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Brunswick Records

Brunswick Records is an American record label founded in 1916.

1916–1929
Records under the Brunswick label were first produced by the Brunswick-Balke-Collender Company, a company based in Dubuque, Iowa which had been manufacturing products ranging from pianos to sporting equipment since 1845. The company first began producing phonographs in 1916, then began marketing their own line of records as an afterthought. These first Brunswick records used the vertical cut system like Edison Disc Records, and were not sold in large numbers. They were recorded in the United States but sold only in Canada.

In January 1920, a new line of Brunswick Records was introduced in the U.S. and Canada that employed the lateral cut system which was becoming the default cut for 78 discs. Brunswick started its standard popular series at 2000 and ended up in 1940 at 8517. However, when the series reached 4999, they skipped over the previous allocated 5000s and continued at 6000. When they reached 6999, they continued at 7301 (because the early 7000s had been previously allocated as their Race series). The parent company marketed them extensively, and within a few years Brunswick became a competitor to America's "big three" record companies, Edison Records, Victor, and Columbia Records.

The Brunswick line of home phonographs were commercially successful. Brunswick had a hit with their Ultona phonograph capable of playing Edison Disc Records, Pathé disc records, and standard lateral 78s. In late 1924, Brunswick acquired the Vocalion Records label.

Audio fidelity of early-1920s, acoustically-recorded Brunswick discs is above average for the era. They were pressed into good quality shellac, although not as durable as that used by Victor. General music director Walter B. Rogers and his colleague Gus Haenschen lured significant classical and popular soloists into Brunswick's roster, including Sigrid Onegin, Marie Tiffany, Michael Bohnen, Mario Chamlee, Richard Bonelli, Giacomo Lauri-Volpi, and popular singers Al Bernard, Ernest Hare, and light-voiced Nick Lucas. Significant Brunswick instrumentalists included pianists Leopold Godowsky and Josef Hofmann, and violinists Bronislaw Huberman and Max Rosen.

In the spring of 1925 Brunswick introduced its own version of electrical recording derived from the Pallophotophone system, developed by Charles A. Hoxie (and licensed from General Electric) using photoelectric cells, which Brunswick called the "Light-Ray" process. These early electric discs have a harsh equalization which does not compare well to early electric Columbias and Victors, and the company's logbooks from 1925–27 show many recordings that were unissued for technical reasons having to do with the GE system's electronic and sonic inconsistencies. (Only Brunswick and Vocalion records pressed at their West Coast plant bore the name "Light-Ray Process" on the labels.)

Once Brunswick's engineers had tentative control of their new equipment, the company expanded its popular music recording activities, exploiting its roster of stars: the dance bands of Bob Haring, Isham Jones, Ben Bernie, Abe Lyman, Earl Burtnett, and banjoist Harry Reser and his various ensembles (especially the Six Jumping Jacks), and Al Jolson (whose record labels proclaimed him "The World's Greatest Entertainer With Orchestra").

Then based in Chicago (although they maintained an office and studio in New York), many of the city's best orchestras and performers recorded for Brunswick. The label's jazz roster included Fletcher Henderson, Duke Ellington (usually as the Jungle Band), King Oliver, Johnny Dodds, Andy Kirk, Roger Wolfe Kahn, and Red Nichols. Brunswick initiated a 7000 race series (with the distinctive 'lightning bolt' label design, also used for their popular 100 hillbilly series) as well as the Vocalion 1000 race series. These race records series recorded hot jazz, urban and rural blues, and gospel. Brunswick also had a very successful business supplying radio with sponsored transcriptions of popular music, comedy and personalities.

In the early 1920s Brunswick also embarked on an ambitious domestic classical instrumental recording program which carried over into the electrical era, recording violinist Bronislaw Huberman, pianists Josef Hofmann and Leopold Godowsky (both of whom made the majority of their American recordings for Brunswick), and the New York String Quartet. They moved into orchestral recording in 1922 with the renowned "Capitol Grand Orchestra" under Erno Rapee from the Capitol Theatre in New York (at a time when Eugene Ormandy was the orchestra's concertmaster), then contracting with the Minneapolis Symphony under Henri Verbrugghen and the Cleveland Orchestra under Nikolai Sokoloff in 1924, the orchestra of the Metropolitan Opera House (39th Street) under Gennaro Papi, and in a tremendous steal from Victor, they put the New York Philharmonic with conductors Willem Mengelberg and Arturo Toscanini on their artists roster - but only briefly. The popular records, which used small performing groups, were difficult enough to make with the photoelectric cell process; symphony orchestra recording, however, further exacerbated the problems of the "Light-Ray" system. Few orchestral records were approved for issue and those that did appear on the market often combined excellent performances with execrable sound, which particularly displeased Toscanini (only two sides he conducted were ever released). Brunswick found it expedient and ultimately cheaper to contract with European companies (whose electrical recording systems surpassed Brunswick's). Among the recordings Brunswick imported and issued under their own label (through an agreement reached with Polydor, Deutsche Grammophon's export branch) were historic performances conducted by Hans Pfitzner and Richard Strauss—the latter conducting critically acclaimed performances of his symphonic poems Don Juan and Till Eulenspiegel's Merry Pranks, recorded in Berlin in 1929–30. Some of these recordings have been reissued on CD.

Brunswick itself switched to a conventional condenser microphone recording process (licensed through Western Electric) in 1927, with better results. Prior to this, however, they had introduced the Brunswick Panatrope all-electric phonograph with electric amplification. This phonograph met with critical acclaim, and composer Ottorino Respighi selected the Brunswick Panatrope to play a recording of bird songs in his composition The Pines of Rome. Jack Kapp became the record company executive of Brunswick in 1930.

1930–1944
In April 1930, Brunswick-Balke-Collender sold Brunswick Records to Warner Bros., and the company's headquarters moved to New York. Warner Bros. hoped to make their own soundtrack recordings for their sound-on-disc Vitaphone system. A number of interesting recordings were made by actors during this period, featuring songs from musical films. Actors who made recordings included Noah Beery, Charles King, and J. Harold Murray. During this Warner Brothers period Brunswick signed Bing Crosby, who was to become their biggest recording star, as well as the Mills Brothers, Adelaide Hall, the Boswell Sisters, Cab Calloway, the Casa Loma Orchestra and Ozzie Nelson.

In November 1930, the new budget-line, Melotone, debuted, entering a field of lower-priced electrical records, including Columbia's Clarion, Velvet Tone, Harmony and the labels of the Plaza Music Company, such as Perfect, Banner, and Romeo. Melotone releases before the ARC takeover of December 1931 are not duplicated on these labels.When Vitaphone was abandoned in favor of sound-on-film systems—and record industry sales plummeted due to the Great Depression—Warner Bros. leased the Brunswick record operation to Consolidated Film Industries, the parent company of the American Record Corporation (ARC), in December 1931. In 1932, the UK branch of Brunswick was acquired by British Decca.

Between early 1932 and 1939, Brunswick was ARC's flagship label, selling for 75 cents, while all of the other ARC labels were selling for 35 cents. Best selling artists during that time were Bing Crosby, the Boswell Sisters, the Mills Brothers, Duke Ellington, Cab Calloway, Abe Lyman, Casa Loma Orchestra, Leo Reisman, Ben Bernie, Red Norvo, Teddy Wilson, and Anson Weeks. Many of these artists moved over to Decca in late 1934, causing Brunswick to reissue popular records by these artists on the ARC dime store labels as a means to compete with Decca's 35 cent price. In 1939, the American Record Corp. was bought by the Columbia Broadcasting System for $750,000, which discontinued the Brunswick label in 1940, in favor of reviving the Columbia label (as well as reviving the OKeh label, replacing Vocalion). This, along with the lower than agreed-upon sales/production numbers, violated the Warner lease agreement, resulting in the Brunswick trademark reverting to Warner. In 1941, Warner sold the Brunswick and Vocalion labels to American Decca (which Warner had a financial interest in), with all masters recorded prior to December 1931. Rights to recordings from late December 1931 on were retained by CBS/Columbia.

In 1943, Decca revived the Brunswick label, mostly for reissues of recordings from earlier decades, particularly Bing Crosby's early hits of 1931 and jazz items from the 1920s. Since then, Decca and its successors have had ownership of the historic Brunswick Records archive from this time period.

1945–1956
After World War II, American Decca releases were issued in the United Kingdom on the Brunswick label until 1968 when the MCA Records label was introduced in the UK. During the war, British Decca sold its American branch. By 1952, Brunswick was put under the management of Decca's Coral Records subsidiary. That same year, Brunswick resumed releasing new material, initially as rhythm and blues specialty label, adding pop music in 1957. Later in the 1950s, American Decca made Brunswick its leading rock and roll label, featuring artists such as Buddy Holly & the Crickets, with releases having backup vocals (by The Picks or The Roses) and labeled under the group name without reference to Holly. Hit records by Buddy Holly were released during the same period of his career on the co-owned Coral Records. The records released on Coral by Holly normally were without backup vocals, with the exception of "Rave On" and "Early In The Morning". In 1957, Brunswick became a subsidiary label to Coral.

1957–1979/R&B
Starting in the latter part of the 1950s and continuing well into the 1970s, the label recorded mainly R&B/soul acts, such as the label's leading artist in the late 1950s and early/mid 1960s, Jackie Wilson, and later on, the Chi-Lites. Jackie Wilson's manager, Nat Tarnopol, joined the label in 1957 as head of A&R. Brunswick became a separate company and a unit of Decca in 1960 with Tarnopol serving as executive vice-president. He acquired a 50% interest in Brunswick from Decca in 1964 and then the rest of Brunswick from Decca in 1969 to settle disputes with Decca management. Nat Tarnopol worked with R&B singer Jackie Wilson

Many of the recordings which established Brunswick as a major force in R&B and soul music in the mid-1960s and into the 1970s were supervised by producer Carl Davis in Chicago. He joined the label after helping to revive Jackie Wilson's recording career with his production on Wilson's 1966 hit, "Whispers". Wilson and Davis collaborated the following year for one of the label's biggest selling singles, "Higher And Higher", which sold over two million copies (No. 1 R&B, No. 5 pop). The Chi-Lites recorded two No. 1 R&B hits in the 1970s for Brunswick, "Have You Seen Her" and "Oh Girl", both co-written and co-produced by lead singer, Eugene Record. "Oh Girl" also topped the Billboard Hot 100. Davis formed a sister label, Dakar Records, in 1969, with Tyrone Davis (no relation) becoming its main artist and a major-selling R&B act. Dakar was first distributed by Atlantic Records for two years, but moved under Brunswick distribution from January 1972, after the company became independent from Decca.

Brunswick and Dakar artists included the Chi-Lites, Hamilton Bohannon, Tyrone Davis, Jackie Wilson, Barbara Acklin, Young-Holt Unlimited, Gene Chandler, the Artistics, Otis Leavill, the Lost Generation, Walter Jackson, Erma Franklin,  Willie Henderson & the Soul, Maryann Farra & Satin soul, Strutt, Touch, Sunny Nash and Little Richard. Main producers for the labels, along with Davis, were Eugene Record, Willie Henderson and later, Leo Graham, while staff arrangers during the Chicago years included Sonny Sanders, Tony Moulton Quinton Joseph and Willie Henderson.

The Chi-Lites' "Oh Girl" was the label's only release from post-1957 to reach the top of the Billboard Hot 100, but Brunswick and Dakar managed to top the R&B chart a total of 10 times during the same period, six by Jackie Wilson and two each by Tyrone Davis and the Chi-Lites.

Legal problems caused Brunswick to become dormant after 1982, in which Tarnopol licensed Brunswick recordings from 1957 onwards to the special products unit of Columbia Records. Brunswick had its last chart hits in 1982. Although Brunswick was eventually cleared of the charges, the situation, which had resulted in court action, left both the label and Tarnopol in financial difficulties. By then, Carl Davis and most of the artists had left the company. Tarnopol blamed his legal problems on a personal vendetta led by Lew Wasserman, the head of Decca's parent corporation, MCA Inc. Tarnopol died in 1987 at age 56.

Ownership
The Tarnopol family only claims ownership of Brunswick recordings since Tarnopol joined Brunswick in 1957. Decca's parent company, Universal Music controls the Decca-era pre-Tarnopol Brunswick recordings (excluding the late 1931–1939 era, which is still controlled by Columbia Records' parent, Sony Music Entertainment). The Decca-era Brunswick jazz catalogue is managed by the Verve Music Group (which is also part of Universal).

The official Brunswick Records web site has a detailed history of the Tarnopol-era Brunswick Records. The label was revived in 1995 by Nat's children. and many of the Chicago soul recordings have been re-issued in recent years. Brunswick's catalog is distributed by AMPED Distribution (a division of Alliance Entertainment).

title: Brunswick Records


text:
Talk:Patiala

old comments on copyright
Hmm, this appears to be a cut-and-paste from some other website. The hint was the bare text saying "(click here for picture gallery)" or words to that effect.

Is the copyright cleared? -- Hari 21:10 Feb 10, 2003 (UTC)
 * The article requires a major re-write to make it compact and presentable. Depending on time, I will try to do something.--Bhadani 5 July 2005 02:40 (UTC)

Reference
We need a link/ISBN for the reference, 82.36.147.99. -Penwhale | Blast the Penwhale 12:15, 21 January 2007 (UTC)

 * Hi friend - all it says is Publication Bureau - Punjabi University, Patiala on my copy. See - http://www.contrib.andrew.cmu.edu/~jw3u/gurdwara.history.html. Also - http://worldcat.org/wcpa/oclc/30513185.

 * Friend, you should be able to find an ISBN for the book, if major universities have them in the library. -Penwhale | Blast the Penwhale 14:17, 21 January 2007 (UTC)
 * Got it - ISBN 81-7380-038-8 —The preceding unsigned comment was added by Sikh-history (talk • contribs) 11:25, 23 January 2007 (UTC).

My Rationale For Changes

 * This State and Jind and Nabha, are not Jat States in shape or charachetr as claimed by other writers. They may have originated as Jats but are very much Sikh in characher like other Misls or Misals.

 * The article alluded that the History of Patiala is surrounded in mystery. Not so. There are detailed Persian accounts. Other Historians like Bannerjee have reserched this fully too.

 * I wished to add more detail rather than just 'the history of Patial is shrouded in mystery'. Wikipedia is about giving information.

 * Although of Jatt origin myself, I do not see why this article for Patiala has so many refrences under Jat, when every child in an Indian school is taught that these Royal Houses are Sikh. —The preceding unsigned comment was added by Sikh-history (talk • contribs) 12:37, 21 January 2007 (UTC).

What does "Peg" mean?
The only mention of it in this article is:

 * Patiala is famous for its peg (a reference to Patiala Peg)

I have no idea what Patiala Peg is: this badly needs explaining in the article (not just in Talk!). Loganberry (Talk) 01:24, 7 May 2007 (UTC)

 * I've added the confusing tag, in the hope that someone will edit that part of the article so that it doesn't just assume readers know what "Peg" means in this context. Loganberry (Talk) 15:15, 10 May 2007 (UTC)

ARCHITECTS IN PATIALA CITY. A very famous Architect in patiala. BAKHSHI ASSOCIATES —Preceding unsigned comment added by 117.197.119.194 (talk) 12:42, 30 March 2009 (UTC)

The patiala peg denotes an abnormally large sum of whisky.I read it in a book.Will provide the book's name. — Preceding unsigned comment added by Zoravar (talk • contribs) 17:37, 22 September 2011 (UTC)

Lehal village now patiala
with due respect, I made this page because people don't know about the history of Lehal village, mainly living abroad. This article will shred a light of knowledge on the young minds. Actually few days ago there is a debate on Patiala history on one of the Channel in Canada. Some of the young minds don't even know about the correlation of Lehal, Patiala, Guru Teg Bahadur ji and Gurudwara Dukh Nivaran sahib. I made this page to help others know better but if think that it is not worth then you are welcome to merge it with other. If you think it is good to go, then please help to improve it better. Thanks for your recommendation. — Preceding unsigned comment added by Mslehal (talk • contribs) 16:35, 15 December 2011 (UTC)

Edit warring
Users Umair Aj and DHSULP have been conducting an edit war at Patiala. Umair Aj has reverted 4 times in the last 17 hours. Both users have been warned. The response by Umair Aj has been to undo the warnings, which is evidence that he has seen them.

Please, both users bring your dispute to this talk page and make no further reverts on the article page. At present the consensus marginally supports the version by DHSULP. Apuldram (talk) 15:53, 11 August 2017 (UTC)

Orphaned references in Patiala
I check pages listed in Category:Pages with incorrect ref formatting to try to fix reference errors. One of the things I do is look for content for orphaned references in wikilinked articles. I have found content for some of Patiala's orphans, the problem is that I found more than one version. I can't determine which (if any) is correct for this article, so I am asking for a sentient editor to look it over and copy the correct ref content into this article.

Reference named "Religion": From Shimla:  From Chandigarh:  From Mumbai:  From Ludhiana:  From Indore:  From Amritsar:  From Gurdaspur district:  From Mohali: </li> <li>From Mahendragarh district: </li> </ul>

I apologize if any of the above are effectively identical; I am just a simple computer program, so I can't determine whether minor differences are significant or not. AnomieBOT ⚡ 08:44, 15 January 2023 (UTC)

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

title: Talk:Patiala


text:
The Other Ones

The Other Ones was an American rock band formed in 1998 by former Grateful Dead members Bob Weir, Phil Lesh, and Mickey Hart, along with part-time Grateful Dead collaborator Bruce Hornsby. In 2000, Bill Kreutzmann, another Grateful Dead alumnus, joined the group, while Phil Lesh dropped out. In 2002, Lesh rejoined the band, and Hornsby left. At different times the shifting lineup of The Other Ones also included Mark Karan, Steve Kimock, John Molo, Dave Ellis, Alphonso Johnson, Jimmy Herring, Rob Barraco, Jeff Chimenti, and Susan Tedeschi. In 2003, The Other Ones changed their name to The Dead.

The Other Ones continued the musical legacy of the Grateful Dead after Jerry Garcia died in 1995, playing many Grateful Dead songs and utilizing a similar jam band style that emphasized musical improvisation. The name of the band was taken from the title of the Grateful Dead song "That's It for the Other One", from 1968's Anthem of the Sun.

In 1999, The Other Ones released The Strange Remain, a two-disc CD recorded live during their 1998 Furthur Festival tour.

To celebrate the release of the album, on February 8, 1999, the Other Ones performed a live webcast (the first for members of the Grateful Dead), from Herbie Herbert's Sy Klopps Studios in San Francisco. The event, produced by Chime Interactive (then named Evolve Internet Solutions), featured a live conversation with online fans moderated by Steve Silberman with band members Bob Weir, Mickey Hart, Mark Karan and Dave Ellis. The event began with a live performance of Friend of the Devil, the first time members of the Grateful Dead participated in live streaming.

title: The Other Ones


text:
Charles R. Drew

Charles Richard Drew (June 3, 1904 – April 1, 1950) was an American surgeon and medical researcher. He researched in the field of blood transfusions, developing improved techniques for blood storage, and applied his expert knowledge to developing large-scale blood banks early in World War II. This allowed medics to save thousands of Allied forces' lives during the war. As the most prominent African American in the field, Drew protested against the practice of racial segregation in the donation of blood, as it lacked scientific foundation, and resigned his position with the American Red Cross, which maintained the policy until 1950.

Early life and education

Drew was born in 1904 into an African-American middle-class family in Washington, D.C. His father, Richard, was a carpet layer and his mother, Nora Burrell, trained as a teacher. Drew and three (two sisters, one brother) of his four younger siblings (three sisters and one brother total) grew up in Washington's largely middle-class and interracial Foggy Bottom neighborhood. From a young age Drew began work as a newspaper boy in his neighborhood, daily helping deliver over a thousand newspapers to his neighbors. Drew attended Washington's Dunbar High School which was well known for its equality and opportunities for all, despite the racial climate at the time. From 1920 until his marriage in 1939, Drew's permanent address was in Arlington County, Virginia, although he graduated from Washington's Dunbar High School in 1922 and resided elsewhere during that period of time.

Drew won an athletics scholarship to Amherst College in Massachusetts, where he played on the football as well as the track and field team, and later graduated in 1926. After college, Drew spent two years (1926–1928) as a professor of chemistry and biology, the first athletic director, and football coach at the historically black private Morgan College in Baltimore, Maryland, to earn the money to pay for medical school.

For his medical career Drew applied to Howard University, Harvard Medical School and later McGill University. Drew lacked some prerequisites for Howard University, and Harvard wanted to defer him a year, so to begin medical school promptly, Drew decided to attend McGill's medical school in Montreal, Canada.

It was during this stage in his medical journey that Drew worked with John Beattie, who was conducting research regarding the potential correlations between blood transfusions and shock therapy. Shock occurs as the amount of blood in the body rapidly declines which can be due to a variety of factors such as a wound or lack of fluids (dehydration). As the body goes into shock, both blood pressure and body temperature decrease which then causes a lack of blood flow and a loss of oxygen in the body's tissues and cells. Eventually, it became clear that transfusions were the solution to treating victims of shock, but at the time there was no successful method of transportation or mass storage of blood, leaving transfusions to be extremely limited to location.

At McGill, he achieved membership in Alpha Omega Alpha, a scholastic honor society for medical students, ranked second in his graduating class of 127 students, and received the standard Doctor of Medicine and Master of Surgery degree awarded by the McGill University Faculty of Medicine in 1933.

Drew's first appointment as a faculty instructor was for pathology at Howard University from 1935 to 1936. He then joined Freedman's Hospital, a federally operated facility associated with Howard University, as an instructor in surgery and an assistant surgeon. In 1938, Drew began graduate work at Columbia University in New York City on the award of a two-year Rockefeller fellowship in surgery. He then began postgraduate work, earning his Doctor of Science at Surgery at Columbia University. He spent time doing research at Columbia's Presbyterian Hospital and wrote a doctoral thesis, "Banked Blood: A Study on Blood Preservation," based on an exhaustive study of blood preservation techniques. It was through this blood preservation research where Drew realized blood plasma was able to be preserved, two months, longer through de-liquification, or the separation of liquid blood from the cells. When ready for use the plasma would then be able to return to its original state via reconstitution. This thesis earned him his Doctor of Science in Medicine degree in 1940, becoming the first African American to do so. The District of Columbia chapter of the American Medical Association allowed only white doctors to join, consequently "... Drew died without ever being accepted for membership in the AMA."

Blood for Britain
In late 1940, before the U.S. entered World War II and just after earning his doctorate, Drew was recruited by John Scudder to help set up and administer an early prototype program for blood storage and preservation. Here Drew was able to apply his thesis to aid in the blood preservation and transportation. He was to collect, test, and transport large quantities of blood plasma for distribution in the United Kingdom. Drew understood that plasma extraction from blood required both centrifugation and liquid extraction. Each extraction was conducted under controlled conditions to eliminate risk of contamination. Air concealment, ultraviolet light and Merthiolate were all used to mitigate the possibility of plasma contamination. Drew went to New York City as the medical director of the United States' Blood for Britain project. It was here that Drew helped set the standard for other hospitals donating blood plasma to Britain by ensuring clean transfusions along with proper aseptic technique to ensure viable plasma dispersals were sent to Britain. The Blood for Britain project was a project to aid British soldiers and civilians by giving U.S. blood to the United Kingdom.

Drew created a central location for the blood collection process where donors could go to give blood. He made sure all blood plasma was tested before it was shipped out. He ensured that only skilled personnel handled blood plasma to avoid the possibility of contamination. The Blood for Britain program operated successfully for five months, with total collections of almost 15,000 people donating blood, and with over 5,500 vials of blood plasma. As a result, the Blood Transfusion Betterment Association applauded Drew for his work.

American Red Cross Blood Bank
Drew's work led to his appointment as director of the first American Red Cross Blood Bank in February 1941. He also invented what would be later known as bloodmobiles, mobile donation stations that could collect the blood and refrigerate it; this allowed for greater mobility in terms of transportation and increased prospective donations. The blood bank supplied blood to the U.S. Army and Navy, who initially rejected the blood of African-Americans and later accepted it only if it were stored separately from that of Whites. Drew objected to the exclusion of African-Americans' blood from plasma-supply networks, and in 1942 he resigned in protest.

Academic achievements
In 1941, Drew's distinction in his profession was recognized when he became the first African-American surgeon selected to serve as an examiner on the American Board of Surgery.

Drew had a lengthy research and teaching career, returning to Freedman's Hospital and Howard University as a surgeon and professor of medicine in 1942. He was awarded the Spingarn Medal by the NAACP in 1944 for his work on the British and American projects. He was given an honorary doctor of science degree, first by Virginia State College in 1945 then by Amherst in 1947.

Personal life

In 1939, Drew married Minnie Lenore Robbins, a professor of home economics at Spelman College in Atlanta, Georgia, whom he had met earlier during that year. They had three daughters and a son. His daughter Charlene Drew Jarvis served on Council of the District of Columbia from 1979 to 2000, was the president of Southeastern University from 1996 until 2009, and was a president of the District of Columbia Chamber of Commerce.

Death

Beginning in 1939, Drew traveled to Tuskegee, Alabama, to attend the annual free clinic at the John A. Andrew Memorial Hospital. For the 1950 Tuskegee clinic, Drew drove along with three other black physicians. Drew was driving around 8 a.m. on April 1. Still fatigued from spending the night before in the operating theater, he lost control of the vehicle. After careening into a field, the car somersaulted three times. The three other physicians sustained minor injuries. Drew was trapped with severe wounds; his foot had become wedged beneath the brake pedal.

When reached by emergency technicians, he was in shock and barely alive due to severe leg injuries. Drew was taken to Alamance General Hospital in Burlington, North Carolina. He was pronounced dead a half hour after he first received medical attention. Drew's funeral was held on April 5, 1950, at the Nineteenth Street Baptist Church in Washington, D.C.

Despite a popular myth to the contrary, once repeated on an episode ("Dear Dad... Three") of the hit TV series M*A*S*H and in the novels Carrion Comfort and The 480, Drew's death was not the result of his having been refused hospital access because of his race. According to John Ford, one of the passengers in Drew's car, Drew's injuries were so severe that virtually nothing could have been done to save him. Ford added that a blood transfusion might have actually killed Drew sooner. This myth spread, however, because it was not then uncommon for black people to be refused treatment because there were not enough "Negro beds" available or the nearest hospital only serviced whites.

Legacy

 * In 1976, the National Park Service designated the Charles Richard Drew House in Arlington County, Virginia, as a National Historic Landmark in response to a nomination by the Afro-American Bicentennial Corporation.
 * In 1981, the United States Postal Service issued a 35¢ postage stamp in its Great Americans series to honor Drew.
 * Charles Richard Drew Memorial Bridge, spanning the Edgewood and Brookland neighborhoods in Washington, D.C.
 * USNS Charles Drew, a dry cargo ship of the United States Navy
 * Parc Charles-Drew, in Le Sud-Ouest, Montreal, Quebec, Canada
 * In 2002, scholar Molefi Kete Asante listed Drew as one of the 100 Greatest African Americans.

Numerous schools and health-related facilities, as well as other institutions, have been named in honor of Drew, including the Martin Luther King Jr./Drew Medical Center in Los Angeles.

Medical and higher education

 * In 1966, the Charles R. Drew Postgraduate Medical School was incorporated in California and was named in his honor. This later became the Charles R. Drew University of Medicine and Science.
 * Charles Drew Health Center, Omaha, Nebraska
 * Charles Drew Science Enrichment Laboratory, Michigan State University, East Lansing, Michigan
 * Charles Drew Health Foundation, East Palo Alto, California, 1960s–2000, was the community's only clinic for decades.
 * Charles Drew Community Health Center, located in Burlington, NC near the site of the old Alamance County hospital.
 * Charles Drew Pre-Health Society, University of Rochester
 * Charles R Drew Wellness Center in Columbia, South Carolina
 * Dr. Charles Drew Red Cross Blood and Platelet Donation Center in Washington D.C.
 * Charles R. Drew Hall, an all-male freshman dorm at Howard University, Washington D.C.
 * Charles Drew Memorial Cultural House, residence at Amherst College, his alma mater
 * Charles Drew Premedical Society at Columbia University, New York

K-12 schools

 * Charles R. Drew Middle School & Magnet school for the gifted, opened 1966 Los Angeles Unified School District Charles R. Drew Middle School
 * Charles R. Drew Middle School Lincoln, Alabama operated by Talladega County Schools
 * Charles R. Drew Junior High School, Detroit, Michigan
 * Dr. Charles R. Drew Science Magnet School, Buffalo, NY
 * Charles R. Drew Elementary School, Miami Beach and Pompano Beach, Florida
 * Bluford Drew Jemison S.T.E.M Academy, Baltimore (closed in 2013)
 * Bluford Drew Jemison STEM Academy West, a Middle/High School in Baltimore, Maryland
 * Dr. Charles R. Drew Elementary School, Colesville, Maryland
 * Charles Drew Elementary School, Washington, DC
 * Charles R. Drew Elementary School, Arlington, Virginia
 * Dr. Charles Drew Elementary School, New Orleans, LA
 * Charles R. Drew Charter School opened in August 2000 as the first charter school in Atlanta, Georgia
 * Dr. Charles Drew Academy, Ecorse, Michigan
 * Drew Academy, Houston, Texas Aldine ISD
 * Charles R. Drew Intermediate School, Crosby, Texas
 * Dr. Charles Drew Elementary School, San Francisco, Ca.
 * Charles Richard Drew Intermediate School / Charles Richard Drew Educational Campus, Bronx, New York

title: Charles R. Drew


text:
Talk:Artemis

Semi-protected edit request on 3 December 2021
Please let me edit this page and add some things. Some are important things about her abilities and some more. 188.4.186.180 (talk) 21:01, 3 December 2021 (UTC)
 * Full-protection-shackle-no-text.svg Not done: requests for decreases to the page protection level should be directed to the protecting admin or to Requests for page protection if the protecting admin is not active or has declined the request. ScottishFinnishRadish (talk) 21:03, 3 December 2021 (UTC)

Please improve wording when mentioning Siproites
I can see why it was written like that, but it's unclear who's doing the hunting with the current wording. Also might want add the alternative translation "Sypretes". A couple of sources/translations:

Antoninus Liberalis, cited by Francis Celoria. The Metamorphoses of Antoninus Liberalis: A Translation with Commentary, pp.71.

Orion: The Myth of the Hunter and the Huntress, pp.125-126. University of California Press

--5.91.87.141 (talk) 17:06, 31 January 2022 (UTC)

 * We are already using Celoria's translation (the online version at Topostext), and I've now added Fontenrose as a secondary source there. I presume it was Artemis that was doing the hunting (though Antoninus Liberalis' passage doesn't actually make that clear), and the article states that he accidentally sees Artemis bathing while she was hunting, which I think is clear enough in terms of who was hunting. That sentence could do with rephrasing, though. As to "Sypretes", that would require a source. – Michael Aurel (talk) 21:14, 31 January 2022 (UTC)

 * has given Siproites their own article. I have edited our treatment of the story in this article per our discussion at Talk:Siproites. – Michael Aurel (talk) 08:43, 8 February 2022 (UTC)

wikilink
wikilink Niobe pls 2A02:2F0B:B20D:2700:800D:85F5:508C:E5A1 (talk) 20:12, 3 July 2022 (UTC)
 * Done. Paul August ☎ 10:56, 4 July 2022 (UTC)

Semi-protected edit request on 10 August 2022
I would like to add an image of Artemis, Greek Goddess of the Wilderness, Wild Animals and the Moon as seen in contemporary Art. Randomactofflower (talk) 07:05, 10 August 2022 (UTC)
 * Red information icon with gradient background.svg Not done for now: please establish a consensus for this alteration before using the template. This does not look to be a particularly good representation. ScottishFinnishRadish (talk) 16:29, 10 August 2022 (UTC)
 * I don't think the image is particularly useful here. Paul August ☎ 17:16, 10 August 2022 (UTC)
 * Agreed with above. No particular reason to include this image. --Macrakis (talk) 17:43, 10 August 2022 (UTC)

Please fix the wrong word in the third paragraph.
In the third paragraph, please change "having laid" to "having lain".

Thank you. WhiteMarlin (talk) 02:29, 5 November 2022 (UTC)
 * ✅ 3mi1y (talk) 08:32, 5 November 2022 (UTC)

Artemis in the New Testament Acts of the Apostles
Please consider including the insights from this newly published article: Bilby, Mark. G. and Anna Lefteratou. "A Dramatic Heist of Epic Proportion: Iphigenia among the Taurians in the Acts of the Apostles," Harvard Theological Review 115.4 (2002) 496-518. https://doi.org/10.1017/S0017816022000293

Full disclosure of potential bias: As one of the co-authors, I'm suggesting that this article be consulted and considered by Wikipedia editors, not presuming to evaluate whether it merits citation in this entry. Vocesanticae (talk) 16:01, 17 November 2022 (UTC)

Adding on more art
Greek art is important, could we try to add more to appeal to the audience of younger kids? ScheelDiverts (talk) 16:05, 13 February 2023 (UTC)

A Commons file used on this page or its Wikidata item has been nominated for deletion
The following Wikimedia Commons file used on this page or its Wikidata item has been nominated for deletion: Participate in the deletion discussion at the nomination page. —Community Tech bot (talk) 23:09, 18 February 2023 (UTC)
 * Diana of Versailles.jpg

Modern Art (paragraph title)
The title is somewhat erroneous. It could simply be changed to "in art" or "influence in arts"...ect

e content of paragraph is very good. re Renaissance art and Modern art the same?

Modern art: It is mentioned in this wikipedia article (with references), how 'Modern Art' start approximately in 1860.

Renaissance Art Here, 1620 is the date given for the end of the 'renaissance'.

Both articles contain reference for the given dates. 94.252.107.93 (talk) 11:48, 24 August 2023 (UTC)

Moon goddess
The article makes the claim that Artemis was never seen by the Greeks as a moon goddess, and this does seem to be a widely understood fact. I am trying to understand, then, why we have Euripides, in Iphigenia at Aulis, referring to Artemis as "you that spin the silver light at night" or "goddess who lets her brilliant light roll along through the gloomy darkness of the night." What is Euripides referring to if not a lunar aspect for Artemis? I understand that Euripides belonged to later Greek antiquity, but he is certainly Greek, which belies the article's statement that "no records have been found of the Greeks referring to Artemis as a lunar deity." Satyreyes (talk) 22:59, 8 September 2023 (UTC)

Addition of story-like text to the article
An IP user 204.210.183.186 seems to be adding story-like additions to the Childhood section of the article. Isn't this against encyclopaedic tone of Wikipedia? i2n 2z  06:46, 25 January 2024 (UTC)

 * It gives WP:UNDUE weight to one late writer's poetic conceits and embellishments, based solely on the IP editor's reading of that WP:PRIMARY source. I'll remove it. NebY (talk) 15:26, 6 February 2024 (UTC)

title: Talk:Artemis