text:
Talk:Russian Civil War

Orphaned references in Russian Civil War
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 Russian Civil War'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 "caven": From World War I:  From Battle of Baku:

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. Feel free to remove this comment after fixing the refs. AnomieBOT ⚡ 05:12, 25 November 2023 (UTC)

The removing of the infobox
There was zero consideration with the members when the infobox was heavily reduced. I find this unappealing to me as a reader of Wikipedia because it removes the aspect of it being a massive conflict. Nusciii (talk) 14:24, 10 May 2024 (UTC)

Result in infobox
Per MILMOS: As a general rule, this guidance should only be used where it is helpful, and should not be used as grounds for extensive disruptive renovations of existing articles. This is actually in line with Ignore all rules. The previous version was here for years, therefore is consensual. So I strongly encourage you, @Remsense to present solid arguments how "see aftermath" is more helpful and meaningful for a casual reader who doesn't want to read lengthy texts, otherwise the previous version will be restored. Oloddin (talk) 02:38, 21 May 2024 (UTC)

 * That's not how consensus works, and that's not how IAR works. Guidelines themselves summarize existing sitewide consensus that generally isn't overridable by whatever you feel should be the case on an individual article: you actually have to provide a concrete reason why your preferred version is better for the article, which you haven't, and you likely cannot. Infoboxes were not designed to accurately summarize complex, subtle information, that's what prose is for. The previous infobox was one of the most egregious attempts to write the article in the infobox that I've ever seen. "People don't want to read" is not a good reason on an encyclopedia. They have to if they want to know what actually happened, I'm afraid. We shouldn't give them contradictory, malformed bullshit in the place of reading. Remsense  诉  02:42, 21 May 2024 (UTC)
 * You introduced these changes that were challenged, therefore have to provide reasons for it and to establish consensus. replied to: RE: That's not how consensus works, and that's not how IAR works. You actually have to provide a reason why your preferred version is better for the article, which you haven't, and you likely cannot. Oloddin (talk) 02:48, 21 May 2024 (UTC)
 * The reasons are those at MOS:MILHIST, which is a community-level consensus that can't be overridden locally because you feel like it. What's your reason for why this article is so special? Remsense  诉  02:49, 21 May 2024 (UTC)
 * I already cited it. "Only used where helpful". So if you think that it was "too much", you should have initiated a discussion first here. Oloddin (talk) 02:56, 21 May 2024 (UTC)
 * Nope. You have to say why it's not helpful, me and the guideline (i.e. preexisting community-wide consensus) agree that it's helpful. Remsense  诉  02:56, 21 May 2024 (UTC)
 * Anyway, the guidance is not meant to apply mindlessly without consideration in any particular case. And small discussion among several editors is hardly a "community-wide consensus" for a matter that affects so many articles. Oloddin (talk) 03:07, 21 May 2024 (UTC)
 * If you dislike the guideline, then open another RfC about it. Keep in mind that it's not just MILHIST, it's the commonsense application of WP:INFOBOXPURPOSE to military history subjects. (I already know what is plainly stated there about section links, so don't bother. This is an accepted case where it's best not avoided to put a section link.)
 * Failing that, you have yet to make an actual argument for why it's "mindless", e.g. why this article should be treated differently from every other one, which is what you'll be needing. Remsense  诉  03:09, 21 May 2024 (UTC)
 * Articles are not uniform actually. Oloddin (talk) 03:17, 21 May 2024 (UTC)
 * Let me know when you have that argument. Remsense  诉  03:18, 21 May 2024 (UTC)
 * WP:INFOBOXPURPOSE says that the purpose of infoboxes is to give key facts. "See aftermath" is not about that.
 * For now I'll put Bolshevik victory with sources. Oloddin (talk) 03:48, 21 May 2024 (UTC)
 * Right, the point is that if key facts can't be related at a glance, it's better not to try and leave the parameter blank.
 * Simply "Bolshevik victory" is fine by me, but I wouldn't be surprised if it's deemed oversimplistic and therefore too complex to be summed up in the infobox by others. Remsense  诉  03:55, 21 May 2024 (UTC)
 * Yes, and this is where a disagreement starts.
 * Then "see aftermath" can be used in addition to victory, it's also acceptable by the guidelines. Oloddin (talk) 04:05, 21 May 2024 (UTC)

RFC: Choose an infobox
We seem to have two different ideas about how much information should be in the infobox for this article. Here are the two most recent versions. Which do you prefer? WhatamIdoing (talk) 00:01, 22 May 2024 (UTC)

Responses

 * I don't care. My only interest is in getting a decision made, so the edit warring will stop.  I will notify WikiProject Military history in the hope that someone there will have good advice.  WhatamIdoing (talk) 00:01, 22 May 2024 (UTC)
 * I have nothing that needs to be added to this RfC other than an apology for my edit warring, which was unnecessary and disruptive. I also concur with other editors below in that World War II is an example worth emulating here. Remsense  诉  10:44, 23 May 2024 (UTC)
 * Both infoboxes (but especially the second one) make it appear like Kerensky was somehow associated with the White Movement, which was not the case. While he did participate in the Kerensky–Krasnov uprising against the Bolsheviks, this was before the White Movement, which Kerensky never supported. Chaotıċ Enby   (talk · contribs) 00:26, 22 May 2024 (UTC)
 * Massive version A takes up over half the content width, whereas Massive version B takes up over a third. Both spill two subsections into the body. There should be a very strong content reason for A to be picked over B, given how much space it takes away from the text. CMD (talk) 01:56, 22 May 2024 (UTC)
 * Infoboxes are supposed to help readers, and not overwhelm or confuse them. If it has to be one of these, it needs to be B. Ideally even that would be slimmed down, especially when it comes to the leaders. Please remember that minor details can and should be left to the article prose. I'm going to ping to see if they'd like to comment, as they have a bunch of experience dealing with the World War II infobox. (Note that I don't have the expertise to be able to comment on the factualness here.) Ed [talk] [OMT] 02:17, 22 May 2024 (UTC)
 * Infoboxes are supposed to help readers, and not overwhelm or confuse them. If it has to be one of these, it needs to be B. Ideally even that would be slimmed down, especially when it comes to the leaders. … minor details can and should be left to the article prose. I can't add anything useful to ed17's comment both infoboxes are massively bloated to the point of overwhelming the article. The Russian civil war is a massive topic, but the infobox needn't be!Pincrete (talk) 04:55, 22 May 2024 (UTC)
 * What information is excessive, in your opinion?--Oloddin (talk) 05:57, 22 May 2024 (UTC)
 * I was thinking of suggesting Commanders and leaders only mentioned once or twice, as this would indicate a low level of relevance. However, it turns out that some of them are not mentioned at all. Not even all the Belligerents are in the article! CMD (talk) 07:56, 22 May 2024 (UTC)
 * A lot of the information in infoboxes could be put in the article. For example, we could have a sortable table listing all the belligerents with their names and dates, or even a proper timeline. WhatamIdoing (talk) 20:56, 22 May 2024 (UTC)
 * Sure it could, anything could, endless possibility. Nonetheless, here we are after 23 years, suggesting the weight is not very strong. CMD (talk) 01:16, 23 May 2024 (UTC)
 * Thanks for the ping. I agree that infoboxes should be simple, as their goal is to present readers with a very simple summary of the conflict. Both the options above look too complex to me, even allowing for the complexity of this war. For instance, I'd suggest omitting the names of the foreign intervention force commanders given the size of these forces and their impact was generally pretty modest when compared to the size of the various Russian forces. Including force strengths in the infobox adds quite a lot of complexity for little gain, and I'd be surprised if there aren't actually a range of figures for this. The solution used in the World War II article infobox has been to keep it very simple, but include links to the articles that cover the underlying complexity (E.g. links to what made up the Allied and Axis alliances, etc). Nick-D (talk) 10:10, 22 May 2024 (UTC)
 * Comment: World War II's infobox is a fraction of the size of these. Sammy D III (talk) 13:47, 22 May 2024 (UTC)
 * The WW2 infobox is missing the participants and when they joined or switched sides during the war, hardly a model to follow. A table of participants with dates is in my opinion the single most useful thing that a war article infobox can provide, alliances in protracted wars do require a handy guide. At least we still have one in version A here. VampaVampa (talk) 03:29, 2 June 2024 (UTC)
 * That infobox was deliberated over more than most GAs, every choice you've noted was at least chosen for a specific reason. I think some elements are worth adapting. Remsense  诉  03:35, 2 June 2024 (UTC)
 * OK, I grant the WW2 infobox is actually quite well-organised, because they depend on well-structured Allies and Axis articles with additional chronological tables. Seeing the number of lesser participants in WW2 makes it clear that there had been no other option.
 * That said, would you suggest a similar solution here, separate articles on the two blocs of combatants (the revolutionary and counter-revolutionary sides)? By contrast, War in Afghanistan (2001–2021) is organised the old way - it does include collapsible sections, so accessibility is an issue, but then one could simply get rid of the collapsibles. VampaVampa (talk) 04:24, 3 June 2024 (UTC)
 * I'm not sure I would adopt that particular approach, but I don't find myself rejecting it out of hand. Especially given that all three "sides" take the form of evolving institutions over the course of the conflict in subtle ways, we can't hope to fully describe that and maybe an extremely abbreviated description would serve readers best. Remsense  诉  07:28, 3 June 2024 (UTC)
 * If we did, i think my first draft would be:
 * Bolsheviks – I'm leaning towards excluding a mention of Krondstadt etc. here. Left opposition to the Bolsheviks was fuelled by war communism, but it wasn't as if they were a different faction in the war or were leading the war effort. I have less idea of how to properly treat Makhnovshchina et al.
 * Russian Republic
 * White movement
 * Allied support
 * Nationalists
 * Central Powers support
 * It's so hard, because there's no honest idea that there were only three sides. Like, uh, Piłsudski and Smetona were not allies, so their categorization is more for their shared background and relationship to the Bolsheviks than their association with one another. I dunno if that's good to do. Remsense  诉  07:56, 3 June 2024 (UTC)
 * I am not really a fan of either but I would say that B is an improvement over A. As already mentioned, A is far too complicated to be useful and the infobox does not serve its purpose here. Mellk (talk) 13:55, 22 May 2024 (UTC)
 * B. I agree that A is far too cluttered to be useful. Ifly6 (talk) 17:05, 22 May 2024 (UTC)
 * B is better, there is too much detail in A. Even B can be trimmed further, for example by reducing the number of commanders mentioned in the infobox. Alaexis¿question? 10:40, 23 May 2024 (UTC)
 * Both are overly bloated. B as the smaller one is "less bad", and would be better basis for further cutting and improvements. Commanders list is an obvious place for reductions, reducing Bolshevik and White leaders to 4-6 names should be trivial, pro-independence forces may require some discussion about where to draw the line, and the rest could be probably removed wholesale. I would also completely remove strength figures. Considering how those fluctuated throughout the war as some armies literally got built up from scratch, they offer little value, and in fact can be misleading. Neither World War infobox includes those.--Staberinde (talk) 14:01, 24 May 2024 (UTC)
 * B mainly reduces the belligerents and commanders sections. If the intention is to prevent edit warring, criteria for including and excluding information should be established first. Senorangel (talk) 01:53, 29 May 2024 (UTC)
 * That would be WP:INFOBOXPURPOSE. Remsense  诉  08:48, 29 May 2024 (UTC)
 * B. Both infoboxes are bloated, but B is less bloated. Hogo-2020 (talk) 08:41, 29 May 2024 (UTC)
 * I think that we should go with A, or there should be some compromise where we lose the dates for the independence movements, or leave out some of them altogether. WIKIPEDA (yes i meant to misspell it) (talk) 09:48, 29 May 2024 (UTC)
 * WP:INFOBOXPURPOSE directly addresses this kind of bloat, including: "The less information it contains, the more effectively it serves that purpose, allowing readers to identify key facts at a glance". Anyone posting might want to hit that link first. Neither of these come close to MOS. Both WW I and WW II have been mentioned as examples here. Sammy D III (talk) 20:47, 29 May 2024 (UTC)
 * This is an unusual situation. My suggestion would be to use 2 different infoboxes. The first version must be very short, even shorter than B, and it should be used as main infobox on other pages. Second version could include all details, maybe even more than A, but it should be just linked (essentailly as a supplementary table or a list page) to the main infobox. My very best wishes (talk) 21:58, 1 June 2024 (UTC)
 * What information should the later infobox contain? Are we sure that it can't just be omitted from an infobox entirely if this is being considered? Remsense  诉  23:13, 1 June 2024 (UTC)
 * It wouldn't have to be in an infobox per se, but the content could be kept in a different form. Splitting it up into multiple lists/boxes/tables, scattered throughout the article, could be appropriate.  For example, the details about the casualties could be moved to Russian Civil War (e.g., as a data table there), and that section of the infobox could be substantially shortened.  The "Commanders and leaders" section could be split to a new article, and replaced by a link to that. WhatamIdoing (talk) 02:24, 2 June 2024 (UTC)
 * A with more collapsible sections - the length ratio of the larger infobox to the smaller one is roughly 6:5, that's not a great saving by any standard. An infobox bringing together all the key parameters for a lengthy and likely-to-be-expanded article is like a key to a map, it serves as an orientation guide and makes navigation easier. Reduced to bare bones and mentions for the sake of mentioning it loses much of its value. The most useful information that was dropped in the shortened version is the dates of participation of various sides in the war. If reductions need to be made, then I would advise collapsing or dropping commanders other than the top political leaders and key field commanders (who led the most substantial forces into action) on each side. The supporting sides ("Supported by") could also be collapsed. And if you are going to abridge the casualties section, then do not total killed, wounded and POWs for the Whites and for the Polish, Ukrainian and Finnish armies - this has to be kept comparable with the rest of the table (killed/died only). VampaVampa (talk) 03:23, 2 June 2024 (UTC)
 * This is a non-starter per WP:NOHIDE. It would help to present ideas in terms of how they fit into our Manual of Style and content guidelines. Remsense 诉  04:08, 2 June 2024 (UTC)
 * Fair, I was led into this by the older version A. I did not foresee such a radical phasing out of features but things can happen fast.
 * Regardless of that, I uphold my comment on including dates of participation for short-lived actors in a 6-year conflict, and on the need to be consistent with casualty figures. VampaVampa (talk) 03:57, 3 June 2024 (UTC)
 * I would like to have seen a choice between B and a not bloated version, but as A is even worse I support B out of the two. Infoboxes are meant to give a quick summary of the subject that can be easily and quickly understiod. Excessive detail goes against this purpose. -- LCU A ctively D isinterested  «@» °∆t° 10:33, 2 June 2024 (UTC)
 * To be clear as its author, B was just a start calibrated so that no one would probably get mad at me—so much for that—and I do not support it in its current state in concordance with everyone else. Would it be reasonable to start winding this down, as it seems the consensus is that the site guidelines command us to begin by stripping B down further? Remsense  诉  14:10, 2 June 2024 (UTC)
 * It's been open for about three weeks, and comments died down more than a week ago. I'll WP:RFCEND this and ask someone at Closure requests to produce a summary.  I think it's obvious to everyone who participated in the discussion that the longer version has been rejected, and that many editors would prefer something even shorter than the shorter version.  I wouldn't normally ask for a formal closing summary in such a lopsided discussion; however, since this has been a source of edit warring recently, I think it would be best to do this in the most formal way.  That sometimes helps people accept that their "side" does not have consensus. WhatamIdoing (talk) 14:19, 13 June 2024 (UTC)
 * To be clear as its author, B was just a start calibrated so that no one would probably get mad at me—so much for that—and I do not support it in its current state in concordance with everyone else. Would it be reasonable to start winding this down, as it seems the consensus is that the site guidelines command us to begin by stripping B down further? Remsense  诉  14:10, 2 June 2024 (UTC)
 * It's been open for about three weeks, and comments died down more than a week ago. I'll WP:RFCEND this and ask someone at Closure requests to produce a summary.  I think it's obvious to everyone who participated in the discussion that the longer version has been rejected, and that many editors would prefer something even shorter than the shorter version.  I wouldn't normally ask for a formal closing summary in such a lopsided discussion; however, since this has been a source of edit warring recently, I think it would be best to do this in the most formal way.  That sometimes helps people accept that their "side" does not have consensus. WhatamIdoing (talk) 14:19, 13 June 2024 (UTC)

Casualties as percentage of population
In most other conflicts of this scale, the casualty figure is put into context by citing what percentage of the total population it represents. We don't have that here. This is an oversight I will fix. Just putting it out here.

title: Talk:Russian Civil War


text:
Aberdeen, Grey County, Ontario

Aberdeen is a community in the Municipality of West Grey in Grey County, Ontario, Canada. Aberdeen consists of a series of houses in a historical Canadian village site. The village is located north of both the Durham Interforest factory and the stretch of Grey Road 4 between Durham and Hanover.

The first settlers came to Aberdeen around 1845. Milton C. Schofield built the first mill there on the Rocky Saugeen River in 1851. For a while, the small emerging village was called Scholfield's Mill.

School was first taught in local homes, but a log structure was erected in 1854. S.S. Bentinck 10 was built in 1873. It was a stone building measuring 38 feet by 30 feet and costing $9 to build. Most of the labour and materials were donated. Dr. William J. Dunlop, minister of education in the Leslie Frost cabinet, 1952–60, received his education there. By 1945, the school was closed and any remaining students walked or were driven three miles to nearby Rocky Saugeen School. The school briefly reopened in 1966, but closed for good in 1967, when school amalgamation occurred and students were bussed to nearby Durham.

James W. Crawford bought the mill, use of the water and dam, and 20 surrounding hectares of land for $3400 - an enormous amount of money for the time - in 1879. He updated the mill and named the village after his birthplace in Aberdeen, Scotland. The village got its first post office and blacksmith shop in 1881. Other businesses included a spinning wheel maker, a weaver, and a cooper shop.

The village boomed and expanded until 1896, when wood for the mill and export began to become scarce.

In 1896, the Electric Light Company took out a lease that would provide electricity for Durham residents until the 1940s.

Most of the land, once cleared of its trees, is totally enclosed in trees again.

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

title: Aberdeen, Grey County, Ontario


text:
Christian Democratic People's Party

Christian Democrat People's Party may refer to:
 * Christian Democratic People's Party of Switzerland
 * Christian Democratic People's Party (Hungary)
 * Christian-Democratic People's Party (Moldova)
 * Christian-Democratic People's Party (Romania)

title: Christian Democratic People's Party


text:
Houston Grand Opera

Houston Grand Opera (HGO) is an American opera company located in Houston, Texas. Founded in 1955 by German-born impresario Walter Herbert and three local Houstonians, the company is resident at the Wortham Theater Center. This theatre is also home to the Houston Ballet. In its history, the company has received a Tony Award, two Grammy Awards, and three Emmy Awards, the only opera company in the world to win these three honours. Houston Grand Opera is supported by an active auxiliary organization, the Houston Grand Opera Guild, established in October 1955.

History
In 1955, the German-born impresario Walter Herbert and Houstonians Elva Lobit, Edward Bing, and Charles Cockrell founded the company. Its inaugural season featured two performances of two operas, Salome (starring Brenda Lewis in the title role) and Madama Butterfly. David Gockley succeeded Walter Herbert as general director in 1972. During Gockley's tenure, the company began regularly commissioning and producing new works, primarily from American composers. Gockley remained as general director until 2005.

Anthony Freud succeeded Gockley as general director in 2005, and held the post until 2011. Following Freud's departure, joint leadership was shared between Patrick Summers, who had been music director at HGO since 1998, and Perryn Leech, who joined the company in 2006 and became chief operating officer in 2010. Summers took the titles of artistic director and music director, and Leech became managing director. For the 2017–2018 season, HGO performed at the 'HGO Resilience Theater', a temporary space created in an exhibit hall at the George R. Brown Convention Center, after the Wortham Theater Center was closed due to flooding from Hurricane Harvey in August 2017. Leech stood down as managing director of the company in December 2020.

In June 2021, the company announced the appointment of Khori Dastoor as its next general director and CEO, effective January 2022. Dastoor is the first woman ever named to the posts.

Musical forces
The Houston Grand Opera Orchestra consists of 49 part time professional musicians and plays all Houston Grand Opera performances. The orchestra is a member of the Regional Orchestra Players Association and is a per service orchestra.

No music director was appointed during the Walter Herbert years (1955–72) until 1971, when longtime assistant conductor and chorus master Charles Rosekrans was named. Later music directors/principal conductors include Chris Nance (1974–77), John DeMain (1977–94), and Vjekoslav Šutej (1994–97). Patrick Summers has been the music director since 1998. With the 2019–20 season, Eun Sun Kim became principal guest conductor, the first female conductor ever to hold the post.

The Houston Grand Opera Chorus has been led since 1988 by chorus master Richard Bado, an alumnus of HGO's young artist training program, the Houston Grand Opera Studio.

Houston Grand Opera Studio
Houston Grand Opera's young artist development program, the Houston Grand Opera Studio, was founded in 1977 to help young artists make the transition between their academic training and professional careers. The HGO Studio primarily trains young singers and pianist/coaches but has also trained aspiring conductors in a residency program of up to three years. An annual competition, now called the Eleanor McCollum Competition for Young Singers, was inaugurated in 1989 to help identify a pool of potential international artists for the Studio, which is currently directed by Brian Speck. Studio alumni include sopranos Jan Grissom, Marquita Lister, Ana María Martínez, Edrie Means, Erie Mills, Albina Shagimuratova, Heidi Stober, Rachel Willis-Sørensen, and Tamara Wilson; mezzo-sopranos Jamie Barton, Joyce DiDonato, Denyce Graves, Susanne Mentzer, and Marietta Simpson ; tenors Bruce Ford, Carroll Freeman and Norman Reinhardt; baritones Richard Paul Fink, and Scott Hendricks; bass-baritones Greer Grimsley, Ryan McKinny, and Eric Owens; and bass Eric Halfvarson. Other alumni include HGO Chorus Master Richard Bado, composer/conductor David Hanlon, former Lyric Opera of Kansas City Artistic Director Ward Holmquist, conductor/arranger/composer James Lowe, conductor/pianist Eric Melear, conductor Evan Rogister, and conductor/pianist Craig Terry.

Young Artists Vocal Academy
The HGO Young Artists Vocal Academy, established in 2011 and administered by the HGO Studio, is a one-week intensive program for undergraduate vocal music students. Participants selected for the program receive training that includes daily voice lessons and coachings as well as classes in characterization, movement, diction, and score preparation.

HGOco (see below) offers training to high school juniors and seniors.

HGOco
In 2007, HGO established HGOco, an initiative designed to create partnerships between the company and the community. HGOco's first project, the ongoing Song of Houston initiative, creates new works focused on people and groups in Houston—the most culturally diverse city in the United States, according to a report of the Kinder Institute for Urban Research and the Hobby Center for the Study of Texas.

For its first commissioned work in 2007, The Refuge, by Christopher Theofanidis and Leah Lax, HGOco identified seven statistically significant immigrant communities in Houston and the creators began interviewing residents of those communities. The libretto was created from the actual words of some of the residents, and the premiere included performances by members from these communities.

In 2009, HGOco received the Leading Lights Diversity Award in Arts and Culture from the National MultiCultural Institute (NCMI) for Song of Houston.

As of May 2018, HGOco has premiered 22 new works, including eight short chamber operas focusing on various Asian communities in Houston, which were commissioned and premiered during a four-year series titled East + West. Recent HGOco premieres include Laura Kaminsky and Mark Campbell/Kimberly Reed's Some Light Emerges, about Houston philanthropist and humanitarian Dominique de Menil and her quest to create the Rothko Chapel; Gregory Spears and Royce Vavrek's O Columbia, realized through the collaboration of Houston-based NASA astronauts, scientists, and engineers; and David Hanlon and Stephanie Fleischmann's After the Storm, about the impact that Hurricane Ike and the Great Storm of 1900 had upon Galveston and the Gulf Coast. Song cycles have also been created in cooperation with workers in the Houston Ship Channel, the veterans community, and the Houston Livestock Show and Rodeo.

HGOco also administers:

 * Houston Grand Opera's Bauer Family High School Voice Studio, a scholarship program for high school juniors and seniors preparing to study vocal music at the college/conservatory level
 * Summer Opera Camps for students in Pre-K through grade 12.
 * Opera to Go!, a touring company that focuses on short musical works for children and families.

Houston Grand Opera and new works
HGO has been commissioning and premiering new works since 1974. These include full-length operas for the main stage and chamber works with a community focus or for children/families.

Full-length operas
The relationship between HGO and composer Carlisle Floyd is the longest ongoing relationship of any composer with an organization. HGO has commissioned five works from Floyd: Bilby's Doll (1976), Willie Stark (1981), The Passion of Jonathan Wade (new version, 1991), Cold Sassy Tree (2000), and Prince of Players (2016). Floyd lived in Houston for a two-decade period after relocating in 1976 from Tallahassee, Florida, to accept the M.D. Anderson Professorship at the University of Houston School of Music (now the Moores School of Music). In 1977, he cofounded the Houston Grand Opera Studio, HGO's young artist training program, which was initially a joint program between HGO and the University of Houston, and was an active participant in training Studio artists.

The John Adams opera Nixon in China debuted at the Wortham Theater Center in 1987. It was co-commissioned by the Houston Grand Opera, the Brooklyn Academy of Music, Netherlands Opera and the Washington Opera.

Chamber operas
HGO has commissioned and premiered 15 chamber operas created for children/families. These chamber works are staged and are approximately 45 minutes long.

American premieres
HGO has presented seven American premieres. Among them, the most significant are the first staged version of Handel's Rinaldo in 1975 (a concert version had been given in 1972 by the Handel Society of New York), starring Marilyn Horne in the title role and Samuel Ramey as Argante; Rossini's La donna del lago in a new critical edition in 1981, and more recently, Weinberg's The Passenger, a long-suppressed Holocaust opera composed in 1968 and performed by HGO in 2014. Besides presenting the American premiere in Houston, HGO was also invited to bring the production to the Park Avenue Armory as part of the 2014 Lincoln Center Festival.

Non-traditional opera
During the 2017–18 season, HGOco began a web-only series of 15-minute operas titled Star-Cross'd, based on true stories with a Romeo and Juliet theme. The series pilot, "Boundless," by composer Avner Dorman and librettist Stephanie Fleischmann, was released online April 20, 2018. Two more episodes are scheduled for release during 2019.

In 2010, HGO commissioned and premiered the world's first "mariachi opera", composed by the late José "Pepe" Martínez, the longtime music director of the ensemble Mariachi Vargas de Tecalitlán, with a libretto by Leonard Foglia. This work, titled Cruzar la Cara de la Luna/To Cross the Face of the Moon, has been performed at the Théâtre du Châtelet in Paris and by a number of opera companies in the United States.

In addition to commissioning and premiering new works, HGO has played a role in bringing certain existing works to the attention of the opera world. HGO presented a "triumphant" and "groundbreaking" production of Porgy and Bess in 1976 that restored portions of the work that had been cut for previous productions (including some made by composer George Gershwin himself for the New York premiere in 1935), thus allowing the public to experience the original vision for the work and making it clear that it was indeed an opera. After the Houston premiere, the production, featuring Donnie Ray Albert as Porgy and Clamma Dale as Bess and conducted by John DeMain, toured to Broadway and won a 1977 Tony Award for Most Innovative Production of a Revival. The complete recording won the 1977 Grammy Award for Best Opera Recording.

Scott Joplin's Treemonisha, which comprises a variety of musical styles even though it is often called a "ragtime opera," received its first fully staged performances at Houston Grand Opera in 1976 with a score HGO commissioned from ragtime expert Gunther Schuller. Treemonisha also toured to Broadway and was recorded.

Supertitles
In 1984, Houston Grand Opera began using supertitles on all non-English productions, becoming one of the first opera companies in the United States to do so.

Descriptive Services
HGO was one of the first opera companies in the United States (and possibly the first) to offer descriptive services for patrons with vision loss. It has offered descriptive services since the 1987–88 season, the inaugural season in the Wortham Theater Center. The service is offered free of charge and by request for any performance with 48 hours notice.

The Genevieve P. Demme Archives and Resource Center
In 1989, HGO became the first performing arts organization in Houston and the second major U.S. opera company to establish its own archives and resources center. The archives/resource center is named for the late Genevieve P. Demme, a longtime trustee and historian of Houston Grand Opera Association.

Plazacasts
On November 10, 1995, Houston Grand Opera became the first performing arts company in the United States to simulcast a live performance to an audience in another location. (The Royal Opera, Covent Garden, was the only other company at the time to have staged a similar event.) The performance of Rossini's La Cenerentola featuring mezzo-soprano Cecilia Bartoli that was taking place inside the Wortham Theater Center's Brown Theater was projected in real time onto a large screen mounted on the outside of the theater building. The event was free to the public. The audience was seated on the Ray C. Fish Plaza outside the theater, which prompted HGO to call the event a Plazacast. HGO held free public Plazacasts each year through the 2004–05 season (HGO's 50th season). In April 2005, the company simulcast both a performance of Gounod's Romeo and Juliet and its 50th anniversary gala concert.

Multimedia Modular Stage
In May 1998, Houston Grand Opera unveiled its Multimedia Modular Stage, a large steel structure with moving lights, projection screens for live-feed video and still images, and a big sound system. It was designed for large outdoor venues but could be adapted for other locations. HGO used it several times for outdoor performances in Houston and on tour, and once for an indoor production of Stephen Sondheim's A Little Night Music in 1999. Its last use in Houston was the night of June 8, 2001, in a production of Carmen at Houston's Miller Outdoor Theatre. That night, Tropical Storm Allison struck Houston, where the storm's worst flooding occurred. The two remaining performances in Houston were canceled, although the production went on tour as scheduled on June 15 and 16 to the Mann Center in Philadelphia. The effects of the storm, along with the impact of 9/11 and the collapse of Enron just months afterward, led to the retirement of the Multimedia Modular Stage, which was costly to assemble and disassemble.

OperaVision
In the fall of 2000, HGO devised and implemented a system of plasma and projection screens mounted in the Grand Tier and Balcony sections of the larger of the two halls in the Wortham Theater Center. This system—designed to provide close-up views of the action on stage and improve sightlines in the unusually steep Grand Tier and Balcony areas—was called OperaVision and received mixed appraisals from opera patrons. OperaVision was discontinued at the end of the 2004–05 season.

Emmy Awards

 * HGO: The Ring Cycle, Sculpting With Time Productions (Alex Douglas and Whitney Douglas), 2017, regional Emmy Awards for directing and photography
 * Hitting the High Cs, Marion Kessell and Rick Christie, 1998, regional Emmy for editing
 * Nixon in China, John Adams and Alice Goodman, 1988, for Outstanding Musical Program

Grammy Awards

 * Nixon in China, John Adams and Alice Goodman, 1988, Best Contemporary Composition
 * Porgy and Bess, George Gershwin and DuBose Heyward, 1977, Best Opera Recording

Grand Prix du Disque

 * Porgy and Bess, George Gershwin and DuBose Heyward, 1977

National MultiCultural Institute Award

 * HGOco's Song of Houston initiative, 2009, Leading Lights Diversity Award in Arts and Culture

Tony Award

 * Porgy and Bess, George Gershwin and DuBose Heyward, 1977, Most Innovative Production of a Revival

World premieres through the 2022–23 season

 * The Seagull, Thomas Pasatieri and Kenward Elmslie, 1974
 * Bilby's Doll, Carlisle Floyd, 1976
 * Willie Stark, Carlisle Floyd, 1981
 * Starbird, Henry Mollicone and Kate Pogue, 1980
 * A Quiet Place, Leonard Bernstein and Stephen Wadsworth, 1983
 * Nixon in China, John Adams and Alice Goodman, 1987
 * The Making of the Representative for Planet 8, Philip Glass and Doris Lessing, 1988
 * Where's Dick?, Stewart Wallace and Michael Korie, 1989
 * New Year, Sir Michael Tippett, 1989
 * The Passion of Jonathan Wade (new version), Carlisle Floyd, 1991
 * ATLAS: an opera in three parts, Meredith Monk, 1991
 * Desert of Roses, Robert Moran and Michael John LaChiusa, 1992
 * The Achilles Heel, Craig Bohmler and Mary Carol Warwick, 1993
 * TEXAS!, Mary Carol Warwick and Kate Pogue, 1993
 * The Dracula Diary, Robert Moran and James Skofield, 1994
 * The Outcast (fully realized version), Noa Ain, 1994
 * Harvey Milk, Stewart Wallace and Michael Korie, 1995
 * Puppy and the Big Guy, Sterling Tinsley and Kate Pogue, 1995
 * The Tibetan Book of the Dead, a liberation through hearing, Ricky Ian Gordon and Jean-Claude van Itallie, 1996
 * Florencia en el Amazonas, Daniel Catán and Marcela Fuentes-Berain, 1996
 * Jackie O, Michael Daugherty and Wayne Koestenbaum, 1997
 * Cinderella in Spain/Cinderella en España, Mary Carol Warwick and Kate Pogue, 1998
 * Little Women, Mark Adamo, 1998
 * Resurrection, Tod Machover and Laura Harrington with additional materials by Braham Murray, 1999
 * Cold Sassy Tree, Carlisle Floyd, 2000
 * The Emperor's New Clothes, Mary Carol Warwick and Kate Pogue, 2001
 * Sibanda!, Michael Remson, 2003
 * The Little Prince, Rachel Portman and Nicholas Wright, 2003
 * The Velveteen Rabbit, Mary Carol Warwick and Kate Pogue, 2004
 * The End of the Affair, Jake Heggie and Heather McDonald, 2004
 * Salsipuedes, a tale of Love, War and Anchovies, Daniel Catán and Eliseo Alberto / Francisco Hinojosa, 2004
 * The Princess and the Pea, Mary Carol Warwick and Mary Ann Pendino, 2005
 * Lysistrata, or the Nude Goddess, Mark Adamo, 2005
 * Strega Nona, Mary Carol Warwick and Mary Ann Pendino, 2006
 * Send (who are you? I love you), Michael John LaChiusa, 2006
 * The Refuge, Christopher Theofanidis and Leah Lax, 2007
 * Three Decembers (premiered under the title Last Acts), Jake Heggie and Gene Scheer, 2008
 * Sleeping Beauty, Edward Charles Winkler, 2008
 * Brief Encounter, André Previn and John Caird, 2009
 * A Way Home, Ethan Frederick Greene and Irene Keliher, 2010
 * Cruzar la Cara de la Luna / To Cross the Face of the Moon, José "Pepe" Martínez and Leonard Foglia, 2010
 * Courtside, Jack Perla and Eugene Chan, 2011
 * Your Name Means the Sea, Franghiz Alizadeh, 2011
 * Pieces of 9/11, Jake Heggie and Gene Scheer, 2011
 * The Clever Wife—a Chinese Folktale, Mary Carol Warwick and Hugh Behm-Steinberg, 2012
 * The Bricklayer, Gregory Spears and Farnoosh Moshiri, 2012
 * New Arrivals, John Glover and Catherine Filloux, 2012
 * From My Mother's Mother, Jeeyoung Kim and Janine Joseph, 2012
 * Past the Checkpoints, David Hanlon and Joann Farías, 2013
 * The Memory Stone, Marty Regan and Kenny Fries, 2013
 * Rapunzel, Mary Carol Warwick and Alvaro Saar Rios, 2014
 * Bound, Huang Ruo and Bao-Long Chu, 2014
 * A Coffin in Egypt, Ricky Ian Gordon and Leonard Foglia, 2014
 * River of Light, Jack Perla and Chitra Banerjee Divakaruni, 2014
 * A Christmas Carol, Iain Bell and Simon Callow, 2014
 * The Pastry Prince, Mark Buller and Charles Anthony Silvestri, 2015
 * O Columbia, Gregory Spears and Royce Vavrek, September 2015
 * The Puffed-Up Prima Donna, Mark Buller and Charles Anthony Silvestri, January 2016
 * Prince of Players, Carlisle Floyd, March 2016
 * What Wings They Were: The Case of Emeline, John L. Cornelius II and Janine Joseph, April 2016
 * After the Storm, David Hanlon and Stephanie Fleischmann, May 2016
 * It's a Wonderful Life, Jake Heggie and Gene Scheer, December 2016
 * Some Light Emerges, Laura Kaminsky and Mark Campbell/Kimberly Reed, March 2017
 * The House without a Christmas Tree, Ricky Ian Gordon and Royce Vavrek, November 2017
 * Monkey & Francine in the City of Tigers, Kamala Sankaram and David Johnston, January 2018
 * The Phoenix, Tarik O'Regan and John Caird, April 2019
 * El Milagro del Recuerdo, Javier Martínez and Leonard Foglia, December 2019
 * Marian's Song, Damien Sneed and Deborah D.E.E.P. Mouton, March 2020
 * The Impresario of Oz, Mark Buller and Charles Anthony Silvestri, June 2020
 * The Snowy Day, Joel Thompson and Andrea Davis, December 2021
 * Another City, Jeremy Howard Beck and Stephanie Fleischmann, March 2023

American premieres

 * Hugh the Drover, Ralph Vaughan Williams, 1973
 * Rinaldo (stage premiere), George Frideric Handel, 1975
 * Robinson Crusoé, Jacques Offenbach, 1977
 * The Panther, Philip Glass, 1981
 * La donna del lago (new critical edition), Gioacchino Rossini, 1981
 * Akhnaten, Philip Glass, 1984
 * The Passenger, Mieczyslaw Weinberg, 2014

Video recordings

 * Treemonisha, Kultur Video, VHS, 1982
 * La Cenerentola, London/Decca, VHS and DVD, 1996
 * Little Women, Naxos, DVD, 2010

Nationally televised productions

 * Willie Stark, PBS's Great Performances, October 1981
 * Treemonisha, PBS, February 1986
 * Aida, PBS's Great Performances, October 1987
 * Nixon in China, PBS's Great Performances, April 1988
 * La Cenerentola, PBS's Great Performances, April 1996
 * Little Women, PBS's Great Performances, August 2001

Audio recordings

 * Porgy and Bess, RCA, 1977
 * Treemonisha, Deutsche Grammophon, 1982
 * Nixon in China, Nonesuch, 1988
 * ATLAS: an opera in three parts, ECM, 1992
 * The Dracula Dia, Catalyst/BMG, 1994
 * The Song of Majnun, Delos, 1997
 * Jackie O, Argo/Decca, 1997
 * Little Women, Ondine, 2001
 * Resurrection, Albany, 2002
 * Florencia en el Amazonas'', Albany, 2002
 * Of Mice and Men, Albany, 2003
 * Cold Sassy Tree, Albany, 2005
 * The Refuge, Albany, 2008
 * Three Decembers, Albany, 2008
 * ''Cruzar la Cara de la Luna, Albany, 2011
 * Brief Encounter, Deutsche Grammophon, 2011
 * Dead Man Walking, Virgin Classics, 2012
 * A Coffin in Egypt, Albany, 2014
 * It's a Wonderful Life, PENTATONE, 2017
 * The House Without a Christmas Tree, PENTATONE, 2018

title: Houston Grand Opera


text:
Joseph Johnston

Joseph Johnston may refer to:
 * Joseph Johnston (Irish politician) (1890–1972), Irish academic, farmer and politician
 * Allan Johnston (politician) (Joseph Allan Johnston, 1904–1974), Liberal party member of the Canadian House of Commons
 * Joseph C. Johnston (born 1938), American politician in the state of Iowa
 * Joseph E. Johnston (1807–1891), United States and Confederate Army general
 * Joseph F. Johnston (1843–1913), American governor of Alabama
 * Joseph Shackford Johnston, president of Virginia Wesleyan College
 * Joe Johnston (born 1950), American film director
 * Joe Johnston (rugby union) (born 1998), New Zealand rugby union player

title: Joseph Johnston


text:
Edward Steichen

Edward Jean Steichen (March 27, 1879 – March 25, 1973) was a Luxembourgish American photographer, painter, and curator, renowned as one of the most prolific and influential figures in the history of photography.

Steichen was credited with transforming photography into an art form. His photographs appeared in Alfred Stieglitz's groundbreaking magazine Camera Work more often than anyone else during its publication run from 1903 to 1917. Stieglitz hailed him as "the greatest photographer that ever lived".

As a pioneer of fashion photography, Steichen's gown images for the magazine Art et Décoration in 1911 were the first modern fashion photographs to be published. From 1923 to 1938, Steichen served as chief photographer for the Condé Nast magazines Vogue and Vanity Fair, while also working for many advertising agencies, including J. Walter Thompson. During these years, Steichen was regarded as the most popular and highest-paid photographer in the world.

After the United States' entry into World War II, Steichen was invited by the United States Navy to serve as Director of the Naval Aviation Photographic Unit. In 1944, he directed the war documentary The Fighting Lady, which won the Academy Award for Best Documentary Feature at the 17th Academy Awards.

From 1947 to 1961, Steichen served as Director of the Department of Photography at New York's Museum of Modern Art. While there, he curated and assembled exhibits including The Family of Man, which was seen by nine million people. In 2003, the Family of Man photographic collection was added to UNESCO's Memory of the World Register in recognition of its historical value.

In February 2006, a print of Steichen's early pictorialist photograph, The Pond—Moonlight (1904), sold for US$2.9 million—at the time, the highest price ever paid for a photograph at auction. A print of another photograph of the same style, The Flatiron (1904), became the second most expensive photograph ever on November 8, 2022, when it was sold for $12,000,000, at Christie's New York – well above the original estimate of $2,000,000-$3,000,000.

Early life
Steichen was born Éduard Jean Steichen on March 27, 1879, in a small house in the village of Bivange, Luxembourg, the son of Jean-Pierre and Marie Kemp Steichen. His parents facing increasingly straitened circumstances and financial difficulties, decided to make a new start and emigrated to the United States when Steichen was eighteen months old. Jean-Pierre Steichen immigrated in 1880, with Marie Steichen bringing the infant Éduard along after Jean-Pierre had settled in Hancock in Michigan's Upper Peninsula copper country. According to noted Steichen biographer, Penelope Niven, the Steichens were "part of a large exodus of Luxembourgers displaced in the late nineteenth century by worsening economic conditions."

Éduard's sister and only sibling, Lilian Steichen, was born in Hancock on May 1, 1883. She would later marry poet Carl Sandburg, whom she met at the Milwaukee Social Democratic Party office in 1907. Her marriage to Sandburg the following year helped forge a life-long friendship and partnership between her brother and Sandburg.

By 1889, when Éduard was 10, his parents had saved up enough money to move the family to Milwaukee. There he learned German and English at school, while continuing to speak Luxembourgish at home.

In 1894, at fifteen, Steichen began attending Pio Nono College, a Catholic boys' high school, where his artistic talents were noticed. His drawings in particular were said to show promise. He quit high school to begin a four-year lithography apprenticeship with the American Fine Art Company of Milwaukee. After hours, he would sketch and draw, and he began to teach himself painting. Having discovered a camera shop near his work, he visited frequently until he persuaded himself to buy his first camera, a secondhand Kodak box "detective" camera, in 1895. Steichen and his friends who were also interested in drawing and photography pooled their funds, rented a small room in a Milwaukee, WI office building, and began calling themselves the Milwaukee Art Students League. The group hired Richard Lorenz and Robert Schade for occasional lectures. In 1899, Steichen's photographs were exhibited in the second Philadelphia Photographic Salon.

Steichen became a U.S. citizen in 1900 and signed the naturalization papers as Edward J. Steichen, but he continued to use his birth name of Éduard until after the First World War.

Paris, New York, and Partnerships with Stieglitz and Rodin
In April 1900, Steichen left Milwaukee for Paris to study art. Clarence H. White thought Steichen and Alfred Stieglitz should meet, and thus produced an introduction letter for Steichen, and Steichen—then en route to Paris from his home in Milwaukee—met Stieglitz in New York City in early 1900. In that first meeting, Stieglitz expressed praise for Steichen's background in painting and bought three of Steichen's photographic prints.

In 1902, when Stieglitz was formulating what would become Camera Work, he asked Steichen to design the logo for the magazine with a custom typeface. Steichen was the most frequently shown photographer in the journal.

Steichen began experimenting with color photography in 1904 and was one of the earliest in the United States to use the Autochrome Lumière process. In 1905, Stieglitz and Steichen created the Little Galleries of the Photo-Secession, in what had been Steichen's portrait studio; it eventually became known as the 291 Gallery after its address. It presented some of the first American exhibitions of Auguste Rodin, Henri Matisse, Paul Cézanne, Pablo Picasso, and Constantin Brâncuși.

According to author and art historian William A. Ewing, Steichen became one of the earliest "jet setters", constantly moving back and forth between Europe and the U.S. by steamship, in the process cross-pollinating art from Europe to the United States, helping to define photography as an art form, and at the same time widening America's understanding of European art and art in general.

Pioneering fashion photography
Fashion photography began with engravings reproduced from photographs of modishly-dressed actresses by Leopold-Emile Reutlinger, Nadar and others in the 1890s. After high-quality half-tone reproduction of photographs became possible, most credit as pioneers of the genre goes to the French Baron Adolph de Meyer and to Steichen who, borrowing his friend's hand-camera in 1907, candidly photographed dazzlingly-dressed ladies at the Longchamp Racecourse Fashion then was being photographed for newspaper supplements and fashion magazines, particularly by the Frères Séeberger, as it was worn at Paris horse-race meetings by aristocracy and hired models.

In 1911, Lucien Vogel, the publisher of Jardin des Modes and La Gazette du Bon Ton, challenged Steichen to promote fashion as a fine art through photography. Steichen took photos of gowns designed by couturier Paul Poiret, which were published in the April 1911 issue of the magazine Art et Décoration. Two were in colour, and appeared next to flat, stylised, yellow-and-black Georges Lepape drawings of accessories, fabrics, and girls.

Steichen himself, in his 1963 autobiography, asserted that his 1911 Art et Décoration photographs "were probably the first serious fashion photographs ever made," a generalised claim since repeated by many commentators. What he (and de Meyer) did bring was an artistic approach; a soft-focus, aesthetically retouched Pictorialist style that was distinct from the mechanically sharp images made by his commercial colleagues for half-tone reproduction, and that he and the publishers and fashion designers for whom he worked appreciated as a marketable idealisation of the garment, beyond the exact description of fabrics and buttonholes.

After World War I, during which he commanded the photographic division of the American Expeditionary Forces, he gradually reverted to straight photography. In the early 1920s, Steichen famously took over 1000 photographs of a single cup and saucer, on "a graduated scale of tones from pure white through light and dark greys to black velvet," which he compared to the a musician's finger exercises. He was hired by Condé Nast in 1923 for the extraordinary salary of $35,000 (equivalent to over $500,000 in 2019 value).

World War II
At the commencement of World War II, Steichen, then in his sixties, had retired as a full-time photographer. He was developing new varieties of delphinium, which in 1936 had been the subject of his first exhibition at the Museum of Modern Art, and the only flower exhibition ever held there.

When the United States joined the global conflict, Steichen, who had come out of the first World War an Army Colonel, was refused for active service because of his age. Later, invited by the Navy to serve as Director of the Naval Aviation Photographic Unit,  he was commissioned a Lieutenant-Commander in January 1942. Steichen selected for his unit six officer-photographers from the industry (sometimes irreverently called "Steichen's chickens"), including photographers Wayne Miller and Charles Fenno Jacobs. A collection of 172 silver gelatin photographs taken by the Unit under his leadership is held at the Harry Ransom Center at the University of Texas at Austin. Their war documentary The Fighting Lady, directed by Steichen, won the Academy Award for Best Documentary Feature at the 17th Academy Awards.

In 1942, Steichen curated for the Museum of Modern Art the exhibition Road to Victory, five duplicates of which toured the world. Photographs in the exhibition were credited to enlisted members of the Navy, Coast Guard, and Marine Corps and numbers by Steichen's unit, while many were anonymous and some were made by automatic cameras in Navy planes operated while firing at the enemy. This was followed in January 1945 by Power in the Pacific: Battle Photographs of our Navy in Action on the Sea and In the Sky. Steichen was released from Active Duty (under honorable conditions) on December 13, 1945, at the rank of Captain. For his service during World War II, he was awarded the World War II Victory Medal, Asiatic-Pacific Campaign Medal (with 2 campaign stars), American Campaign Medal, and numerous other awards.

Museum of Modern Art
In the summer of 1929, Museum of Modern Art director Alfred H. Barr, Jr. had included a department devoted to photography in a plan presented to the Trustees. Though not put in place until 1940, it became the first department of photography in a museum devoted to twentieth-century art and was headed by Beaumont Newhall. On the strength of attendances of his propaganda exhibitions Road to Victory and Power in the Pacific, and precipitating curator Newhall's resignation along with most of his staff, in 1947 Steichen was appointed Director of Photography until 1962, later assisted by Grace M. Mayer.

His appointment was protested by many who saw him as anti-art photography, one of the most vocal being Ansel Adams who on April 29, 1946, wrote a letter to Stephen Clark (copied to Newhall) to express his disappointment over Steichen's hiring for the new position of director; "To supplant Beaumont Newhall, who has made such a great contribution to the art through his vast knowledge and sympathy for the medium, with a regime which is inevitably favorable to the spectacular and 'popular' is indeed a body blow to the progress of creative photography."

Nevertheless, Ansel Adams' image Moonrise, Hernandez, New Mexico was first published in U.S. Camera Annual 1943, after being selected by Steichen, who was serving as judge for the publication. This gave Moonrise an audience before its first formal exhibition at the Museum of Modern Art in 1944.

Steichen as director held a strong belief in the local product, of the "liveness of the melting pot of American photography," and worked to expand and organise the collection, inspiring and recognising the 1950s generation while keeping historical shows to a minimum. He worked with Robert Frank even before his The Americans was published, exhibited the early work of Harry Callahan and Aaron Siskind, and purchased two Rauschenberg prints in 1952, ahead of any museum. Steichen also kept international developments in his scope and held shows and made important acquisitions from Europe and Latin America, occasionally visiting those countries to do so. Three books were published by the Department during his tenure (The Family of Man, Steichen the Photographer, and The Bitter Years: 1935–1941: Rural America as Seen by the Photographers of the Farm Security Administration). Despite his solid career in photography, Steichen displayed his own work at MoMA—his retrospective, Steichen the Photographer—only after he had already announced his retirement in 1961.

Among accomplishments that were to redeem initial resentment at his appointment, Steichen created The Family of Man, a world-touring Museum of Modern Art exhibition that, while arguably a product of American Cold War propaganda, was seen by 9 million visitors and still holds the record for most-visited photography exhibit. Now permanently housed and on continuous display in Clervaux (Luxembourgish: Klierf) Castle in northern Luxembourg, his country of birth, Steichen regarded the exhibition as the "culmination of his career.". Comprising over 500 photos that depicted life, love and death in 68 countries, the prologue for its widely purchased catalogue was written by Steichen's brother-in-law, Carl Sandburg. As had been Steichen's wish, the exhibition was donated to the Grand Duchy of Luxembourg, his country of birth.

MoMA exhibitions curated or directed by Steichen
The following are exhibitions curated or directed by Steichen during his tenure as Director of Photography at The Museum of Modern Art:

 * 1947: Three Young Photographers: Leonard McCombe, Wayne F. Miller, Homer Page, September 30–December 7
 * 1948: In and Out of Focus: A Survey of Today's Photography. "A survey of photography today, including prints by 76 photographers from many parts of the country, the first large exhibition organized by Captain Edward J. Steichen, Director of the Museum's Department of Photography", April 6–July 11
 * 1948: 50 Photographs by 50 Photographers. "50 prints from the Museum Collections that form an abbreviated history of the development of pictorial photography during the past 100 years." July 27–September 26
 * 1948: Photo-Secession (American Photography 1902–1910), September 29–November 28
 * 1948/1949 Photographs by Bill Brandt, Harry Callahan, Ted Croner, Lisette Model, November 30, 1948–February 10
 * 1949: This Exact Instant, Events And Pages in 100 Years of News Photography, February 8–May 1
 * 1949: Roots of Photography, comprising works by Hill and Adamson, Julia Margaret Cameron and Henry Fox Talbot, April 26–July 24
 * 1949: Realism in Photography. Works by Ralph Steiner, Wayne F. Miller, Tosh Matsumoto, Frederick Sommer, July 26–September 25
 * 1949: Photographs by Margaret Bourke-White, Helen Levitt, Dorothea Lange, Tana Hoban, Esther Bubley, and Hazel-Frieda Larsen. "Sixty prints by 6 women photographers" October 11–November 15
 * 1950: Roots of French Photography, November 29, 1949–January 15
 * 1950: Photographs of Picasso by Gjon Mili and by Robert Capa, January 24–March 19,
 * 1950: Photography Recent Acquisitions: Stieglitz, Atget, March 28–May 7,
 * 1950: Color Photography, May 9–July 4,
 * 1950: Photographs by 51 Photographers, August 1–September 17,
 * 1950: Photographs by Lewis Carroll, September 26–December 3,
 * 1951: Korea - The Impact of War in Photographs, February 13–April 22,
 * 1951: Abstraction in Photography, May 1–July 4,
 * 1951: 12 Photographers, July 12–August 12,
 * 1951: Forgotten Photographers, August 23–November 4,
 * 1951: Memorable 'Life' Photographs, November 20–December 12,
 * 1952: Christmas Photographs, November 29, 1951–January 6,
 * 1952: Five French Photographers, December 18, 1951–February 24,
 * 1952: We Create for Pleasure, January 23–March 2,
 * 1952: Diogenes with a Camera, May 20–September 1,
 * 1952: Then and Now, August 5–18,
 * 1953: Always the Young Strangers, February 26–April 1,
 * 1953: Postwar European Photography, May 26–August 23,
 * 1955: The Family of Man, January 24–May 8,
 * 1956: Diogenes with a Camera III, January 17–March 18,
 * 1956: Diogenes with a Camera IV, April 4–June 3,
 * 1956/7: Language of the Wall: Parisian Graffiti Photographed by Brassaï, October 24, 1956 – January 13, 1957
 * 1958: 70 Photographers Look at New York, November 27, 1957–April 15, in collaboration with Grace Mayer
 * 1959: Photographs from the Museum Collection, November 26, 1958–January 18,
 * 1960: Photographs for Collectors, October 1–16, "Photographs for Collectors, more than 250 prints by 66 photographers…priced at $25 and up, in color or in black and white, some framed for hanging. Styles range from photo-journalism to abstraction…and…familiar classics of photography
 * 1962: Photographs by Harry Callahan and Robert Frank, January 30–April 1
 * 1962: 50 Photographs by 50 Photographers, April 3–May 15,
 * 1962: The Bitter Years: 1935–1941, October 18–November 25, selected by Steichen (described in the press release as 'Director Emeritus') from 270,000 taken for the F.S.A., assisted by picture researcher Davis Pratt for an installation designed by Kathleen Haven.

In the latter years of his tenure after her appointment by Steichen as Assistant Curator, it was Grace Mayer, 'overseen' by Steichen, who selected and organized the shows Recent Acquisitions (December 21, 1960 – February 5, 1961), 1960: The Sense of Abstraction, February 17–April 10, Steichen the Photographer (March 28–May 30, 1961), A Bid For Space (4 installations, 1960 to 1963), Diogenes with a Camera V (September 26–November 12, 1961), and Walker Evans: American Photographs (June 8, 1962 – February 14, 1963).

Steichen hired John Szarkowski to be his successor at the Museum of Modern Art on July 1, 1962. On his appointment, Szarkowski promoted Mayer to Curator.

Later life
On December 6, 1963, Steichen was presented with the Presidential Medal of Freedom by U.S. President Lyndon B. Johnson.

Though then 88 years old and unable to attend in person, in 1967 Steichen, as a still-active member of the copyright committee of the American Society of Magazine Photographers, wrote a submission to the U.S. Senate hearings to support copyright law revisions, requesting that "this young giant among the visual arts be given equal rights by having its peculiar problems taken into account."

In 1968, the Edward Steichen Archive was established in MoMA's Department of Photography. The Museum's then-Director René d'Harnoncourt declared that its function was to "amplify and clarify the meaning of Steichen's contribution to the art of photography, and to modern art generally." Creator of the Archive was Grace M. Mayer, who in 1959 started her career as an assistant to the director, Steichen, and who became Curator of Photography in 1962, retiring in 1968. Mayer returned after her retirement to serve in a voluntary capacity as Curator of the Edward Steichen Archive until the mid-1980s to source materials by, about, and related to Steichen. Her detailed card catalogs are housed in the Museum's Grace M. Mayer Papers.

Steichen's 90th birthday was marked with a dinner gathering of photographers, editors, writers, and museum professionals at the Plaza Hotel in 1969. The event was hosted by MoMA trustee Henry Allen Moe, and U.S. Camera magazine publisher Tom Maloney.

In 1970, an evening show was presented in Arles during The Rencontres d'Arles festival: "Edward Steichen, photographe" by Martin Boschet.

Steichen bought a farm that he called Umpawaug in 1928, just outside West Redding, Connecticut. He lived there until his death on March 25, 1973, two days before his 94th birthday. After his death, Steichen's farm was made into a park, known as Topstone Park. As of 2018, Topstone Park was open seasonally.

In 1974, Steichen was posthumously inducted into the International Photography Hall of Fame and Museum.

Legacy

"'I consider Steichen a very great artist and the leading, the greatest photographer of the time. Before him, nothing conclusive had been achieved.'"

Steichen's career, especially his activities at MoMA, did much to popularise and promote the medium, and both before and since his death photography, including his own, continued to appreciate as a collectible art form.

In February 2006, a print of Steichen's early pictorialist photograph, The Pond—Moonlight (1904), sold for what was then the highest price ever paid for a photograph at auction, US$2.9 million.

Steichen took the photograph in Mamaroneck, New York, near the home of his friend, art critic Charles Caffin. It shows a wooded area and pond, with moonlight appearing between the trees and reflecting on the pond. While the print appears to be a color photograph, the first true color photographic process, the autochrome process, was not available until 1907. Steichen created the impression of color by manually applying layers of light-sensitive gums to the paper. Only three prints of the Pond—Moonlight are still known to exist and, as a result of the hand-layering of the gums, each is unique. (The two prints not auctioned are held in museum collections.) The extraordinary sale price of the print is in part attributable to its one-of-a-kind character and to its rarity.

A show of early color photographs by Steichen was held at the Mudam (Musée d'Art moderne) in Luxembourg City from July 14 to September 3, 2007.

Personal life
Steichen married Clara E. Smith (1875–1952) in 1903. They had two daughters, Mary Rose Steichen (1904-1998) and Charlotte "Kate" Rodina Steichen (1908-1988). In 1914, Clara accused her husband of having an affair with artist Marion H. Beckett, who was staying with them in France. The Steichens left France just ahead of invading German troops. In 1915, Clara Steichen returned to France with her daughter Kate, staying in their house in the Marne in spite of the war. Steichen returned to France with the Photography Division of the American Army Signal Corps in 1917, whereupon Clara returned to the United States. In 1919, Clara Steichen sued Marion Beckett for having an affair with her husband, but was unable to prove her claims. Clara and Edward Steichen eventually divorced in 1922.

Steichen married Dana Desboro Glover in 1923. She died of leukemia in 1957.

In 1960, aged 80, Steichen married 27-year-old Joanna Taub and remained married to her until his death, two days before his 94th birthday. Joanna Steichen died on July 24, 2010, in Montauk, New York, aged 77.

Solo

 * 1900 Photo Club. Paris
 * 1900 Mrs. Arthur Robinson Home. Milwaukee (US)
 * 1901 La Maison des Artistes, Paris
 * 1902 Photo-Club, Paris
 * 1902 Eduard Steichen, Paintings and Photographs; Maison des artistes; Paris, France
 * 1905 Photo-Secession Gallery, New York
 * 1906 Photographs by Eduard Steichen; Little Galleries of the Photo-Secession (291 Gallery); New York, New York
 * 1908 Eduard Steichen, Photographs in Monochrome and Color; Little Galleries of the Photo-Secession; New York, New York
 * 1909 Photo-Secession Gallery, New York
 * 1910 Photo-Secession Gallery, New York
 * 1910 Montross Gallery. London
 * 1910 Little Gallery. New York City (US)
 * 1915 M. Knoedler & Company, New York (US)
 * 1938 Museum of Modern Art, New York (USA )
 * 1938 Edward Steichen; Baltimore Museum of Art; Baltimore, Maryland
 * 1938 Retrospective, Baltimore Museum of Art (US)
 * 1950 Edward Steichen, Retrospective; American Institute of Architects Headquarters; Washington, D.C.
 * 1961 Steichen the Photographer; Museum of Modern Art; New York, New York
 * 1965 Retrospective, Bibliothèque Nationale, Paris
 * 1976 Allan Frumkin Gallery. Chicago (US)
 * 1978 Museum of Modern Art. New York (US)
 * 1979 George Eastman House, Rochester (US)
 * 2000 Edward Steichen; Whitney Museum of American Art; New York, New York
 * 2002 Edward Steichen: Art as Advertising/ Advertising as Art; Norsk Museum for Fotografi-Preus Fotomuseum; Horten, Norway
 * 2004: Hollywood Celebrities: Edward Steichen, Kunsthal Rotterdam, Netherlands, 17 Jan – 25 Apr
 * 2005: Edward Steichen, Botschaft von Luxemburg, Germany, 22 Apr – 21 May
 * 2005: Hollywood Celebrity: Edward Steichen's Vanity Fair Portraits, Multimedia Art Museum, Russia, 14 Mar – 14 May
 * 2007: Steichen; une épopée photographique, Jeu de Paume, France, 9 Oct – 30 Dec
 * 2008: Edward Steichen, Palazzo Magnani, Italy, 30 Apr – 8 Jun
 * 2008: Edward Steichen: Lives in Photography / Une épopée photographique, Musée de l'Elysée, Switzerland, 18 Jan – 24 Mar
 * 2008: Edward Steichen: Une Epopée Photographique, Museo Nacional Centro de Arte Reina Sofia, Spain, 25 Jun – 22 Sep
 * 2008 Edward Steichen: In High Fashion 1923-1937, Kunsthaus Zürich, Switzerland, 11 Jan – 30 Mar
 * 2009: Edward Steichen: 1915-1923, Howard Greenberg Gallery, USA, 20 Mar – 16 May
 * 2009: Edward Steichen: In High Fashion, Kunstmuseum Wolfsburg, Germany, 11 Oct 2008 – 2 Jan
 * 2009: Edward Steichen: In High Fashion the Condé Nast Years, 1923–1937, Williams College Museum of Art, USA, 6 Jun – 8 Nov
 * 2009: Edward Steichen: In High Fashion, The Condé Nast Years,  1923–1937, International Center of Photography, USA, 16 Jan – 3 May
 * 2009: Edward Steichen: The Early Years, Museum of Photographic Arts, USA, 31 Jan – 17 May
 * 2009/10: Edward Steichen. In High Fashion, the Condé Nast Years,  1923–1937, AGO Art Gallery Ontario,  Canada, Canada, 26 Sep 2009 – 3 Jan 2010
 * 2011: Edward Steichen: Celebrity Design, Museum Folkwang, Germany, 6 Nov 2010 – 16 Jan
 * 2011: Edward Steichen: The Last Printing, Danziger Gallery, USA, 15 Sep – 29 Oct
 * 2012: Edward Steichen: gli anni Condé Nast, Fondazione Sozzani, Italy, 20 Nov 2011 – 12 Feb
 * 2013: Edward Steichen, Museum of Photography, Denmark, 12 Oct 2012 – 9 Feb
 * 2013: In High Fashion: the Condé Nast Years, 1923–1937, foam Fotografiemuseum Netherlands, 28 Jun – 6 Sep
 * 2013: Modern Age Light and Shadow: 1923-1937, Setagaya Art Museum, Japan, 26 Jan – 7 Apr
 * 2013: Talk of the Town: Portraits by Edward Steichen from the Hollander Collection, LACMA Museum, USA, 3 Aug – 8 Dec
 * 2014: Sharp, Clear Pictures. Edward Steichen's World War I and Condé Nast Years, Art Institute of Chicago, USA, 28 Jun – 28 Sep
 * 2014: Edward Steichen & Art Deco Fashion, National Gallery of Victoria, Australia, 18 Oct 2013 – 2 Mar
 * 2014: Steichen in the 1920s and 1930s: A Recent Acquisition, Whitney Museum Art, USA, 6 Dec 2013 – 1 Aug
 * 2014/ 2015: In High Fashion: Edward Steichen, The Conde Nast Years 1923 - 1937, Photographers' Gallery UK, 31 Oct 2014 – 18 Jan 2015
 * 2015: Edward Steichen, Galerie Clairefontaine, Luxembourg, 8 Sep – 17 Oct
 * 2015: Edward Steichen In High Fashion. The Condé Nast Years. 1923-1937, Multimedia Art Museum, Russia, 9 Sep – 22 Nov
 * 2015: In High Fashion: Edward Steichen, WestLicht, Austria, 18 Feb – 24 May
 * 2016 Making Meaning of a Legacy: Edward Steichen, Centre for Fine Arts - Bozar, Belgium, 13 Nov 2015 – 5 Jan
 * 2017: Twentieth-Century Photographer Edward Steichen, DeCordova Museum, US, 7 Oct 2016 – 26 Mar

Group

 * 1900 The New School of American Photography; Royal Photographic Society; London, England and Paris, France
 * 1902 American Pictorial Photography; National Arts Club; New York, New York.
 * 1904 Salon International de Photographie, Paris.
 * 1905 Opening Exhibition; Little Galleries of the Photo Secession; New York, New York.
 * 1906 Photographs Arranged by the Photo Secession; Pennsylvania Academy of Fine Arts; Philadelphia, Pennsylvania
 * 1910 The Younger American Painters; Little Galleries of the Photo-Secession; New York, New York.
 * 1910 International Exhibit of Pictorial Photography; Albright Art Gallery; Rochester, New York
 * 1932 Murals by American Painters and Photographers; Museum of Modern Art; New York, New York
 * 1955 The Family of Man, MOMA, New York (US)

title: Edward Steichen


text:
Phthisis

Phthisis may refer to:

Mythology

 * Phthisis (mythology), Classical/Greco-Roman personification of rot, decay and putrefaction

Medical terms

 * Phthisis bulbi, shrunken, nonfunctional eye
 * Phthisis miliaris, miliary tuberculosis
 * Phthisis pulmonalis, tuberculosis, also known as consumption

title: Phthisis


text:
Jack Bauer

Jack Bauer is a fictional character and the protagonist of the Fox television series 24. His character has worked in various capacities on the show, often as a federal agent of the fictional Counter Terrorist Unit (CTU) based in Los Angeles, and working with the FBI in Washington, D.C. during season 7. Within the 24 storyline, Bauer is a key member of the CTU, its Director in Season 1, and is often portrayed as their most capable agent. Bauer's job usually involves helping prevent major terrorist attacks on the United States, saving both civilian lives and government administrations. On many occasions, Jack does so at great personal expense, as those he thwarts subsequently target him and his loved ones. He is not a crooked agent; however, Bauer's frequent use of torture to gather information has generated much controversy and discussion.

Actor Kiefer Sutherland portrays Jack Bauer in the television show and video game. The television series was originally set to end on May 24, 2010, after eight successful seasons but was renewed for a ninth season, which premiered on May 5, 2014. A feature film was set to be released; however, discussions ended over a contract dispute with Fox.

TV Guide ranked him No. 49 on their list of "TV's Top 50 Heroes" and Sky 1 listed Jack as No. 1 on their list of "TV's toughest men". Entertainment Weekly named Jack Bauer one of The 20 All Time Coolest Heroes in Pop Culture. In June 2010, Entertainment Weekly also named him one of the 100 Greatest Characters of the Last 20 Years. Jack is also the only character in the show to have appeared in all episodes.

Concept and creation
24 co-creator Joel Surnow commented that they did not have any actors in mind for the part; "We didn't really know who it was. We were casting a lot of people and then we heard Kiefer Sutherland's name and thought, that's Jack Bauer." In 2000, Sutherland was contacted by his friend, director Stephen Hopkins, who was working on the pilot for the experimental real-time TV show and offered him the lead. Initially Sutherland had reservations about playing Bauer, stating, "I thought, 'This is really clever and different, so there's no way they're going to pick it up. But I could use the money, and no one will ever see it'."

Sutherland must produce around 24 hours of film each season, "which is like making 12 movies, so there are going to be mistakes along the way, but I am incredibly surprised by how many things work well as a result of working at that pace." In 2006, Sutherland signed a contract to play the role of Bauer for three seasons following season five. The contract was reported to be worth $40 million. Sutherland is also an executive producer of 24.

Characterization
Jack Bauer was born in Santa Monica, California, on February 18, 1966, to Phillip Bauer, who placed his livelihood in his company, BXJ Technologies. The name of Jack's mother is unknown. Jack had one brother, Graem Bauer. Phillip originally planned to give the company to Jack, but as Jack said in Day 6, "I just had to go my own way."

Jack has a Bachelor of Arts degree in English Literature from the University of California, Los Angeles and a Master of Science degree in Criminology and Law from the University of California, Berkeley. He enlisted in the United States Army and later graduated from Officer Candidate School. His branch was infantry. He first served in the Special Forces, and was later a member of the 1st Special Forces Operational Detachment-Delta (1st SFOD-D), popularly known as Delta Force. Among his awards and decorations are the Silver Star, the Purple Heart, and the Legion of Merit. Apart from Special Forces and Delta training, he received Airborne, Air Assault, and Ranger training. He left the Army with the rank of Captain after twelve years of service.

While in the Army, he married Teri Bauer and had one child, Kim Bauer. Following his military career, Jack worked for both the Los Angeles Police Department's Special Weapons and Tactics unit and for the Central Intelligence Agency (CIA) as a Case Officer in the National Clandestine Service. He was recruited into the Counter Terrorist Unit (CTU) by Christopher Henderson, CTU's Director of Field Operations.

Bauer has shown a high proficiency with firearms (typically using a SIG P228 as his weapon of choice for the first and second seasons, then switching to a USP Compact, until after Season 8 he switches again, this time to a P30). He also can handle explosives and electronic devices, and has a high resistance to torture (after being kidnapped by Chinese agents and tortured for almost two years, it is revealed he didn't speak a single word the whole time). He is fluent in German (Season 8) and has demonstrated some ability to either speak or understand Spanish (Seasons 1 and 3), Serbian (Season 1), Russian (Season 6), and Arabic (Season 8). He is also shown to be capable of flying planes (Season 2) and helicopters (Seasons 3, 5, 8, and 9). Jack is a formidable hand-to-hand combatant from his years in the Army and as a federal agent, and he has killed multiple enemies in hand-to-hand combat.

Bauer generally wishes to live a humble life, but is willing to step forward and protect his country, even at the expense of his own health. His involvement throughout the show had caused him to lose many of his loved ones, despite his leadership and own calls. While the government acknowledges his service, Bauer and his superiors clash over his more rogue and extreme actions he takes without explicit authorization.

Jack has lost his wife Teri, murdered by a traitor who had infiltrated CTU. His relationship with his daughter Kim is at times tumultuous (Season 2, Season 5) while at other times accepting of who he is and what he must do (Season 7, Season 8). In his goal to find peace, he gets involved with Audrey Raines, the daughter of United States Secretary of Defense James Heller, whom Jack works for. The relationship with the Secretary's daughter is all but severed when Jack makes the decision to save a material witness over Audrey's ex-husband. He lost his best friend, Tony Almeida, and former boss, Michelle, to a car bomb. He lost his friend, former President David Palmer, to the same assassin who killed his friends. His girlfriend \ Renee Walker was killed by an assassin's bullet. His own government that he has sworn to protect has turned on him (former President Logan, President Taylor), and at the beginning of Season 7 he is on trial for his interrogation tactics. Finally, the friend he thought was dead (Tony Almeida), betrays him when he turns to terrorism in order to seek revenge against the person who killed his wife, Michelle.

Jack's final dialogue with FBI Special Agent Renee Walker in Season 7 offers insight into his perspective on torture and its ramifications: Jack: I've been wrestling with this one my whole life. I see 15 people held hostage on a bus, and everything else goes out the window. I will do whatever it takes to save them- and I mean whatever it takes. I guess maybe I thought if I save them I could save myself.

Renee: [Chuckles] Do you regret anything that you did today?

Jack: [Chuckles] No. But then again, I don't work for the FBI.

Renee: I don't understand.

Jack: You took an oath. You made a promise to uphold the law. When you cross that line, it always starts off with a small step. Before you know it, you're running as fast as you can in the wrong direction just to justify what you started in the first place. These laws were written by much smarter men than me. And in the end, I know that these laws have to be more important than the 15 people on the bus. I know that's right. In my mind I know that's right. I-I just don't think my heart could ever have lived with that. I guess the only advice I can give you is try to make choices that you can live with.

In other media
As the principal character in 24, Jack plays a prominent role in the television series as well as the video game. Jack is the lead protagonist of the 24 series and the books, and has appeared in every episode to date. Kiefer Sutherland has portrayed Jack Bauer in these episodes, including the prequels and the webisodes. Additionally, he voiced the same character in 24: The Game, 24: Day Zero and 24: DVD Board Game.

24 Prequels
Jack Bauer is also featured in all four prequels, that can be found on the 24 DVD releases and various websites. These prequels are designed to bridge the gap between seasons. They provide backstory into story arcs for upcoming seasons, namely insight into what Jack's actions have been leading up to the next season. Prequels have been made for Seasons 4, 5, 6, and 7.

24 Webisodes
24: Day 6 Debrief takes place 35 hours after the nuclear device exploded in Valencia, California. The series consists of 5 segments, no longer than three minutes in length each. Two agents, Agent Ramirez and Agent Moss, track Jack down to a hotel room and ask him to come to District for debriefing about the recovery of the tactical nukes. The Debrief consists of Agent Ramirez and other agents attempting to discover more about the supposed-death of an undercover agent, Marcus Holt, who disappeared shortly after Jack's imprisonment in China at the hands of Cheng Zhi. Since Holt was involved with the Chinese government, it is believed that Jack leaked information that led to his identity being discovered and execution. At the end of the series, the agents announce that they have no conclusive evidence about his involvement, but Ramirez promises to keep a close eye on him until he is certain. Jack tells Ramirez that if he ever sees him again, he better say "The Lord's Prayer", because it will mean he's come to kill him.

With that, Bauer is released from custody and the interrogation ends.

24: The Game
24: The Game takes place between Day 2 and 3. Jack begins waiting outside a ship where terrorists are going to release a ricin bomb in the water supply. A CTU Team triggers an alarm causing Jack and his team to storm the ship. Jack and his team find the whole ship's crew dead in a cargo hold. He runs into Peter Madsen, an enemy from his past. It is unclear what the story is between them, but it is stated that he framed Jack's family for a vile crime, this is hinted with Jack saying to him: "Eight years ago, my family was not involved". Madsen also states that he no longer takes orders from Jack. It's hinted that Madsen was under Jack's command either in the army or in a SWAT team, and Madsen betrayed Jack. Madsen kidnaps Jack's daughter Kim, and later Kate Warner. Jack finally kills Madsen near the end of the game when he tries to escape by shooting up his speedboat with a Zastava M80 assault rifle, causing it to explode. He also kills Max, who was holding Kate hostage, saving her life. However Max managed to shoot Jack once before dying, the second of two times he was shot in the final hour of the game, the first time by Madsen. As a result, Chase Edmunds takes Jack to the hospital via helicopter.

24 Toys
Diamond Select Toys released 1/6 scale figures based on Jack Bauer:
 * 2008– Jack Bauer 8:00 AM
 * 2009– Jack Bauer 3:00 PM Season 1
 * 2009– Jack Bauer 9:00 PM Season 1

Diamond Select Toys released 1/24 scale Minimates based on 24:
 * 2007– Season 1 Box Set (Jack Bauer, Nina Myers, David Palmer, Kim Bauer)
 * 2007– End of Day 1 Two-Pack, PX Exclusive (Jack Bauer, Andre Drazen)
 * 2007– Season 2 Box Set (Season 2 Jack Bauer, Tony Almeda, Michelle Dessler, George Mason)
 * 2007– End of Day 2 Two-Pack, Suncoast/FYE Exclusive (Stretcher Jack Bauer, Prisoner Nina Myers)
 * Canceled– Season 3 Box Set (Undercover Jack Bauer, Sherry Palmer, Chloe O'Brien, Chase Edmunds)
 * Canceled– End of Day 3 Two-Pack (Jack Bauer, Stephen Saunders)

Enterbay released 1/6 scale figures based on 24:
 * 2009– Jack Bauer
 * 2009– President David Palmer

McFarlane Toys released 1/12 scale figures based on Jack Bauer:
 * 2007– Jack Bauer Boxed Set 1
 * 2007– Jack Bauer Boxed Set 2

Medicom Toy (Japan) released 1/6 scale figures based on Jack Bauer in their Real Action Heroes line:
 * 2005– Jack Bauer (Suit) Season 4 7:00 am – 8:00 am
 * 2005– Jack Bauer (Tac) Season 4 11:00 am – 12:00 pm
 * 2007– Jack Bauer Season 5

24 comic books
IDW has released a series of comic books based on the adventures of Jack Bauer and other members of the 24 Cast. 24's Comic License is published by IDW Publishing
 * 24: One Shot (takes place on Jack's first day on the job at the Los Angeles Unit of the Counter Terrorist Unit)
 * 24: Midnight Sun (Jack has to stop a naughty environmentalist group from using explosives to get their point across)
 * 24: Stories (takes place in the 3-year gap between Seasons 2&3. In Stories, Jack is newly undercover with Ramon Salazar.
 * 24: Nightfall – A tale shedding more light on the background and characters of Day 1, including Victor Drazen. Written by J. C. Vaughn and Mark L. Haynes
 * 24: Cold Warriors – An original tale of intrigue featuring Jack Bauer and Chloe O'Brian, set in Alaska. Written by Beau Smith and Steve Bryant

The Simpsons
Jack Bauer appeared in the season 18 episode 24 Minutes of The Simpsons. In the episode, he receives a call from Bart Simpson in the middle of a shooting and falls victim to a prank call (as Moe Szyslak did in the early seasons of "The Simpsons"). Enraged, Bauer reappears at the end of the episode, having called all agents of his organization and abandoning his prior mission so that he could hunt Bart down and arrest him. A nuclear bomb then goes off in the distance, but everyone sighs with relief after Bauer reassures them that the nuclear bomb went off in Shelbyville.

Tripping the Rift
In the TV show Tripping the Rift episode 23 1/2, a character named "Jack Hour of the Alien Terrorist Unit" offers to help rescue Six.

It's Always Sunny in Philadelphia
In episode 14, season 3 of the TV show It's Always Sunny in Philadelphia, Dennis Reynolds names his junkyard cat “Agent Jack Bauer”.

Kingsman

In the spy film series Kingsman, main character Gary "Eggsy" Unwin named his dog JB after Jack Bauer.

The Trail to Oregon!
In the version of the musical "The Trail to Oregon!" that was uploaded to YouTube by the official StarKid Productions YouTube channel, the Father is named "'Jack Bauer", a name suggested by an audience member.

The Office
In "The Job", the third-season finale of the American adaptation of The Office, Dwight Schrute wishes to name Jack Bauer his second-in-command, but laments that he is "unavailable, fictional, and overqualified".

Critical reception
Having won an Emmy Award (with 5 other nominations), a Golden Globe (with 4 other nominations), two SAG Awards (with 3 other nominations) and two Satellite Awards, Kiefer Sutherland's performance as Jack Bauer became (award-wise) the third most acclaimed Male Lead Dramatic TV performance of the 2000s behind James Gandolfini (with 3 Emmys, 1 Golden Globe and 3 SAG Awards) and Bryan Cranston (with 4 Emmys, 1 Golden Globe, 2 SAG Awards, and 4 Satellite Awards). He is also one of only two Male Lead Drama TV Actors ever to have won all 4 awards, the other being Bryan Cranston for his role as Walter White on Breaking Bad.

Entertainment Weekly put it on its end-of-the-decade, "best-of" list, saying, "When Kiefer Sutherland's 24 superagent barks "Dammit, Chloe—we're running out of time!" America's ass is about to be saved in some new, heart-stopping way."

Some American politicians and lawyers have used Jack Bauer and his actions to frame the debate on American interrogation techniques (in this case, "torture"), which have become an object of intense controversy. As well, at a 2007 legal conference in Ottawa, Canada, Jack Bauer's tactics were raised during a panel discussion about "terrorism, torture and the law". Panel members, including U.S. Supreme Court Justice Antonin Scalia, discussed the use of torture "in times of great crisis". Scalia was quoted as saying: "Jack Bauer saved Los Angeles. He saved hundreds of thousands of lives. Is any jury going to convict Jack Bauer? I don't think so."

Several philosophers have used Jack Bauer's character to settle challenging moral questions. Twenty philosophers contributed to a 2007 book, 24 and Philosophy: The World According to Jack, which assesses Bauer through the eyes of famous philosophers. For the 24: Live Another Day series, in which anti-hero Jack Bauer and anti-villain Margot Al-Harazi have similar ethical viewpoints, some philosophers have resorted to Iain King's quasi-utilitarian approach to determine that Bauer is morally superior.

title: Jack Bauer