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Talk:Donkey Kong (character)

Relevancy
I'm hoping to push this article into 100% relevancy when you search "donkey kong" we can obviously have a link at the top for the disambiguation page. the reason why should be obvious.76.27.215.219 (talk) 08:05, 25 March 2008 (UTC)
 * The original videogame is probably what most people are looking for, since it was a cultural phenomenon. The character is an offshoot of the game. 132.68.209.33 (talk) 07:37, 3 April 2008 (UTC)

Disambig change
I propose that, since many people know DK as a classic video game and not as a major character, people would expect to see the original DK rather than the character DK or the DK series. - A Link to the Past (talk) 23:02, 28 March 2008 (UTC)

Clearing up a common misconception about Donkey Kong's identity.
There has been a common misconception among Wikipedia editors that needs to be clear up. According to some editors, Nintendo of Japan does not recognized the current Donkey Kong introduced in Donkey Kong Country as a separate character from the original Donkey Kong from the arcade game. I will say that this is entirely false.

Looking at this article from Nintendo Online Magazine, uploaded in 2000 (during the release of Donkey Kong 64), Nintendo of Japan clearly recognizes the original Donkey Kong (now known as Cranky) and the current Donkey Kong as separate characters. Not only that, they also recognize Junior and the current Kong as separate characters.

According to this article. The Donkey Kong from the arcade game appears in a few games (including cameos) until the '94 Game Boy game. Afterwards, he becomes Cranky Kong in the Country series, while his grandson inherits the Donkey Kong name. http://www.nintendo.co.jp/nom/0002/01/family1.html

All the video games outside the Country series merely support this, from Super Smash Bros. and Mario Baseball, they're not revealing anything new. Jonny2x4 (talk) 19:33, 13 April 2008 (UTC)
 * This has been noted in the Wikipedia article several times. Relax. 89.138.196.99 (talk) 21:46, 16 April 2008 (UTC)
 * I'm simply pointing out this fact in case anyone feels the need to bring up this (non-existing) contradiction between Nintendo and Rare. No need to tell "just relax" if you're not bringing up anything to discussion. Jonny2x4 (talk) 02:17, 4 May 2008 (UTC)
 * Smash Bros., made entirely by Nintendo, also claims that Cranky Kong was the original Donkey Kong. What does Nintendo of Japan say regarding that? King Zeal (talk) 03:37, 4 May 2008 (UTC)
 * That's my point, Cranky is the original Donkey and the current Donkey is his grandson. That was never my argument. My argument is that Donkey is NOT the son of Cranky. The only evidence of Donkey Kong being the son of Cranky Kong in the games is when he calls him "son" in DK64 and that seems to be more of a term of endearment that an actual evidence in the stories of being his son. Jonny2x4 (talk) 05:10, 26 May 2008 (UTC)
 * Well, Cranky Kong was married to current Donkey Kong's mother, Wrinkly Kong... 76.204.123.119 (talk) 16:07, 13 February 2011 (UTC)

Does the "outward appearance" section sound dirty to anyone else?
I think it needs rewording. 89.139.158.222 (talk) 18:20, 29 April 2008 (UTC)

 * I don't think it sounds dirty at all, but I do question why it is even needed... -Zomic13 (talk) 20:08, 29 April 2008 (UTC)

Donkey Kong Photos
Please consider adding this gallery as a list of relevant photos about Donkey Kong: Snapshots of Donkey Kong from Super Smash Bros. Brawl RyanTMulligan (talk) 16:16, 15 May 2008 (UTC)

 * You also used that website as a citation instead of a reliable source. In this case, explain how exactly is a gallery of images relevant to the article and complies with WP:EL?  « ₣M₣ »  16:05, 15 May 2008 (UTC)

List of appearances by date
It seems reasonable to change the "other appearances" section from prose to a list, preferably ordered by release date. Opinions? 85.250.159.6 (talk) 04:27, 20 August 2008 (UTC)

Article cleanup
This article needs help. I recently moved some of the content from Appearances to "Characteristics". The "Appearances" needs more plot-info about what happened in the games. I think this article had a similar problem as Mario. They used to read like a series page, instead of a character page. Blake (Talk·Edits) 23:45, 25 April 2011 (UTC)
 * "He is roughly twice the size of a normal gorilla, weighing approximately 800 pounds." - This seems pretty trivial, and is unsourced. Harry Blue5 (talk) 00:18, 26 April 2011 (UTC)

First game is Donkey Kong
Yes, I know the original Donkey Kong is Cranky, but this is just clutching at straws. It's misinforming people and confusing them with fanbase-specific hints which haven't even been officially confirmed. Donkey Kong's first game was Donkey Kong, that's why it's called Donkey Kong. To say it is DKC downplays his history and importance to the Mario series. The Cranky connection shouldn't even be mentioned outside of a "Trivia" section.

 * Telling people things that they don't know isn't "confusing". It's why this website exists. If someone got King George III confused with King George I and thought he was born in 1660 instead of 1738, then the fact that the page corrects this is helpful. Likewise, if someone confuses Donkey Kong III with Donkey Kong I, it would be better to correct it instead of further disseminating the error. Donkey Kong is not his own grandpa. — DanielLC 22:06, 30 April 2023 (UTC)

External links modified
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 * Attempted to fix sourcing for http://www.miyamotoshrine.com/theman/interviews/051601.shtml
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External links modified
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Requested move 10 August 2022

 * The following is a closed discussion of a requested move. Please do not modify it. Subsequent comments should be made in a new section on the talk page. Editors desiring to contest the closing decision should consider a move review after discussing it on the closer's talk page. No further edits should be made to this discussion.

The result of the move request was: no consensus. Primary topic cannot be ascertained from this discussion, but there is no need for a DAB ASAP as the franchise can serve as a broad-concept article. (closed by non-admin page mover) — Ceso femmuin mbolgaig mbung, mellohi! (投稿) 18:21, 26 August 2022 (UTC)

– Donkey Kong as a character appears in two major franchises, Donkey Kong and Mario. The Mario franchise is way more popular than the Donkey Kong franchise, and a lot of people probably only know Donkey Kong as a character in Mario spin-off games. This is similar with the character of Yoshi, who is also a character in two major franchises, Mario and Yoshi, but he's more well known as a Mario character. I know some people will disagree, but this is just what I believe should happen. Thomasfan1000 (talk) 16:54, 10 August 2022 (UTC) — Relisting. — Ceso femmuin mbolgaig mbung, mellohi! (投稿) 20:04, 17 August 2022 (UTC)
 * Donkey Kong (character) → Donkey Kong
 * Donkey Kong → Donkey Kong (franchise)
 * Support per nom.--Ortizesp (talk) 22:02, 10 August 2022 (UTC)
 * Fixed malformed multipage move request by resubstituting {{subst:requested move}} so page names in template matched those under. Rotideypoc41352 (talk · contribs) 22:23, 10 August 2022 (UTC)

 * Oppose I don't see any argument to move the character to the base title over the franchise beyond "he's more known as a Mario character than on his own", which you offered no evidence for? Am I missing something? Yoshi is in a different situation, because the franchise article doesn't exist and redirects to a list of video games featuring it. Views wise, the franchise page gets triple more of 'em than the character too |Donkey_Kong. Doing some research, it seems like the DK franchise article doesn't mention a lot of things, such as the trading card game by Konami and various manga adaptations. Jovanmilic97 (talk) 08:25, 11 August 2022 (UTC)
 * Support. The Donkey Kong series is an ill-defined one at best, and Donkey Kong has consistently appeared in a large percentage of Mario games. --Eldomtom2 (talk) 10:34, 11 August 2022 (UTC)
 * Oppose Per Jovanmilic97. Views for the franchise are higher. Donkey Kong is a massive franchise, I don't know how it could be considered poorly defined. ᴢxᴄᴠʙɴᴍ (ᴛ) 17:57, 11 August 2022 (UTC)
 * It's ill defined because Donkey Kong, the original arcade game, really has nothing to do with the Donkey Kong series as created by Donkey Kong Country. It's a Mario game. --Eldomtom2 (talk) 15:43, 12 August 2022 (UTC)
 * Quite a bizarre comment there. Donkey Kong might be having Mario as the main character, but that doesn't make it only a Mario game either, which was a predecessor that later led to bigger things for Mario too in Mario Bros. and Super Mario series. Like Zxcvbnm said, the franchise is clearly defined by the games where Donkey Kong had a notable role (and later spinoffs like Diddy Kong Racing) Besides that, you fail to address non-Donkey Kong Country entries like Donkey Kong 64, Donkey Kong Jungle Beat, Donkey Kong Barrel Blast, DK King of Swing and its sequel or Donkey Konga. On top of that, the franchise has things beyond just the video games... Jovanmilic97 (talk) 16:05, 12 August 2022 (UTC)

Maybe the character page would have more views if it's the primary topic? Thomasfan1000 (talk) 20:43, 11 August 2022 (UTC)
 * It would, but 3 times the views is above the margin of error for people intending to reach the character and typing in the franchise. Most views are from search engines where they are definitively accessing the thing in question. ᴢxᴄᴠʙɴᴍ (ᴛ) 23:38, 11 August 2022 (UTC)

 * Perhaps move the second one to the franchise and put the base name as our disambiguation page. Massviews doesn't show a clear winner in the most views per day for the last 3 weeks. Iggy (Swan) (Contribs) 21:21, 11 August 2022 (UTC)
 * It is the standard to put the franchise in the primary namespace since all other things by that name are sub-topics of it. Putting a disambiguation there would be relatively pointless because the franchise functions as a de facto disambiguation already. See also WP:AINTBROKE. ᴢxᴄᴠʙɴᴍ (ᴛ) 23:40, 11 August 2022 (UTC)
 * Support I spent a lot of time in arcades back in the era, but never played platformers (two joysticks, please!) and know little of the history of Mario or Donkey Kong, though I did have a friend who racked up insane scores in the latter; I am, however, also interested in film franchises, and this is my own list, so far, with Wikipedia page titles from the point of collection:
 * Bourne (film series) — 2002; self-puzzlement porn
 * Middle Earth (franchise) — 2001; fate, healing; closed universe, for now
 * Wizarding World — 2000; aka Harry Potter
 * Mission: Impossible (film series) — 1996; no pause for breath
 * Toy Story (franchise) — 1995; bliss–abyss porn
 * Men in Black (franchise) — comics from 1990; odd-couple chill froods
 * Ghostbusters franchise — 1984; subsequent films 2nd rate
 * Terminator (franchise) — 1984; righteousness unleashed OCD
 * Indiana Jones (franchise) — 1981; beleaguered moxie undaunted
 * Mad Max (franchise) — 1979; red-in-tooth-and-claw autonomy-porn; alt-universe Egyptology
 * Alien (franchise) — 1979; red-in-tooth-and-claw isolation-porn
 * Star Wars — 1977; simmering, impetuous YA moxie (with style)
 * M*A*S*H — 1970; humanism
 * Star Trek — 1966; hope
 * James Bond (film franchise) — 1962; testosterone
 * Apparently, I have a difference of opinion with ᴢxᴄᴠʙɴᴍ, above. Many film-centered franchises in my list above are not the main article. And it's actually weird to reverse history to think of the inaugural film as a subtopic of the franchise that almost certainly came later, after the main creative risk, originality, and cultural sensation were water under the bridge.
 * Because I lived all this history, I see things entirely the other way around: on the 7th day, God said, "let there be something cool!"; meanwhile, Eve chomped down on the cookie-cutter apple, and the wages of sin turned out to be second-rate replicas, far as the eyes can see (with here and there a singular Goldfinger). Really Terminator as franchise should be Terminator (dang-it, Eve!). But there are exceptions, so "franchise" is actually the better tag, all things considered.
 * Definitely, for me, the original Chicken Run comes first, and the franchise that follows is usually the carton of too many self-similar eggs. Again, for myself, of the items above, only Bond is really a case where the franchise is the burger, and not the bun (it grew into its legend by degrees). Toy Story maintained high standards, and Star Wars did have that second successful film, but they were established touchstones already.
 * Sure, many second-rate studio executives living lives of quiet desperation would like to think of the franchise as the golden goose, and the original golden egg as an annoying miracle from hippie-longhairville, though this is [ed] not borne up in law:
 * LGJ: Wait, it's not a derivative? — 29 January 2010

 * The old standby statement that sequels are derivative works is, for the most part, a true one in the broad context of all copyrighted works. After all, sequels to books and movies are derivatives, or at least I cannot think of a single sequel that is not one in those media. And for the most part, game sequels are derivatives as well, but not always. And to understand the difference, you have to look at what a derivative work is, what it isn't, and how sequels are different in a book and movie context than they can be in a game context.

 * Go ahead, punk, and unmake my day by repurposing Top Gun to cover the belated franchise, renaming the original film as Top Gun (film).
 * What I've contributed is not precisely a case, but clearly it's time to rest it anyway, FWIW :-) — MaxEnt 01:38, 12 August 2022 (UTC)
 * The fact is that in the case of Donkey Kong, where the character AND the first game are equally huge cultural touchstones, the least you can do is put a disambiguation page in the middle. Having the franchise as main is accepting that and making the franchise the disambiguation because just making Donkey Kong a disambiguation page makes little sense. ᴢxᴄᴠʙɴᴍ (ᴛ) 22:44, 12 August 2022 (UTC)

The discussion above is closed. Please do not modify it. Subsequent comments should be made on the appropriate discussion page. No further edits should be made to this discussion.
 * For reference, outgoing pageviews for Donkey Kong (character) and Donkey Kong from WikiNav. Rotideypoc41352 (talk · contribs) 13:30, 12 August 2022 (UTC)
 * Disambiguate per Iggy the Swan.  Crouch, Swale  ( talk ) 07:12, 18 August 2022 (UTC)
 * Strong support - a clear claim to primary topic. The "Donkey Kong series", as it were, is disjointed and not really much of a series at all; the main thing the games have in common is their recurring character, Donkey Kong the character. Red   Slash  19:26, 24 August 2022 (UTC)
 * Oppose. Per ᴢxᴄᴠʙɴᴍ, Donkey Kong (video game) is at least as influential as the character itself. It also gets significatly more views (|Donkey_Kong|Donkey_Kong_(character)). Better to leave the franchise at the base name. Vpab15 (talk) 14:48, 26 August 2022 (UTC)

title: Talk:Donkey Kong (character)


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Appeal (cricket)

In cricket, an appeal (locally known as a "Howzat") is the act of a player (or players) on the fielding team asking an umpire for a decision regarding whether a batter is out or not. According to Law 31 of the Laws of Cricket, an umpire may not rule a batter out unless the fielding side appeals for a decision. However, in practice most umpires will give a batter out to an obvious bowled or caught. On many occasions when a batter has otherwise technically been out, the fielding team has not realised, so neglected to appeal, and so the umpire has not declared them out. An appeal may be made at any point before the bowler starts their run-up for the next ball.

Cricket rules

According to the Laws of Cricket, an appeal is a verbal query, usually in the form of, "How's that?" to an umpire. Since the taking of a wicket is an important event in the game, members of the fielding team often shout this phrase with great enthusiasm, and it has transmuted into the slightly abbreviated form, "Howzat?", often with a greatly extended final syllable. Sometimes one or other syllable is omitted entirely, the player emitting an elongated cry of simply "How?" or "Zat?". Sometimes, players may turn to the umpire and simply just shout or cheer. Players often also raise their arms or point towards the umpire as part of the appeal.

Although technically an appeal is required for the umpire to make a decision, in practice it is often obvious to all that a batter is out, and the batter may walk off the field without waiting for the decision of the umpire. This is often the case when a batter is bowled or obviously caught. However, the batter is always entitled to stand their ground and wait for a decision from the umpire. In cases where they consider they might not be out, such as a catch taken low near the grass or where it is not clear whether the ball hit the bat, batsmen will not take the walking option. It is then up to the fielding team to appeal for a decision. Sometimes a batter will walk even when it is not clear to others that they are out, if in their own mind they are certain they were out; this is considered to be the epitome of sportsmanship.

Decisions
Some decisions, such as leg before wicket, always require an appeal from the fielding side and the umpire's decision, as no batter will preempt the umpire on what, in practice, requires fine judgment of several factors. Run-outs and stumpings are usually appealed and are decided by an umpire, unless the batter is very clearly out of their ground and obviously out. Appealing differs vastly from sledging in the context that appealing is not supposed to be offensive, intimidating or directly taunting to the other team, and is more of a celebration to the appealing team. However, excessive appealing is specifically against the ICC's Code of Conduct.

Unsportsmanlike appealing
Under the ICC Cricket Code of Conduct, it is considered unsportsmanlike to: Any instances of such behaviour are punishable by awarding penalty runs, as adjudicated and imposed by the umpires, or fines or match bans, as adjudicated and imposed by the match referee.
 * appeal excessively;
 * appeal in an intimidating manner towards an umpire; or
 * appeal under the knowledge that the batter is not out.

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

title: Appeal (cricket)


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Charles Evans Whittaker

Charles Evans Whittaker (February 22, 1901 – November 26, 1973) was an Associate Justice of the United States Supreme Court from 1957 to 1962. After working in private practice in Kansas City, Missouri, he was nominated for the United States District Court for the Western District of Missouri. In 1956, President Dwight D. Eisenhower nominated Whittaker to the United States Court of Appeals for the Eighth Circuit. In 1957, he won confirmation to the Supreme Court of the United States, thus becoming the first individual to serve as a judge on a federal district court, a federal court of appeals, and the United States Supreme Court. During his brief tenure on the Warren Court, Whittaker emerged as a swing vote. In 1962, he had a nervous breakdown and resigned from the Court. After leaving the Supreme Court, he served as chief counsel to General Motors and frequently criticized the Civil Rights Movement and the Warren Court.

Early years and career
Whittaker was born on a farm near Troy, Kansas to Charles Edward Whittaker, a farmer, and Ida Eve Miller, a schoolteacher from Hagerstown, Maryland. He attended the nearby one-room Brush Creek School, and then the Troy High School until he dropped out in the ninth grade after his mother died on his sixteenth birthday. He spent the next three years working on a family farm, and also hunting and trapping. Whittaker developed an interest in law by reading newspaper articles about criminal trials. In the summer of 1920, he applied to the part-time evening program at the Kansas City School of Law (currently the University of Missouri–Kansas City School of Law) and gained admission with the condition that he would finish his high school education after personally pleading with Oliver Dean, the president of the law school. He immediately enrolled at Manual High School in Kansas City, Missouri and spent the next four years working during the day to support himself, while taking high school and law school courses in the evenings. Whittaker's law school classmates included future President Harry S. Truman. Whittaker graduated in the class of 1924 with a Bachelor of Laws having been admitted to the Missouri bar during his senior year. Whittaker joined the law firm of Watson, Ess, Marshall & Enggas in Kansas City, Missouri, where he previously worked full-time as an office boy, and built up a practice in corporate law with the Union Pacific Railroad, Montgomery Ward, and the City National Bank and Trust Company among his clients. He was a member of Tau Kappa Epsilon Fraternity and developed close ties to the Republican Party.

Federal judicial service (District Court and Court of Appeals)
Whittaker was nominated by President Dwight D. Eisenhower on May 11, 1954, to a seat on the United States District Court for the Western District of Missouri vacated by Judge Albert L. Reeves. He was confirmed by the United States Senate on July 7, 1954, and received his commission the next day. His service terminated on June 21, 1956, due to his elevation to the Eighth Circuit.

Whittaker was nominated by President Eisenhower on March 16, 1956, to a seat on the United States Court of Appeals for the Eighth Circuit vacated by Judge John Caskie Collet. He was confirmed by the Senate on June 4, 1956, and received his commission the next day. His service terminated on March 24, 1957, due to his elevation to the Supreme Court of the United States.

Supreme Court
Whittaker was nominated by President Eisenhower on March 2, 1957, as an associate justice of the Supreme Court, to succeed Stanley Forman Reed. He was confirmed by the Senate on March 19, 1957, by a unanimous vote. Whittaker took the judicial oath of office on March 25, 1957. He thus became the first person to serve as a judge of a United States District Court, a United States Court of Appeals, and the Supreme Court of the United States. Samuel Blatchford also served at all three levels of the federal judiciary, but the court system was configured slightly differently at that time. Ketanji Brown Jackson is the most recent justice to have served in all three levels of the federal judiciary. Whittaker served as Circuit Justice of the Eighth Circuit and the Tenth Circuit for his duration of service on the Supreme Court.

On the closely divided Supreme Court, Whittaker was a swing vote. According to Professor Howard Ball, Whittaker was an "extremely weak, vacillating justice" who was "courted by the two cliques on the Court because his vote was generally up in the air and typically went to the group that made the last, but not necessarily the best, argument." Whittaker failed to develop a consistent judicial philosophy and reportedly felt himself not as qualified as some of the other members of the Court. After agonizing deeply for months over his vote in Baker v. Carr, a landmark reapportionment case, Whittaker had a nervous breakdown in the spring of 1962. At the behest of Chief Justice Earl Warren, Whittaker recused himself from the case and retired from the Court effective March 31, 1962 due to a certified disability, citing exhaustion from the heavy workload and stress.

As of 2023, Whittaker remains the only Supreme Court Justice appointed from Missouri. He is also the most recently appointed Justice to have received his legal education from a public law school.

Final years
Effective September 30, 1965, Whittaker resigned his position as a retired Justice in order to become chief counsel to General Motors. He also became a resolute critic of the Warren Court as well as the Civil Rights Movement, characterizing the civil disobedience of the type practiced by Martin Luther King Jr. and his followers as lawless. He wrote a piece for the FBI Law Enforcement Bulletin that advised protesters to use courts instead of taking to the streets. Whittaker died on November 26, 1973, at St. Luke's Hospital in Kansas City, Missouri of a ruptured abdominal aneurysm.

Family
In 1928, Whittaker married Winifred R. Pugh. They had three sons: Dr. Charles Keith Whittaker, a neurosurgeon; Kent E. Whittaker, an attorney; and Gary T. Whittaker, a stockbroker.

Legacy and honors
The federal courthouse in downtown Kansas City, Missouri, which houses the United States District Court for the Western District of Missouri, is named in memory of Whittaker.

title: Charles Evans Whittaker


text:
Category:Moons

__NOGALLERY__

title: Category:Moons


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Category:Physiology

Physiology is the branch of science that describes the mechanisms of cell, tissue and organ function in organisms.

title: Category:Physiology


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Nathan Brownson

Nathan Brownson (May 14, 1742 – November 6, 1796) was an American physician and statesman. He served Georgia as a delegate to the Continental Congress in 1777 and as the Governor of Georgia in 1781. Nathan Brownson was a member of the Society of the Cincinnati of the State of Georgia.

Early life
Brownson was born in Woodbury, Connecticut, the sixth of ten children born to Timothy (1701–1766) and Abgail Jenner (1707–1784). He graduated from Yale in 1761 and practiced medicine in his hometown. In 1769 he married Elizabeth Lewis. The couple moved to St. John Parish, Georgia, in 1774 and began working a 500-acre plantation near Savannah. He settled in Liberty County, Georgia in 1764 and began his medical practice. Brownson’s wife died in 1775, and the following year he married Elizabeth McLean, with whom he had two children.

Revolutionary War
In 1774, St. John Parish was a hotbed of revolutionary activity; many of its people were New England Congregationalists by way of Dorchester, South Carolina, a settlement on the Ashley River above Charlestown that had been founded by Puritans from Massachusetts. Brownson and another transplanted Connecticut physician, Lyman Hall, were among the eleven delegates chosen to represent the parish at the provincial congress, which met in Savannah in July 1775. Both men were elected to represent Georgia in the Second Continental Congress; Brownson served from January to May 1777 and again from late August to early October of the same year.

The British invasion of Georgia in the final days of 1778 was part of the southern theater of the revolution, but with the expulsion of the king’s troops from Augusta in June 1781, factional disputes threatened to spoil the victory. At this critical moment Brownson, then acting as deputy purveyor of hospitals in the South, was dispatched to Georgia with a brigadier’s commission from Congress. He initially served as Speaker of the House of Representatives, before a compromise was worked out whereby Brownson became governor and John Twiggs was promoted to brigadier general. Brownson congratulated General Nathanael Greene for his efforts to restore civil government in Georgia.

Brownson's term as governor during the last few months of 1781 was filled with dealing with hostile Creek Indians and bands of Tories that roamed the countryside. Commandant of Spanish Pensacola, Florida, Arturo O'Neill wrote to Gov. Brownson on Nov. 18, 1781, indicating his suspicions regarding attempts of British traders in the area to gain favor with the Indians by securing presents for them. Brownson talked to the upper and lower Creek Nation and accused them of making an unsuccessful attack against American soldiers and of holding American traders, commissaries, and property. He told them that the Americans desire friendship, and threatened them with reprisal if they did not submit.

During the decade following the war, Brownson served the public almost continuously as justice of the peace, as a commissioner for erecting a new capital in Louisville, as a member of the convention that ratified the federal constitution, as a delegate to the convention that drafted the state constitution in 1788, and as the first president of the Georgia Senate. He was appointed by Congress as deputy purveyor of hospitals and later to the charge of the southern hospitals. He was one of the trustees for the establishment of Franklin College, later called the University of Georgia.

Death and legacy
Brownson died at his plantation in 1796 in Riceboro, Georgia and was buried in Midway Cemetery in Midway, Georgia. Although his career was not as distinguished as some others of Georgia’s founding fathers, Brownson’s service at crucial periods helped the state transcend factional bickering and focus on the improvement of society.

title: Nathan Brownson


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Talk:R. Stanton Hales

Untitled
Doh! Thank you for the typo fix, Thue -FZ

title: Talk:R. Stanton Hales


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Talk:Is

Should this be a disambig? IS is a pretty common acronym... Possibly — Preceding unsigned comment added by Buff Sanass (talk • contribs) 01:07, 10 September 2019 (UTC)

title: Talk:Is


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Talk:WLKQ-FM

IMO, it is likely that the station will change callsign soon. What do you think the best thing to do with this article will be when it changes callsign?? (It is strongly recommended that Radiojon knows the best choice. 66.32.148.174 22:39, 3 Jun 2004 (UTC) that staion went on the air '70 I belive as WGCO Gwinnett County Radio itsAM station  was and it owed by anouther its still on a tower north side of I 985 freeway  dose well to I 285 freeway all spanish prog.

title: Talk:WLKQ-FM


text:
Redemption Ark

Redemption Ark is a 2002 science fiction novel by Welsh author Alastair Reynolds set in the Revelation Space universe. It continues the story of Nevil Clavain begun in the short stories "Great Wall of Mars" and "Glacial".

Plot
The novel takes place around the planets Yellowstone and Resurgam, in two story lines which converge near the climax of the novel.

Yellowstone
The novel begins in the year 2605, where Skade has been tasked with investigating a Conjoiner ship that has returned to the Conjoiner headquarters, the Mother Nest. Skade is a Conjoiner woman who appears to be in touch with secret circles of control within the theoretically egalitarian Conjoiners society. In the ship, she discovers Galiana, the original founder of the Conjoiners, who left Conjoiner space decades previously on an exploration mission. In space, Galiana had encountered the Inhibitors, who unleashed an agent into her ships, seized control, and killed her crew. It now controls her mind as well. Galiana requests that Skade kill her, but Skade only places her in suspended animation in the hope that she can be helped in the future.

Ten years later, Nevil Clavain is facing problems in the Conjoiner mother nest; he is struggling to find answers about what happened to Galiana, whether she is still alive, and about Felka, who he believes may be his and Galiana's daughter. He ponders these concerns during a mission when he ends up rescuing Antoinette Bax as she flies her freighter through the top of the atmosphere of the gas giant Tangerine Dream, to fulfill her promise to her late father to bury him there. Clavain warns her that if he ever sees her again, he'll kill her. Her ship severely damaged, Bax limps back to the Rust Belt, a ring of orbital habitats around Yellowstone, to rejoin her lover, the ship's mechanic.

When Clavain and Skade return to the Mother Nest, Skade, Remontoire, and Felka convince Clavain to join the Conjoiner's leadership, which Clavain had been resisting. Skade informs him about the threat of the Inhibitors and convinces him to undertake a mission to reclaim a cache of lost Conjoiner doomsday weapons. She shows him the fleet of advanced starships that the Conjoiners have been building in secret.

Although Skade claims that she will use the weapons and ships to defend humanity against the Inhibitors, Clavain is convinced that they will simply evacuate and abandon the rest of humanity. Clavain defects to the Demarchists at Yellowstone and spreads the news of the Inhibitors, and also enlists Antoinette Bax's help to escape the Conjoiners under Skade who are pursuing him.

Clavain is followed by Scorpio and Remontoire, but they along with Antoinette and Clavain are captured by the mysterious underground figure known as "H". H reveals what happened to Skade during a Conjoiner raid into Chasm City. This was when Skade discovered the secrets that would lead her to develop inertia suppression technology, and when H believes she was subverted by an alien intellect. Clavain reveals Skade's plans for the Conjoiner fleet and the cache weapons, and H agrees to help him beat Skade to them. H supplies ships and his own version of the inertial suppression technology, while Scorpio supplies an army of hyper-pigs for the pursuit.

Skade and Clavain race to the Resurgam system by employing various strategies, including inertia suppression that pushes their ships to faster relativistic speeds. Eventually, Skade's vessel is damaged in an attempt to use an advanced technology to exceed the speed of light, and she witnesses the death of a crew member trapped in a collapsing bubble.

Resurgam
Several years later (roughly 50 from the start of the events in the book), Triumvir Ilia Volyova and Ana Khouri are on the planet Resurgam and have discovered a new threat to life: the Inhibitors. Alerted to the presence of humanity during events described in Revelation Space, these swarms of intelligent machines have begun dismantling several rocky moons across the system and are moving their components towards the gas giant, Roc. Volyova and Khouri resolve to evacuate the population of Resurgam, 200,000 people, by posing as government agents to enlist the rebel Thorn in their cause, since he has been attempting to evacuate Resurgam all along. They must also open communications with Captain John Brannigan who is in direct control of their ship, the Nostalgia for Infinity, since his mind and body have fused with the ship's systems, due to the nanotechnological Melding Plague. Volyova tries speaking to the Captain to grant her control of the cache weapons as the last resort against the Inhibitors. (These are the same weapons that Clavain is sent to recover for the Conjoiners. During the events in the novel Revelation Space, Volyova activates the weapons, which allows the Conjoiners in Yellowstone to determine their location.) Volyova persuades Captain Brannigan to let the people evacuate onto the ship, as an ark, that could redeem his past transgressions.

In space, Clavain and Scorpio board Skade's ship to save Felka. Clavain and Scorpio plant explosives as a contingency. After finding Felka but failing to liberate Galiana, they depart and watch Skade's ship explode from a far distance, as Clavain mourns his loss of Galiana.

On Resurgam, Volyova, Khouri, and Thorn begin the lengthy evacuation and preparation of their ship, while the Inhibitors continue their mysterious construction project, suspected to target the system's star. Only a few thousand people are evacuated when the Inhibitors approach Resurgam's star so closely that Volyova scrambles to deploy the cache weapons, in the hope to buy more time. A beta-level simulation of Clavain arrives as data in a laser transmission, and negotiates with Volyova to turn over the cache weapons to him when he arrives on the ship Zodiacal Light. Volyova rejects his persuasive arguments and explains that her need for the weapons is greater than his, so she returns to work on deploying them.

When Zodiacal Light arrives in the system, and because of the failure of his beta-level to negotiate a handover from Volyova, Clavain attacks Nostalgia for Infinity and uses Scorpio and his loyal hyper-pigs as a boarding party. Clavain's superior force captures Nostalgia for Infinity, although Volyova is able to damage Zodiacal Light with one of the cache weapons. The two sides negotiate terms, with Clavain and his crew taking command of Volyova's ship.

They evacuate the colonists more quickly with the help of Antoinette Bax' freighter, Storm Bird. Clavain finds Volyova dying from injuries she sustained when Captain Brannigan attempted to commit suicide by turning a cache weapon against the ship. Volyova makes a final deal with Clavain to take half of the remaining cache weapons and Storm Bird to mount a last-ditch attack on the Inhibitors. Bax bids a teary farewell to the mysterious beta-level simulation that has operated Storm Bird and watched over her, as he says he may find redemption in his last mission with Volyova.

The Inhibitors use their alien technology, built from the matter harvested from the gas giant, Roc, to pierce the layers of Resurgam's star and expose its nuclear fusion core. The radiation energy blasts Resurgam, destroys all its life, and reduces it to a cinder.

Later, Clavain learns Volyova's final attack had no effect. He discovers that Skade narrowly survived their space battle. Clavain reaffirms his goal to return the cache weapons to humanity, since they are their creators and true owners. Skade vows to pursue him and seek vengeance for his defection.

Remontoire and Khouri remain in the system aboard the Zodiacal Light to contact Dan Sylveste in the Hades Matrix (seen in the final events of Revelation Space) in the hopes that he may provide knowledge they can use to fight the Inhibitors.

The novel ends as Nostalgia for Infinity lands vertically in the seawater of on an unnamed Pattern Juggler planet, where the crew and rescued people of Resurgam, all except 40,000, establish a new colony (in the following novel of the series Absolution Gap, the planet is called Ararat). However, the crew is unsure why the Captain/ship chose that planet as a destination. Clavain estimates they'll need about 20 years to wait for the Zodiacal Light to catch up with them so they can resume the fight against the Inhibitors.

Felka reveals her true relationship to Clavain and how his lover Galiana visited this planet hundreds of years ago, where she may have uploaded her mind into the Pattern Jugglers in the ocean. Felka believes Galiana somehow planted the location of the planet without revealing it to the Inhibitors. Clavain and Felka walk toward the shore with renewed hope.

Inhibitor Asides
In addition to the two plot lines there are occasional asides explaining the history and motivation of the Inhibitors. These asides explain the galaxy was once filled with star-faring civilizations. Those civilizations were largely destroyed in the "Dawn War", a galaxy-wide conflict over the galaxy's scarce resources. One of these civilizations determines that a collision between our galaxy and another will occur in 3 billion years and create/become the Inhibitors in order to shepherd intelligent life through this cataclysm. They had determined that collision could be most easily dealt with if intelligent life was kept isolated to individual star systems, leaving the Inhibitors to perform any necessary manipulations of stars and planets to reduce the damage caused by the collision.

The asides also reveal that the Inhibitors were not as brutal in their past, but their performance has degraded over the millennia. They have been detecting civilizations at later stages, and required to commit wholesale extinction more often.

Clavain and Felka learn of this history during communication with the Inhibitors in Galiana's head. Clavain, however, is not convinced that the Inhibitors are right about the coming catastrophe and believes that their degrading performance may give humanity a chance for survival that other species have not had. As such, he rejects the Inhibitor requests to stand down.

The future collision of our galaxy with the Andromeda Galaxy is a scientifically predicted event. However, astronomers believe that it would not cause major damage to the capability of the galaxy to support life because galaxies are so diffuse that very few, if any, planets and stars would collide.

Characters

 * Ana Khouri
 * Antoinette Bax
 * Captain John Brannigan
 * Felka
 * Galiana
 * Nevil Clavain
 * Remontoire
 * Schuyler "Sky" Haussmann / "H"
 * Scorpio
 * Skade
 * Thorn
 * Triumvir Ilia Volyova

Awards and nominations

 * Best Science Fiction Novel of the Year (2002)" by Chronicle

==Release details ==
 * 2002, United Kingdom, Gollancz ISBN 0-575-06879-5, Pub date 27 June 2002, Hardback
 * 2002, United Kingdom, Gollancz ISBN 0-575-06880-9, Pub date 27 June 2003, Paperback
 * 2003, United States, Ace Books ISBN 0-441-01058-X, Pub date 3 June 2003, Hardback
 * 2003, United Kingdom, Gollancz ISBN 0-575-07384-5, Pub date 8 May 2003, Paperback
 * 2004, United States, Ace ISBN 0-441-01173-X, Pub date 25 May 2004, Paperback

title: Redemption Ark


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Washakie

Washakie (c. 1804 /1810 – February 20, 1900) was a prominent leader of the Shoshone people during the mid-19th century. He was first mentioned in 1840 in the written record of the American fur trapper, Osborne Russell. In 1851, at the urging of trapper Jim Bridger, Washakie led a band of Shoshones to the council meetings of the Treaty of Fort Laramie. Essentially from that time until his death, he was considered the head of the Eastern Shoshones by the representatives of the United States government. In 1979, he was inducted into the Hall of Great Westerners of the National Cowboy & Western Heritage Museum.

Early life
Much about Washakie's early life remains unknown, but some information is revealed. Washakie was born between 1798 and 1810. His mother Lost Woman, was a Tussawehee (White Knife) Shoshone by birth. His father, Crooked Leg (Paseego), was an Umatilla rescued as a boy from slave traders at Wakemap and Celilo in 1786 by Weasel Lungs, a Tussawehee dog soldier (White Knife) Shoshone medicine man. Crooked Leg was adopted into Weasel Lungs' clan. He became a Tussawehee dog soldier (White Knife) and married Weasel Lungs' eldest daughter Lost Girl, later Lost Woman. His maternal grandmother, Chosro (Bluebird), was also Tussawehee by birth. Lost Woman's younger sister, Washakie's aunt, was Nanawu (Little Striped Squirrel). She was the mother of Chochoco (Has No Horse), a first cousin to Washakie. On September 9, 1860, settlers under Elijah Utter were killed on the Oregon Trail by Shoshone and Bannack. Zachias Van Ornum, a relative of those killed, believed a white boy among the Shoshone was his nephew Reuben Van Ornum and took him away; the Shoshone protested that the boy was the son of a sister of Washakie and a French trapper.

Washakie's birth name was Pinaquanah ("Smells of Sugar"). He had other names before being called Washakie. When he was a teenager, he changed his name to Shoots the Buffalo Running. He was a high-stakes gambler, playing a game involving shaking small stones inside of a gourd rattle, rather like dice, so his friends renamed him Gourd Rattler.

Smells of Sugar met his first "white men" in 1811. Wilson Hunt's main party of Astorians, with the Pacific Fur brigade, were traveling down the Boise River from the mouth of the Bruneau River. Seven months late for their scheduled arrival at Fort Astoria, they happened into Crooked Leg's camp on the Boise. They needed horses, which Crooked Leg refused to sell to them; instead reluctantly selling them a few camas roots, dried fish, and four dogs.

Crooked Leg was killed in 1824 by members of the Piegan Blackfeet when they raided a Shoshone hunting camp inside the Blackfoot hunting Boundary. Every able-bodied Shoshone was following and hunting the migrating herds of game, as bison were now scarce in the Ochoco and the rest of the southern Blue Mountains, and food was in short supply. There had been a weak truce in the summer of 1820, between Fires Black Gun (Tooite Coon), (also known to white men as Cameahwait and Comeah Wait, brother to Sacajawea), and Piegan Blackfoot leader, Ugly Head. The Shoshone had been hunting high in the Montana Rockies, well north of the southern boundary of the Blackfoot hunting grounds, for any game they could find. A Piegan war party, led by Large Kidney and Four Horns, burst into one of their encampments on the Boulder River, to find Shoshone head chief Owitze (Twisted Hand), his war leader Red Wolf, and the popular young leader of the Tussawehee White Knife dog soldiers, Po'have (The Horse). Fighting ensued. Washakie, by now in his late teens and riding with the dog soldiers, led by Weahwewa (Wolf Dog), was moving north out of Wyoming country with a weapons shipment of Mexican guns from Comanche leader Shaved Head, and overheard the disturbance. Crooked Leg was camped a few miles away and Washakie immediately got word to him of the attack. When Crooked Leg arrived on the battle scene, he was killed.

The hunting ceased and the dog soldiers went on the war trail, backed by Comanche war chief Red Sleeves and his reinforcements. They combed the Boulder, the Yellowstone, and the Musselshell for Blackfoot and killed many. This victory by the Shoshone led to a council with the Blackfeet tribes, with the Shoshone once again a proud warrior society. At the council, it was agreed that the Blackfeet tribes would join forces with the Shoshone to restrict the expanding encroachment of trappers into each tribes' hunting grounds.

By the late 19th century, Washakie became head chief of the Eastern Shoshone. He was the only Shoshone warrior to be honored by the federal government of the United States, for leading General George Crook's army to defeat the Sioux, after Lieutenant Colonel George Armstrong Custer's defeat at the Little Big Horn.

The year of Washakie's birth date is debated. A missionary in 1883 recorded the year of his birth as 1798, but his tombstone was later inscribed with a birth date of 1804. Late in his life he told an agent at the Shoshone Agency that when he was 16, he had met Jim Bridger. Interpolating from the age of Bridger when he first went into the wilderness, researchers have determined that Washakie was likely born between 1808 and 1810. During his early childhood, the Blackfeet Indians attacked a combined camp of Flathead and Lemhi people while the latter were on a buffalo hunt near Three Forks, Gallatin County, Montana (where the Gallatin, Madison, and Jefferson Rivers form the headwaters of the Missouri River). After Crooked Leg was killed, his mother and at least one sister were able to make their way back to the Lemhis on the Salmon River in Idaho. During the attack, Washakie was lost and possibly wounded. According to some family traditions, he was found by either Bannock Indians who had also come to hunt in the region, or by a combined Shoshone and Bannock band. He may have become the adopted son of the band leader. For the next twenty five years (c. 1815-1840) he learned the traditions and ways of a warrior that were typical of any Shoshone youth of that period.

Although the name by which he would be widely known has been translated in various ways, it apparently dealt with his tactics in battle. One story describes how Washakie devised a large rattle by placing stones in an inflated and dried balloon of buffalo hide, which he tied on a stick. He carried the device into battle to frighten enemy horses, earning the name "The Rattle" or "Gourd Rattler". Another translation of "Washakie" is "Shoots-on-the-Run."

War deeds
Fur trapper records of the 1830s describe Washakie as being feared by the Blackfeet. He had a life-long scar on his cheek from an arrow that was inflicted by an enemy during a raid. When as an older man his authority was questioned by fellow Eastern Shoshone, Washakie sought to reconfirm his prowess as a warrior to maintain his status. He disappeared for many days, then returned having singlehandedly secured several scalps of his enemies, a daring feat for a man of any age.

In 1866, Washakie fought one-on-one with Crow Chief Big Robber to end a stalemate over rights to occupy the Wind River Basin, which the Crow claimed through the 1851 Horse Creek Treaty of Fort Laramie, though the area had long been used by the Shoshone. Washakie emerged victorious and displayed his enemy's heart on a lance. This event is memorialized in the place name of Crowheart Butte on the Wind River Indian Reservation, though the actual battle took place along a nearby draw. In 2005 a sculpture of the event was unveiled at the University of Wyoming's Washakie Dining Center in Laramie.

Fur trade
Washakie's band evidently participated in the fur trade rendezvous (1825–1840), since those rendezvous took place within the Green River, Wind River, and Snake River regions claimed by the horse-owning and buffalo-hunting Shoshone and Bannock bands of eastern Idaho. Late in life, Washakie reported that he and Jim Bridger became fast friends, and indeed, Bridger became Washakie's son-in-law in 1850 when he took Washakie's daughter as his third wife. Bridger, born March 17, 1804, entered Shoshone country in 1824 (Washakie said Bridger was the older of the two). Washakie learned French and some English from trappers and traders. Washakie's close association with the trappers developed into a similar relationship with U.S. officials.

Fort Bridger Treaties
In 1863, and again in 1868, he signed treaties with the U.S. at Fort Bridger, Wyoming. The Fort Bridger Treaty of 1863 established a generic Shoshone country, whose borders extended eastward to the crest of the Wind River Mountains, south to the Uintah Mountains of Utah, and on the northern side, to the crest of the Bitterroots. The western border was left undefined, but was understood to include most of the Snake River as far as the Oregon border. This treaty included a number of Shoshone and Bannock Indian bands besides that of Washakie. The Fort Bridger Treaty of 1868 was established at the Fort Bridger Treaty Council of 1868 and it proved more significant, for it established the Shoshone and Bannock Indian Agency located in west-central Wyoming. Moreover, this was land selected by Washakie and his headmen of the Eastern Shoshones. The initial reservation included about 3000000 acre in Wyoming's Wind River country for his people. Although an 1872 land cession reduced the size by 800000 acre, this valley remains the home of the Eastern Shoshones today. He was also determined that Native Americans should be educated, and he gave land to Welsh clergyman John Roberts to establish a boarding school where Shoshone girls learned traditional crafts and language.

Washakie and Mormonism
Washakie was a friend of Brigham Young and expressed sadness at the fighting his people had often done with the Utahns. It was not until after 1880, after Young's death, that Washakie became a member of the Church of Jesus Christ of Latter-day Saints. He was baptized on September 25, 1880 by Amos R. Wright. About 300 other Shoshone joined the church at this point.

Washakie and Episcopalianism
In 1883, the Episcopal Church assigned John Roberts to minister to the Shoshone and Arapahos on the Wind River Reservation. Roberts established several churches on the reservation, as well as within his designated 150 mile radius. Although Washakie's son was killed by a white man in 1885 during a dispute over alcohol, which purportedly led Washakie to vow revenge against whites, Roberts purportedly earned the Chief's respect by offering his own life in exchange. Furthermore, Roberts learned Shoshone customs, beliefs and language, and translated the Bible into Shoshone (and Arapahoe). c. 1888, Washakie helped Roberts establish a boarding school where Shoshone girls from distant villages could learn traditional crafts and language, by donating 160 acres near Trout Creek, which many considered sacred ground.

Washakie chose Episcopalianism as his faith, was baptized again in 1897, and ultimately buried in a service officiated by his friend Roberts, on February 22, 1900. Congress reaffirmed the church's ownership of the school in 1909, when it deactivated the fort named after Chief Washakie. Although the school closed c. 1945, many of the historic girls' school buildings survive today.

Recognition
His prowess in battle, his efforts for peace, and his commitment to his people's welfare made him one of the most respected leaders in Native American history. In 1878, a U.S. Army outpost located on the reservation was renamed Fort Washakie, which was the only U.S. military outpost to be named after a Native American. Upon his death in 1900, he became the only known Native American to be given a full military funeral.

Washakie County, Wyoming was named for him and there’s a statue of his head in front of the Washakie County Courthouse. In 2000, the state of Wyoming donated a bronze statue of Washakie to the National Statuary Hall Collection. There is also a statue of Washakie in downtown Casper, Wyoming. The dining hall at the University of Wyoming is also named after him. The current ghost town of Washakie, Utah was also named after him.

During World War II, a 422 ft liberty ship built in Portland, Oregon, in 1942, SS Chief Washakie, was named in his honor. USS Washakie, a U.S. Navy harbor tug in service from 1944 to 1946 and from 1953 to 1975, also was named for him.

Washakie was a hide painter. An 1880 painted elk hide at the Glenbow Museum is attributed to him. The hide painting portrays the Sun Dance. One of his sons, Cotsiogo (also known as Codsiogo and Katsikodi), was a prominent hide painter.

Chief Washakie Foundation
The Chief Washakie Foundation was founded in 2004. It supports educational programs and research into the history and cultural traditions of the Shoshone and Arapaho of Central Wyoming and advocates for Native American education. Washakie's great-great grandson James Trosper serves as Chair and Executive Director.

Selected references in popular culture

 * Chief Washakie appears in the album Le Fil qui chante of the Franco-Belgian comics series Lucky Luke created by Morris and René Goscinny.
 * Chief Washakie figures prominently in Amy Harmon’s historical fiction novel “Where the Lost Wander”.

title: Washakie


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Category:Modular arithmetic

In mathematics, modular arithmetic is a system of arithmetic for certain equivalence classes of integers, called congruence classes. Sometimes it is suggestively called 'clock arithmetic', where numbers 'wrap around' after they reach a certain value (the modulus). For example, when the modulus is 12, then any two numbers that leave the same remainder when divided by 12 are equivalent (or "congruent") to each other.

title: Category:Modular arithmetic


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Othniel Looker

Othniel Looker (October 4, 1757 –July 23, 1845) was a Democratic-Republican Party politician from Ohio. He served briefly as the fifth governor of Ohio.

Biography
Sources vary on Looker's birth location. He was born either in Morris County, New Jersey, or on Long Island, New York. His gravestone was engraved with the Morris County location.

Locker moved with his mother to Hanover Township, New Jersey, when he was two-years-old, after the death of his father. He enlisted with the New Jersey militia in 1776, and served out the remainder of the American Revolutionary War as a private.

In 1779, Looker married Pamela Clark, and circa 1788 Looker moved to Vermont and then to New York, working as a school teacher.

Career
He served in the New York State Assembly from 1803 to 1804. After receiving a land grant for his war services, Looker moved to Hamilton County, Ohio in 1804, and served in the Ohio House of Representatives from 1807 to 1810. He served in the Ohio Senate from 1810 to 1817.

While serving as Speaker of the Ohio Senate from 1813 to 1814, Looker was concurrently elevated to the governorship, after then-Governor Return J. Meigs Jr. resigned to become Postmaster General. Looker sought re-election, but was badly defeated by the far more well-known Thomas Worthington. He continued to live in Ohio until his wife's death, and later moved to Palestine, Illinois, to be with his daughter Rachel Kitchell, and he is buried there in Kitchell Cemetery. Looker was the Ohio presidential elector in 1816 for James Monroe.

Legacy

The Village Historical Society, in Harrison, Ohio, has restored the home of former Ohio Governor Othniel Looker. The Othniel Looker House is open to the public, free of charge, on a few dates during each year, and special tours can be arranged for school groups. The Othniel Looker House is listed on the National Register of Historic Places.

title: Othniel Looker


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User talk:Jef Reinten

Hello. In response to your comments on my user page, I've edited that article and added more comments to its discussion page, which I've also pasted below:

 * I have removed nonsense to the effect that some of these people work in mathematics. Numerical calculation is not at all the same as mathematics.  Lest anyone think I'm talking about sophisticated mathematics understood only by professionals, I hasten to add that I am not.  Consider the Pythagorean theorem, a statement known to all 15-year-olds (except, perhaps, in the USA and among some isolated xenophobic tribes of cannibals).  If one discovers a new proof of that theorem, one has done a bit of elementary mathematics.  If one relies on the theorem to know which numerical calculations need to be done to solve a problem, then the person to whom one entrusts the details of the calculation need not understand the mathematics.  This is not to say that calculating prodigies do not understand any of the mathematics that justifies their calculations; rather, it means that the field in which they are prodigies is numerical calculation; they are not discovering any new mathematics.  This error is another instance of the fact that most educated lay persons do not suspect that such a field as mathematics exists.  For example, a professor of medicine once asked me whether graduate students in mathematics must discover new things in mathematics in order to earn a PhD.  Of course, as in other fields, the answer is "yes", but this professor went on to say, "Isn't all of mathematics already known?"  In fact, hundreds of scholarly journals are devoted primarily to the incessant publication of new discoveries in mathematics -- not something that those autistic savants do, contrary to the statement I've just corrected on this page.  Notice the strange negative way in which the medical doctor phrased the question: instead of saying "Is everything already known?" she said "Isn't everything already known?"  It seems as if people use that negative form only when their talking about an assumption they've made without thinking about it.  I question any assertion that those autistic savants to who someone said may be working "in the field of mathematics" have made novel discoveries suitable for publication in the aforementioned journals.  And no one replied here on this talk page, for months.  That is why, being reminded on my own discussion page that I had written that query, I came back to this page today and altered it. Michael Hardy 22:38, 3 Jun 2004 (UTC)

title: User talk:Jef Reinten


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Codex Regius

Codex Regius (Cōdex Rēgius, "Royal Book" or "King's Book"; Konungsbók ) or GKS 2365 4º is an Icelandic codex in which many Old Norse poems from the Poetic Edda are preserved. Thought to have been written during the 1270s, it is made up of 45 vellum leaves. The work originally contained a further eight leaves, which are now missing. It is the sole source for most of the poems it contains. In scholarly texts, this manuscript is commonly abbreviated as [R] for Codex Regius, or as [K] for Konungsbók.

The codex was discovered in 1643, when it came into the possession of Brynjólfur Sveinsson, then Bishop of Skálholt in Iceland, who in 1662 sent it as a gift to King Frederick III of Denmark; hence the name. It was then kept in the Royal Library in Copenhagen until April 21, 1971, when it was brought back to Reykjavík, and is now kept in the Árni Magnússon Institute for Icelandic Studies. Because air travel at the time was not entirely trustworthy with such precious cargo, it was transported by ship, accompanied by a military escort.

One of the principal manuscripts of Snorri's Edda (GKS 2367 4to) is also named Codex Regius. Composed of 55 vellum pages, dating from the early 14th century, it was part of the same gift from Bishop Brynjólfur to Frederick III. It was returned to Iceland in 1985, where it is now also in the Árni Magnússon Institute for Icelandic Studies.

In popular culture

 * Codex Regius is the subject of a thriller by the Icelandic writer Arnaldur Indridason.
 * Michael Haneke stated that the title of his 2003 film Time of the Wolf was taken from the Codex Regius, specifically from the “Prophecy of the Völva.”
 * Werner Herzog reads aloud an English translation of one poem in his 2016 film Into the Inferno.

title: Codex Regius


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Anna Sokolow

Anna Sokolow (February 9, 1910 – March 29, 2000) was an American dancer and choreographer. Sokolow's work is known for its social justice focus and theatricality. Throughout her career, Sokolow supported of the development of modern dance around the world, including in Mexico and Israel.

At the beginning of her career, Sokolow was a principal dancer in the Martha Graham Company. Sokolow soon became an independent choreographer, who went on to form multiple dance companies throughout her life.

Sokolow choreographed for and set her work on companies around the world, including major companies such as Batsheva Dance Company, Alvin Ailey American Dance Theater, The Jose Limón Dance Company, Joffery Ballet and the Daniel Lewis Dance Company. Her work continues to be performed by the Sokolow Theatre/Dance Ensemble in New York City.

Her work is preserved and set by the Sokolow Theatre/Dance Ensemble and the Sokolow Dance Foundation in Massachusetts.

Early life
Anna Sokolow was born on February 9, 1910, in Hartford, Connecticut, and grew up on the Lower East Side of Manhattan. Both of her parents were Jewish immigrants from Russia.

Her father, Samuel Sokolow, immigrated to the U.S. around 1905 followed in 1907 by her mother Sarah. Intending to reside in Hartford, Connecticut, Samuel and Sarah eventually moved to New York City for better job prospects. Sarah started working in the garment industry when Samuel became disabled by Parkinson's disease. A socialist, Sarah was heavily involved in the Garment Workers Union. Anna Sokolow was the third child of four born to Samuel and Sarah, preceded by Isadore and Rose, and succeeded by Gertie.

Training
Sokolow began her dance training by taking classes at the Emanuel Sisterhood alongside her sister Rose. Her first teacher, Elsa Pohl, was influenced by the work of Isadora Duncan. Despite the objection of her family, Sokolow moved away from home and dropped out of school in favor of a dance career at age 15. While training, Sokolow supported herself by working in a factory. She began training under Irene Lewisohn, Louis Horst, and Martha Graham, among others, at the Neighborhood Playhouse at the Henry Street Settlement in 1925 as a “Junior Player.” Blanche Talmud, Sokolow's main teacher, had a background in Delsarte and Dalcroze eurhythmics.

As a student at the Playhouse, Sokolow studied voice, dance and pantomime. She eventually received a full scholarship at the Playhouse, and participated in her first major performance in 1928 as a part of Ernest Bloch's “Israel Symphony.”

Career
Sokolow first performed with the Martha Graham Company in 1930. She danced with the company as a soloist for about 8 years. While performing with the Graham company, she assisted Louis Horst in his choreography classes. One of her notable performances with the company was in Massine's “Rite of Spring” in 1930.

Alongside her work with the Martha Graham Company, Sokolow began choreographing and offering solo performances in 1932. She developed the Theatre Union Dance Group in 1933, which was renamed “Dance Unit” in 1935.

In programs for “Dance Unit”, Anna Sokolow's name wasn't emphasized in order to bring more attention to the group as opposed to certain individuals. In 1936, a full evening of her own work was presented at the Young Men's Hebrew Association (YMHA) in New York City. Some of the works included in the program were Speaker (1935), Strange American Funeral (1935), Inquisition ‘36 (1936), and Four Little Salon Pieces (1936). In 1937, four men joined the Dance Unit for the first time, premiering in Excerpts from a War Poem (1937). With the addition of men, Sokolow avoided dividing movement based on gender and instead presented all bodies as equals.

Beginning in the 1930s, she affiliated herself with the politicized "radical dance" movement, out of which developed her work Anti-War Trilogy (1933). During this time period, she performed and choreographed both solo and ensemble works, which tackled subject matter that included the exploitation of workers and growing troubles of Jews in Germany. Sokolow drew inspiration from the Union movement, and stated in a 1975 interview that she considered the unions her first audience. She often explored themes of Communism, socialism, and the working class through her dances, particularly in Strange American Funeral (1935) and Case No. -- (1937). Several works from this period, including Anti-War Trilogy, were set to music by the composer Alex North.

In the 1940s, Sokolow continued premiering works in various venues throughout New York City, such as The Bride (1946), a piece influenced by traditional elements from Orthodox Jewish wedding ceremonies. From 1955 to 1985, Sokolow regularly choreographed for the Juilliard Dance Ensemble at the Juilliard School. She created many notable pieces for the group including Primavera (1955) and Ballade (1965).

In 1953, Sokolow created Lyric Suite, one of her most well-received works. A collection of solos, duets, and ensemble work set to the music of Alban Berg, Lyric Suite was noteworthy for its lack of a narrative and its "suite form" design. The New Dance Group sponsored the first showing of Lyric Suite in March 1954. Sokolow considered this piece as the beginning of a new era in her choreography.

Another of Sokolow's signature works is Rooms (1955), a piece that explores loneliness. The music is a Jazz score, composed for the dance by Kenyon Hopkins. Rooms is divided into six sections: Dream, Escape, Desire, Panic, Daydream, and The End? The piece features eight dancers and eight chairs, with the intention that each dancer and chair portrays a character in a secluded room.

From 1958 to 1965, Sokolow created her Opus series. This series includes Opus '58 (1958), Opus Jazz 1958 (1958), Opus '60 (1960), Opus '62 (1962), Opus '63 (1963), and Opus '65 (1965). The set of six pieces, along with Session for Six (1958) and Session for Eight (1959) used similar movement vocabularies and content with slight variations in each. Labanotation scores show the similarities, including the use of strong accents and the dropping of the body and its parts to the floor, which created a jaded, teenage mood. To accompany this mood, costumes for the Opus pieces were simple, consisting of leotards, t-shirts, and tights. In some performances of the Opus series, the performance was given on a bare stage, with no curtains, against the bare brick walls of the theater.

In the later 1960s, Sokolow used jazz style to protest the war occurring in Vietnam and to give voice to the countercultures of America. Time+ (1966) was a war protest dance with multiple parts. In the piece, Sokolow used clear imagery of soldiers and their experiences of war. The piece ended with soldiers that appear to be wounded and struggling with one another to stand, showing the great hardships that come from war.

In the 1970s and 80s, Sokolow's artistic focus turned to the great painters, writers and composers of the late 19th and early 20th centuries. Her dances of this period include Magritte, Magritte in 1970, Scenes from the Music of Charles Ives in 1971, Homenaje a Federico García Lorca in 1973, Homage to Alexander Scriabin in 1977, Poe in 1977 (revised and renamed Homage to Edgar Allan Poe in 1985), and Kurt Weill in 1988. Sokolow also returned to the theme in one of her last pieces, Frida, in 1997.

After Sokolow's death in 2000, The Player's Project continued until 2004. After that point, the company's former co-artistic directors, Jim May and Lorry May, formed separate institutions to maintain Sokolow's repertory and legacy.

The Sokolow Theatre/Dance Ensemble, founded by Jim May, performs Sokolow's repertory plus contemporary choreographies under the direction of Artistic Director Samantha Géracht and co-artistic directors Lauren Naslund and Eleanor Bunker. The Sokolow Theatre/Dance Ensemble continues to perform, set and reconstruct Sokolow's work today.

The Sokolow Dance Foundation, directed by Lorry May, offers unique educational programs and actively licenses and reconstructs Sokolow's works.

Theater work
Sokolow began her association with Broadway in 1947, choreographing for the musical Street Scene. She choreographed for multiple Broadway productions, including Happy as Larry (1950) and Camino Real (1953).

She worked as the choreographer during the rehearsal process for the first production of the musical Hair (1967), but left the production before its first performance and her contributions were not credited. Sokolow also frequently staged works for the New York City Opera, including multiple productions in their 1956 season.

Sokolow choreographed dances for The California Story at San Diego's Fiesta del Pacifico in 1957.

International work
Though based in New York City, Sokolow was known for her work abroad as well. In 1939, she traveled to Mexico with her company to perform at the Bellas Artes (School of Fine Arts) in Mexico City, where they received positive reviews. This success led to the formation of the group, La Paloma Azul. Sokolow created four works for this company El Renacuajo Paseador (1940). After her dancers left to return to New York City, Sokolow chose to stay behind to continue working at the request of the Ministry of Public Education. La Paloma Azul dissolved in 1940 due to the emergence of a competitor dance group. She eventually returned to New York City in the early 1940s but continued to visit Mexico City occasionally throughout her career.

Jerome Robbins encouraged Sokolow to go to Israel to work with the Inbal Dance Theatre in 1953. Sokolow's visits to Israel began in the 1950s and concluded in the 1980s. Her first program to premiere in Israel featured The Treasure (1962), The Soldier’s Tale (1954), and Dreams (1961). In 1962, she helped established Israel's Lyric Theatre. The company was short-lived as they disbanded in 1964. Sokolow returned to Israel as a guest choreographer for Batsheva Dance Company in 1972.

Teaching
One of Anna Sokolow's earliest teaching experiences occurred during a trip to Russia in the early 1930s. While there with her then-lover and musical collaborator, Alex North, she taught classes in the Graham technique. In 1955, Sokolow taught her first classes at Juilliard. She officially joined the faculty in 1958 and taught classes in "method dancing" from 1958 to 1993. Sokolow also worked alongside Robert Lewis as a teacher at the Repertory Theater at Lincoln Center and the HB Studio. Additionally, she taught choreography classes at the Hebrew Arts School later in her career.

The Actors Studio
In 1947, Sokolow's close friend Elia Kazan convinced her to become a founding member of The Actors Studio. Sokolow taught movement for actors. The classes were rooted in the Graham technique and also incorporated floor work and ballet barre elements. Her piece Rooms (1955) emerged as a response to her experiences working with groups of aspiring actors. Sokolow eventually set a small-scale production—Elmer and Lilly—on her students. Sokolow left The Actors Studio in the mid-1950s.

Repertory
Although much of Sokolow's work was not filmed, some pieces may be seen at the New York Public Library in its Dance Division. Here follows a list of many of her pieces of choreography along with premiere date and premiering company (when known).

 * Anti War Trilogy (1933 – Theatre Union Dance Group)
 * Histrionics (1933)
 * Speaker (1935)
 * Strange American Funeral (1935 – Dance Unit of the New Dance League)
 * Inquisition ‘36 (1936 )
 * Four Little Salon Pieces (1936)
 * Ballad (In a Popular Style) 1936
 * Case No.-- (1937)
 * Excerpts From a War Poem (F.T. Marinetti) (1937)
 * Slaughter of the Innocents (1937)
 * Songs of a Semite (1937)
 * “Filibuster” from The Bourbons Got the Blues (1938)
 * Dance of All Nations, Lenin Memorial Meeting (1938)
 * Sing for Your Supper (1939)
 * The Exile (A Dance Poem) (1939 – Dance Unit)
 * Don Lindo de Almería (1940 – Grupo de Danzas Clasicas y Modernas)
 * El Renacuajo Paseador (1940 – La Paloma Azul)
 * Lament for the Death of a Bullfighter (1941)
 * Kaddish (1945)
 * The Bride (1946)
 * Mexican Retablo (1946)
 * Images from the Old Testament (1946)
 * Lyric Suite (1953)
 * Histoire de Soldat (1954)
 * Rooms (1955)
 * Poem (1956 – Theatre Dance Company)
 * Session for Six (1958 – Anna Sokolow Dance Company)
 * Opus Jazz 1958 (1958 – The Israel National Opera)
 * Opus '58 (1958)
 * Opus ‘60 (1960 – Ballet de Bellas Artes)
 * Dreams (1961 – Anna Sokolow Dance Company)
 * Opus ‘62 (1962- Lyric Theatre)
 * Opus ‘63 (1963 – Juilliard Dance Ensemble)
 * Forms (1964 – Anna Sokolow Dance Company)
 * Opus ‘65 (1965 – Apprentices and Scholarship Students of the Robert Joffrey Ballet)
 * Odes (1965)
 * Ballade (1965 – Juilliard Dance Ensemble)
 * Time+ (1966)
 * Deserts (1967 – Anna Sokolow Dance Company)
 * Hair: The American Tribal Love-Rock Musical (1967)
 * Steps of Silence (1968 – Repertory Dance Theatre)
 * Magritte, Magritte (1970 – Lyric Theatre)
 * Scenes from the Music of Charles Ives (1971 – Juilliard Dance Ensemble)
 * A Short Lecture and Demonstration on the Evolution of Ragtime as Presented by Jelly Roll Morton (1971 – Players' Project)
 * Three Poems (1973 – Juilliard Dance Ensemble)
 * Homenaje a Federico Garcia Lorca (1973 – Ballet Independiente)
 * In Memory of No. 52436 (1973 – Batsheva Dance Company)
 * Ride the Culture Loop (1975 – Juilliard Dance Ensemble)
 * Moods (1975 – Contemporary Dance System)
 * The Song of Songs (1976 - Inbal)
 * Ellis Island (1976 – Juilliard Dance Ensemble)
 * Homage to Alexander Scriabin (1977 – Contemporary Dance System)
 * For Langston (1980 – Rod Rodgers Dance Company)
 * Preludes (1981 – Repertory West Dance Company)
 * Song of Deborah (1981 – New Players’ Project)
 * From the Diaries of Franz Kafka (1981 – New Players’ Project)
 * Nocturne (1982 – H.T. Dance Company)
 * Elegy (1982 – Mary Anthony Dance Theatre)
 * Les Noces (1982 – Batsheva Dance Company)
 * As I remember (1984 – Daniel Lewis Dance Repertory Company)
 * Homenaje a David Alfaro Siqueiros (1984)
 * Homage to John Field (1984 – Dublin City Ballet)
 * Preludes (1984 – Players' Project)
 * Homage to Poe (1986/1993 – Players' Project)
 * Kurt Weill (1988 – Players’ Project)
 * Poems (1988 – Jose Limon Dance Company)
 * Poem (1995)
 * Four Songs (1995)
 * Frida (1997)
 * Los Conversos [The Converts] (1981)

Work for Broadway

 * Noah (1935) - play with music by Louis Horst - co-choreographer
 * Sing for Your Supper (1939) - revue - co-choreographer
 * Street Scene (1947) - musical - choreographer
 * The Great Campaign (1947) - play - choreographer
 * Sleepy Hollow (1948) - musical - choreographer
 * Regina (1949) - opera - choreographer
 * Happy as Larry (1950) - musical - choreographer
 * Camino Real (1953) - play - directing assistant
 * Red Roses for Me (1955) - play - choreographer - Tony Nomination for Best Choreography
 * Candide (1956) - operetta - choreographer
 * Copper and Brass (1957) - musical - choreographer
 * Clothes for a Summer Hotel (1980) - dance consultant

Legacy
Nicknamed modern dance's "rebellious spirit", Sokolow won a variety of awards including the Samuel Scripps Award (1991), Aztec Eagle Honor (1988), an Honorary Doctor of Fine Arts from Boston Conservatory (1988), and an Honorary Doctor of Humanities from the Ohio State University (1978). In 1967, she received a prestigious grant from the National Council on the Arts, worth $10,000; Sokolow used this funding to create Deserts (1967). Sokolow was inducted into the Mr. & Mrs. Cornelius Vanderbilt Whitney Hall of Fame in 1998, and the American Academy of Arts and Letters in 1993. Sokolow dedicated her works to her inspirations including Isadora Duncan, Louis Horst, Anne Frank, José Limón, Vaslav Nijinsky, Martin Luther King Jr., and her parents. Her choreography continues to be performed by the Sokolow/Theatre Dance Ensemble and by dance companies and schools around the world.

One block of Christopher Street in New York City's Greenwich Village bears the honorary name of "Anna Sokolow Way," in recognition of her longtime residence at 1 Christopher St.

Personal life
Sokolow was romantically involved with Alex North, her musical collaborator, for seven years. Despite the dissolution of their relationship, they continued to work together throughout their careers. She had no children.

Sokolow was known for her heavy involvement in the Communist movement. In New York's 1936 election, she registered as a Communist. In the 1940s, she was also a featured performer in many Communist rallies. However, by the 1950s, she no longer aligned herself with the Communist party. When questioned by the FBI, she cited her participation at rallies was motivated by earning money for her performance.

Sokolow suffered from depression in the late 1960s and early 1970s.

Sokolow died at the age of 90, on March 29, 2000, in New York City.

title: Anna Sokolow


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Ben Moody

Benjamin Robert Moody II (born January 22, 1981) is an American guitarist, songwriter and record producer. He is best known as co-founder, former lead guitarist and co-songwriter of rock band Evanescence until his departure in 2003 after the band's debut album, Fallen. After leaving Evanescence, Moody co-wrote and co-produced songs for Kelly Clarkson, Avril Lavigne, Anastacia, Lindsay Lohan, Bo Bice, Daughtry, and Celine Dion.

Early life
Moody was born on January 22, 1981 in Little Rock, Arkansas. He described his youth in Little Rock as being lax, stating that "everybody has their fun. In Little Rock, I'm an infamous thief - it was all there was to do." He began playing drums, but switched to guitar after experiencing carpal tunnel issues. He did not take guitar lessons, and took influence from 1980s artists like Metallica, Ozzy Osbourne and Mötley Crüe. Commenting on his favorite era of music, Moody said: "Honestly, I think I was born about 10 years too late. I listen to The Final Countdown by Europe once a week just for the hell of it". He called Metallica guitarist Kirk Hammett his "hero" and the reason he played guitar.

Evanescence
In 1994, Moody met Amy Lee in Little Rock, Arkansas while at a youth camp. The two became musical collaborators and co-founded Evanescence. They soon began playing music at local shops. Within a few years, the duo began selling EPs at local shows, culminating in their discovery by Wind-up Records and the release of their debut studio album, Fallen, in 2003. Moody abruptly left Evanescence in October 2003 during their European tour, citing creative differences.

In 2006, Moody signed with former Evanescence management Rider Management, which sued him in 2013 for $500,000 in unpaid commissions.

In August 2010, Moody released a statement on his history with Lee and Evanescence, where he said that he was a different person at the time, his friendship with Lee had deteriorated, and they had conflicting opinions, personalities, and desires with the band. Moody apologized to Lee for comments he made to her in anger. He said he realized the band would end if he stayed and believes he made the right choice. He added, "Evanescence has progressed a great distance from the original sound, and made it clear that they intended to expand much further. Amy is very artistic and never has had a problem thinking outside of the box and defying expectations."

Solo projects
Beginning in 2004, Moody began collaborating with several artists, co-writing the track "Nobody's Home" for Avril Lavigne's second album, Under My Skin, and co-writing the track "The End Has Come" with Jason C. Miller and Jason "Gong" Jones for The Punisher soundtrack. He then wrote with David Hodges, Kelly Clarkson, and others for Clarkson's second album, Breakaway, working on the songs "Because of You" and "Addicted".

In early 2005, Moody played lead guitar for the song "Forever in Our Hearts", the 'song for tsunami relief' made exclusively for iTunes. He collaborated with singer Anastacia on the song "Everything Burns", which is featured on her album Pieces of a Dream and the Fantastic Four soundtrack. Moody then assisted Lindsay Lohan on her album A Little More Personal (Raw) and worked with Bo Bice on the song "My World" (a cover from SR-71) for his debut album The Real Thing. Moody's debut solo album, You Can't Regret What You Don't Remember, was scheduled to be released in late 2005, and would feature bassist Marty O'Brien on bass, drummer Lance Garvin, guitarist Michael "Fish" Herring, and co-vocals from Jason Miller.

In April 2006, Moody began working on the debut album of singer-songwriter Hana Pestle, co-producing and co-writing with Michael "Fish" Herring, as well as performing on the album. He later produced the Godhead album The Shadow Line with Julian Beeston, and played a clown in their music video for the song "Push". He collaborated with Hodges again on American Idol Chris Daughtry's debut album, Daughtry (2006), for the song "What About Now".

In 2007, Moody worked with Celine Dion on her album Taking Chances. It was reported that his solo album was still in the works.

In December 2008, he released the Mutiny Bootleg E.P. and announced that his solo album would be released on March 3, 2009. This release would be delayed, however, as was hinted at in February 2009, when Moody's official website displayed the release as "available 2009" instead of the March 3 release date. On June 9, 2009, Moody's debut solo album, entitled All for This, was released digitally via Amazon.com, iTunes, and Amie Street through Moody's label, FNR Records. His second album, You Can't Regret What You Don't Remember, was released on November 11, 2011.

Other bands
In June 2009, it was announced that Moody had formed the rock band called We Are the Fallen, recruiting American Idol 7 finalist Carly Smithson as the lead singer, and his friends former Evanescence drummer Rocky Gray, guitarist John LeCompt, and Marty O'Brien on bass. We Are the Fallen made their first public appearance together for a press conference at SIR Studios in Los Angeles, CA, on June 22, 2009. Their debut album, Tear the World Down was released in May 2010. The band toured for most of the year in support of the album, and filmed their first live DVD, Cirque Des Damnés, at the Avalon Theatre. The DVD was scheduled for release in late 2011.

In 2012, Moody teamed up with former Papa Roach drummer Dave Buckner, and former Rock Star Supernova frontman Lukas Rossi, to form a new band called The Halo Method. Before their debut show on the Shiprocked cruise in November 2012, former In This Moment bassist and studio engineer Josh Newell became their bassist.

Acting roles
Moody started a television and film production company, Makeshift Films. He made a cameo as a zombie in the 2004 horror film Resident Evil: Apocalypse. He also appeared in the 2007 release of the low-budget film Dead and Gone.

Personal life
Moody identified as Christian and promoted his religious beliefs in interviews in the early 2000s. In 2005, he was diagnosed with bipolar disorder. He struggled with substance abuse during his time in Evanescence, and entered rehab after leaving the band.

Moody dated singer Hana Pestle. As of June 2022, he is now divorced.

Evanescence

 * Fallen (2003)

Solo

 * "Everything Burns" (2005) - Single/Music video
 * Mutiny Bootleg E.P. (2008)
 * All for This (2009)
 * You Can't Regret What You Don't Remember (2011)

We Are the Fallen

 * Tear the World Down (2010)

title: Ben Moody


text: Category:Japonic languages

title: Category:Japonic languages


text:
Daphne Moon

Daphne Crane (née Moon; born September 1964) is a fictional character on the American television sitcom Frasier, played by Jane Leeves. An English immigrant from Manchester, Daphne is employed by Frasier as a live-in housekeeper and physical therapist for his father, Martin. Her relationship with Frasier's brother Niles is a major plotline of the series, progressing from Niles' secret infatuation to their eventual marriage later on the show.

Biography
Daphne was born in September 1964 in Manchester, the only daughter in a family of nine children. She spent much of her childhood playing nurse and housemaid to her brothers. She has a complex love-hate relationship with her overbearing mother, Gertrude Moon; her relationship with her father, Harry Moon, is much warmer and closer.

As a young girl, Daphne's early career was as an actress in the hit British sitcom Mind Your Knickers (a show about 12-year-olds in a private girls' boarding school). Her career ended at 16 when she became too tall and busty to play her shorter pre-teen character. During her youth, she gained considerable skill at billiards and darts, claiming to have won many tournaments. She also raised show rats, was a Manchester Light Opera Works member, and was a skilled shoplifter.

As an adult, Daphne takes up a career as a physical therapist, working one-on-one with various invalids and shut-ins. At an undisclosed time, she migrates to America to live in Seattle, seeking a new life free of her domineering family. Her first job in America was at a convenience store, and it is implied she once shoplifted there. In the third season finale, "You Can Go Home Again", it is revealed that before being interviewed and hired by the Cranes, she had a chance encounter with them at Cafe Nervosa. In the series premiere, "The Good Son", Daphne is hired by Frasier to assist his father, Martin, with his daily activities and exercises; Martin suffers pain and discomfort from a gunshot wound to his hip that forced him to retire from the Seattle Police Department. Although Frasier is initially less than impressed with her, Martin takes a liking to her sense of humor and convinces Frasier to hire her and make her position a live-in one.

Personality
Daphne is mostly portrayed as kind and down-to-earth, often perplexed and exasperated by Frasier's snobbery and pretension. In the earlier seasons, Daphne portrays herself as a no-nonsense physical therapist with Martin. Although they fight and bicker over Martin's therapy sessions, she gets along with Martin well and acts as his caregiver and constant companion.

Like most characters on Frasier, Daphne has many eccentricities. She often tells rambling stories about her family, cheerfully remembering rather grim or traumatic events, to the considerable discomfort of the Crane family. She is also a firm believer in the supernatural, and believes herself to be "a bit psychic". Daphne's apparent psychic abilities are often treated with ambiguity on the show, and her various "visions" are sometimes shown to have come true, sometimes in a roundabout way and sometimes very accurately. As the series progresses, Daphne's psychic abilities are considerably downplayed. In the season 8 episode "The Wizard and Roz", Niles hires a paranormal expert to assess whether or not Daphne truly has any psychic abilities. During the course of her discussion with the expert, Daphne implies that her grandmother told her she had psychic abilities.

Role on the series
Like Martin, Daphne acts as a working class foil to Frasier and Niles's upper-class snobbery, while also vexing Frasier's scientific views with her eccentric behavior. As the show progressed and this aspect of her character was toned down, more focus was put on her relationships with the other characters. One of the running gags of the show is her terrible culinary skill as she is known to cook awful and outright strange dishes. Faiser, Niles and Martin dread her cooking and often try to avoid eating her food or stopping her from cooking.

Daphne's most significant developing relationship over the course of the series is with Frasier Crane's younger brother, Niles. Unbeknownst to Daphne, Niles falls in love with her in the third episode, when they first meet. Despite how Niles shows more and more signs of being infatuated with her, she remains completely oblivious to this, though they become increasingly close friends. Niles says nothing to Daphne, at first because he is married, later because she is involved with numerous (frequently unsuccessful) relationships with other men. Even when she is not, Frasier has one excuse or another to prevent Niles from telling her anything.

Niles' feelings are ultimately, and accidentally, revealed by Frasier in season 7. Shocked to discover Niles's true feelings towards her, Daphne finds herself falling in love with Niles in return, placing her in the position Niles had been in for many years: in love with someone unaware of her true feelings. Daphne realizes her feelings after a court-ordered therapy session stemming from an incident where Daphne caused a dangerous traffic jam by throwing a neighbor's laundry off Frasier's balcony; the therapist points out that the entire chain of events leading to the incident was set off by Daphne's decision to wear her "best dress" while giving Niles a cooking lesson.

Heartbroken to discover that he had, on impulse, married his girlfriend Mel, Daphne intends to go ahead with her own marriage to Niles's divorce lawyer Donny Douglas (Saul Rubinek), until Frasier intervenes. In a four-part episode closing Season 7 and opening Season 8, Niles finally confesses his feelings to her, and although she initially tells him both of them are better off staying with their current partners (each having made a serious commitment), Daphne changes her mind by the next morning, abandoning Donny at the altar, to Niles' delight. Niles and Daphne have a precarious courtship during season 8 after Mel forbids Niles from being seen in public with Daphne, and Donny retaliates with a lawsuit for being left at the altar after Frasier confesses to Donny that he was the instigator of the breakup. Tensions arise, with Daphne blaming Niles for all their new relationship problems.

Shortly thereafter, she gains 60 pounds, but Niles is so blinded by love that he does not notice until Daphne falls to the floor and is too heavy to get up without the help of Frasier, Niles, and Martin (who remarks that "it took three Cranes to lift her"). The weight problem was written into the show to allow Leeves to continue working while pregnant. Daphne then leaves for several weeks to attend a "spa for fat people" and returns with her figure restored. Her therapist at the spa tells her that she began over-eating to create distance between herself and Niles because she was afraid that she wouldn't be able to live up to Niles's lofty expectations after he spent the last seven years believing she was perfect ("Daphne Returns"). During the episode "It Takes Two to Tangle" in which she did not appear while at the resort, Niles tells Roz that Daphne had lost 9 pounds, 12 ounces (the weight of Leeves's baby in real life).

At some point in Season 10, she becomes a U.S. citizen (her lack of citizenship having set up some humorous situations in earlier seasons). In the first episode of Season 10, Daphne and Niles marry in a small, private ceremony in Reno, Nevada. The rest of Season 10 and early Season 11 show Daphne and Niles adjusting to their new life as a wedded couple. Daphne and Niles have their first child, David, in the final episode of the series, "Goodnight, Seattle". (He is named after the show's co-creator David Angell who died in the September 11 attacks.) A flash-forward scene in an earlier episode reveals that the couple will also have two daughters.

Family
Daphne grew up in a very large dysfunctional family. They are often the subject of her long-winded tales that sometimes leave the Cranes somewhat perplexed. Although they are frequently mentioned, the first time one of her family members appears on the show is in the season 7 episode "Dark Side of the Moon", in which Donny surprises Daphne with a visit from her brother, Simon (Anthony LaPaglia), not knowing that she dislikes him. (Her favorite brother, Stephen, never appears until the final episode, where he is played by Richard E. Grant). In "Something Borrowed, Someone Blue", Daphne's mother makes her first appearance, while her father only makes his debut in season 9.

In the episode "An Affair to Forget", she mentions she had an ancestor who served on HMS Bounty who took Fletcher Christian's side in the mutiny. According to her, he made it to Pitcairn Island with a Tahitian wife and had several children.

Five out of Daphne's eight brothers appear on the show; few of them maintain consistency with Daphne's Northern accent. LaPaglia, an Australian actor, adopted a Cockney accent playing Simon, while Robbie Coltrane, who is Scottish, played Daphne's brother Michael with a muddled Brummie (Birmingham) accent—which had a distinct Scottish lilt to it—explained away by Niles as being a result of his being dropped as a baby. The effect is completed by his speech being virtually unintelligible. Richard E Grant played Stephen Moon with an indeterminate accent somewhere between Received Pronunciation and Cockney. Her brother Billy is implied to be gay, such as in the episode "Daphne's Room", in which Daphne says her brothers would "sneak into the bathroom and peek at me in the shower … except for me brother Billy, the ballroom dancer. He never peeked at me, though he did peek at me brother Nigel." When Daphne talks with her mom Gertrude about resuming her sex life with Niles after his heart surgery, Gertrude tells her to "use your feminine wiles – that's how your brother Billy landed Kevin." According to Daphne, Billy rejected the family's traditional fishing background by announcing that he "hated the smell of fish, and was going to teach ballroom dancing." Daphne also has an uncle, Jackie, who lives in San Francisco.

Accent
Writing for The Guardian, Lucy Mangan criticized Daphne's adopted Manchester accent as the show's only "weak link".

In an interview on BBC Breakfast in May 2011, she said "they [the producers] wanted something a bit working class but they wanted something an American audience could understand. So it's just a slight working class accent", and that "it's not really right."

title: Daphne Moon