced the earlier drivetrain; a three-door panel van was also marketed abroad.

## Sixth generation

| 6th generation | |
| --- | --- |
| 1989 Minica Piace 4WD | |
| Overview | |
| Also called | Mitsubishi Towny |
| Production | 1989–1993 |
| Body and chassis | |
| Related | Mitsubishi Minica Toppo |
| Powertrain | |
| Engine |  |
| Dimensions | |
| Wheelbase | 2,260 mm (89.0 in) |
| Length | * 3,195 mm (125.8 in) (550 cc models) * 3,295 mm (129.7 in) (660 cc models) |
| Width | 1,395 mm (54.9 in) |
| Height | 1,420–1,515 mm (55.9–59.6 in) |
| Curb weight | 580–720 kg (1,280–1,590 lb) |

In January 1989 the sixth-generation Minica (H21/H26 for front- and four-wheel-drive models respectively) was officially introduced, although the engine, wheelbase, and suspension remained unchanged. In addition to the three-door vans (hatchbacks presumably intended for commercial use) and five-door "sedans" (hatchbacks for private use), a variant with a single door on the right side, two doors on the passenger side, and a liftgate was introduced, named the Minica **Lettuce**. This was originally a van with a foldable rear seat and flat loading floor, to meet special tax breaks available. In May 1989 the tax benefits were lowered and the Lettuce became classified as a sedan. A three-door passenger car version was introduced at the same time. The asymmetric Minica Lettuce was developed together with the Seiyu supermarket chain, which also sold the car directly. It was meant specifically to simplify the loading of children and shopping.

The pace of development in the Japanese automobile industry was relentless in the 1980s, leaving the fifth generation Minica looking rather outmoded towards the decade's end. Sales of the fifth generation had dropped to under 27,000 cars in 1988, while almost 77,000 Minicas were sold in 1989 (nearly all being of the new generation).

An advanced new turbocharged engine with double overhead cams and the world's first mass-produced five-valve-per-cylinder engine was introduced for the *Dangan ZZ* model, producing 64 PS (47 kW). The Dangan was originally a commercial vehicle, but became a passenger car in August 1989. It was later made available in naturally aspirated form as well, as the Dangan Si and Dangan Ri. In May 1991 an automatic option was added to the Dangan ZZ.

The van models gradually lost importance as their tax advantages were whittled away, with buyers increasingly going for the passenger models. In August 1989, however, a new commercial use model appeared in the form of the Minica Walk-Through Van. This version took full advantage of the maximum 2-metre height limitation on kei cars at 1,990 mm (78 in). A response to the Daihatsu Mira walk-through van, the Minica was a hastier, cut-and-shut job and did not sell well enough to be continued for the next generation.

The Kei car standards were altered for 1990, allowing for a 10 cm (3.9 in) increase in length and an increase in displacement to 660 cc. The Minica's engine was now 657 cc, while the front bumper gained 3 cm (1.2 in) and the rear bodywork was altered to grow by 7 cm (2.8 in). The wheelbase remained unchanged, while a black plastic element was added behind the rear windows to fill the extra space. Chassis codes changed to **H22** and **H27**. A tall three-door MPV model with optional four-wheel drive, the **Minica Toppo**, was also introduced in February 1990 - the Toppo, being developed before the new regulations were finalized, did not take full advantage of them and ended up 4 cm (1.6 in) shorter than other kei cars. The Dangan Turbo only received its increase in displacement and increase in length in August 1990, six months after the rest of the range had been updated.

In January 1992 the range received a light facelift, along with some new models. New were the Piace and Milano sedans, celebrating the thirtieth anniversary of the Minica, and the Dangan ZZ-Limited which received standard ABS brakes. In January 1993, shortly before the line was replaced, the Milano Limited and Milano four-wheel-drive models were added.

Export versions were still usually carrying the "Towny" label and featured an 800 cc 41 PS (30 kW) engine.

## Seventh generation

| Mitsubishi Minica | |
| --- | --- |
|  | |
| Overview | |
| Production | 1993–1998 |
| Body and chassis | |
| Layout |  |
| Powertrain | |
| Engine |  |
| Transmission | 4MT/5MT/3AT/4AT |
| Dimensions | |
| Wheelbase | 2,280 mm (89.8 in) |
| Length | 3,295 mm (129.7 in) |
| Width | 1,395 mm (54.9 in) |
| Height | 1,475–1,505 mm (58.1–59.3 in) |
| Curb weight | 590–780 kg (1,300–1,720 lb) |

In September 1993, the seventh-generation three- and five-door Minica and Minica Toppo were introduced, with longer wheelbase. The five-valve-per-cylinder three-cylinder engines were replaced with a pair of 659 cc four-cylinder engines; one normally aspirated with single overhead cam and four valves per cylinder, and one turbocharged with double overhead cam and five valves per cylinder. The Toppo continued to use the rear bodywork of the original Minica Toppo, combined with the new front-end design. A version of the Toppo with two doors on the passenger side, similar to the "Lettuce", was made available, along with a limited edition RV version.

In January 1997, versions of the Minica and Toppo with retro-styled front ends were introduced as the "Town Bee" model.

## Eighth generation

| H42/H47 | |
| --- | --- |
|  | |
| Overview | |
| Production | 1998–2007 (passenger models)
1998–2011 (commercial models) |
| Body and chassis | |
| Layout |  |
| Related | Mitsubishi Pistachio |
| Powertrain | |
| Engine | 657 cc *3G83* I3 |
| Transmission | 4MT/5MT/3AT/4AT |
| Dimensions | |
| Wheelbase | 2,340 mm (92.1 in) |
| Length | 3,395 mm (133.7 in) |
| Width | 1,395 mm (54.9 in) |
| Height | 1,475–1,510 mm (58.1–59.4 in) |
| Curb weight | 680–790 kg (1,500–1,740 lb) |

The enlarged eighth-generation Minica was introduced in October 1998 to take advantage of the new regulations, as a pair of three-door and five-door sedans with torsion beam rear suspension and optional four-wheel drive, with the only available engine the 657 cc three-cylinder single overhead cam unit, now equipped with four valves per cylinder. This version is at the maximum exterior dimensions and engine displacement limits as defined in Japanese government regulations for cars classified as kei cars. A five-door MPV built on this platform but with a four-cylinder double overhead cam five-valve-per-cylinder turbocharged engine, known as the "Mitsubishi Toppo BJ" was also introduced. Front-wheel-drive models carry the **H42** chassis code, four-wheel-drives are **H47**. This is followed by an "A" for passenger models and a "V" for commercials. This generation was exported in small numbers as the Mitsubishi Minica Towny, being sold in Singapore, Hong Kong, and some Caribbean markets.

In January 1999, the retrostyled Town Bee version of this generation of Minica and the "Mitsubishi Toppo BJ Wide" were introduced. In October 1999, a 659 cc four-cylinder single overhead cam four-valve-per-cylinder turbocharged engine was introduced, and in December 1999, a limited edition of 50 "Mitsubishi Pistachios" with a 1094 cc double overhead cam four-valve-per-cylinder direct-injection engine was made available only to organizations working to protect the environment. In October 2001, a five-door wagon version of the Minica was introduced as the Mitsubishi eK Wagon, and now serves as Mitsubishi's primary product in the "kei" class. Passenger versions were discontinued in 2007, while the models intended for commercial use continued to be built until 2011.

The Mitsubishi eK is a kei-car which is the successor of the Minica.

## Legacy

* The Filipino tongue twister *Minekaniko ng mekaniko ni Monico ang makina ng Minica ni Monica* (lit. "Monico's mechanic fixed the engine of Monica's Minica") refers to the Minica, which gained popularity in the Philippines during the Marcos dictatorship.

## InfoBox

| Mitsubishi Minica | |
| --- | --- |
| Sixth generation Minica | |
| Overview | |
| Manufacturer | Shin Mitsubishi Heavy-Industries (1962–1964)
Mitsubishi Motors (1964–2011) |
| Also called | Mitsubishi 360, Towny |
| Production | 1962–2011 |
| Assembly | Mizushima plant, Kurashiki, Okayama, Japan
Cainta, Rizal, Philippines (1974–1988) |
| Body and chassis | |
| Class | Kei car |
| Related | Mitsubishi Minicab |
| Chronology | |
| Successor | Mitsubishi eK
Mitsubishi i |


title: Misterton railway station

abstract: Misterton railway station was a railway station in Misterton, Nottinghamshire, England which is now closed. It was opened by the Great Northern and Great Eastern Joint Railway and closed by British Railways in 1961. Trains between Gainsborough and Doncaster continue to pass through.

text:
# Misterton railway station

**Misterton railway station** was a railway station in Misterton, Nottinghamshire, England which is now closed.

It was opened by the Great Northern and Great Eastern Joint Railway and closed by British Railways in 1961. Trains between Gainsborough and Doncaster continue to pass through.

| Preceding station | Historical railways | | | Following station |
| --- | --- | --- | --- | --- |
| Haxey & Epworth
Line open, station closed |  | Great Northern and Great Eastern Joint Railway |  | Walkeringham
Line open, station closed |

| Doncaster–Lincoln line |
| --- |
|  |
|  |

53°26′22″N 0°49′59″W / 53.4395°N 0.8330°W / 53.4395; -0.8330


# Ukraine in the Eurovision Song Contest 2012

Ukraine participated in Eurovision Song Contest 2012 with the song "Be My Guest" written by Gaitana and Kiwi Project. The song was performed by Gaitana. The Ukrainian broadcaster National Television Company of Ukraine (NTU) organised a national final in order to select the Ukrainian entry for the 2012 contest in Baku, Azerbaijan. Twenty-one entries competed in the national selection held on 18 February 2012 and "Be My Guest" performed by Gaitana was selected as the winner following the combination of votes from a seven-member jury panel and a public televote.

Ukraine was drawn to compete in the second semi-final of the Eurovision Song Contest which took place on 24 May 2012. Performing during the show in position 7, "Be My Guest" was announced among the top 10 entries of the second semi-final and therefore qualified to compete in the final on 26 May. It was later revealed that Ukraine placed eighth out of the 18 participating countries in the semi-final with 64 points. In the final, Ukraine performed in position 25 and placed fifteenth out of the 26 participating countries with 65 points.

## Background

Prior to the 2012 contest, Ukraine had participated in the Eurovision Song Contest nine times since its first entry in 2003, winning it in 2004 with the song "Wild Dances" performed by Ruslana. Following the introduction of semi-finals for the 2004, Ukraine had managed to qualify to final in every contest they participated in thus far. Ukraine had been the runner-up in the contest on two occasions: in 2007 with the song "Dancing Lasha Tumbai" performed by Verka Serduchka and in 2008 with the song "Shady Lady" performed by Ani Lorak. Ukraine's least successful result had been 19th place, which they achieved during the 2005, with the song "Razom nas bahato" performed by GreenJolly.

The Ukrainian national broadcaster, National Television Company of Ukraine (NTU), broadcasts the event within Ukraine and organises the selection process for the nation's entry. NTU confirmed their intentions to participate at the 2012 Eurovision Song Contest on 23 August 2011. In the past, NTU had alternated between both internal selections and national finals in order to select the Ukrainian entry. Between 2005 and 2011, NTU had set up national finals to choose both or either the song and performer to compete at Eurovision for Ukraine, with both the public and a panel of jury members involved in the selection. The method was continued to select the 2012 Ukrainian entry.

## Before Eurovision

### Evrobachennya 2012  Natsionalniy vidbir

The Ukrainian national final took place on 18 February 2012 at the NTU Studios in Kyiv. The show was hosted by Timur Myroshnychenko and Tetyana Terekhova and broadcast on Pershyi Natsionalnyi as well as online via NTU's official website *1tv.com.ua* and the official Eurovision Song Contest website *eurovision.tv*.

#### Format

The selection of the competing entries for the national final and ultimately the Ukrainian Eurovision entry took place over two stages. In the first stage, artists and songwriters had the opportunity to apply for the competition by attending a scheduled audition. Nineteen acts were selected and announced on 26 January 2012, while an additional two acts were selected as wildcards: one from the Inter Channel talent show *Show #1* and one from an online wildcard selection via the social network platform *say.tv*. The second stage was the televised final, which took place on 18 February 2012 and featured the twenty-one acts vying to represent Ukraine in Baku. The winner was selected via the 50/50 combination of votes from a public televote and an expert jury. Both the public televote and the expert jury assigned scores ranging from 1 (lowest) to 22 (highest) and the entry that had the highest number of points following the combination of these scores was declared the winner. Viewers participating in the public televote had the opportunity to submit a single vote per phone number for each of the participating entries via SMS. In the event of a tie, the tie was decided in favour of the entry that received the highest score from the jury.

#### Competing entries

Artists and composers had the opportunity to submit their entries between 25 November 2011 and 25 January 2012; Nerealnye was selected as the winner of *Show #1* on 10 November 2011 and received the first wildcard to compete in the national final. Auditions were held on 25 January 2012 at the NTU Headquarters in Kyiv where a four-member selection panel consisting of Vlad Baginsky (music producer of NTU), Volodymyr Kozlov (music director of RU), Victoria Romanova (Ukrainian Eurovision Head of Delegation) and Ivo Bobul (singer) reviewed the 54 received submissions and shortlisted twenty entries to compete in the national final. On 26 January 2012, the twenty selected competing acts were announced. The running order draw for the twenty-two acts took place on 12 February 2012 during the NTU programme *Shuster Live*. An additional four entries were shortlisted from the non-qualifying entries of the auditions for the *say.tv* online wildcard and users were able to cast their votes on 13 and 14 February 2012. The winner, "Dance" performed by Max Barskih, was announced on 15 February.

On 16 February 2012, "I Will Fight to the End", written by Mikhail Nekrasov and to have been performed by Matias, was withdrawn from the national final due to a conflict of interest between the artist and audition jury member Vlad Baginsky. Matias would later perform the song during the competition as an interval act.

Online wildcard – 13–14 February 2012
| Artist | Song | Votes | Place |
| --- | --- | --- | --- |
| La Festa | "City Jungle" |  | 4 |
| Lena Shtefan | "Lyubov i obman" (Любовь и обман) | 857 | 2 |
| Max Barskih | "Dance" | 1,056 | 1 |
| Yevhen Vynogradov | "Truth" |  | 3 |

| Artist | Song | Songwriter(s) |
| --- | --- | --- |
| Andrey Bogomolets | "Are You Waiting for Me" | Andriy Bogomolets |
| Bondarchuk | "I Don't Know Why" | Santa Dimopoulos, Andrey Tymoshchyk |
| Eduard Romanyuta | "I'll Never Let Go" | Emanuel Olsson, Christian Leuzzi, Christina Christian |
| Gaitana | "Be My Guest" | Gaitana, Kiwi Project |
| Igor Tatarenko | "You're My Life" | Andrey Tymoshchyk, Ray Horton |
| Legkiy Flirt | "MegaMix" | Oleksandr Komov |
| Lena Voloshina | "Let It Out" | Lena Voloshina |
| Marietta | "Rainbow" | Dmitriy Sidorov, Natali Dali |
| Marta | "My Heart Is Sorrowing" | Yulia Barabash, Ruslan Kvinta |
| Masha Sazonova and Tikhon Levchenko | "I Close to You" | Masha Sazonova, Tikhon Levchenko |
| Max Barskih | "Dance" | Max Barskih |
| Mihailo Gritskan | "Ya tak iskal tebya" (Я так искал тебя) | Mihailo Gritskan, Volodymyr Budeychuk |
| Nerealnye | "Just a Dream" | Miguel Shesteprov |
| Oksana Nesterenko | "Mondo blu" | Ralph Siegel, Mauro Balestri |
| Olga Shanis | "Dream" | Nicolai Shandrikov, Ira Kononova |
| Olya Polyakova | "Lepestok" (Лепесток) | V. Tkoch |
| Rapira | "Get Over" | A. Mashenko |
| Renata Shtifel | "Love in Sunlight Rays" | Olena Kucher, Vadym Lysytsya, Daria Partas |
| Treeorange | "New Day" | Yuliya Volyum, Evgeniy Sukhoi |
| Ulyana Rudakova | "Ty ne odyn" (Ти не один) | Nikita Averkiev |
| Vitaliy Galay | "I Want to Love" | Vitaliy Galay, V. Fokina |

#### Final

The final took place on 18 February 2012. Twenty-one entries competed and the winner, "Be My Guest" performed by Gaitana, was selected through the combination of votes from a public televote and an expert jury. Ties were decided in favour of the entries that received higher scores from the jury. The jury panel consisted of Egor Benkendorf (President of NTU), Walid Arfush (producer), Yuriy Rybchynsky (poet), Semyon Horov (director and composer), Mariya Manyuk (artist agent), Rudolf Kirnos (media producer) and Olena Mozgova (music producer). 16,825 votes were registered by the televote during the show. In addition to the performances of the competing entries, 2010 Ukrainian Eurovision entrant Alyosha, 2012 French Eurovision entrant Anggun, 2012 Swiss Eurovision entrant Sinplus, Matias and Zlata Ognevich performed as guests.

Final – 18 February 2012
| Draw | Artist | Song | Jury | Televote | | Total | Place |
| --- | --- | --- | --- | --- | --- | --- | --- |
| | | | | Votes | Points | | |
| 1 | Olga Shanis | "Dream" | 10 | 136 | 6 | 16 | 17 |
| 2 | Vitaliy Galay | "I Want to Love" | 3 | 77 | 4 | 7 | 20 |
| 3 | Max Barskih | "Dance" | 20 | 996 | 18 | 38 | 2 |
| 4 | Olya Polyakova | "Lepestok" | 15 | 215 | 8 | 23 | 8 |
| 5 | Eduard Romanyuta | "I'll Never Let Go" | 9 | 2,749 | 19 | 28 | 5 |
| 6 | Legkiy Flirt | "MegaMix" | 4 | 62 | 1 | 5 | 21 |
| 7 | Igor Tatarenko | "You're My Life" | 8 | 337 | 14 | 22 | 10 |
| 8 | Mihailo Gritskan | "Ya tak iskal tebya" | 1 | 493 | 16 | 17 | 16 |
| 9 | Masha Sazonova and Tikhon Levchenko | "I Close to You" | 16 | 271 | 11 | 27 | 6 |
| 10 | Marta | "My Heart Is Sorrowing" | 7 | 278 | 12 | 19 | 13 |
| 11 | Gaitana | "Be My Guest" | 21 | 3,539 | 20 | 41 | 1 |
| 12 | Oksana Nesterenko | "Mondo blu" | 18 | 848 | 17 | 35 | 3 |
| 13 | Rapira | "Get Over" | 2 | 266 | 10 | 12 | 19 |
| 14 | Andrey Bogomolets | "Are You Waiting for Me" | 17 | 71 | 2 | 19 | 11 |
| 15 | Bondarchuk | "I Don't Know Why" | 13 | 112 | 5 | 18 | 14 |
| 16 | Renata Shtifel | "Love in Sunlight Rays" | 6 | 5,114 | 21 | 27 | 7 |
| 17 | Treeorange | "New Day" | 5 | 308 | 13 | 18 | 15 |
| 18 | Nerealnye | "Just a Dream" | 19 | 491 | 15 | 34 | 4 |
| 19 | Ulyana Rudakova | "Ty ne odin" | 14 | 235 | 9 | 23 | 9 |
| 20 | Marietta | "Rainbow" | 12 | 155 | 7 | 19 | 12 |
| 21 | Lena Voloshina | "Let It Out" | 11 | 72 | 3 | 14 | 18 |

Detailed Jury Votes
| Draw | Song | E. Benkendorf | W. Arfush | Y. Rybchynsky | S. Horov | M. Manyuk | R. Kirnos | O. Mozgova | Total | Points |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| 1 | "Dream" | 8 | 5 | 7 | 2 | 5 | 5 | 5 | 37 | 10 |
| 2 | "I Want to Love" | 6 | 3 | 9 | 2 | 4 | 1 | 3 | 28 | 3 |
| 3 | "Dance" | **10** | 8 | 8 | 6 | 7 | 7 | 1 | 47 | 20 |
| 4 | "Lepestok" | 8 | 9 | 8 | 4 | 8 | 2 | 3 | 42 | 15 |
| 5 | "I'll Never Let Go" | 6 | **10** | 8 | 2 | 3 | 6 | 1 | 36 | 9 |
| 6 | "MegaMix" | 6 | 3 | 6 | 5 | 5 | 1 | 3 | 29 | 4 |
| 7 | "You're My Life" | 6 | 7 | 7 | 5 | 6 | 1 | 3 | 35 | 8 |
| 8 | "Ya tak iskal tebya" | 6 | 1 | 4 | 2 | 4 | 2 | 3 | 22 | 1 |
| 9 | "I Close to You" | **10** | 7 | 7 | 4 | 7 | 3 | 5 | 43 | 16 |
| 10 | "My Heart Is Sorrowing" | 6 | 5 | 6 | 4 | 8 | 4 | 1 | 34 | 7 |
| 11 | "Be My Guest" | **10** | **10** | **10** | **10** | **10** | **10** | **10** | 70 | 21 |
| 12 | "Mondo blu" | 9 | 2 | 8 | 6 | 9 | 5 | 6 | 45 | 18 |
| 13 | "Get Over" | 6 | 2 | 6 | 4 | 4 | 2 | 3 | 27 | 2 |
| 14 | "Are You Waiting for Me" | 8 | 8 | 6 | 5 | 8 | 5 | 4 | 44 | 17 |
| 15 | "I Don't Know Why" | 6 | 5 | 8 | 6 | 6 | 5 | 4 | 40 | 13 |
| 16 | "Love in Sunlight Rays" | **10** | 7 | **10** | 2 | 1 | 2 | 1 | 33 | 6 |
| 17 | "New Day" | 6 | 4 | 7 | 5 | 6 | 2 | 3 | 33 | 5 |
| 18 | "Just a Dream" | 9 | 8 | 8 | 6 | 9 | 3 | 3 | 46 | 19 |
| 19 | "Ty ne odin" | 6 | 8 | 8 | 6 | 7 | 3 | 3 | 41 | 14 |
| 20 | "Rainbow" | 7 | 4 | 8 | 7 | 6 | 4 | 3 | 39 | 12 |
| 21 | "Let It Out" | 6 | 3 | 9 | 5 | 7 | 5 | 3 | 38 | 11 |

## At Eurovision

According to Eurovision rules, all nations with the exceptions of the host country and the "Big Five" (France, Germany, Italy, Spain and the United Kingdom) are required to qualify from one of two semi-finals in order to compete for the final; the top ten countries from each semi-final progress to the final. The European Broadcasting Union (EBU) split up the competing countries into six different pots based on voting patterns from previous contests, with countries with favourable voting histories put into the same pot. On 25 January 2012, a special allocation draw was held which placed each country into one of the two semi-finals, as well as which half of the show they would perform in. Ukraine was placed into the second semi-final, to be held on 24 May 2012, and was scheduled to perform in the first half of the show. The running order for the semi-finals was decided through another draw on 20 March 2012. As one of the five wildcard countries, Ukraine chose to perform in position 7, following the entry from Portugal and before the entry from Bulgaria.

In Ukraine, both the semi-finals and the final were broadcast on Pershyi Natsionalnyi with commentary by Timur Miroshnychenko and Tetiana Terekhova. The Ukrainian spokesperson, who announced the Ukrainian votes during the final, was Oleksiy Matias.

### Semi-final

Gaitana took part in technical rehearsals on 15 and 18 May, followed by dress rehearsals on 23 and 24 May. This included the jury final where professional juries of each country watched and voted on the competing entries.

The Ukrainian performance featured Gaitana performing on stage in a long white layered fringe dress designed by Liliia Litkovska together with four dancers in colourful vests and skirts and playing trumpets. The performance began with Gaitana walking through two of four moveable LED panels featured in the middle of the stage that slid open. Dancing people appeared on the panels, while splashes of different coloured paints appeared on the background LED screens. The stage director and choreographer for the Ukrainian performance was Olha Semeshkina.

At the end of the show, Ukraine was announced as having finished in the top 10 and subsequently qualifying for the grand final. It was later revealed that Ukraine placed eighth in the semi-final, receiving a total of 64 points.

### Final

Shortly after the second semi-final, a winners' press conference was held for the ten qualifying countries. As part of this press conference, the qualifying artists took part in a draw to determine the running order for the final. This draw was done in the order the countries appeared in the semi-final running order. Ukraine was drawn to perform in position 25, following the entry from Serbia and before the entry from Moldova.

Gaitana once again took part in dress rehearsals on 25 and 26 May before the final, including the jury final where the professional juries cast their final votes before the live show. Gaitana performed a repeat of her semi-final performance during the final on 26 May. Ukraine placed fifteenth in the final, scoring 65 points.

### Voting

Voting during the three shows consisted of 50 percent public televoting and 50 percent from a jury deliberation. The jury consisted of five music industry professionals who were citizens of the country they represent. This jury was asked to judge each contestant based on: vocal capacity; the stage performance; the song's composition and originality; and the overall impression by the act. In addition, no member of a national jury could be related in any way to any of the competing acts in such a way that they cannot vote impartially and independently.

Following the release of the full split voting by the EBU after the conclusion of the competition, it was revealed that Ukraine had placed twentieth with the public televote and seventh with the jury vote in the final. In the public vote, Ukraine scored 37 points, while with the jury vote, Ukraine scored 125 points. In the second semi-final, Ukraine placed seventeenth with the public televote with 24 points and third with the jury vote, scoring 109 points.

Below is a breakdown of points awarded to Ukraine and awarded by Ukraine in the second semi-final and grand final of the contest. The nation awarded its 12 points to Belarus in the semi-final and to Azerbaijan in the final of the contest.

#### Points awarded to Ukraine

#### Points awarded by Ukraine

## InfoBox

| Eurovision Song Contest 2012 | |
| --- | --- |
| Country | Ukraine |
| National selection | |
| Selection process | Evrobachennya 2012  Natsionalyni vidbir |
| Selection date(s) | 18 February 2012 |
| Selected artist(s) | Gaitana |
| Selected song | "Be My Guest" |
| Selected songwriter(s) | * Gaitana * Kiwi Project |
| Finals performance | |
| Semi-final result | *Qualified* (8th, 64 points) |
| Final result | 15th, 65 points |
| Ukraine in the Eurovision Song Contest | |
| ◄2011 **2012** 2013► | |


title: Girjet

abstract: Girjet was an airline based in Barcelona, Catalonia, Spain. It operated charter services. Its base was Josep Tarradellas Barcelona–El Prat Airport.

text:
# Girjet

**Girjet** (Gestión Aérea Ejecutiva, SL) was an airline based in Barcelona, Catalonia, Spain. It operated charter services. Its base was Josep Tarradellas Barcelona–El Prat Airport.

## History

The airline was created on 28 February 2003 and started operations on 31 July 2003. It flew under its own name and for other operators such as Spanair. It also made cargo flights with a Boeing 747-200.

By April 2008, Girjet had lost its Air operator's certificate and the whole fleet was grounded. Since then some aircraft made their way to other airlines, either sold or returned to their lessors.

## Fleet

The Girjet fleet consisted of the following aircraft (at December 2007):

## Incidents

## InfoBox

Girjet
| IATA ICAO Call sign  8G GJT BANJET | |
| --- | --- |
| Founded | 2003 |
| Ceased operations | 2008 |
| Hubs | Josep Tarradellas Barcelona–El Prat Airport |
| Fleet size | 4 |
| Headquarters | Barcelona, Catalonia, Spain |
| Website | http://www.girjet.com |


title: Girl Like You (Jason Aldean song)

abstract: "Girl Like You" is a song written by Jaron Boyer, Josh Mirenda, and Michael Tyler and recorded by American country music singer Jason Aldean. It was released in September 2018 as the third single from Aldean's 2018 album Rearview Town.

text:
# Girl Like You (Jason Aldean song)

"**Girl Like You**" is a song written by Jaron Boyer, Josh Mirenda, and Michael Tyler and recorded by American country music singer Jason Aldean. It was released in September 2018 as the third single from Aldean's 2018 album *Rearview Town*.

## Content

Billy Dukes of *Taste of Country* described the song as a "mid-tempo love song" and a "beat-driven slice of sultry country and hip-hop love." He also compared its hip-hop and R&B influences to "Burnin' It Down". *One Country* writer Annie Reuter also found R&B influences in Aldean's performance, saying that it was a "blend of rock and R&B influences" and that it had "soaring guitar parts, seductive beats and his slowed singing style", and that it had a theme about "a long night ahead with his love". Aldean told *Nash Country Daily* that "I've always loved big guitars and a good groove, but we've never really done it like this before. So, it's cool that we can do that coming off something like \['You Make It Easy' and 'Drowns the Whiskey'\]."

## Commercial performance

The song has sold 105,000 copies in the United States as of March 2019.

## Charts

## Certifications

| Region | Certification | Certified units/sales |
| --- | --- | --- |
| Canada (Music Canada) | Platinum | 80,000 |
| United States (RIAA) | Platinum | 1,000,000 |
| Sales+streaming figures based on certification alone.
 | | |

## InfoBox

| "Girl Like You" | |
| --- | --- |
|  | |
| Single by Jason Aldean | |
| from the album  *Rearview Town* | |
| Released | September 23, 2018 (2018-09-23) |
| Genre |  |
| Length | 3:12 |
| Label |  |
| Songwriter(s) | * Jaron Boyer * Josh Mirenda * Michael Tyler |
| Producer(s) | Michael Knox |
| Jason Aldean singles chronology | |
| "Drowns the Whiskey"
(2018) "**Girl Like You**"
(2018) "Rearview Town"
(2019) | |


title: US Ancona 1905

abstract: Unione Sportiva Ancona 1905, commonly referred to as Ancona, was an Italian football club based in Ancona, Marche. The club changed its name to U.S. Ancona 1905 from S.S. Piano San Lazzaro in 2010, due to the bankruptcy of the main football team of the city, A.C. Ancona. However, after a relegation in 2017, U.S. Ancona 1905 withdrew from the football pyramid.

text:
# US Ancona 1905

**Unione Sportiva Ancona 1905**, commonly referred to as **Ancona**, was an Italian football club based in Ancona, Marche.

The club changed its name to U.S. Ancona 1905 from S.S. Piano San Lazzaro in 2010, due to the bankruptcy of the main football team of the city, A.C. Ancona. However, after a relegation in 2017, U.S. Ancona 1905 withdrew from the football pyramid.

## History

The club was founded in 1948 as **Società Sportiva Piano San Lazzaro** and after its 2nd place in 2009–10 Eccellenza Marche it was renamed in 2010, after another failure of the main football club of the city, A.C. Ancona, changing its denomination to **Unione Sportiva Ancona 1905**, maintaining the same league.
US Ancona 1905 then became the new Ancona and the main football club of the city, but it is not its legitimate heir, having not yet acquired its brand and its sports title.

### 2010–11 season

The club in the season 2010–11 obtains a prestigious "triplete":

### 2011–12 season

The club in the season 2011–12 plays in Serie D group F with the objective of obtaining an immediate promotion to Lega Pro Seconda Divisione. On 29 November 2011, after the incredible remount suffered with Riccione who drew 2–2 to sawing 2 goals in the final minutes the coach Massimiliano Favo was sacked and substituted by Marco Osio, until 3 February 2012 when he rescinds the contract by mutual agreement with the company. The new coach of the team becomes Sauro Trillini. The team was ranked 3rd qualifying so for the Promotion playoffs, but it was eliminated from Sambenedettese in the second round.

### 2012–13 season

In the 2012-13 season, the club played to the third round of the 2012–13 Coppa Italia Serie D where they lost to S.S. Sambenedettese Calcio on penalties 4-3 after drawing the game at 3-3. In the Serie D group F, the club was placed seven in the group.

In the 2013–14 season, Ancona won the Serie D title and thus ensured promotion to the 2014–15 Lega Pro, and back into professionalism. However, after finished as the 20th of the Group B of 2016–17 Lega Pro season, the club did not join the 2017–18 Serie D.

## Legacy

Phoenix club of the city, "U.S. Anconitana A.S.D." was formed in Prima Categoria in 2017.

Another phoenix club, but for Piano San Lazzaro, as of 2017–18 season played in Terza Categoria. It was refounded in 2016.

## Colors and badge

The team's color are white and red-yellow.

## Stadium

Ancona 1905 play their home matches at the 25,000 capacity, Stadio del Conero, located in the city of Ancona.

## Honours

## InfoBox

Ancona
|  | |
| --- | --- |
| Full name | Unione Sportiva Ancona 1905 S.r.l. |
| Nickname(s) | *I Dorici* (The Dorians)
*I Biancorossi* (The Red and Whites) |
| Founded | 1948
2010 (refounded) |
| Dissolved | 2017 |
| Ground | Stadio del Conero,
Ancona, Italy |
| Capacity | 23,967 |
| 2016–17 | Serie C/B, 20th (relegated) |
| Website | Club website |
|  | |
|  | |
|  | |


abstract: The US Army Medical Information and Intelligence Agency (MIIA) was small special-purpose intelligence agency assigned to the Surgeon General of the United States Army. It was officially organized at Walter Reed Army Medical Center (WRAMC) by WRAMC GO 62, 1956.

text:
# US Army Medical Information and Intelligence Agency

The **US Army Medical Information and Intelligence Agency** (MIIA) was small special-purpose intelligence agency assigned to the Surgeon General of the United States Army. It was officially organized at Walter Reed Army Medical Center (WRAMC) by WRAMC GO 62, 1956.

## History

The agency was created by transferring personnel and files from the Medical Intelligence Division and the Reference Library of the Office the Surgeon General of the United States Army. Although both were abbreviated MIIA, this Medical Information and Intelligence Agency should not be confused with the Medical Intelligence and Information Agency which was organized in 1973.

Apparently the name of the agency was changed to the "US Army Medical Intelligence and Information Agency." According to a list of tenants of Arlington Hall Station, Virginia, in 1958, the "US Army Medical Information and Intelligence Agency" was relocated to Arlington Hall Station, Arlington, VA, on March 28, 1958.

According to a brief historical summary from the Armed Forces Medical Intelligence Center, the Medical Information and Intelligence Agency was absorbed by DIA in 1963.


title: Ultragraph C*-algebra

abstract: In mathematics, an ultragraph C*-algebra is a universal C*-algebra generated by partial isometries on a collection of Hilbert spaces constructed from ultragraphs.pp. 6-7. These C*-algebras were created in order to simultaneously generalize the classes of graph C*-algebras and Exel–Laca algebras, giving a unified framework for studying these objects. This is because every graph can be encoded as an ultragraph, and similarly, every infinite graph giving an Exel-Laca algebras can also be encoded as an ultragraph.

text:
# Ultragraph C*-algebra

In mathematics, an **ultragraph C\*-algebra** is a universal C\*-algebra generated by partial isometries on a collection of Hilbert spaces constructed from ultragraphs.pp. 6-7. These C\*-algebras were created in order to simultaneously generalize the classes of graph C\*-algebras and Exel–Laca algebras, giving a unified framework for studying these objects. This is because every graph can be encoded as an ultragraph, and similarly, every infinite graph giving an Exel-Laca algebras can also be encoded as an ultragraph.

## Definitions

### Ultragraphs

An **ultragraph** $\mathcal {G}=(G^{0},{\mathcal {G}^{1},r,s)}$ consists of a set of vertices $G^{0}$, a set of edges $\mathcal {G}^{1}$, a source map $s:{\mathcal {G}^{1}\to G^{0}}$, and a range map $r:{\mathcal {G}^{1}\to P(G^{0})\setminus \\{\emptyset \\}}$ taking values in the power set collection $P(G^{0})\setminus \\{\emptyset \\}$ of nonempty subsets of the vertex set. A directed graph is the special case of an ultragraph in which the range of each edge is a singleton, and ultragraphs may be thought of as generalized directed graph in which each edges starts at a single vertex and points to a nonempty subset of vertices.

#### Example

An easy way to visualize an ultragraph is to consider a directed graph with a set of labelled vertices, where each label corresponds to a subset in the image of an element of the range map. For example, given an ultragraph with vertices and edge labels

> $\mathcal {G}^{0}=\\{v,w,x\\}$, $\mathcal {G}^{1}=\\{e,f,g\\}$

with source an range maps

> $\begin{matrix}s(e)=v&s(f)=w&s(g)=x\\r(e)=\\{v,w,x\\}&r(f)=\\{x\\}&r(g)=\\{v,w\\}\end{matrix}$

can be visualized as the image on the right.

### Ultragraph algebras

Given an ultragraph $\mathcal {G}=(G^{0},{\mathcal {G}^{1},r,s)}$, we define $\mathcal {G}^{0}$ to be the smallest subset of $P(G^{0})$ containing the singleton sets $\\{\\{v\\}:v\in G^{0}\\}$, containing the range sets $\\{r(e):e\in {\mathcal {G}^{1}\\}}$, and closed under intersections, unions, and relative complements. A **Cuntz–Krieger $\mathcal {G}$-family** is a collection of projections $\\{p\_{A}:A\in {\mathcal {G}^{0}\\}}$ together with a collection of partial isometries $\\{s\_{e}:e\in {\mathcal {G}^{1}\\}}$ with mutually orthogonal ranges satisfying

1. $p\_{\emptyset }$, $p\_{A}p\_{B}=p\_{A\cap B}$, $p\_{A}+p\_{B}-p\_{A\cap B}=p\_{A\cup B}$ for all $A\in {\mathcal {G}^{0}}$,
2. $s\_{e}^{\*}s\_{e}=p\_{r(e)}$ for all $e\in {\mathcal {G}^{1}}$,
3. $p\_{v}=\sum \_{s(e)=v}s\_{e}s\_{e}^{\*}$ whenever $v\in G^{0}$ is a vertex that emits a finite number of edges, and
4. $s\_{e}s\_{e}^{\*}\leq p\_{s(e)}$ for all $e\in {\mathcal {G}^{1}}$.

The ultragraph C\*-algebra $C^{\*}({\mathcal {G})}$ is the universal C\*-algebra generated by a Cuntz–Krieger $\mathcal {G}$-family.

## Properties

Every graph C\*-algebra is seen to be an ultragraph algebra by simply considering the graph as a special case of an ultragraph, and realizing that $\mathcal {G}^{0}$ is the collection of all finite subsets of $G^{0}$ and $p\_{A}=\sum \_{v\in A}p\_{v}$ for each $A\in {\mathcal {G}^{0}}$. Every Exel–Laca algebras is also an ultragraph C\*-algebra: If $A$ is an infinite square matrix with index set $I$ and entries in $\\{0,1\\}$, one can define an ultragraph by $G^{0}:=$, $G^{1}:=I$, $s(i)=i$, and $r(i)=\\{j\in I:A(i,j)=1\\}$. It can be shown that $C^{\*}({\mathcal {G})}$ is isomorphic to the Exel–Laca algebra $\mathcal {O}\_{A}$.

Ultragraph C\*-algebras are useful tools for studying both graph C\*-algebras and Exel–Laca algebras. Among other benefits, modeling an Exel–Laca algebra as ultragraph C\*-algebra allows one to use the ultragraph as a tool to study the associated C\*-algebras, thereby providing the option to use graph-theoretic techniques, rather than matrix techniques, when studying the Exel–Laca algebra. Ultragraph C\*-algebras have been used to show that every simple AF-algebra is isomorphic to either a graph C\*-algebra or an Exel–Laca algebra. They have also been used to prove that every AF-algebra with no (nonzero) finite-dimensional quotient is isomorphic to an Exel–Laca algebra.

While the classes of graph C\*-algebras, Exel–Laca algebras, and ultragraph C\*-algebras each contain C\*-algebras not isomorphic to any C\*-algebra in the other two classes, the three classes have been shown to coincide up to Morita equivalence.


title: USS Wyandotte (1853)

abstract: USS Wyandotte, originally USS Western Port, was a steamer acquired by the Navy as a gunboat for the Paraguay expedition in 1858. When the crisis of the American Civil War occurred, she operated in support of the Union Navy blockade of Confederate waterways.

text:
# USS Wyandotte (1853)

**USS *Wyandotte***, originally **USS *Western Port***, was a steamer acquired by the Navy as a gunboat for the Paraguay expedition in 1858. When the crisis of the American Civil War occurred, she operated in support of the Union Navy blockade of Confederate waterways.

## Paraguay expedition of 1858

*Western Port* – a former merchant steamer built at Philadelphia, in 1853 – was chartered by the United States Department of the Navy in the autumn of 1858 to participate in an American naval expedition up the Paraná River to Asunción, Paraguay. After the vessel had been fitted out as a gunboat, she was commissioned as USS *Western Port* on 27 October 1858, Commander Thomas T. Hunter in command.

### Conflict with Paraguay

*Western Port* soon sailed for South American waters and – at Montevideo, Uruguay, – joined the task force commanded by Flag Officer William Branford Shubrick, which had been assembled to support the negotiations of United States Commissioner to Paraguay, James Butler Bowlin. President of the United States James Buchanan had appointed Bowlin to seek redress for the shelling of the U.S. Navy sidewheel gunboat USS *Water Witch* in 1855, which had resulted in the death of the American ship's helmsman.

The Paraguay expedition got underway from Montevideo on 30 December 1858 and ascended the Río de la Plata, the Paraná River, and the Paraguay River. She arrived off Asunción on 25 January 1859, and Bowlin went ashore to conduct negotiations which succeeded in winning an apology to the United States and a large indemnity for survivors of the dead helmsman. Bowling also signed a new commercial treaty between the United States and Paraguay.

After the conclusion of the negotiations, *Western Port* returned to the United States and was decommissioned on 28 May 1859. She was purchased by the Navy Department on 6 June 1859 and renamed *Wyandotte*.

## As USS *Wyandotte*

After repairs, *Wyandotte* was recommissioned on 19 September 1859 and assigned to the Home Squadron. She spent much of the next year cruising – for the most part in the Caribbean – in an effort to suppress the slave trade.

### Captures slave ship *William*

On 9 May 1860, *Wyandotte* captured the barque *William* – a slave ship carrying 570 Africans at the time of her capture – off the Isle of Pines near the south coast of Cuba. She took her prize to Florida and arrived at Key West, Florida, on 12 May 1860. The ship landed the slaves on 16 May, turned the prize over to a United States Marshall on 22 May, and soon resumed her cruising.

### Operations at Key West

As the threat of secession of the Southern United States grew in the mid-and late autumn of 1860, *Wyandotte* guarded and reprovisioned United States Government military installations along the United States Gulf Coast. On 16 November 1860, she was ordered to protect Fort Taylor at Key West, Florida, while the steamer USS *Mohawk* watched Fort Jefferson. These actions saved Key West for the Union, permitting its wartime use as the home port of the U.S. Navy's Gulf Blockading Squadron.

## American Civil War

### Escape from Pensacola

In mid-December 1860, *Wyandotte* steamed to Pensacola, Florida, and entered the drydock at Pensacola Navy Yard to have her fouled bottom scraped and to receive minor repairs. She was refloated on 9 January 1861 and refused to surrender when Confederate forces took over the navy yard three days later. Instead, she towed the stores ship USS *Supply* out to sea.

*Wyandotte* remained in Pensacola Bay, performing valuable observation and communication duty. She transported troops from Fort Barrancas, Florida, to Fort Pickens on 10 February 1861 and regularly patrolled the inner shore of Santa Rosa Island, Florida, to prevent Confederate soldiers from attacking Fort Pickens by land.

### Reinforcement of Fort Pickens

*Wyandotte* took part in the nighttime reinforcement of Fort Pickens on 12 April 1861, the day the American Civil War began with the Confederate shelling of Fort Sumter in South Carolina. With the outbreak of hostilities, *Wyandotte* joined the Gulf Blockading Squadron on 17 May 1861. After carrying out patrol and transport assignments, she proceeded to the New York Navy Yard in Brooklyn, New York, for major repairs, arriving there on 23 August 1861.

### South Atlantic Blockading Squadron

On 5 December 1861, *Wyandotte* departed New York City bound for Port Royal, South Carolina, and duty with the South Atlantic Blockading Squadron. From there, she was dispatched to Tybee Island, Georgia, for reconnaissance work on 19 December 1861 and then was transferred to the blockade off Wassaw Sound, Georgia, on 23 February 1862. *Wyandotte* returned to Port Royal in late April 1862 and proceeded to the blockade off Mosquito Inlet, Florida, on 12 May 1862. She returned to Port Royal in July 1862, and arrived in New York City a second time on 25 July 1862 for extensive repairs at the New York Navy Yard.

### North Atlantic Blockading Squadron

*Wyandotte* left the navy yard on 1 September 1862 for duty in the Potomac River with the Potomac Flotilla. She was reassigned to the North Atlantic Blockading Squadron at Hampton Roads, Virginia, on 7 October 1862, deploying off Fort Monroe, Virginia, as a guard ship.

On detail, *Wyandotte* salvaged valuable supplies from the schooner *Marie Banks*, wrecked off Cape Henry Light, Virginia, on 10 February 1863. She was repaired at the Norfolk Navy Yard in Portsmouth, Virginia, and got underway again on 11 April 1863 to resume blockade duty. However, badly strained, *Wyandotte* could no longer withstand rolling seas and was condemned as fit for guard duty only on 3 October 1863. She spent the remainder of the war off Norfolk, Virginia.

## Post-war decommissioning

*Wyandotte* was decommissioned at the New York Navy Yard on 3 June 1865 and was sold at auction there on 12 July 1865. She was redocumented for merchant service on 23 September 1865, but was stranded when she ran aground off Duxbury, Massachusetts, on 26 January 1866 and was damaged beyond economical repair.

## InfoBox

|  | |
| --- | --- |
| History | |
| United States | |
| Name | *Western Port* / *Wyandotte* |
| Namesake |  |
| Launched | 1853 |
| Acquired | 1858 |
| Commissioned | 27 October 1858 |
| Decommissioned | 28 May 1859 |
| Renamed | USS *Wyandotte* |
| Recommissioned | 19 September 1859 |
| Decommissioned | 3 June 1865 |
| Fate | * Sold 12 July 1865 * Wrecked 26 January 1866 while in merchant service |
| General characteristics | |
| Displacement | 464 tons |
| Propulsion | Steam engine; one screw |
| Speed | 7 knots |
| Armament | * four 32-pounder (14.5-kg) guns * one 24-pounder (10.9-kg) Dahlgren howitzer |


title: Udea praepetalis

abstract: Udea praepetalis is a moth in the family Crambidae. It was described by Julius Lederer in 1869. It is found in Iran and Turkey.

text:
# Udea praepetalis

***Udea praepetalis*** is a moth in the family Crambidae. It was described by Julius Lederer in 1869. It is found in Iran and Turkey.

## InfoBox

| *Udea praepetalis* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Class: | Insecta |
| Order: | Lepidoptera |
| Family: | Crambidae |
| Genus: | *Udea* |
| Species: | ***U. praepetalis*** |
| Binomial name | |
| ***Udea praepetalis***<br>(Lederer, 1869) | |
|
| Synonyms | |
| * *Botys praepetalis* Lederer, 1869 | |


title: Mo Dil To Deewana

abstract: Mo Dil To Deewana is an Oriya film released on 1 January 2013 in Odisha, India. This film is based on romantic love story directed by Alka Nanda.

text:
# Mo Dil To Deewana

***Mo Dil To Deewana*** is an Oriya film released on 1 January 2013 in Odisha, India. This film is based on romantic love story directed by Alka Nanda.

## Cast

* Kajal
* Asrumochan Mohanty

## InfoBox

| Mo Dil To Deewana | |
| --- | --- |
| Directed by | Alka Nanda |
| Distributed by | Alka Infomedia |
| Release date | * 1 January 2013 (2013-01-01) |
| Country | India |
| Language | Odia |


title: Ultramicrotomy

abstract: Ultramicrotomy is a method for cutting specimens into extremely thin slices, called ultra-thin sections, that can be studied and documented at different magnifications in a transmission electron microscope (TEM). It is used mostly for biological specimens, but sections of plastics and soft metals can also be prepared. Sections must be very thin because the 50 to 125 kV electrons of the standard electron microscope cannot pass through biological material much thicker than 150 nm. For best resolutions, sections should be from 30 to 60 nm. This is roughly the equivalent to splitting a 0.1 mm-thick human hair into 2,000 slices along its diameter, or cutting a single red blood cell into 100 slices.

text:
# Ultramicrotomy

**Ultramicrotomy** is a method for cutting specimens into extremely thin slices, called ultra-thin sections, that can be studied and documented at different magnifications in a transmission electron microscope (TEM). It is used mostly for biological specimens, but sections of plastics and soft metals can also be prepared. Sections must be very thin because the 50 to 125 kV electrons of the standard electron microscope cannot pass through biological material much thicker than 150 nm. For best resolutions, sections should be from 30 to 60 nm. This is roughly the equivalent to splitting a 0.1 mm-thick human hair into 2,000 slices along its diameter, or cutting a single red blood cell into 100 slices.

## Ultramicrotomy process

Ultra-thin sections of specimens are cut using a specialized instrument called an "ultramicrotome". The ultramicrotome is fitted with either a diamond knife, for most biological ultra-thin sectioning, or a glass knife, often used for initial cuts. There are numerous other pieces of equipment involved in the ultramicrotomy process. Before selecting an area of the specimen block to be ultra-thin sectioned, the technician examines semithin or "thick" sections range from 0.5 to 2 μm. These thick sections are also known as *survey sections* and are viewed under a light microscope to determine whether the right area of the specimen is in a position for thin sectioning. "Ultra-thin" sections from 50 to 100 nm thick are able to be viewed in the TEM.

Tissue sections obtained by ultramicrotomy are compressed by the cutting force of the knife. In addition, interference microscopy of the cut surface of the blocks reveals that the sections are often not flat. With Epon or Vestopal as embedding medium the ridges and valleys usually do not exceed 0.5 μm in height, i.e., 5–10 times the thickness of ordinary sections (1).

A small sample is taken from the specimen to be investigated. Specimens may be from biological matter, like animal or plant tissue, or from inorganic material such as rock, metal, magnetic tape, plastic, film, etc. The sample block is first trimmed to create a block face 1 mm by 1 mm in size. "Thick" sections (1 μm) are taken to be looked at on an optical microscope. An area is chosen to be sectioned for TEM and the block face is re-trimmed to a size no larger than 0.7 mm on a side. Block faces usually have a square, trapezoidal, rectangular, or triangular shape. Finally, thin sections are cut with a glass or diamond knife using an ultramicrotome and the sections are left floating on water that is held in a boat or trough. The sections are then retrieved from the water surface and mounted on a copper, nickel, gold, or other metal grid. Ideal section thickness for transmission electron microscopy with accelerating voltages between 50kV and 120kV is about 30–100 nm.

## Advances

In 1952 Humberto Fernandez Morán introduced **cryo ultramicrotomy**, which is a similar technique but done at freezing temperatures between −20 and −150°C. Cryo ultramicrotomy can be used to cut ultra-thin frozen biological specimens. One of the advantages over the more "traditional" ultramicrotomy process is speed, since it should be possible to freeze and section a specimen in 1 to 2 hours.


title: Miyakea ussurica

abstract: Miyakea ussurica is a moth in the family Crambidae. It was described by Petr Ya. Ustjuzhanin and Rob T.A. Schouten in 1995. It is found in the Russian Far East.

text:
# Miyakea ussurica

***Miyakea ussurica*** is a moth in the family Crambidae. It was described by Petr Ya. Ustjuzhanin and Rob T.A. Schouten in 1995. It is found in the Russian Far East.

## InfoBox

| *Miyakea ussurica* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Class: | Insecta |
| Order: | Lepidoptera |
| Family: | Crambidae |
| Subfamily: | Crambinae |
| Tribe: | Crambini |
| Genus: | *Miyakea* |
| Species: | ***M. ussurica*** |
| Binomial name | |
| ***Miyakea ussurica***<br>Ustjuzhanin & Schouten, 1995 | |
|


title: Girl Trouble (band)

abstract: Girl Trouble is a garage rock band formed in 1983, composed of three musicians from Tacoma, Washington and one from Spokane, Washington.

text:
# Girl Trouble (band)

**Girl Trouble** is a garage rock band formed in 1983, composed of three musicians from Tacoma, Washington and one from Spokane, Washington.

## History

The band played their first show in 1984, and signed to Olympia's K Records label soon afterwards, on which they released two singles ("Riverbed" and "Old Time Religion") in 1987. One of their recordings, "Gonna Find A Cave" written by Jimmy Radcliffe and Buddy Scott, made an appearance on the *Sub Pop 200* compilation alongside tracks by Nirvana and Soundgarden. Various albums followed on different independent labels. As a side project, guitarist Kahuna plays in a Sonics tribute band called New Original Sonic Sound, featuring members of Mudhoney and the Young Fresh Fellows.

## Members

### Current members

### Past members

* David Duet – vocals (1984–1986)

## Discography

### Albums

* *Hit It or Quit It* (1988)(Sub Pop/K Records)
* *Thrillsphere* (1990) (Pop Llama)
* *New American Shame* (1993) (Empty)
* *Tuesdays, Thursdays, and Sundays* (1998) (Wig Out)
* *The Illusion of Excitement* (2003) (Wig Out)

### EPs and singles

* *She No Rattle My Cage* (7", K Records, 1987)
* *Old Time Religion* (7", K Records, 1987)
* *Blue Christmas / Sleigh Ride / X-Mess* (7" split with *Kings of Rock*, Regal Select Records, 1989)
* *When Opposites Attract* (7", Wig Out! Records, 1989)
* *Batman Theme* (Instrumental) (7" with *Steve Fisk*, K Records, 1989)
* *Stomp and Shout and Work It On Out* (EP, Dionysus Records, 1990)
* *Cleopatra and the Slaves* (7", Wig Out! Records, 1990)
* *Sister Mary Motorcycle / Take Up The Slack, Daddy-O* (7" split with *The A-Bones*, Cruddy Record Dealership, 1991)
* *Plays* (2x7", Sympathy For The Record Industry, 1992)
* Work that Crowd / Granny's Pad (7", Empty Records, 1992)
* *Don't Be Grateful / Cold Shoulder* (7", split with *Popdefect*, Dionysus Records, 1995)
* *The Track / Scorpio 9* (7", Estrus Records, 1996)
* *Kick Out The Jams! / You Got What It Takes!* (7", split with *The Mono Men*, Gearhead Records, 1996)
* *I Know Why Santa is Drunk/Letter to Santa* (7", split with *The Dignitaries*, Unsmashable Records, 2013)

### Compilation appearances

## InfoBox

| Girl Trouble | |
| --- | --- |
| Girl Trouble, 2024 | |
| Background information | |
| Origin | Tacoma, Washington, U.S. |
| Genres | Indie rock, punk rock, garage rock |
| Years active | 1983 (1983)–present |
| Labels | Sub Pop, , Empty, Estrus, Wig Out!, Dionysus, PopLlama, Sympathy for the Record Industry |
|  | |
| Members | Kurt P. Kendall
Bon Von Wheelie
Kahuna
Dale Phillips |
|  | |
| Past members | David Duet |


title: Mo Thugs III: The Mothership

abstract: Mo Thugs III: The Mothership is the third studio album by American hip hop collective Mo Thugs. It was released on June 27, 2000 via Koch Records. Production was handled by Thin C., Rich E., Mike Smoov, Darren Vegas, Damon Elliott, and Layzie Bone, who also served as executive producer. The album peaked at number 45 on the Billboard 200, number 13 on the Top R&B/Hip-Hop Albums and number 2 on the Independent Albums in the United States. This album saw the departure of many Mo Thug artists including Souljah Boy, Graveyard Shift, Poetic Hustla'z, II Tru, MT5, & Powder. Krayzie Bone, who was one of the founding members of the Mo Thugs record label, also did not participate on this project. Most fans consider this album a disappointment compared to previous Mo Thugs albums due to the massive change of artists signed to the label as well as the absence of Krayzie Bone. The album spawned a single, "This Ain't Livin'" by Layzie Bone and featured Felecia, which was a minor success.

text:
# Mo Thugs III: The Mothership

Professional ratings
| Review scores | |
| --- | --- |
| Source | Rating |
| AllMusic |  |
| *The New Rolling Stone Album Guide* |  |

***Mo Thugs III: The Mothership*** is the third studio album by American hip hop collective Mo Thugs. It was released on June 27, 2000 via Koch Records. Production was handled by Thin C., Rich E., Mike Smoov, Darren Vegas, Damon Elliott, and Layzie Bone, who also served as executive producer. The album peaked at number 45 on the *Billboard* 200, number 13 on the Top R&B/Hip-Hop Albums and number 2 on the Independent Albums in the United States.

This album saw the departure of many Mo Thug artists including Souljah Boy, Graveyard Shift, Poetic Hustla'z, II Tru, MT5, & Powder. Krayzie Bone, who was one of the founding members of the Mo Thugs record label, also did not participate on this project. Most fans consider this album a disappointment compared to previous Mo Thugs albums due to the massive change of artists signed to the label as well as the absence of Krayzie Bone. The album spawned a single, "This Ain't Livin'" by Layzie Bone and featured Felecia, which was a minor success.

## Track listing

| No. | Title | Writer(s) | Producer(s) | Length |
| --- | --- | --- | --- | --- |
| 1. | "Who Forgot About It" (performed by Desperidos) | * Steven Howse * Antyone Redd * Bomani Foraji * Kendon Anthony * Talvin Wells * Amefika Williams | Thin C. | 4:34 |
| 2. | "Seldom Seen" (performed by Seldom Seen, Layzie Bone and TN-Tee) | * Earnest J. Porter * Jevan Norton * Steven Howse * Wells | Thin C. | 3:36 |
| 3. | "Last Laugh" (performed by Freaky-G and Emmortal Thugs) | * Charles Whiteside Jr. * Danny Hudson * Jerome Davis * Jesse Matthews * Paul Hardwick * Steward Howse * Richard E. Harris Jr. | Rich E. | 4:54 |
| 4. | "The Backyard" (performed by J-Bone and Layzie Bone) | * Jeremy Howse * Steven Howse * Harris Jr. | Rich E. | 4:36 |
| 5. | "Gunline" (performed by Desperidos and Black Hole Of Watts) | * Steven Howse * Redd * Foraji * Anthony * Wells * Williams * Andrew Simpson * Orie G. Windfield * Shonte Henderson * Michael Bell | Mike Smoov | 4:58 |
| 6. | "Wanna Be Ballers" (performed by Potion) | * Nicole Stewart * Annette Stewart * Ebonie Lane | Rich E. | 3:51 |
| 7. | "It Don't Stop" (performed by Ken Dawg) | * Anthony * Darren Hubbard | Darren Vegas | 4:39 |
| 8. | "U Don't Want None" (performed by Emmortal Thugs, Capone and Freaky-G) | * Hudson * Davis * Matthews * Hardwick * Steward Howse * Shawn Goines * Whiteside Jr. * Williams | Thin C. | 4:24 |
| 9. | "This Ain't Livin'" (performed by Layzie Bone and Felecia) |  | Darren Vegas | 4:27 |
| 10. | "Did He Really Wanna?" (performed by Desperidos) | * Steven Howse * Redd * Foraji * Anthony * Wells * Harris Jr. | Rich E. | 5:40 |
| 11. | "Total Kaos" (performed by Desperidos) | * Steven Howse * Redd * Foraji * Anthony * Wells * Harris Jr. | Thin C. | 4:22 |
| 12. | "Tighten up Your Operation" (performed by Desperidos) | * Steven Howse * Redd * Foraji * Anthony * Wells * Harris Jr. | Thin C. | 4:46 |
| 13. | "Down from the Start" (performed by Black Hole Of Watts) | * Simpson * Redd * Windfield * Henderson | Mike Smoov | 3:49 |
| 14. | "2 the Playaz" (performed by Skant Bone and Felecia) | * Felecia Lindsey * Bell * Henderson | Mike Smoov | 6:00 |
| 15. | "If I Can Go Back" (performed by Flesh-n-Bone) |  | Damon Elliott | 3:37 |
| 16. | "Everything Green" (performed by Layzie Bone) | * Steven Howse * Harris Jr. |  | 4:29 |
| Total length: | | | | 1:12:41 |

## Charts

| Chart (2000) | Peak
position |
| --- | --- |
| US *Billboard* 200 | 45 |
| US Top R&B/Hip-Hop Albums (*Billboard*) | 13 |
| US Independent Albums (*Billboard*) | 2 |

## InfoBox

| Mo Thugs III: The Mothership | |
| --- | --- |
|  | |
| Studio album by Mo Thugs | |
| Released | June 27, 2000 (2000-06-27) |
| Recorded | 1999–2000 |
| Genre |  |
| Length | 1:12:41 |
| Label | Koch |
| Producer |  |
| Mo Thugs chronology | |
| *Chapter II: Family Reunion*
(1998) ***Mo Thugs III: The Mothership***
(2000) *The Movement*
(2003) | |


title: Girolamo Bonsignori

abstract: Fra Girolamo Bonsignori, was an Italian artist.

text:
# Girolamo Bonsignori

Fra **Girolamo Bonsignori**, (miscalled **Monsignori**; 1472–1549) was an Italian artist.

## Life

The brother of Francesco Bonsignori, he was born at Verona. At an early period in his life he became a monk of the order of the Dominicans, and in the church of his monastery he executed some altar-pieces. He at first studied the works of Mantegna, but in his later productions he followed the style of Fiesole. He produced some excellent copies of some of the paintings of Leonardo da Vinci, notably, one of the *Last Supper*, pronounced by Lanzi the best copy ever made of it. It was originally in the library of San Benedetto at Mantua. At the end of the 17th century on in the early 18th century it was bought by Count d'Espagnac and led to the Abbey of Santa Maria della Vangadizza in Badia Polesine, Veneto, where it remained until 1982 when the last heir of the D'Espagnac, Michel de Rostolan, sold it to the town of Badia Polesine, now restored and in excellent condition is preserved in the museum civic Barufaldi, Badia Polesine.

In the style of Leonardo he also painted a *St. John*, which is now in the Zecca at Milan. Among his early paintings there is, besides the altar-piece, a *Last Supper* in the Dominican monastery, and a *Madonna* in fresco in Santa Anastasia at Verona. He died of the plague at Mantua. Another brother of Francesco, Fra Cherubino Bonsignori, excelled in miniature painting.

**Attribution:**

* This article incorporates text from a publication now in the public domain: Bryan, Michael (1886). "Bonsignori, Fra Girolamo". In Graves, Robert Edmund (ed.). *Bryan's Dictionary of Painters and Engravers (A–K)*. Vol. I (3rd ed.). London: George Bell & Sons.


abstract: A missionary order is a Catholic religious order devoted to active missionary work. No Catholic religious order was founded for that purpose, but all the mendicant orders have been active in this field and others too, in particular the Jesuits, whose members include outstanding missionaries such as Saint Francis Xavier and Matteo Ricci. Even monastic orders have engaged and still engage in missionary endeavours, as did, for instance, the Benedictines whom Pope Gregory the Great sent to evangelize the Angles. A missionary congregation is a religious congregation devoted to active missionary work. Some, as that of the Marist Fathers, have that field of work as the purpose for which they were founded. It has also been suggested that all congregations, at their foundation, are missionary focussed. The largest Catholic missionary congregation is the Society of the Divine Word. A Catholic missionary society is a society of apostolic life devoted to active missionary work. Orders and congregations are classes of religious institutes, but societies of apostolic life, while similar, are of distinct character in that their members do not take religious vows. Missionary societies include the Paris Foreign Missions Society, the Pontifical Institute for Foreign Missions, the Missionaries of the Precious Blood, the Missionary Society of St. Columban, and the Catholic Foreign Mission Society of America.

text:
# Missionary religious institutes and societies

A **missionary order** is a Catholic religious order devoted to active missionary work. No Catholic religious order was founded for that purpose, but all the mendicant orders have been active in this field and others too, in particular the Jesuits, whose members include outstanding missionaries such as Saint Francis Xavier and Matteo Ricci. Even monastic orders have engaged and still engage in missionary endeavours, as did, for instance, the Benedictines whom Pope Gregory the Great sent to evangelize the Angles.

A **missionary congregation** is a religious congregation devoted to active missionary work. Some, as that of the Marist Fathers, have that field of work as the purpose for which they were founded. It has also been suggested that all congregations, at their foundation, are missionary focussed. The largest Catholic missionary congregation is the Society of the Divine Word.

A Catholic **missionary society** is a society of apostolic life devoted to active missionary work. Orders and congregations are classes of religious institutes, but societies of apostolic life, while similar, are of distinct character in that their members do not take religious vows. Missionary societies include the Paris Foreign Missions Society, the Pontifical Institute for Foreign Missions, the Missionaries of the Precious Blood, the Missionary Society of St. Columban, and the Catholic Foreign Mission Society of America.


title: Ulrich of Strasbourg

abstract: Ulrich of Strasbourg was a German Dominican theologian and scholastic philosopher from Strasbourg, Alsace. A disciple of Albertus Magnus, he is known for his De summo bono, written 1265 to 1272.

text:
# Ulrich of Strasbourg

**Ulrich of Strasbourg** (c. 1225–1277) was a German Dominican theologian and scholastic philosopher from Strasbourg, Alsace. A disciple of Albertus Magnus, he is known for his *De summo bono*, written 1265 to 1272.

## Works

* Ulricus de Argentina, *De summo bono*, I–IV, edited by A. Beccarisi et al., Corpus philosophorum teutonicorum medii aevi I, vols 1–4, Hamburgh, Meiner, 1987-2008.

* Jorge J. E. Gracia, Timothy B. Noone (2005), *A Companion to Philosophy in the Middle Ages*
* Thomas Gandlau (1997). "Ulrich von Straßburg, auch Ulrich Engelberti". In Bautz, Traugott (ed.). *Biographisch-Bibliographisches Kirchenlexikon (BBKL)* (in German). Vol. 12. Herzberg: Bautz. cols. 898–900. ISBN 3-88309-068-9.
* Irene Zavattero, "Ulrich of Strasbourg", in Henrik Lagerlund (ed.), *Encyclopedia of Medieval Philosophy: Philosophy Between 500 and 1500*, Dordrecht, Springer, pp. 1351-1353.


title: Unfinished Business (Eric Carr album)

abstract: Unfinished Business is an album by drummer Eric Carr. It is his second posthumous release, after Rockology.

text:
# Unfinished Business (Eric Carr album)

Professional ratings
| Review scores | |
| --- | --- |
| Source | Rating |
| Allmusic |  |

***Unfinished Business*** is an album by drummer Eric Carr. It is his second posthumous release, after *Rockology*.

## Track listing

| No. | Title | Writer(s) | Length |
| --- | --- | --- | --- |
| 1. | "Eric Speaks to the Fans" (Dialogue) |  | 0:06 |
| 2. | "Just Can't Wait" (Performed by Ted Poley) | Eric Carr, Bruce Kulick, Adam Mitchell, Nick Clemente | 3:55 |
| 3. | "Troubles Inside You" | Carr, Mitch Weissman | 2:28 |
| 4. | "No One's Messin' With You" | Carr | 3:14 |
| 5. | "Eric Talks About His Music" (Dialogue) |  | 0:14 |
| 6. | "Carr Jam 1981" (Performed by Joey Cassata and Benny Doro) | Carr | 3:11 |
| 7. | "Eric Talks About His Audition" (Dialogue) |  | 0:17 |
| 8. | "Shandi" | Paul Stanley, Vini Poncia | 3:55 |
| 9. | "All Hell's Breakin' Loose" (Performed by ZO2) | Carr, Gene Simmons, Stanley, Vinnie Vincent | 4:28 |
| 10. | "Dial L For Love" (instrumental) | Carr, Mitchell | 2:52 |
| 11. | "Elephant Man" | Carr, Nick Clemente, Bob Gilmartin | 3:59 |
| 12. | "Eric Talks About Mark St. John" (Dialogue) |  | 0:15 |
| 13. | "Midnite Stranger" (instrumental) | Carr | 2:22 |
| 14. | "Eyes of Love" | Carr, Kulick, Mitchell | 3:47 |
| 15. | "Bill Aucoin Talks About Eric" (Dialogue) |  | 0:41 |
| 16. | "Through the Years (Live)" (instrumental) | Carr | 5:06 |
| 17. | "I Cry At Night" | Carr | 2:07 |
| 18. | "Eric Joking At Rehearsals" (Dialogue) |  | 0:34 |
| Total length: | | | 43:28 |

## InfoBox

| Unfinished Business | |
| --- | --- |
|  | |
| Studio album by Eric Carr | |
| Released | November 8, 2011 |
| Recorded | Throughout the 1980s, additional recordings in the 2000s |
| Genre | Hard rock, heavy metal |
| Length | 43:28 |
| Label | Auto Rock Records |
| Eric Carr chronology | |
| *Rockology*
(1999) ***Unfinished Business***
(2011) | |


title: Mobile Warfare

abstract: Mobile warfare is a military strategy of the People’s Republic of China employing conventional forces on fluid fronts with units maneuvering to exploit opportunities for tactical surprise, or where a local superiority of forces can be realized. One of early CCP leader Mao Zedong's three forms of warfare, mobile warfare was the primary form of warfare used by Chinese communist forces from the early 1930s to the conclusion of the Chinese Civil War. The other two forms of warfare that Mao defined in On Protracted War, guerrilla warfare and positional warfare, were less frequently employed. The most notable example of Chinese mobile warfare was the Long March, a massive military retreat in which Mao marched in circles in Guizhou until he had confused the vastly larger armies pursuing him, and was then able to slip through Yunnan and Sichuan, although the retreat was completed by only one-tenth of the force that left for the Long March at Jiangxi. The Chinese People's Volunteer Army's first five campaigns in the Korean War were characterized by a strategy of mobile warfare, in which the PVA encircled the enemy through maneuvers and sought to annihilate the enemy. Then it entered a stage of positional warfare, when both the PVA and UN forces fought to a stalemate along the 38th parallel north.

text:
# Mobile Warfare

**Mobile warfare** (Chinese: 运动战; pinyin: *yùndòngzhàn*) is a military strategy of the People’s Republic of China employing conventional forces on fluid fronts with units maneuvering to exploit opportunities for tactical surprise, or where a local superiority of forces can be realized. One of early CCP leader Mao Zedong's three forms of warfare (Chinese: 战争形式; pinyin: *zhànzhēng xíngshì*), mobile warfare was the primary form of warfare used by Chinese communist forces from the early 1930s to the conclusion of the Chinese Civil War. The other two forms of warfare that Mao defined in *On Protracted War*, guerrilla warfare (游击战; *yóujīzhàn*) and positional warfare (阵地战; *zhèndìzhàn*), were less frequently employed.

The most notable example of Chinese mobile warfare was the Long March, a massive military retreat in which Mao marched in circles in Guizhou until he had confused the vastly larger armies pursuing him, and was then able to slip through Yunnan and Sichuan, although the retreat was completed by only one-tenth of the force that left for the Long March at Jiangxi.

The Chinese People's Volunteer Army's first five campaigns in the Korean War were characterized by a strategy of mobile warfare, in which the PVA encircled the enemy through maneuvers and sought to annihilate the enemy. Then it entered a stage of positional warfare, when both the PVA and UN forces fought to a stalemate along the 38th parallel north.

## Sources


title: Mobile Yacht Club

abstract: The Mobile Yacht Club (MYC) is a private boat club and harbor that first met as a group in 1847 before establishing a physical clubhouse in the 1850s. It is located in Mobile, Alabama. The Mobile Yacht Club sponsors and participates annually in numerous club regattas as well as races in affiliation with the Gulf Yachting Association, of which MYC is a charter member. The club has competed in the Dauphin Island Regatta, the GYA-sponsored Liptons, the Broken Triangle Race, the Around-the-Rig Regatta, and the MYC Anniversary Regatta.

text:
# Mobile Yacht Club

The **Mobile Yacht Club** (**MYC**) is a private boat club and harbor that first met as a group in 1847 before establishing a physical clubhouse in the 1850s. It is located in Mobile, Alabama.

The Mobile Yacht Club sponsors and participates annually in numerous club regattas as well as races in affiliation with the Gulf Yachting Association, of which MYC is a charter member. The club has competed in the Dauphin Island Regatta, the GYA-sponsored Liptons, the Broken Triangle Race, the Around-the-Rig Regatta, and the MYC Anniversary Regatta.

## History

In the 1840s, young businessmen had organized the Mobile Yacht Club (earlier called the **Mobile Regatta Club**) and began holding regattas at the watering holes on Point Clear, Battles Wharf, and Howard's Landing. Mobile Yacht Club's first club house was located on the east bank of the Mobile River, opposite St. Francis Street.

The Civil War and the presence of the Union Fleet in the bay caused MYC to suspend its activities for several years. In 1868, the MYC was again holding regattas. In the 1880s, Mobile yachtsmen had reorganized their club and sold stock to build a clubhouse on a newly acquired plot on the Mobile River just opposite downtown.

The membership soon outgrew that small house, and at the 1897 annual meeting, the Commodore appointed a committee to consider a new building. A New Orleans architect and member of the Southern Yacht Club, Thomas Sully, designed the club house a few years later, and it was built near the old location on the Mobile River.

A hurricane on July 5, 1916, combined with a high tide, destroyed the club and set many yachts adrift.

By the end of World War I, the members had re-established the club on the bay's Eastern Shore, where it had re-established the club under the name of Mobile Yacht Club, and moved to Barret's Beach. In 1940, just north of the mouth of the Dog River, the club built a two-story house. After Hurricane Frederic in 1979, the current version of the Mobile Yacht Club was constructed.

## InfoBox

Mobile Yacht Club
| Burgee | |
| --- | --- |
| Founded | 1847 |
| Location | Marina Drive North, Mobile, Alabama 36605 |
| John O'Brien | |
| Website | mobileyachtclub.com |


title: Glamour Girl (novel)

abstract: Glamour Girl is a novel written by Kerry Katona and Fanny Blake. It is the third in a trilogy of novels written by Katona and Blake and is a follow-up from their first two novels Tough Love and The Footballer's Wife. It was released 2 October 2008. In June 2008, Katona admitted that she had not actually written Glamour Girl or her previous novels, in part because she is dyslexic.

text:
# Glamour Girl (novel)

***Glamour Girl*** is a novel written by Kerry Katona and Fanny Blake. It is the third in a trilogy of novels written by Katona and Blake and is a follow-up from their first two novels *Tough Love* and *The Footballer's Wife*. It was released 2 October 2008. In June 2008, Katona admitted that she had not actually written *Glamour Girl* or her previous novels, in part because she is dyslexic.

## Plot introduction

Leanne has turned the tables on her career and is now managing her little sister Jodie's glamour career. Jodie will do anything to get to where she wants to be and is determined to be even more famous than Leanne ever was. So she hits all the parties with one thing in mind – get noticed. She decides that to top it all off she wants the perfect man – Ben Ridely, the owner of a leading property company. But she's too busy spending his money to realise that it's not coming in the legal way. Jodie needs to be careful because if she's not she could end up in big trouble.

## InfoBox

Glamour Girl
| First edition | |
| --- | --- |
| Author | Kerry Katona<br>Fanny Blake |
| Language | English |
| Genre | Novel |
| Publisher | Ebury Press |
| Publication date | 2 October 2008 |
| Publication place | United Kingdom |
| Media type | Print (hardcover, paperback) |
| Pages | 320 |
| ISBN | 978-0091923259 |
| Preceded by | *The Footballer's Wife* |