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Annie Get Your Gun (musical)

Annie Get Your Gun is a musical with lyrics and music by Irving Berlin and a book by Dorothy Fields and her brother Herbert Fields. The story is a fictionalized version of the life of Annie Oakley (1860–1926), a sharpshooter who starred in Buffalo Bill's Wild West, and her romance with sharpshooter Frank E. Butler (1847–1926).

The 1946 Broadway production was a hit, and the musical had long runs in both New York (1,147 performances) and London, spawning revivals, a 1950 film version and television versions. Songs that became hits include "There's No Business Like Show Business", "Doin' What Comes Natur'lly", "You Can't Get a Man with a Gun", "They Say It's Wonderful", and "Anything You Can Do (I Can Do Better)".

History and background
Dorothy Fields had the idea for a musical about Annie Oakley to star her friend Ethel Merman. Producer Mike Todd turned the project down, so Fields approached a new producing team, Richard Rodgers and Oscar Hammerstein II. After the success of their first musical collaboration, Oklahoma!, Rodgers and Hammerstein had decided to become producers of both their own theatrical ventures and those by other authors. They agreed to produce the musical and asked Jerome Kern to compose the music; Fields would write the lyrics, and she and her brother Herbert would write the book. Kern, who had been composing for movie musicals in Hollywood, returned to New York on November 2, 1945, to begin work on the score to Annie Get Your Gun, but three days later, he collapsed on the street due to a cerebral hemorrhage. Kern was hospitalized, and he died on November 11, 1945. The producers and Fields then asked Irving Berlin to write the musical's score; Fields agreed to step down as lyricist, knowing that Berlin preferred to write both music and lyrics to his songs. Berlin initially declined to write the score, worrying that he would be unable to write songs to fit specific scenes in "a situation show". Hammerstein persuaded him to study the script and try writing some songs based on it, and within days, Berlin returned with the songs "Doin' What Comes Naturally", "You Can't Get a Man With a Gun", and "There's No Business Like Show Business". Berlin's songs suited the story and Ethel Merman's abilities, and he readily composed the rest of the score to Annie Get Your Gun. The show's eventual hit song, "There's No Business Like Show Business", was almost left out of the show because Berlin mistakenly got the impression that Richard Rodgers did not like it. In imitation of the structure of Oklahoma! a secondary romance between two of the members of the Wild West Show was added to the musical during its development.

According to some sources, the role of Annie was originally offered to Mary Martin, who turned it down. This is not true. Dorothy Fields went to the hospital after Merman gave birth to her son to ask her if she would do the show. The show was conceived for Merman, but when time came to send out the post-Broadway national tour and Merman was unwilling to do it, Martin jumped at the chance, going on the road for approximately two years and belting out the songs, which had the effect of lowering her voice from its normal lyric-coloratura range to mezzo-soprano-alto.

For the 1999 revival, Peter Stone revised the libretto, eliminating what were considered insensitive references to American Indians, including the songs "Colonel Buffalo Bill" and "I'm An Indian Too". Stone said, "The big challenge is taking a book that was wonderfully crafted for its time and make it wonderfully crafted for our time... It was terribly insensitive...to Indians.... But it had to be dealt with in a way that was heartfelt and not obvious... In this case, it was with the permission of the heirs. They're terribly pleased with it." Stone also altered the structure of the musical, beginning it with "There's No Business Like Show Business" and presenting the musical as a "show within a show".

Act I
When the traveling Buffalo Bill's Wild West show visits Cincinnati, Ohio ("Colonel Buffalo Bill"), Frank Butler, the show's handsome, womanizing star ("I'm a Bad, Bad, Man"), challenges anyone in town to a shooting match. Foster Wilson, a local hotel owner, doesn't appreciate the Wild West show taking over his hotel, so Frank gives him a side bet of one hundred dollars on the match. Annie Oakley enters and shoots a bird off Dolly Tate's hat, and then explains her simple backwoods ways to Wilson with the help of her siblings ("Doin' What Comes Natur'lly"). When Wilson learns she's a brilliant shot, he enters her in the shooting match against Frank Butler.

While waiting for the match to start, Annie meets Frank Butler and is instantly smitten with him, not knowing he will be her opponent. When she asks Frank if he likes her, Frank explains that the girl he wants will "wear satin... and smell of cologne" ("The Girl That I Marry"). The rough and naive Annie comically laments that "You Can't Get a Man with a Gun". At the shooting match, Annie finds out that Frank is the "big swollen-headed stiff" from the Wild West show. She wins the contest, and Buffalo Bill and Charlie Davenport, the show's manager, invite Annie to join the Wild West Show. Annie agrees because she loves Frank even though she has no idea what "show business" is. Frank, Charlie, and Buffalo Bill explain that "There's No Business Like Show Business".

Over the course of working together, Frank becomes enamored of the plain-spoken, honest, tomboyish Annie and, as they travel to Minneapolis, Minnesota, on a train, he explains to her what "love" is ("They Say It's Wonderful"). Buffalo Bill and Charlie discover that their rival, Pawnee Bill's Far East Show, will be playing in Saint Paul, Minnesota, while the Wild West show plays in nearby Minneapolis. They ask Annie to do a special shooting stunt on a motorcycle to draw Pawnee Bill's business away. Annie agrees because the trick will surprise Frank. She sings her siblings to sleep with the "Moonshine Lullaby".

As Annie and Frank prepare for the show, Frank plans to propose to Annie after the show and then ruefully admits that "My Defenses Are Down". When Annie performs her trick and becomes a star, Chief Sitting Bull adopts her into the Sioux tribe ("I'm An Indian Too"). Hurt and angry, Frank walks out on Annie and the show, joining the competing Pawnee Bill's show.

Act II
Returning to New York from a tour of Europe with the Buffalo Bill show, Annie learns that the show has gone broke. Sitting Bull, Charlie, and Buffalo Bill plot to merge Buffalo Bill's show with Pawnee Bill's as they believe that show is doing well financially. Annie, now well-dressed and more refined and worldly, still longs for Frank ("I Got Lost in His Arms").

At a grand reception for Buffalo Bill's troupe at the Hotel Brevoort, Pawnee Bill, Dolly, and Frank also plot a merger of the two companies, assuming Buffalo Bill's show made a fortune touring Europe. When they all meet, they soon discover both shows are broke. Annie, however, has received sharpshooting medals from all the rulers of Europe worth one hundred thousand dollars, and she decides to sell the medals to finance the merger, rejoicing in the simple things ("I Got the Sun in the Mornin'"). When Frank appears, he and Annie confess their love and decide to marry, although with comically different ideas: Frank wants "some little chapel", while Annie wants "A wedding in a big church with bridesmaids and flower girls/ A lot of ushers in tail coats/ Reporters and photographers" ("An Old-Fashioned Wedding"o). When Annie shows Frank her medals, Frank again has his pride hurt. They call off the merger and the wedding, but challenge each other to one last shooting match to decide who is the best shot.

On the ferry to the Governors Island match site, Dolly attempts to ruin Annie's chances by tampering with her guns. She is caught and stopped by Sitting Bull and Charlie. However, they then decide to follow through with Dolly's plan so that Annie will lose the match, knowing that would soothe Frank's ego allowing the two to reconcile and the merger to take place.

As the match is ready to begin, Annie and Frank's egos come out again with each claiming they are better than the other ("Anything You Can Do"). Sitting Bull convinces Annie to deliberately lose the match to Frank, reminding her that she "can't get a man with a gun." That done, Frank and Annie finally reconcile, deciding to marry and merge the shows.

Notes:
 * This description is based on the 1966 revised book.
 * In the 1999 book, Frank also deliberately misses his shots in the final match, which ends in a tie.
 * o written for 1966 revision and included in 1999 Broadway Revival; not in the original production
 * § omitted from the 1999 Broadway Revival

Notable casts
Notes

Characters

 * Annie Oakley—a sharpshooter in the Wild West show
 * Frank Butler—the Wild West show's star
 * Dolly Tate—Frank's flamboyant assistant; Winnie's sister (Charlie's sister in the 1966 version)
 * Buffalo Bill—owner of the Wild West show
 * Chief Sitting Bull—Sioux chief and holy man; Annie's protector
 * Tommy Keeler§—knife-thrower in the Wild West show; Winnie's boyfriend; part Native American (not in the '66 version)
 * Charlie Davenport—manager of the Wild West show
 * Winnie Tate§—Dolly's sister; Tommy's girlfriend and his assistant in the knife-throwing act (not in the '66 version)
 * Pawnee Bill—owner of a competing western show
 * Foster Wilson—hotel owner
 * Little Boy-show opens on him
 * Annie's brothers and sisters: Jessie, Nellie, Little Jake, and Minnie (Minnie was written out of the 1999 revival )

Notes
 * §Tommy and Winnie and their songs were written out of the film & 1966 revision. The 1999 revival restored their characters and songs.

Original 1946 production

 * Act I
 * Overture — Orchestra
 * "Colonel Buffalo Bill" — Charlie Davenport, Dolly Tate, and ensemble
 * "I'm a Bad, Bad Man" — Frank Butler
 * "Doin' What Comes Natur'lly" — Annie Oakley and her siblings
 * "The Girl That I Marry" — Frank and Annie
 * "You Can't Get a Man with a Gun" — Annie
 * "There's No Business Like Show Business" — Frank, Buffalo Bill, Charlie, Annie, and ensemble
 * "They Say It's Wonderful" — Annie and Frank
 * "Moonshine Lullaby" § — Annie and siblings
 * "I'll Share It All With You" — Winnie Tate and Tommy Keeler
 * "Ballyhoo" — Riding Mistress and Show People
 * "There's No Business Like Show Business" (Reprise) — Annie
 * "My Defenses Are Down" — Frank and ensemble
 * "Wild Horse Ceremonial Dance" — Wild Horse, Indian Braves and Maidens
 * "I'm an Indian, Too" — Annie and ensemble
 * Adoption Dance — Annie, Wild Horse and Braves

 * Act II
 * Entr'acte — Orchestra
 * "I Got Lost In His Arms" § — Annie
 * "Who Do You Love, I Hope?" — Winnie and Tommy
 * "I Got the Sun in the Morning" — Annie and ensemble
 * "They Say It's Wonderful" (Reprise) — Annie and Frank
 * "The Girl That I Marry" (Reprise) — Frank
 * "Anything You Can Do" — Annie and Frank
 * "There's No Business Like Show Business" (Reprise) — Ensemble

 * Notes

 * §: omitted from the 1950 film version
 * "Let's Go West Again" was written by Berlin for the 1950 film but was not used. However, there are recordings by both Betty Hutton and Judy Garland.
 * "Take It in Your Stride" was a solo for Annie written for the original production. It was replaced by a reprise of "There's No Business Like Show Business" when Merman found the number too difficult. It was recorded by Liz Larsen for the album Lost in Boston.

1999 revival

 * Act I
 * "There's No Business Like Show Business" - Frank, Dolly, Winnie and Company
 * "Doin' What Comes Natur'lly" — Annie, Kids and Foster Wilson
 * "The Girl That I Marry" — Frank and Annie
 * "You Can't Get a Man with a Gun" — Annie
 * "There's No Business Like Show Business" (Reprise) — Frank, Buffalo Bill, Charlie and Annie
 * "I'll Share It All With You" — Tommy, Winnie and Company
 * "Moonshine Lullaby" — Annie, Kids, Ensemble Trio
 * "There's No Business Like Show Business" (Reprise) — Annie
 * "They Say It's Wonderful" — Annie and Frank
 * "My Defenses Are Down" — Frank and Young Men
 * Finale: "You Can't Get a Man with a Gun (Reprise)" - Annie

 * Act II
 * Entr'acte: The European Tour — Annie and Company
 * "I Got Lost In His Arms" — Annie
 * "Who Do You Love, I Hope" — Tommy, Winnie and Company
 * "I Got the Sun in the Morning" — Annie and Company
 * "An Old-Fashioned Wedding" — Annie and Frank
 * "The Girl That I Marry" (Reprise) — Frank
 * "Anything You Can Do" — Annie and Frank
 * "They Say It's Wonderful" (Reprise) — Annie, Frank and Company

"An Old-Fashioned Wedding" was written by Berlin for the 1966 revision, sung by Annie and Frank, and was also included in the 1999 revival

Original productions
Annie Get Your Gun premiered on Broadway at the Imperial Theatre on May 16, 1946, and ran for 1,147 performances. Directed by Joshua Logan, the show starred Ethel Merman as Annie, Ray Middleton as Frank Butler, Lea Penman as Dolly Tate, Art Bernett as Foster Wilson, Harry Bellaver as Chief Sitting Bull, Kenneth Bowers as Tommy Keeler, Marty May as Charlie Davenport, Warren Berlinger as the Little Boy and William O'Neal as Buffalo Bill.

The musical toured the U.S. from October 3, 1947, starting in Dallas, Texas, with Mary Martin as Annie. This tour also played Chicago and Los Angeles. Martin stayed with the tour until mid-1948.

The show had its West End premiere on June 7, 1947, at the London Coliseum where it ran for 1,304 performances. Dolores Gray played Annie with Bill Johnson as Frank.

The first Australian production opened at His Majesty's Theatre in Melbourne on July 19, 1947. It starred Evie Hayes as Annie with Webb Tilton as Frank.

A French version, Annie du Far-West, starring Marcel Merkes and Lily Fayol, began production at the Théâtre du Châtelet in Paris on February 19, 1950, and ran for over a year.

1958 Broadway revival
The first Broadway revival was staged in 1958 at the New York City Center, directed by Donald Burr and produced by Jean Dalrymple, director of the NYCC Light Opera Company. This production opened on February 19, 1958, and ran until March 2, for 16 performances. Betty Jane Watson played the role of Annie with David Atkinson as Frank, Margaret Hamilton as Dolly, James Rennie as Chief Buffalo Bill, and Jack Whiting as Charles Davenport. Included in the cast was Harry Bellaver, reprising his original role of Chief Sitting Bull. The program didn't list the performer who was to play Annie, and instead a "to-be-announced" statement was substituted for the name. At the last minute, Watson signed for the role. Even the program for the second week of the two-week engagement didn't list her name, except as understudy; this was the first time in memory that a leading performer wasn't listed.

1966 Broadway revival
The show had its second Broadway revival in 1966 at the Music Theater of Lincoln Center. This production opened on May 31, 1966, and ran until July 9, followed by a short 10-week U.S. Tour. It returned to Broadway at the Broadway Theatre on September 21 for 78 performances. Ethel Merman reprised her original role as Annie with Bruce Yarnell as Frank, Benay Venuta as Dolly, and Jerry Orbach as Charles Davenport. The libretto and score were revised: The secondary romance between Tommy Keeler and Winnie Tate was completely eliminated, including their songs "I'll Share it All With You" and "Who Do You Love, I Hope?", and the song "An Old-Fashioned Wedding" was specially written for the revival and added to the second act. This version of the show is available for licensing for amateur performances. This production was telecast in an abbreviated ninety-minute version by NBC on March 19, 1967, and is the only musical revived at Lincoln Center during the 1960s to be telecast.

1973 Shady Grove Music Fair production
Jay Harnick directed a revival at the Shady Grove Music Fair starring Barbara Eden, John Bennett Perry and Sandra Peabody that ran from 1973 to 1974.

1976 Mexican production
In 1976 a Spanish-language version was produced in Mexico City with the name of Annie es un tiro. It was directed by José Luis Ibáñez and starred by Mexican film star Silvia Pinal. The production was represented at the Teatro Hidalgo and was co starred by the actor and singer Manuel López Ochoa. The success of the production produced the first Spanish-language version of the musical's soundtrack.

1977 Los Angeles Civic Light Opera production
In 1977, Gower Champion directed a revival for the Los Angeles Civic Light Opera starring Debbie Reynolds as Annie. The Assistant Director was James Mitchell. Harve Presnell, Reynolds's former co-star in the 1964 film The Unsinkable Molly Brown, played Frank Butler. The cast featured Art Lund as Buffalo Bill, Bibi Osterwald as Dolly Tate, Gavin MacLeod as Charlie Davenport, Peter Bruni as Foster Wilson, Don Potter as Pawnee Bill, and Manu Tupou as Sitting Bull. The cast also included Trey Wilson and Debbie Shapiro. The production later toured various North American cities, but never ran on Broadway, its planned destination.

1986 UK tour and London revival
In 1986, a David Gilmore Chichester Festival Theatre production, with American rock star Suzi Quatro as Annie and Eric Flynn as Frank, opened at the Chichester Festival Theatre. It moved to the Theatre Royal, Plymouth, and then to the Aldwych Theatre in London's West End where it played from July 29 to October 4. The cast recorded an album, Annie Get Your Gun - 1986 London Cast and Quatro's songs "I Got Lost in His Arms"/"You Can't Get a Man with a Gun" were released as a single. Since then "I Got Lost in His Arms" has also been included in the compilation albums The Divas Collection (2003) and Songs from the Greatest Musicals (2008).

1992 London revival
A short-lived London production ran at the Prince of Wales Theatre in the West End, starring Kim Criswell as Annie. Criswell's studio cast recording of the show - made with Thomas Hampson and conductor John McGlinn - provided the impetus for the production. Pippa Ailion was the Casting Director for this production.

1999 Broadway revival
In 1999, a new production had its pre-Broadway engagement at the Kennedy Center, Washington, D.C., from December 29, 1998, to January 24, 1999. Previews began on Broadway on February 2, 1999, at the Marquis Theatre, with an official opening on March 4, 1999, and closed on September 1, 2001, after 35 previews and 1,045 performances.

This revival starred Bernadette Peters as Annie and Tom Wopat as Frank, and Ron Holgate as Buffalo Bill, with direction by Graciela Daniele, choreography by Jeff Calhoun, and music arrangements by John McDaniel. Peters won the 1999 Tony Award for Best Leading Actress in a Musical and the production won the Tony for Best Revival of a Musical.

This production had a revised book by Peter Stone and new orchestrations, and was structured as a "show-within-a-show", set as a Big Top travelling circus. "Frank Butler" is alone on stage and Buffalo Bill introduces the main characters, singing "There's No Business Like Show Business", which is reprised when "Annie" agrees to join the traveling Wild West show. The production dropped several songs (including "Colonel Buffalo Bill", "I'm A Bad, Bad Man", and "I'm an Indian Too"), but included "An Old-Fashioned Wedding". There were several major dance numbers added, including a ballroom scene. A sub-plot which had been dropped from the 1966 revival, the romance between Winnie and Tommy, her part-Native-American boyfriend, was also included. In the 1946 production, Winnie was Dolly's daughter, but the 1966 &1999 productions she is Dolly's younger sister. In this version, the final shooting match between Annie and Frank ends in a tie.

Notable replacements
While Peters was on vacation, All My Children star Susan Lucci made her Broadway debut as Annie from December 27, 1999, until January 16, 2000. Peters and Wopat left the show on September 2, 2000. Former Charlie's Angels star Cheryl Ladd made her Broadway debut as Annie on September 6, 2000, with Patrick Cassidy as Frank Butler. Country music singer Reba McEntire made her Broadway debut as Annie from January 26, 2001, to June 22, 2001, opposite Brent Barrett as Frank. On June 23, 2001, former Wings star Crystal Bernard, who had been playing Annie in the national tour of Annie Get Your Gun, assumed the role of Annie in the Broadway production, with Tom Wopat returning as Frank Butler.

2000 U.S. tour
The 1999 Broadway production, in a "slightly revised version", toured in a U.S. national tour starting in Dallas, Texas, on July 25, 2000, with Marilu Henner and Rex Smith. Tom Wopat joined the tour in late October 2000, replacing Smith.

2006 Prince Music Theater production
In 2006, the Prince Music Theater of Philadelphia, Pennsylvania, revived the 1966 Lincoln Center Theater version for one month. This production starred Andrea McArdle (the original Annie of the 1977 Broadway musical Annie), Jeffrey Coon as Frank Butler, John Scherer as Charlie Davenport, Chris Councill as Buffalo Bill, Mary Martello as Dolly Tate, and Arthur Ryan as Sitting Bull. The production was well received by critics. The production was directed by Richard M. Parison, Jr. and choreographed by Mercedes Ellington.

2009 London revival
Jane Horrocks, Julian Ovenden and director Richard Jones mounted a major London revival at the Young Vic, Waterloo. The show opened at the off west end venue on October 16, 2009, initially booking until January 2, 2010, but with an extra week added due to popular demand. The production featured new arrangements by Jason Carr for a band consisting four pianos. London's Guardian newspaper awarded the show 5 stars, claiming that "Richard Jones's brilliant production offers the wittiest musical staging London has seen in years."

2010 Ravinia Festival concert
A concert staging of the original version of Annie Get Your Gun took place at the Ravinia Festival, Chicago from August 13–15, 2010 to celebrate the 150th anniversary of Annie Oakley's birth. Directed by Lonny Price, the concert starred Patti LuPone as Annie, Patrick Cassidy as Frank and George Hearn as Buffalo Bill. The concert received unanimously strong reviews, notably for LuPone and Price's direction.

Other major productions
Lucie Arnaz starred in a production in the summer of 1978 with Harve Presnell at the Jones Beach Theater in Nassau County, New York. This was the first major production of the musical done in the New York area after the 1966 revival.

The Paper Mill Playhouse produced a well-reviewed production in June 1987 starring Judy Kaye as Annie and Richard White as Frank.

In 2004, Marina Prior and Scott Irwin starred in an Australian production of the 1999 Broadway rewrite of the show.

In 2014 Carter Calvert and David Weitzer starred in a production that opened the Algonquin Arts Theatre's 2014-2015 Broadway Season. It was also the first show to be performed after the Algonquin underwent the task of installing new seating which had not been done since 1938.

In October 2015, a two night concert version was presented at the New York City Center Gala starring Megan Hilty (Annie Oakley) and Andy Karl (Frank Butler). The concerts are directed by John Rando, and the cast features Judy Kaye (Dolly Tate), Ron Raines (Buffalo Bill), Brad Oscar (Charlie) and Chuck Cooper (Pawnee Bill).

In April 2023, a one night concert version was presented at The London Palladium starring Rachel Tucker (Annie Oakley) and Oliver Savile (Frank Butler). The concert was directed by Emma Butler, with musical direction by Adam Hoskins. It was produced by Lambert Jackson Productions.

Film and television versions
In 1950, Metro Goldwyn Mayer made a well-received movie version of the musical. Although MGM purchased the rights to the film version with an announced intention of starring legendary singer-actress Judy Garland as Annie, early work on the film was plagued with difficulties, some attributed to Garland's health. Garland was fired and replaced by the brassier, blonde Betty Hutton.

In 1957, a production starring Mary Martin as Annie and John Raitt as Frank Butler was broadcast on NBC. In 1967, the Lincoln Center production described above, starring Ethel Merman and Bruce Yarnell, was broadcast on NBC. The Mary Martin version has been re-broadcast sporadically over the years, but the 1967 videotapes starring Ethel Merman have apparently been irretrievably lost. Only a video and audio clip of "I Got the Sun in the Mornin' (and the Moon at Night)" is known to exist, as does an audio-only recording of the entire 90-minute show.

Recordings
There are several recordings of the Annie Get Your Gun score, including:
 * 1946 Original Broadway Cast: an original cast recording was released by Decca Records in 1946, featuring the cast of the original 1946 Broadway production. The principal stars were Ethel Merman and Ray Middleton. The album was added to the Grammy Hall of Fame in 1998.
 * 1957 TV Cast: a recording based on the TV version shown in 1957, with Mary Martin and John Raitt.
 * 1963 Studio Cast featuring Doris Day and Robert Goulet: not based on a theatre production.
 * 1966 Broadway Revival Cast
 * 1976 Spanish-language version with Mexican cast.
 * 1986 1986 London Cast
 * 1991 Studio Cast: Kim Criswell (Annie), Thomas Hampson (Frank), Jason Graae (Tommy), Rebecca Luker (Winnie), David Garrison (Charlie), David Healy (Buffalo Bill), Alfred Marks (Sitting Bull), Gregory Jbara (Foster Wilson) Simon Green (Pawnee Bill), Peta Bartlett (Dolly), Kerry Potter, Hayley Spencer, Emma Long (Annie's sisters: Minnie, Jessie Nellie), Paul Keating (Annie's brother: Little Jake), Nick Curtis, Carey Wilson, Michael Pearn (Trainman, Waiter, Porter), Clare Buckfield (Small Girl), John McGlinn (Mac), Bruce Ogston (An Indian), Ambrosian Singers, London Sinfonietta, conducted by John McGlinn. Producer: Simon Woods; Balance Engineer: John Kurlander; Editor Matthew Cocker; Production Assistant: Alison Fox. Recorded July 1990, No 1 Studio, Abbey Road, London. CD: EMI CDC 7 54206 2.
 * 1999 Broadway Revival Cast (Grammy Award)

Conductor John Owen Edwards along with JAY Records recorded the first-ever complete recording, with all musical numbers, scene change music and incidental music, of the show's score in the 1990s with Judy Kaye and Barry Bostwick. Christopher Lee had the role of Sitting Bull.

Reception
The original Broadway production opened to favorable reviews. Critics unanimously praised Ethel Merman's performance as Annie Oakley, though some thought the score and book were not particularly distinguished. John Chapman of the Daily News declared that the production had "good lyrics and tunes by Irving Berlin...[and] the razzle-dazzle atmosphere of a big-time show" but pronounced Merman the best part of the show, stating "She is a better comedienne than she ever was before", stating that "Annie is a good, standard, lavish, big musical and I'm sure it will be a huge success--but it isn't the greatest show in the world". Louis Kronenberger of PM stated that the show was 'in many ways routine", but greatly praised Merman's performance, opining, "For me, Annie is mainly Miss Merman's show, though the rest of it is competent enough of its kind...Irving Berlin's score is musically not exciting--of the real songs, only one or two are tuneful". Ward Morehouse of The New York Sun declared, "The big news about Annie Get Your Gun is that it reveals Ethel Merman in her best form since Anything Goes...She shouts the Berlin music with good effect. She often comes to the aid of a sagging book". He stated, "Irving Berlin's score is not a notable one, but his tunes are singable and pleasant and his lyrics are particularly good. The book? It's on the flimsy side, definitely. And rather witless too". Lewis Nichols of The New York Times said, "It has a pleasant score by Irving Berlin...and it has Ethel Merman to roll her eyes and to shout down the rafters. The colors are pretty, the dancing is amiable and unaffected, and Broadway by this time is well used to a book which doesn't get anywhere in particular".

However, the show itself was greatly lauded by some critics: Vernon Rice of the New York Post proclaimed, "Irving Berlin has outdone himself this time. No use trying to pick a hit tune, for all the tunes are hits...Ethel Merman is at her lusty, free and easy best...She is now able to develop a consistent characterization and stay with it to the show's end. And when she opens her mouth to sing, she sings!" William Hawkins of the New York World-Telegram said that Merman was "bright as a whip, sure as her shooting, and generously the foremost lady clown of her time" and asserted that the show itself was comparable to those of Rodgers and Hammerstein, proclaiming, "For verve and buoyancy, unslackening, there has seldom if ever been a show like it...the girls in Annie have the beauty and character of looks one associates with a Rodgers and Hammerstein show. And the production has in every way the distinction that has become their hallmark".

Historians have viewed the show as inaccurate, citing among other reasons its portrayal of Annie as a loud, boisterous character, when in reality she had a quiet personality and did needlepoint in her spare time.

Redface
Native Americans have criticized the show's portrayal of Redface and promotion of cultural stereotypes. The song "I'm an Indian Too" is seen as particularly offensive; Annie sings that song after the character Sitting Bull adopts her into the Sioux tribe.

Native Americans did protest outside the New York theatre, as well as movie theaters, holding picket signs stating: "Don't See "Annie Get Your Gun". As a result of this reaction, many contemporary productions have omitted the song from their revivals, and the protests stopped.

However, the Native American comedy group The 1491s used the song in one of their satirical videos posted on YouTube. Directed and edited by Sterlin Harjo and starring Ryan Red Corn as "Hipster in a Headdress Mascot," the video plays with both the reality and the stereotypes of people who identify as Indian. The video is set in Santa Fe, New Mexico, during the annual Indian Market held there; the market itself features original art by highly praised Native artists, but some vendors also sell extremely stereotyped kitsch with supposedly Native themes or patterns. Part of the satire, as well, is that Ryan Red Corn does not look stereotypically Indian; he is filmed dancing to the tune of "I'm an Indian Too" in different places in the market, wearing shorts and a traditional Plains Indian headdress, with the word "Hipster" written in marker on his chest. People have quite different reactions to him and his dancing, with some who clearly get the joke that he is playing a stereotype while others clearly do not.

Awards and nominations

 * Mary Martin received a Special Tony Award in 1948 for "Spreading Theatre to the Country While the Originals Perform in New York" (1947-48 US Tour)

title: Annie Get Your Gun (musical)


text:
Stile Project

Stile Project is a website founded by a writer and webmaster known by the pseudonym Jay Stile. Stile started the site in 1999 when he was in high school, and ran it for 12 years. Stile Project grew into a large network of counter-culture, amateur adult entertainment and current-events sites, forums, collectively called stileNET. On December 2, 2010, Stile announced that he had sold Stile Project. According to Stile, after selling the website, he went on to study computer science and received his postgraduate academic degree in 2013.

Content
The Register referred to Stileproject.com as a "shock site" in a 2001 article. The website assembled "vast visual libraries of any taboo or depravity that could be digitized." In the early 2000s, as "the Web's leading repository of crude filth – probably the most reliable source of tastelessness in the history of the Internet," its content was criticized for its shock value. One example was a video showing a Korean villager killing, cooking, and eating a cat was highly publicized and denounced by PETA, who sought a federal investigation, which did not occur. Stile reportedly faked his own suicide live on webcam in 1999, and he confirmed the hoax in 2012.

Open-source software and porn were "memorialized in J. Stile's hoard of erotic Linux Slut images". As the site evolved, it survived what Stile reported was webhost troubles, and a major hacking incident. By 2004 AlterNet wrote that it and other similar shock sites "aren't grossing out teenagers anymore."

Awards
Stile Project won Webby Awards in 2000 for Weird site and People's Voice winner.

Associations

 * Stile is a former member of the underground art scene groups ACiD, DARK and iCE. His specialty was designing ANSI logos for art group projects and bulletin board systems in the early 1990s.
 * In 2006, Canadian poet Daniel Scott Tysdal cited Stile Project (December 2004) as a stanza in his poetry collection Predicting the Next Big Advertising Breakthrough Using a Potentially Dangerous Method.

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

title: Stile Project


text:
ETL

ETL may refer to:

Telecommunications

 * Econet Telecom Lesotho
 * Ericsson Telephones Limited, a defunct British telephone equipment manufacture
 * Eutelsat, a European satellite operator

Transport

 * ETL, National Rail station code for East Tilbury railway station, in Essex, England
 * Electric Traction Limited, a British rolling stock leasing company
 * ETL, reporting code for Essex Terminal Railway, in Ontario, Canada
 * Express toll lane, similar to a High-occupancy toll lane, expressway lane reserved for toll-paying vehicles

Other uses

 * Ephemerides Theologicae Lovanienses, a theological journal
 * ETL Group, a German management consultancy firm
 * ETL SEMKO, an electrical certification company
 * European Transport Law, a scholarly journal
 * Expected tail loss, a measure of financial risk
 * Extract, transform, load, a data processing concept

title: ETL


text:
Guide (hypertext)

Guide was a hypertext system developed by Peter J. Brown at the University of Kent in 1982. The original Guide implementation was for Three Rivers PERQ workstations running Unix. The Guide system became the third hypertext system to be sold commercially, marketed by Office Workstations Ltd (OWL) in 1984 and later by InfoAccess. It won Brown the British Computer Society's award for technical innovation in 1988. He retired in 1999 and died of cancer in 2007, according to a tribute page at the University of Kent website.

Ian Ritchie, founder of OWL, presented a TED talk in 2011 describing his missed opportunity to convert Guide to a graphical browser for the Web at its inception in 1990, titled "The day I turned down Tim Berners-Lee".

In September 1986, Guide was ported by OWL to the Apple Macintosh, and in July 1987 to Microsoft Windows. (In 1987, Apple had begun giving away its own graphical programming system, HyperCard, which had some hypertext features.) According to news reports in 1988, OWL announced plans to release a version of Guide for the IBM PS/2 line of computers under the name "Hyper Document", to compete with HyperCard on the Apple Macintosh.

OWL gradually shifted the focus of Guide from a low-cost hypertext word processor to a more expensive CD-ROM multimedia development system.

Unlike most hypertext systems, the main link mechanism in Guide is based on replacement, meaning that when following a link, the current node breaks open, making room for the destination node. The anchor of the link is replaced by the contents of the destination node, like an expanded node in an outliner, but without the restraint of a hierarchical outline. One can close the destination node, which means that it is once again replaced by the text of the anchor. Thus, the basic method of navigation using Guide was the expansion button, by which a section was replaced when selected and expansion provided additional levels of detail. This allowed the user, whether a document author or a reader, to expand and contract a document, viewing the desired level at any time, not unlike viewing methods used in Adobe Acrobat files. This method required a hierarchical document structure.

Guide supported pop-ups for small annotations, and jumps, which behaved like the follow-link operation in most hypertexts (as in van Dam's FRESS system). The jumps allowed for the non-hierarchical link creation.

title: Guide (hypertext)


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Allan Ramsay

Allan Ramsay may refer to:
 * Allan Ramsay (poet) or Allan Ramsay the Elder (1686–1758), Scottish poet
 * Allan Ramsay (artist) or Allan Ramsay the Younger (1713–1784), Scottish portrait painter
 * Allan Ramsay (diplomat) (1937–2022), British diplomat
 * Allan M. Ramsay (born 1953), professor of computer science
 * Allan Ramsay (portrait painter, born 1959), Scottish painter

title: Allan Ramsay


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Talk:Adolf Jellinek

Jellinek, "B. H."
Moved from Village pump on Saturday, August 2nd, 02003.

In several entries, there is the abbreviated reference "Jellinek, "B. H."" I'm guessing this is Adolf Jellinek, but to what does the "B. H." refer?
 * Maybe BHM or BH - Bet ha-Midrash, ed. A. Jellinek (Leipzig, 1853-1873; repr. Jerusalem, 1967)-- ΜΣΧ 17:30, 7 January 2014 (UTC)  — Preceding unsigned comment added by Migel Sances Huares (talk • contribs)

Notice about mixture of prose and timeline
I find the ProseTimeline template at the top of the article. It must refer to the list in the article. This is the same list which appears in the 1911 Britannica article, but brought out more clearly. I think it is easier to read in this format and deserves to stay if the 1911 Britannica information is retained. Now, except for one paragraph, the article seems largely based on the 1911 Britannica, and awaits editing to bring it up to date. Bob Burkhardt (talk) 15:52, 8 January 2009 (UTC)

Rosalie Bettelheim
Rosalie Bettelheim, Jellinek's wife, has a link in this article that leads back to her husband's page. I suggest, either remove the link or remove the referral. Thank you! —Preceding unsigned comment added by 84.229.41.9 (talk) 13:54, 4 November 2009 (UTC)

Again, there's a bit of a mix-up. Four of the family members mentioned have their links leading back to this article. These are Rosalie Bettelheim, Max Hermann Jellinek, Hermann Jellinek and Moritz Jellinek. Please either remove the referrals or remove the link from their names... 84.228.55.186 (talk) 20:51, 18 November 2009 (UTC)

title: Talk:Adolf Jellinek


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Talk:Cedar Mill, Oregon

website
Cedar Mill has a website: http://cedarmill.org, a business association newsletter: http://cedarmill.org/news and a wonderful library http://library.cedarmill.org

208.71.200.77 (talk) 01:45, 4 May 2011 (UTC) Liz, webmistress, Cedar Mill Library

External links modified
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title: Talk:Cedar Mill, Oregon


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Indulgence

In the teaching of the Catholic Church, an indulgence (indulgentia, from indulgeo, 'permit') is "a way to reduce the amount of punishment one has to undergo for (forgiven) sins". The Catechism of the Catholic Church describes an indulgence as "a remission before God of the temporal punishment due to sins whose guilt has already been forgiven, which the faithful Christian who is duly disposed gains under certain prescribed conditions…"

The recipient of an indulgence must perform an action to receive it. This is most often the saying (once, or many times) of a specified prayer, but may also include a pilgrimage, the visiting of a particular place (such as a shrine, church or cemetery) or the performance of specific good works.

Indulgences were introduced to allow for the remission of the severe penances of the early church and granted at the intercession of Christians awaiting martyrdom or at least imprisoned for the faith. The Catholic church teaches that indulgences draw on the treasury of merit accumulated by Jesus' superabundantly meritorious sacrifice on the cross and the virtues and penances of the saints. They are granted for specific good works and prayers in proportion to the devotion with which those good works are performed or prayers recited.

By the late Middle Ages, indulgences were used to support charities for the public good, including hospitals. However, the abuse of indulgences, mainly through commercialization, had become a serious problem which the church recognized but was unable to restrain effectively. Indulgences were, from the beginning of the Protestant Reformation, a target of attacks by Martin Luther and other Protestant theologians. Eventually the Catholic Counter-Reformation curbed the abuses of indulgences, but indulgences continue to play a role in modern Catholic religious life, and were dogmatically confirmed as part of the Catholic faith by the Council of Trent. In 1567, Pope Pius V forbade tying indulgences to any financial act, even to the giving of alms. Reforms in the 20th century largely abolished the quantification of indulgences, which had been expressed in terms of days or years. These days or years were meant to represent the equivalent of time spent in penance, although it was widely mistaken to mean time spent in Purgatory. The reforms also greatly reduced the number of indulgences granted for visiting particular churches and other locations.

Catholic teaching
Catholic teaching states that when a person sins, they acquire the liability of guilt and the liability of punishment. A mortal sin, one that is grave or serious in nature and is committed knowingly and freely, is considered to be an active refusal of communion with God, and to separate a person from him to the end of suffering the eternal death of hell as an effect of this rejection, a consequence known as the "eternal punishment" of sin. The Sacrament of Penance removes this guilt and the liability of eternal punishment related to mortal sin.

The forgiveness of sin and restoration of communion with God entail the remission of the eternal punishment of sin, but the temporal punishment of sin remains. An example of this can be seen in 2 Samuel 12, when, after David repents of his sin, the prophet Nathan tells him that he is forgiven, but, "Thus says the Lord God of Israel:...Now, therefore, the sword shall never depart from your house, because you have despised me and have taken the wife of Uriah to be your wife."

In addition to the eternal punishment due to mortal sin, every sin, including venial sin, is a turning away from God through what the Catechism of the Catholic Church calls an "unhealthy attachment to creatures", an attachment that must be purified either here on earth, or after death in the state called purgatory. "The process of sanctification and interior renewal requires not only forgiveness from the guilt (culpa) of sin, but also purification from the harmful effects or wounds of sin." This purification process gives rise to "temporal punishment", because, not involving a total rejection of God, it is not eternal and can be expiated. Catholic teaching states that the temporal punishment of sin should be accepted as a grace, and that the sinner "should strive by works of mercy and charity, as well as by prayer and the various practices of penance, to put off completely the 'old man' and to put on the 'new man'."

The temporal punishment that follows sin is thus undergone either during life on earth or in purgatory. In this life, as well as by patient acceptance of sufferings and trials, the necessary cleansing from attachment to creatures may, at least in part, be achieved by turning to God in prayer and penance and by works of mercy and charity. Indulgences (from the Latin verb 'indulgere', meaning "to forgive", "to be lenient toward") are a help towards achieving this purification.

An indulgence does not forgive the guilt of sin, nor does it provide release from the eternal punishment associated with unforgiven mortal sins. The Catholic Church teaches that indulgences relieve only the temporal punishment resulting from the effect of sin (the effect of rejecting God the source of good), and that a person is still required to have their grave sins absolved, ordinarily through the sacrament of Confession, to receive salvation. Similarly, an indulgence is not a permit to commit sin, a pardon of future sin, nor a guarantee of salvation for oneself or for another. Ordinarily, forgiveness of mortal sins is obtained through Confession (also known as the sacrament of penance or reconciliation).

According to the Catechism of the Catholic Church, "The 'treasury of the Church' is the infinite value, which can never be exhausted, which Christ's merits have before God. They were offered so that the whole of mankind could be set free from sin and attain communion with the Father. ... In Christ, the Redeemer himself, the satisfactions and merits of his Redemption exist and find their efficacy. ...This treasury includes as well the prayers and good works of the Blessed Virgin Mary. They are truly immense, unfathomable, and even pristine in their value before God. In the treasury, too, are the prayers and good works of all the saints, all those who have followed in the footsteps of Christ the Lord and by his grace have made their lives holy and carried out the mission in the unity of the Mystical Body."

Pursuant to the church's understanding of the power of binding or loosing granted by Christ, it administers to those under its jurisdiction the benefits of these merits in consideration of prayer or other pious works undertaken by the faithful. In opening for individual Christians its treasury, "the Church does not want simply to come to the aid of these Christians, but also to spur them to works of devotion, penance, and charity".

Consistent with this, Peter J. Beer, SJ, writes in Theological Studies:

"I believe present Church praxis would benefit if the granting of an indulgence were restricted to a special public ceremony of penitential readings, prayers, etc., at which the bishop in person would bless those wishing to gain the indulgence, after praying over them. It would be helpful, too, if the ceremony were linked to the Eucharistic celebration. In this way the recipient would more likely feel that the full authority of the Body of Christ is supporting him as he carries out the indulgenced work."

Before the Second Vatican Council, stating that an indulgence of 40 days, 300 days or 7 years has been gained did not mean that a soul in Purgatory avoided a temporal punishment of 40 days, 300 days or 7 years; it meant, instead, that a soul in Purgatory avoided a temporal punishment of the same duration as that which it would have served with a traditional canonical penance of 40 days, 300 days or 7 years.

Dispositions necessary to gain an indulgence
An indulgence is not the purchase of a pardon which secures the buyer's salvation or releases the soul of another from purgatory. Sin is only pardoned (i.e., its effects entirely obliterated) when complete reparation in the form of sacramental confession is made and prescribed conditions are followed. After a firm amendment is made internally not to sin again, and the serious execution of one's assigned penance, the release of one from penalty in the spiritual sense consequentially follows.

An indulgence may be plenary (remits all temporal punishment required to cleanse the soul from attachment to anything but God) or partial (remits only part of the temporal punishment, i.e. cleansing, due to sin).

To gain a plenary indulgence, upon performing the charitable work or praying the aspiration or prayer for which the indulgence is granted, one must fulfill the prescribed conditions of:
 * 1) A complete and whole-hearted detachment from all sin of any kind, even venial sin
 * 2) Making a valid sacramental confession
 * 3) Receiving Holy Communion in the state of grace
 * 4) Praying for the intentions of the Pope.

The minimum condition for gaining a partial indulgence is to be contrite in heart; on this condition, a Catholic who performs the work or recites the prayer in question is granted, through the church, remission of temporal punishment equal to that obtained by the person's own action.

Since those who have died in the state of grace (with all mortal sins forgiven) are members of the communion of saints, the living (members of the Church Militant) can assist those whose purification from their sins was not yet completed at the time of death through prayer but also by obtaining indulgences in their behalf. Since the church has no jurisdiction over the dead, indulgences can be gained for them only per modum suffragii, i.e. by an act of intercession. This is sometimes termed 'impetration', which Aquinas explains "...is not founded on God's justice, but on His goodness".

Present discipline
By the apostolic constitution Indulgentiarum doctrina of 1 January 1967, Pope Paul VI, responding to suggestions made at the Second Vatican Council, substantially revised the practical application of the traditional doctrine.

Paul VI made it clear that the Catholic Church's aim was not merely to help the faithful make due satisfaction for their sins, but chiefly to bring them to greater fervour of charity. For this purpose he decreed that partial indulgences, previously granted as the equivalent of a certain number of days, months, quarantines (forty-day periods) or years of canonical penance, simply supplement, and to the same degree, the remission that those performing the indulgenced action already gain by the charity and contrition with which they do it.

The abolition of the classification by years and days made it clearer than before that repentance and faith are required not only for remission of eternal punishment for mortal sin but also for remission of temporal punishment for sin. In Indulgentiarum doctrina, Pope Paul VI wrote that indulgences cannot be gained without a sincere conversion of outlook and unity with God.

In the same bill, Pope Paul ordered that the official list of indulgenced prayers and good works, called the Raccolta, be revised "with a view to attaching indulgences only to the most important prayers and works of piety, charity and penance". The Raccolta was replaced with the Enchiridion Indulgentiarum. While a number of indulgenced prayers and good works were removed from the list, it now includes new general grants of partial indulgences that apply to a wide range of prayerful actions, and it indicates that the prayers that it does list as deserving veneration on account of divine inspiration or antiquity or as being in widespread use are only examples of those to which the first of these general grants applies: "Raising the mind to God with humble trust while performing one's duties and bearing life's difficulties, and adding, at least mentally, some pious invocation". In this way, the Enchiridion Indulgentiarum, in spite of its smaller size, classifies as indulgenced an immensely greater number of prayers than were treated as such in the Raccolta.

Canons 992–997 of the 1983 Code of Canon Law provide a general regulation of indulgences.

Subjects who have the power to grant indulgences
Both partial and plenary indulgences can be granted by the diocesan bishop or eparch, by the major archbishop, metropolitan and patriarch, by the cardinal, as well as by the Pope and the Apostolic Penitentiary.

For patriarchs this applies in the individual localities of the patriarchate, in churches that follow the specific rite of the patriarchate beyond its borders, and everywhere for the faithful of their own rite.

Cardinal bishops enjoy the faculty of granting only partial indulgence in any place. This indulgence can be purchased only by those who are present in the individual places from time to time.

Partial indulgences
There are four general grants of indulgence, which are meant to encourage the faithful to infuse a Christian spirit into the actions of their daily lives and to strive for perfection of charity. These indulgences are partial, and their worth therefore depends on the fervour with which the person performs the recommended actions:
 * 1) Raising the mind to God with humble trust while performing one's duties and bearing life's difficulties, and adding, at least mentally, some pious invocation.
 * 2) Devoting oneself or one's goods compassionately in a spirit of faith to the service of one's brothers and sisters in need.
 * 3) Freely abstaining in a spirit of penance from something licit and pleasant.
 * 4) Freely giving open witness to one's faith before others in particular circumstances of everyday life.

According to the 1968 Enchiridion of Indulgences, a partial indulgence is granted to the faithful for the following actions if done in conjunction with the receiving of the Sacraments of Communion and Penance as well as praying an intention for the Pope:
 * making an act of faith, hope, charity, contrition, or spiritual communion
 * spending some time in mental prayer
 * penitentially praying such prayers as the…
 * Hidden God (Adoro te devote)
 * To You O Blessed Joseph (Ad te beate Ioseph)
 * certain prayers from the Roman Breviary (We Give You Thanks, Lord God Almighty, Let Us Pray for our Sovereign Pontiff, O Sacred Banquet, Holy Mary Help of the Helpless, Holy Apostles Peter and Paul, Visit We Beg You O Lord)
 * Angel of God
 * Angel of the Lord
 * Soul of Christ (Anima Christi)
 * Hear Us (Roman Ritual)
 * May it Please you O Lord
 * Eternal Rest
 * Hail Holy Queen
 * We Fly To Your Patronage
 * Come Holy Spirit
 * Litany of the Name of Jesus, of the Heart of Jesus, of the Blood of Jesus, of the Virgin Mary, of Saint Joseph, or of All Saints
 * Little Office of the Passion, of the Heart of Jesus, of the Immaculate Conception, or of Saint Joseph
 * Apostles' Creed
 * Nicene Creed
 * Lauds or Vespers of the Office of the Dead
 * Psalm 50
 * Psalm 129
 * Magnificat
 * Memorare (Remember O Most Gracious Virgin Mary)
 * teaching or learning Christian doctrine
 * visiting a Christian catacomb
 * praying for sacerdotal or religious vocations
 * praying for the return of non-Catholic Christians to the Catholic Church
 * making the Sign of the Cross
 * renewal of baptismal promises

Plenary indulgences
Among the particular grants, which, on closer inspection, will be seen to be included in one or more of the four general grants, especially the first, the Enchiridion Indulgentiarum draws special attention to four activities for which a plenary indulgence can be gained on any day, though only once a day:
 * 1) Piously reading or listening to Sacred Scripture for at least half an hour.
 * 2) Adoration of Jesus in the Eucharist for at least half an hour.
 * 3) The pious exercise of the Stations of the Cross.
 * 4) Recitation of the Rosary or the Akathist in a church or oratory, or in a family, a religious community, an association of the faithful and, in general, when several people come together for an honourable purpose.

The prayers specifically mentioned in the Enchiridion Indulgentiarum are not of the Latin Church tradition alone, but also from the traditions of the Eastern Catholic Churches, such as the Akathistos, Paraklesis, Evening Prayer, and Prayer for the Faithful Departed (Byzantine), Prayer of Thanksgiving (Armenian), Prayer of the Shrine and the Lakhu Mara (Chaldean), Prayer of Incense and Prayer to Glorify Mary the Mother of God (Coptic), Prayer for the Remission of Sins and Prayer to Follow Christ (Ethiopian), Prayer for the Church, and Prayer of Leave-taking from the Altar (Maronite), and Intercessions for the Faithful Departed (Syrian).

Besides the above actions, the 1968 Enchiridion of Indulgences lists the following actions as granting a plenary indulgence:
 * First Communion
 * first Mass of a newly ordained priest

Special indulgences
A plenary indulgence may also be gained on some occasions, which are not everyday occurrences. They include but are not limited to:
 * Receiving, even by radio or television, the blessing given by the Pope Urbi et Orbi ('to the city [of Rome] and to the world') or that which a bishop is authorized to give three times a year to the faithful of his diocese.
 * Taking part devoutly in the celebration of a day devoted on a world level to a particular religious purpose. Under this heading come the annual celebrations such as the World Day of Prayer for Vocations, and occasional celebrations such as World Youth Day.
 * Taking part for at least three full days in a spiritual retreat.
 * Taking part in some functions during the Week of Prayer for Christian Unity.

Special indulgences are also granted on occasions of particular spiritual significance such as a jubilee year or the centenary or similar anniversary of an event such as the apparition of Our Lady of Lourdes.

Apostolic Blessing
Of particular significance is the plenary indulgence attached to the Apostolic Blessing that a priest is to impart when giving the sacraments to a person in danger of death, and which, if no priest is available, the church grants to any rightly disposed Christian at the moment of death, on condition that that person was accustomed to say some prayers during life. In this case the church itself makes up for the three conditions normally required for a plenary indulgence: sacramental confession, Eucharistic communion and prayer for the Pope's intentions.

Coronavirus plenary indulgences
On 20 March 2020, the Apostolic Penitentiary issued three plenary indulgences. The Penitentiary took the extraordinary step of loosening the requirements regarding sacramental Communion and Confession, due to the impossibility of carrying them out in a timely fashion during lockdowns and suspension of liturgies in the pandemic. The Vatican has also reminded Catholics that, in cases where sacramental confession is impossible, an act of perfect contrition grants one forgiveness of sin.
 * The first indulgence was for victims of COVID-19 and those helping them. The actions that the indulgence was attached to included praying the rosary, the Stations of the Cross, or at least praying the Creed, Lord's Prayer, and a Marian prayer.
 * The second plenary indulgence was for the victims of COVID-19 at their hour of death.
 * The third indulgence was for those who made an offering for an "end of the epidemic, relief for those who are afflicted and eternal salvation for those whom the Lord has called to Himself." The offering was either a visit to the Eucharist, Eucharistic adoration, Rosary, Stations of the Cross, Chaplet of the Divine Mercy, or reading the Bible for half an hour.

Early and medieval beliefs
In the early church, especially from the third century on, ecclesiastic authorities allowed a confessor or a Christian awaiting martyrdom to intercede for another Christian in order to shorten the other's canonical penance. During the Decian persecution, many Christians obtained signed statements (libelli) certifying that they had sacrificed to the Roman gods in order to avoid persecution or confiscation of property. When these lapsi later wished to once again be admitted to the Christian community, some of the lapsi presented a second libellus purported to bear the signature of some martyr or confessor who, it was held, had the spiritual prestige to reaffirm individual Christians. Bishop Cyprian of Carthage insisted that none of the lapsi be admitted without sincere repentance.

The Council of Epaone in 517 witnesses to the rise of the practice of replacing severe canonical penances with a new milder penance: its 29th canon reduced to two years the penance that apostates were to undergo on their return to the church, but obliged them to fast one day in three during those two years, to come to church and take their place at the penitents' door, and to leave with the catechumens. Any who objected to the new arrangement was to observe the much longer ancient penance.

The 6th century saw the development in Ireland of Penitentials, handbooks for confessors in assigning penance. The Penitential of Cummean counseled a priest to take into consideration in imposing a penance, the penitent's strengths and weaknesses. Some penances could be commuted through payments or substitutions. It became customary to commute penances to less demanding works, such as prayers, alms, fasts and even the payment of fixed sums of money depending on the various kinds of offenses (tariff penances). While the sanctions in early penitentials, such as that of Gildas, were primarily acts of mortification or in some cases excommunication, the inclusion of fines in later compilations derive from secular law.

By the 10th century, some penances were not replaced but merely reduced in connection with pious donations, pilgrimages, and similar meritorious works. Then, in the 11th and 12th centuries, the recognition of the value of these works began to become associated not so much with canonical penance but with remission of the temporal punishment due to sin. A particular form of the commutation of penance was practiced at the time of the Crusades when the confessor required the penitent to go on a Crusade in place of some other penance. The earliest record of a plenary indulgence was Pope Urban II's declaration at the Council of Clermont (1095) that he remitted all penance incurred by crusaders who had confessed their sins in the Sacrament of Penance, considering participation in the crusade equivalent to a complete penance. This set the pattern for all crusade indulgences going forward.

Theologians looked to God's mercy, the value of the church's prayers, and the merits of the saints as the basis on which indulgences could be granted. Around 1230 the Dominican Hugh of St-Cher proposed the idea of a "treasury" at the church's disposal, consisting of the infinite merits of Christ and the immeasurable abundance of the saints' merits, a thesis that was demonstrated by great scholastics such as Albertus Magnus and Thomas Aquinas and remains the basis for the theological explanation of indulgences.

Indulgences were intended to offer remission of the temporal punishment due to sin equivalent to that someone might obtain by performing a canonical penance for a specific period of time. As Purgatory became more prominent in Christian thinking, the idea developed that the term of indulgences related to remission of time in Purgatory. Indeed, many Late Medieval indulgences were for terms well over a human lifetime, reflecting this belief. For several centuries it was debated by theologians whether penance or purgatory was the currency of the indulgences granted, and the church did not settle the matter definitively, for example avoiding doing so at the Council of Trent. The modern view of the church is that the term is penance.

Late Medieval usage

Indulgences became increasingly popular in the Middle Ages as a reward for displaying piety and doing good deeds, though, doctrinally speaking, the Catholic Church stated that the indulgence was only valid for temporal punishment for sins already forgiven in the Sacrament of Confession. In addition, indulgences were granted for acts of almsgiving, as well as prayer, pilgrimages and fasts. Because indulgences granted for almsgiving seemed to some like a simple monetary transaction, rather than seeing the indulgence as granted for the good deed itself – the act of charity done for a hospital, orphanage or church – many began to see indulgences for almsgiving as simply "buying" or "purchasing" indulgences. The faithful asked that indulgences be given for saying their favourite prayers, doing acts of devotion, attending places of worship, and going on pilgrimage; confraternities wanted indulgences for putting on performances and processions; associations demanded that their meetings be rewarded with indulgences. Good deeds included charitable donations of money for a good cause, and money thus raised was used for many causes, both religious and civil; building projects funded by indulgences include churches, hospitals, leper colonies, schools, roads, and bridges.

However, in the later Middle Ages growth of considerable abuses occurred. Some commissaries sought to extract the maximum amount of money for each indulgence. Professional "pardoners" (quaestores in Latin) – who were sent to collect alms for a specific project – practiced the unrestricted sale of indulgences. Many of these quaestores exceeded official church doctrine, and promised rewards such as salvation from eternal damnation in return for money. With the permission of the church, indulgences also became a way for Catholic rulers to fund expensive projects, such as Crusades and cathedrals, by keeping a significant portion of the money raised from indulgences in their lands. There was a tendency to forge documents declaring that indulgences had been granted. Indulgences grew to extraordinary magnitude, in terms of longevity and breadth of forgiveness.

The Fourth Lateran Council (1215) suppressed some abuses connected with indulgences, spelling out, for example, that only a one-year indulgence would be granted for the consecration of churches and no more than a 40-days indulgence for other occasions. The Council also stated that "Catholics who have girded themselves with the cross for the extermination of the heretics, shall enjoy the indulgences and privileges granted to those who go in defense of the Holy Land."

Very soon these limits were widely exceeded. False documents were circulated with indulgences surpassing all bounds: indulgences of hundreds or even thousands of years. In 1392, more than a century before Martin Luther published the Ninety-five Theses, Pope Boniface IX wrote to the Bishop of Ferrara condemning the practice of certain members of religious orders who falsely claimed that they were authorized by the pope to forgive all sorts of sins, and obtained money from the simple-minded faithful by promising them perpetual happiness in this world and eternal glory in the next. The "Butter Tower" of Rouen Cathedral earned its nickname because the money to build it was raised by the sale of indulgences allowing the use of butter during Lent.

An engraving by Israhel van Meckenem of the Mass of Saint Gregory contained a "bootlegged" indulgence of 20,000 years; one of the copies of this plate (not the one illustrated, but also from the 1490s) was altered in a later state to increase it to 45,000 years. The indulgences applied each time a specified collection of prayers – in this case seven each of the Creed, Our Father, and Hail Mary – were recited in front of the image. The image of the Mass of Saint Gregory had been especially associated with large indulgences since the jubilee year of 1350 in Rome, when it was at least widely believed that an indulgence of 14,000 years had been granted for praying in the presence of the Imago Pietatis ("Man of Sorrows"), a popular pilgrimage destination in the basilica of Santa Croce in Gerusalemme in Rome.

Protestant Reformation
The scandalous conduct of the "pardoners" was an immediate occasion of the Protestant Reformation. In 1517, Pope Leo X offered indulgences for those who gave alms to rebuild St. Peter's Basilica in Rome.

The aggressive marketing practices of Johann Tetzel in promoting this cause provoked Martin Luther to write his Ninety-five Theses, condemning what he saw as the purchase and sale of salvation. In Thesis 28 Luther objected to a saying attributed to Tetzel: "As soon as a coin in the coffer rings, a soul from purgatory springs". The Ninety-five Theses not only denounced such transactions as worldly but denied the pope's right to grant pardons on God's behalf in the first place: the only thing indulgences guaranteed, Luther said, was an increase in profit and greed, because the pardon of the church was in God's power alone.

This oft-quoted saying was by no means representative of the official Catholic teaching on indulgences, but rather, more a reflection of Tetzel's capacity to exaggerate. Yet if Tetzel overstated the matter in regard to indulgences for the dead, his teaching on indulgences for the living was pure. A German Catholic historian of the Papacy, Ludwig von Pastor, explains: "Above all, a most clear distinction must be made between indulgences for the living and those for the dead.

As regards indulgences for the living, Tetzel always taught pure doctrine. The assertion that he put forward indulgences as being not only a remission of the temporal punishment of sin, but as a remission of its guilt, is as unfounded as is that other accusation against him, that he sold the forgiveness of sin for money, without even any mention of contrition and confession, or that, for payment, he absolved from sins which might be committed in the future. His teaching was, in fact, very definite, and quite in harmony with the theology of the Church, as it was then and as it is now, i.e., that indulgences 'apply only to the temporal punishment due to sins which have been already repented of and confessed'….

The case was very different with indulgences for the dead. As regards these there is no doubt that Tetzel did, according to what he considered his authoritative instructions, proclaim as Christian doctrine that nothing but an offering of money was required to gain the indulgence for the dead, without there being any question of contrition or confession. He also taught, in accordance with the opinion then held, that an indulgence could be applied to any given soul with unfailing effect. Starting from this assumption, there is no doubt that his doctrine was virtually that of the drastic proverb:
 * 'As soon as money in the coffer rings, the soul from purgatory's fire springs.'

The Papal Bull of indulgence gave no sanction whatever to this proposition. It was a vague scholastic opinion, rejected by the Sorbonne in 1482, and again in 1518, and certainly not a doctrine of the church, which was thus improperly put forward as dogmatic truth. The first among the theologians of the Roman court, Cardinal Cajetan, was the enemy of all such extravagances, and declared emphatically that, even if theologians and preachers taught such opinions, no faith need be given them. 'Preachers,' said he, 'speak in the name of the Church only so long as they proclaim the doctrine of Christ and His Church; but if, for purposes of their own, they teach that about which they know nothing, and which is only their own imagination, they must not be accepted as mouthpieces of the Church. No one must be surprised if such as these fall into error.'"

Tetzel denied preaching this, writing in 1518 that "Whoever says that a soul cannot rise to heaven before the money rings in the box, commits an error.": i.e., his "as soon as" says the benefit is instant not exclusive. August Wilhelm Dieckhoff also argued against Tetzel's corruption, writing that he only preached "orthodox Catholic teaching on indulgences and Protestants have been grossly misled about this man".

While Luther initially did not deny the pope's right to grant pardons for penance imposed by the church, he made it clear that preachers who claimed indulgences absolved those who obtained them from all punishments and granted them salvation were in error, in agreement with Catholic theology.

Erasmus also criticized the abuse of indulgences in his foreword to his De bello turcico (1530), where he stated that it appeared to be "nothing but a commercial transaction" and described how the money that was collected disappeared in the hands of princes, officials, commissaries, and confessors.

Peter Marshall states that Luther did not oppose the idea of indulgences directly, as he conceded that "bishops and parish priests are bound to admit commissaries of the apostolic indulgences with all reverence" and cautioned that "one should not hinder someone from buying them". Luther was solely concerned with the theological matters, and argued against the indulgences as to advance his concept of salvation by faith alone (sola fide). Luther also doubted whether a soul in purgatory was guaranteed to achieve salvation at all, eventually rejecting the existence of purgatory as a whole; this was contrary to the teaching of the Catholic Church and its Doctors, such as Thomas Aquinas. As such, Marshall argues that "Luther did not deny that indulgences were useful, or that the pope’s intentions in issuing them were good", but merely objected to them because of his theological views rather than the alleged corruption of the Church. German humanist Johann Cochlaeus argued that "Luther was not genuinely moved by concerns about abuses in the preaching of indulgences". The idea of indulgences as the underlying cause of the Reformation and a symbol of the Catholic Church's corruption was also disputed by Lutheran theologians such as August Wilhelm Dieckhoff and Gustav Kawerau. Marshall clarifies the nature of the indulgences at the time of the Reformation, writing: "In light of what was to happen in 1517, it is important to stress that most indulgences were not dispensed outwards from Rome in imperious, high-to-low fashion. As with Elector Frederick’s initiative in Wittenberg, but usually on a much smaller scale, they originated with local communities, with people petitioning Rome to grant an indulgence in support of their particular causes and concerns. The aim might be to add lustre to pilgrimage sites, but was often in aid of the building or rebuilding of churches, or even to assist with what might look to us like ‘community projects’, such as the construction of roads and bridges. It seems likely that people quite often purchased indulgences, not out of a neurotic concern with the condition of their souls, but in order to support such worthwhile causes, much as we might take a sticker from a charity-collector today."

Council of Trent
On 16 July 1562, the Council of Trent suppressed the office of quaestores and reserved the collection of alms to two canon members of the chapter, who were to receive no remuneration for their work; it also reserved the publication of indulgences to the bishop of the diocese. Then, on 4 December 1563, in its final session, the Council addressed the question of indulgences directly, declaring them "most salutary for the Christian people", decreeing that "all evil gains for the obtaining of them be wholly abolished", and instructing bishops to be on the watch for any abuses concerning them.

A few years later, in 1567, Pope Pius V canceled all grants of indulgences involving any fees or other financial transactions. This meant that indulgences would continue to be attached to virtuous acts of prayer, piety and pilgrimages, but no longer would they be attached to almsgiving, because the potential for abuse of such indulgences was deemed too great.

After the Council of Trent, Clement VIII established a commission of Cardinals to deal with indulgences according to the mind of the Council. It continued its work during the pontificate of Paul V and published various bulls and decrees on the matter. However, only Clement IX established a true Congregation of Indulgences (and Relics) with a Brief of 6 July 1669. In a motu proprio on 28 January 1904, Pius X joined the Congregation of Indulgences with that of Rites, but with the restructuring of the Roman Curia in 1908 all matters regarding indulgences were assigned to the Holy Inquisition. In a motu proprio on 25 March 1915, Benedict XV transferred the Holy Inquisition's Section for Indulgences to the Apostolic Penitentiary, but maintained the Holy Inquisition's responsibility for matters regarding the doctrine of indulgences.

Eastern Orthodox Church
The Eastern Orthodox Churches believe one can be absolved from sins by the Sacred Mystery of Confession. Because of differences in the theology of salvation, indulgences for the remission of temporal punishment of sin currently do not exist in Eastern Orthodoxy, but until the twentieth century there existed in some places a practice of absolution certificates (συγχωροχάρτια – ) which was essentially identical to indulgences, and in many cases much more extravagant.

Some of these certificates were connected with any patriarch's decrees lifting some serious ecclesiastical penalty, including excommunication, for the living or the dead. However, because of the expense of maintaining the Holy Places and paying the many taxes levied on them, the Greek Orthodox Patriarch of Jerusalem, with the approval of the Ecumenical Patriarch of Constantinople, had the sole privilege of distributing such documents in large numbers to pilgrims or sending them elsewhere, sometimes with a blank space for the name of the beneficiary, living or dead, an individual or a whole family, for whom the prayers would be read.

Greek Orthodox Patriarch of Jerusalem Dositheos Notaras (1641–1707) wrote: "It is an established custom and ancient tradition, known to all, that the Most Holy Patriarchs give the absolution certificate (συγχωροχάρτιον – ) to the faithful people ... they have granted them from the beginning and still do."

Starting from the 16th century, Orthodox Christians of the Greek Church rather extensively, although not officially in penitential practice, used "permissive letters" (συγχωροχάρτια), in many ways similar to indulgences. The status of an official ecclesiastical document is obtained at the Council of Constantinople in 1727, the resolution of which reads: "The power of the abandonment of sins, which, if filed in writing, which the Eastern Church of Christ calls "permissive letters", and the Latin people "indulgences"... is given by Christ in the holy Church. These "permissive letters" are issued throughout the catholic (universal) Church by the four holiest patriarchs: Constantinople, Alexandria, Antioch, and Jerusalem." From the 13th to the 17th centuries, it was used in Russia. Indulgences as a means of enrichment were condemned at the Council of Constantinople in 1838. Even conciliar decisions had difficulty eradicating the practice of indulgences, rooted in the people. "Permissive letters" (or indulgences) survived in Greece until the mid-20th century.

title: Indulgence


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Wikipedia talk:IP probation watchlist

Examining IPs of non-logged in users
Moved from Village pump on Saturday, August 2nd, 02003.

It would be great if non-logged in users (specifically, their edit history) could be examined by class C network so all 256 (well, not quite 256) addresses on a particular subnet can be examined at once. Why? Because users with dynamic IP addresses tend to move around a lot, but are often allocated an address on the same class C network (especially for smaller ISPs and most non-public providers like companies). Daniel Quinlan 02:12 25 Jul 2003 (UTC)

This is rendered obsolete by recent software changes. Martin 13:02, 18 Sep 2003 (UTC)

title: Wikipedia talk:IP probation watchlist