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Brit funk

Brit funk (or Britfunk) is a musical style that has its origins in the British music scene of the late 1970s and which remained popular into the 1980s. It mixes elements from jazz, funk, soul, urban dance rhythms and pop hooks. The scene originated in southern England and spread with support from DJs including DJ Froggy, Greg Edwards, Robbie Vincent, Chris Hill and Colin Curtis. Major funk acts included Jimmy James and the Vagabonds, Average White Band, Ian Dury & the Blockheads, Carl Douglas, Hot Chocolate, the Delegation, Hi-Tension, Light of the World, Level 42, Central Line, the Pasadenas, Beggar and Co and Soul II Soul. The genre also influenced 1980s new wave/pop groups such as Culture Club, Bow Wow Wow, Pigbag, Dexys Midnight Runners and Haircut 100.

Name and characteristics
The term Brit funk evolved from the club DJs and James Hamilton of Record Mirror whose column had a major influence in launching new records. Brit funk was a fusion of R&B, funk, soul music rhythms. Pioneers of this sound, groups Hi-Tension and Light of the World, had a British twist to their instrumentation and vocals, avoiding American accents. The emerging punk rock scene has also been cited as an influence by Brit funk musicians: Jean-Paul 'Bluey' Maunick, guitarist with Light of the World and subsequently leader of Incognito, said that the energy of punk and a lack of musical experience led to his attempts to emulate the "slick funk" of 1970s American soul and jazz-funk acts turning into a sound "somewhere between that and a guy that’s just thrashing a guitar", whilst John Rocca of Freeez - who were signed by punk label Beggars Banquet Records - also drew parallels between the two scenes. Hi-Tension co-founder Paul McLean has also suggested that the Caribbean roots of many Brit funk musicians also influenced their music, resulting in "a looser rhythm (and) hints of reggae in the sound".

History
The British funk scene developed from the Home Counties, principally Essex at Lacy Lady in Ilford and The Goldmine on Canvey Island, along with clubs such as Crackers and the 100 Club on London's Oxford Street, Royalty in the London suburb of Southgate and Frenchies in Camberley, Surrey. According to 'Bluey' Maunick, the club scene attracted "a real mix of Black kids and white kids getting on in a surrounding that they all enjoyed, where they could be themselves", helping to break down the racial barriers which he had grown up with. In the South DJ Chris Hill and his Funk Mafia were pioneers, and in the North Colin Curtis, among others, were instrumental in its growth in popularity. Although the scene enjoyed significant underground popularity - a 1980 all-day event at Knebworth featuring Light of the World attracted 12,000 people - it attracted little mainstream media attention outside of Robbie Vincent's show on BBC Radio London: the BBC did produce Black Current, a TV pilot featuring Hi-Tension which was intended to launch a show conceived as a British equivalent of Soul Train, but this was not picked up for a full series.

Jimmy James & the Vagabonds recorded Brit funk song "Disco Fever". Princess gained UK hit "Say I'm Your No.1". With support from the club disc jockeys and labels such as Ensign Records and Elite Records, 80s artists including Light of the World, Level 42 enjoyed chart success and made regular appearances on BBC's flagship pop programme Top of the Pops. The first hit was "Hi Tension" by Hi-Tension. The biggest hits in the genre were "British Hustle" by Hi-Tension (which reached number 8 in 1978) and "Southern Freeez" by Freeez (which reached number 8 in 1981). Light of the World split and members formed Beggar and Co and Incognito.

"Hits in the US R&B chart" by black British artists included Carl Douglas, Delegation, Hot Chocolate, Jaki Graham, Central Line, Loose Ends, and Junior(Junior Giscombe). With DJs gaining cult status, the scene also created many 'club hits' which never achieved commercial success. Many British based soul and dance bands found themselves merging under the Brit funk banner. These included Central Line and Second Image.

Another portion of the Brit funk scene emerged from the light entertainment circuit with a number of acts performing cabaret, working men's clubs, and US army base venues during the early 1970s. Many of these Black British groups masqueraded as American acts, performing covers in the style of American performers. National exposure for these acts was sometimes achieved through television programs such as Opportunity Knocks and New Faces as was the case for the Manchester group, Sweet Sensation. These programs served as the gateway from the light entertainment scene into the British music industry.

Britfunk was an instrumental form of expression in developing Black British identity, particularly among young people. Author Robert Strachan explains the demographic as "the generation of young black people who were the first to be born in the United Kingdom found their expression through the adaptation of emergent African-American music to a particularly British context" (Strachan 69). Brit funk helped this generation of young people find their own unique sound and in doing so explore their own unique identities. While Brit funk drew heavy influence from American music, the young and diverse demographic spearheading the genre created a much more inclusive and fluid space. As a result, the music itself was much less worked than American funk and as Strachan describes found its "stylistic variation through naivety" (Strachan 68).

Influence
1980s pop groups such as Haircut 100 and Wham! tapped into the style and sound to help launch their careers. This scene was significant in reducing racial boundaries in the clubs and raised the profile of black and white musicians working together, notably Spandau Ballet who collaborated with Beggar and Co to produce the hit single "Chant Number One". Following the song's success Beggar and Co provided brass for other artists. According to Maunick, during Spandau Ballet's early days they watched Light of the World's rehearsals and asked them for musical advice. During the success of the jazz and Brit funk period, "chanting" became popular in discothèques and nightclubs. This football crowd style of interacting with the music continues in British clubs today. Hi-Tension's Patrick McLean has said that their frequent use of chanting was influenced by the early 1970s glam rock which they had grown up with.

Inspired by soul, jazz, hip-hop and funk, Brit funk exploded onto the scene in the 1980s, one of the first times black artists (primarily of Caribbean descent) received mainstream success in the UK. Between 1980 and 1983, in particular, many Brit funk acts came into the scene. However, what separated these British artists from Americans is widely debated. Some theories include a unique British wit/humor, inspiration from Euro fashion, stripped down aesthetics, and accents. However, a popular theory is that Brit funk's success in the British mainstream is due to its classification as pop music with lighter themes that are less concerned with the politics and identity found in reggae. Songs like Linx's "You're Lying" (1980), Beggar and Co's "Somebody Help Me Out" (1981) and Central Line's "Walking into Sunshine" (1981) appealed to those who wanted either relationship or sociopolitical commentary. Major labels' choices to market mostly love songs marked a larger gender divide. It was incredibly rare to find female musicians; however, female vocalists were often essential to the integration of "soul" vibes into the funky melody. Beyond this vocally feminine sound, the way consumers heard Brit funk shifted as the role of live performance joined the popularity of the 1970s DJ in clubs. By the 1980s, it was common for clubs to bring in Brit funk performers alongside DJs incorporating both an open and intimate space on the dancefloor. Brit funk was marked by these dualities: feminine and masculine, pleasure and politics, exclusionary and accessible. In 2017, former members of Hi-Tension, Light of the World and Beggar & Co formed a new band, The Brit Funk Association and began reviving the genre performing a repertoire from their respective catalogues.

Robert Strachan's "Britfunk: Black British Popular Music, Identity and the Recording Industry in the Early 1980s" highlights Britfunk's history as well as how Black music in the UK intersects with race, class, politics, nationality, culture, and gender. To start, Britfunk was significant for expressing Black British identity and drew from a range of African American music genres such as soul, jazz, electro, and hip-hop. the musical genres embodied by Britfunk are not bound by the borders and cultures of the Caribbean, which is where Black Britishness is most strongly linked. As a result of Britfunk's unboundedness, it was able to spark "fluidity of identity and space where strict cultural boundaries in terms of identity, gender and ethnicity could be negotiated, blurred and articulated" (Strachan 69). Moreover, in the construction of Black British identity, Britfunk was less like reggae in the sense that it had less "conscious engagement with politics and identity" and more elements of mainstream pop.

More recently, Tyler, the Creator acknowledged the influence of Brit funk on his work when he gave his acceptance speech for the Brit Award for International Male Solo Artist at the 2020 Brit Awards.

Continuities between Brit funk and disco
Gaining inspiration from various musical genres, Brit funk continued and built off of technological and symbolic themes present in U.S. disco. Author Robert Strachan described that Brit funk became recognized for its "use of electronic production, drum machines, electronic bass and the stripped down aesthetic of electro presented a slick, ultra-modern musical aesthetic combined with visual codes accessed from American disco acts." Furthermore, Brit funk seemed to follow in disco's footsteps in regards to expression of gender and sexuality. Various authors such as Tim Lawrence, Bill Brewster and Frank Broughton discussed how disco ushered in a unique moment in which gender and sexuality queerness gained "recognition" in mainstream music. The disco genre fostered a culture that highlighted and celebrated a sense of fluidity and "multipleness" that was revolutionary in its day. Like disco, Brit funk also represented a unique moment of fluidity in gender expression and sexuality. Britfunk was emerging in a time in the UK in which gender-play was entering the mainstream pop scene from strains of UK club scenes and formed around unique identity politics. Such politics were highly entangled with pleasure on the dance floor which was the essence of U.S. disco as well. Such pleasure in both Brit funk (and disco) was ambiguous, "in terms of gender and sexuality..." Strachan said that many Brit funk artists "were clearly drawing upon outré and undoubtedly gay styles that had emerged in the club scenes", and the aesthetics of Brit funk can now "...be read as escaping fixed notions of identity."

Fluidity
Because of the emergence of Brit funk, it "enabled a fluidity of identity and a space where strict cultural boundaries in terms of identity, gender and ethnicity could be negotiated, blurred and articulated." Brit funk created fluidity when it came to race and gender because of the creativity that came from the sharing of sounds throughout the diaspora.

Race
As Brit funk grew, the artists drew from a variety of African-American genres such as soul and jazz. Despite the fact that Brit funk was becoming its own category of music, it was seen and put into the box of other African-American genres instead. The first generation of young black people born in the U.K. took a liking to the genre and started to create their own genre. The only problem was that because they were producing music that was based on African American music influences, it brought into question the authenticity of the Brit funk being produced. However, because Brit funk does not fit into a category, it struggled to be successful commercially, but it still defied the norms of music."'On the one hand Britfunk's particular appropriation of African-American forms resulted in a particular version of diasporic cultural articulation. On the other hand, given that these musics are not directly bound geographically and culturally to the Caribbean, which has been a dominant (and even hegemonic) signifier of black Britishness (Hesse, 2000), they enabled a fluidity of identity and a space where strict cultural boundaries in terms of identity, gender and ethnicity could be negotiated, blurred and articulated.' -Robert Strachan in his book, Black Popular Music in Britain since 1945"

Despite being neglected in narratives regarding Black diasporic music due to its similarities African American music, Brit funk was a relevant form of expressing Black British identity in its own right as it engaged in a "complex form of cultural politics" with key differences from Black American music such as the "infrequent explicit evocation of place," British accents, and nuances in playing styles as the music lacked a finesse maintained in U.S. tracks. Black British musicians were able to utilize this genre to challenge the idea that Black identity is a monolith. Brit funk allowed for a "multifaceted expression of identity" demonstrating the ethnic, cultural, and individualistic diversity possessed within the Black racial category. Still, the tension between marketability and identity arose (as it often does in mainstream contexts) as Black British musicians were reduced to roles of either very ethnic or assimilated and forced to create music about either love or politics. These expectations are often seen of Black artists today as the mainstream frequently attempts to place Black artists into prescribed boxes. However, many Brit funk artists (like artists today) worked to combat the narrative of Black singularity as they cultivated a mode of escapism for Black Britons allowing them to embrace the utopia of what a fluid, multi-racial society could be.

Gender
Because of the style of Brit funk, women's voices had a more prominent role in the Brit funk music that was released. Sticking to the formula of U.S. genres, women were more involved in the Brit funk genre in order to seem more authentic. Because clubbing was the primary reason the music spread, clubs allowed a safe space for people be free with their sexuality. While other diasporic genres like reggae were less open to sexuality, Brit funk encouraged both men and women to express their sexuality. As Strahan wrote in his book Black Popular Music in Britain Since 1945, "Club culture then allowed a space in which rigid attitudes towards sexuality within the wider community could be explored, pushed and negotiated. The centrality of black gay men within the scene allowed for a particular transcendence of contemporary social boundaries."

title: Brit funk


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Talk:Celtic Christianity

'Celtic'/"Celtic" Christianity?
""Celtic Christianity" has been conceived of with differing levels of specificity: some writers have described a distinct "Celtic Church" uniting the Celtic peoples and distinguishing them from the "Roman" Catholic Church, while others classify it as simply a set of distinctive practices occurring in those areas.[2] Scholars now reject the former notion" - on that basis perhaps use of '' or "" should be used in the title, as indicated? Fergananim (talk) 10:42, 14 June 2017 (UTC)

Requested move 16 November 2018

 * 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 section.

The result of the move request was: Not Moved. Consensus against move. (non-admin closure) –Ammarpad (talk) 15:48, 23 November 2018 (UTC)

Celtic Christianity → Christianity in the Celtic nations – Scope, WP:PRECISION per Celtic nations. Compare Celtic Christianity, e.g.: "[M]odern scholars have identified problems with all of these claims, and find the term 'Celtic Christianity' problematic in and of itself. Modern scholarship roundly rejects the idea of a 'Celtic Church' due to the lack of substantiating evidence." WP:CONSISTENCY with Christianity in Roman Britain, Christianity in Anglo-Saxon England, Christianity in Medieval Scotland. A second option would be something like Christianisation of the Celtic nations in equivalence Christianization of Kievan Rus', Christianization of the Slavs, etc. Chicbyaccident (talk) 11:12, 16 November 2018 (UTC)

 * When you say "modern scholarship roundly rejects' would you provide some links please. -Snowded TALK 11:32, 16 November 2018 (UTC)
 * As listed after the sentences in Celtic Christianity, ultimately listed at Celtic Christianity. Chicbyaccident (talk) 11:37, 16 November 2018 (UTC)

 * Oppose. Modern scholars regard 'Celtic Christianity' as problematic, but the notion of 'Celtic nations' is also problematic. The chapter on the subject in the Cambridge History of Christianity is headed 'Christianities of the Celtic peoples', but this is also unsatisfactory both because term Celtic is considered suspect, except linguistically, and because a key confrontation between the two forms took place in Northumbria at the Synod of Whitby. There was a separate related set of traditions in Britain and Ireland and no satisfactory name for it. We need a better name but I cannot think of one. Dudley Miles (talk) 12:29, 16 November 2018 (UTC)
 * I'd support Christianity of the Celtic peoples, but perhaps also someting like "of the British peoples"/"British isles". Anyway, see also Celtic_Christianity: "In the 18th and 19th centuries, antiquarianism, the Romantic movement, and growing nationalism influenced ideas about what was becoming known as "Celtic Christianity". Beginning in the early 20th century, a full-fledged revival movement began, centred on the island of Iona and influenced by the Irish literary revival and more general Christian revivals. By the end of the 20th century, another wave of enthusiasm began, this time influenced by New Age ideals." We already have Neo-Celtic Christianity to describe what seems to be promoted here both above and below. Chicbyaccident (talk) 13:38, 16 November 2018 (UTC)

 * Oppose. The proposed title is too broad. The page can deal with concept of "Celtic Christianity" without presenting it as unequivocally real. Srnec (talk) 12:38, 16 November 2018 (UTC)
 * Oppose per opposers, and because there is no stop date obvious for "Christianity in the Celtic nations", which could be mostly about the 19th century in Ireland and Wales for all the reader knows. Like Celtic art etc, the term has all sorts of problems, but there is no preferable alternative, and at least it wins in WP:COMMONNAME. Johnbod (talk) 15:35, 16 November 2018 (UTC)
 * Oppose I read some of the references and I don't think they justify moving away from a common search term. Also the Synod of Whitby creates an identity -Snowded TALK 16:58, 16 November 2018 (UTC)
 * Oppose - Current article is already large enough and covers a specific term and topic. No need to confuse it with other, broader issues. Other, related topics already cover what can be reliably sourced. Maybe look to those articles for places to make improvements. - CorbieV  ☊ ☼ 20:43, 16 November 2018 (UTC)

 * The above discussion is preserved as an archive of a requested move. Please do not modify it. Subsequent comments should be made in a new section on this talk page or in a move review. No further edits should be made to this section.

Reverts by User:Snowded
User:Snowded, you removed reliably sourced information from the article and replaced it with an uncited sentence. What was removed from the article was cited to publications printed by academic presses (such as Oxford University Press), as well as scholars including Ian Bradley. If you have suggestions on where this content can be better placed, I am open to hearing them; however, this cannot be removed in full. I hope this helps. With regards, AnupamTalk 20:29, 30 July 2020 (UTC)
 * I should note that Ian Bradely is heavily cited throughout the rest of the article; therefore an edit summary of "too much opinion in those changes" is not an adequate reason for removing the information. I have added the content elsewhere to the article so as a compromise, I am willing to remove the information from the lede, though I think that something should be said there about the influence of Insular Christianity on the faith as practiced in the British Isles. I look forward to hearing your thoughts. Kind regards, AnupamTalk 20:53, 30 July 2020 (UTC)
 * You might want to check out WP:BRD, you were bold and you were reverted so next step is to discuss, the onus is on you to justify the changes. The changes read like synthesis to me but its late at night so I will review in the morning -Snowded TALK 20:57, 30 July 2020 (UTC)
 * User:Snowded, I appreciate your willingness to have a second look at the changes. Given that I've substantially trimmed the sentences in the lede as I suggested in the compromise above, I don't think that there should be any issue now. If there are, I'd be happy to work with you to hammer them out. I hope this helps. With regards, AnupamTalk 21:28, 30 July 2020 (UTC)

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

title: Talk:Celtic Christianity


text:
Island City

Island City may refer to:

In geography

 * Island City, Indiana, an unincorporated settlement in the United States
 * Island City, Kentucky
 * Island City, Missouri
 * Island City, Oregon, a city in the United States
 * Island City, Fukuoka (アイランドシティ), a man-made island in Japan
 * Island city, another name for South Mumbai; originally Mumbai was a city of seven islands.

In entertainment

 * Island City (1994 film), a television movie originally run on the Prime Time Entertainment Network
 * Island City (2015 film)

Others

 * Island City (schooner), American sunken schooner listed in National Register of Historic Places

title: Island City


text:
Francesco Baracca

Count Francesco Baracca (9 May 1888 – 19 June 1918) was Italy's top fighter ace of World War I. He was credited with 34 aerial victories. The emblem he wore side by side on his plane of a black horse prancing on its two rear hooves inspired Enzo Ferrari to use it on his racing car and later in his automotive company.

Biography
Baracca was born in Lugo di Romagna. He was the son of wealthy landowner Count Enrico Baracca and his wife Paolina. The younger Baracca initially studied at a private school in Florence before entering the Military Academy of Modena in October 1907. As he had become a passionate equestrian as an antidote to classroom boredom, he became a cavalryman with the prestigious Piemonte Reale Cavalleria Regiment upon his commissioning in 1910. His first duty station allowed him to attend concerts and opera in Rome, as well as pursue hunting and equestrian competitions; he gained some fame in the latter. This little idyll was spoiled by orders to report to a small town in central Italy. Baracca then became interested in aviation and learned to fly at Reims, France, receiving his pilot's license on 9 July 1912. He then served with the Battaglione Aviatori and in 1914 with the 5th and 6th Squadriglie.

World War I
During the months between the outbreak of World War I and Italy's entry into the war, there was intense political controversy in Italy between pro-war and pro-peace factions. Baracca remained aloofly neutral but ready to serve his nation. After Italy's entry into the war on the Entente side in May 1915, he was sent to Paris to convert to Nieuport two-seaters. Upon his return in July, he was assigned to the 8a Squadriglia Nieuport. The Nieuport 10s that equipped this squadron were almost useless against Austro-Hungarian raids; they were too slow, with too slow a rate of climb, to bring the intruders to battle with any regularity. The frustrated Italian pilots even resorted to leaving their observers ground-bound in attempts to improve performance, to little avail. On those rare occasions when the battle was joined, the Nieuports' guns usually jammed. Renaming the unit to 1a Squadriglia Caccia on 1 December 1915 did nothing to solve the problems.

The Nieuport 11 single-seat fighter with Lewis guns entered service in April 1916, and on 7 April, flying this new fighter, Baracca scored his first victory, holing the fuel tank of an Austrian Hansa-Brandenburg C.I and wounding its two-man crew. This was also Italy's first aerial victory in the war. This first victory featured his favourite manoeuvre, which was to zoom in unseen behind and below an enemy and fire his machine gun from pistol range.

It was around this time that Baracca adopted as a personal emblem a black prancing horse on his Nieuport 17, in tribute to his former cavalry regiment. This prompted some to call him, "The Cavalier of the Skies". Flying the Nieuport 17 and then, from March 1917, the SPAD VII, he scored both individually, and in combination with other Italian aces.

Baracca's second victory was an Austrian Lohner over Gorizia on 23 April 1916. After his third victory, he transferred to 70a Squadriglia. Promoted to Capitano, Baracca remained with the unit until, with 9 victories, he transferred to the newly formed 91st Squadriglia, known as the "Squadron of the Aces", on 1 May 1917. By that time, his ever-increasing list of victories had made him nationally famous. While he initially dodged the responsibilities and paperwork that went with command, he finally settled into heading the squadron.

Baracca's friend Fulco Ruffo di Calabria nearly ended Baracca's career — and life — in June 1917. Ruffo di Calabria burst out of a cloud firing in a head-on pass at an enemy airplane, and barely missed Baracca. Later, on the ground, Baracca assured his companion, "Dear Fulco, next time, if you want to shoot me down, aim a couple of metres to the right. Now let's go for a drink and not talk of it any more!" Baracca temporarily upgraded to a Spad XIII in October 1917, using it to achieve a couple of victories on 22 October, and on a win scored on a joint sortie with Pier Piccio on 25 October. That night he wrote: "I had my SPAD shot up and its longeron broken into pieces by enemy machine gun fire in an aerial dogfight." As a result, Baracca returned to the more manoeuvrable Spad VII, remarking, "It doesn't matter if the VII is equipped with a single gun. Provided you are a good fighter, a single gun is just enough." Nevertheless, after repair, he sometimes returned to the Spad XIII.

A dedicated fighter pilot, Baracca found life away from the front unbearable and remained as much as possible with the 91st Squadriglia, even after being promoted to Maggiore in November 1917. Baracca remained a modest, sensitive man conscious of his duty and compassionate to both his squadron comrades and to his defeated enemies. He would try to visit his victims in hospital afterwards, to pay his respects, or he would place a wreath on the grave of those he killed. He had raised his score to 30 by the end of 1917.

Soon afterwards, Baracca, Piccio, and Ruffo di Calabria were tasked with evaluating the new Ansaldo A.1 Balilla fighter. Baracca was personally decorated by King Victor Emmanuel III at La Scala at this time. It was March 1918 before Baracca convinced his superiors that he belonged back at the front. He was not long back before he found himself in a situation similar to the previous late October: his squadron was forced to withdraw by enemy advances on 27 April. It was about this time that he adopted the griffin as an insignia for the planes in his unit. Most of his pilots adopted it, though some still flaunted the prancing stallion as a gesture of respect for their commander.

Death
Baracca saw little action in 1918, but he added more victories, for a total of 34, before failing to return from a strafing mission on the Montello (hill) area on 19 June.

The Italians were taking advantage of their air superiority to fly treetop ground attack missions into a storm of small-arms fire. In the 06:30 troop support mission, Baracca and rookie pilot Tenente Franco Osnago were hit by ground fire and split from one another. A few minutes later, both Baracca's home airfield and Osnago saw a burning airplane fall. According to other sources, Baracca had left Osnago to provide him with top cover as he dived on the enemy trenches. Osnago lost sight of his commander, then he saw something burning in a nearby valley. Some days later, on 24 June, after an Austro-Hungarian retreat, Baracca's remains were recovered from where they lay, four meters from the burnt remnants of his Spad VII. A monument in his memory was later built on the site. Osnago, Ferruccio Ranza, and a journalist named Garinei retrieved his body for the large funeral that was held in his home town of Lugo.

His body, when found, reportedly bore the marks of a bullet to the head. His pistol was out of its holster, but away from his body, leading to suspicions that he elected to take his own life rather than die in a crash or be taken prisoner. An Austrian pilot reportedly claimed to have shot him down in combat. This claim is allegedly supported by evidence, but the most accepted version is that Baracca was hit by ground fire. Research in Austro-Hungarian records indicates that he was killed by the gunner of an Austrian two-seater while attacking from above and behind.

Ltn Arnold Barwig in Phönix C.I 121.17, piloted by Zgsf Max Kauer, claimed to have shot down the Italian ace. The Austrian crew also photographed the shot-down aeroplane and noted the time and place of engagement.

Legacy
Baracca's total of 34 victory claims can largely be verified from known Austro-Hungarian losses and surviving military records, establishing the Italian as one of the highest-scoring Allied pilots during the conflict. After the war, his home in Lugo di Romagna was turned into the Francesco Baracca Museum, which displays mementoes, uniforms, and medals from Baracca's life, as well as rudders and guns taken from shot-down aircraft. In the 1920s, a SPAD VII once flown by Baracca in December 1917 was presented for display, which was subsequently restored by GVAS (the Italian aeronautical preservation society).

Many roads in Italy are named after Baracca. The airport of Bolzano, a city in the region of Trentino-Alto Adige, the Roma-Centocelle Italian Air Force base, and the Lugo di Romagna airfield are all named after Baracca. A huge monument to his memory dominates the main square of his home town at Lugo di Romagna.

In later years, Baracca's mother presented his prancing stallion emblem, the Cavallino Rampante, to Enzo Ferrari. The prancing horse has been the official symbol of the Scuderia Ferrari racing team since 1929, and of Ferrari automobiles since they began being manufactured. The roller coaster at Ferrari World on Yas Island Flying Aces, is named after him and themed to him.

He was decorated with the Order of Karađorđe's Star with swords and a number of other decorations.

title: Francesco Baracca


text:
Talk:Arthur–Merlin protocol

Source to check information: MIT course on advanced complexity. Andris 21:04, May 19, 2004 (UTC)

BPP verifier?
I just removed the following sentence:

However, Arthur is not necessarily a BPP verifier as it is not known whether MA is contained in the class $$ \exists \mathsf{BPP}$$.

I had two reasonds: first, it is nowhere explained what a BPP verifier is, so this sentence was coming out of the blue a bit. Second, it seems that for Arthur to be a BPP verifier, it suffices that ExistsBPP is contained in MA, which is known to be true. Therefore, the sentence seems to false too. However, without a proper definition of what it means to be a BPP verifier, I cannot be sure (coming back to the first issue), so I've removed the sentence instead of correcting it. Note that ExistsBPP is still mentioned in the 'Properties' section, where the statement seems to be correct.

--Sjcjoosten (talk) 11:03, 27 June 2017 (UTC)

Example?
Could someone please put examples of natural problems in MA? Note that non-specialists may look at this page, ones who are a bit shaky on the background necessary to be sure they understand just from looking at definitions

67.189.144.253 (talk) 18:19, 6 September 2020 (UTC)

title: Talk:Arthur–Merlin protocol


text:
Heredity (journal)

Heredity is a monthly peer-reviewed scientific journal published by Nature Portfolio. It covers heredity in a biological sense, i.e. genetics. The journal was founded by Ronald Fisher and C. D. Darlington in 1947 and is the official journal of The Genetics Society. From 1996 the publishing was taken over by Nature Portfolio. The editor-in-chief is Sara Goodacre.

According to the Journal Citation Reports, the journal has a 2021 impact factor of 3.832, ranking it 61st out of 173 journals in the category "Ecology", 19th out of 51 journals in the category "Evolutionary Biology", and 79th out of 175 journals in the category "Genetics & Heredity".

title: Heredity (journal)


text:
Bill Veeck

William Louis Veeck Jr. (February 9, 1914 – January 2, 1986), also known as "Sport Shirt Bill" and "Wild Bill", was an American Major League Baseball franchise owner and promoter. Veeck was at various times the owner of the Cleveland Indians, the St. Louis Browns, and the Chicago White Sox. As owner and team president of the Indians in 1947, Veeck signed Larry Doby, thus beginning the integration of the American League, and the following year won a World Series title.

Veeck was the last owner to purchase a baseball franchise without an independent fortune, and is responsible for many innovations and contributions to baseball.

Unable to compete in the new era of salary escalation ignited by arbitration and free agency, Veeck sold his ownership interests in the White Sox after the 1980 season. He was inducted into the Baseball Hall of Fame posthumously in 1991.

Early life
Bill Veeck was born on February 9, 1914, in Chicago. While Veeck was growing up in Hinsdale, Illinois, his father, William Veeck Sr., became president of the Chicago Cubs. Veeck Sr. was a local sports writer who wrote numerous columns about how he would run the Cubs differently, and the team's owner, William Wrigley Jr., took him up on the implied offer. While growing up, the younger Veeck worked as a popcorn vendor for the Cubs and also as a part-time concession salesman for the crosstown Chicago White Sox. Later, in 1937, he came up with the idea of planting ivy on the walls of Wrigley Field. Veeck attended Phillips Academy in Andover, Massachusetts. In 1933, when his father died, Veeck left Kenyon College and eventually became club treasurer for the Cubs. In 1935, he married his first wife, Eleanor.

Milwaukee Brewers
In 1940, Veeck left Chicago and, in a syndicate with former Cubs star and manager Charlie Grimm, purchased the then-struggling Triple-A Milwaukee Brewers of the American Association. After winning three pennants in five seasons Veeck sold his Milwaukee franchise in 1945 for a $275,000 profit.

According to his autobiography Veeck – As in Wreck, Veeck claimed to have installed a screen to make the right field target a little more difficult for left-handed pull hitters of the opposing team. The screen was on wheels, so any given day it might be in place or not, depending on the batting strength of the opposing team. There was no rule against that activity as such, but Veeck then took it to an extreme, rolling it out when the opponents batted, and pulling it back when the Brewers batted. Veeck reported that the league passed a rule against it the very next day. However, extensive research by two members of the Society for American Baseball Research (SABR) suggests that this story was made up or certainly exaggerated by Veeck. The two researchers could not find any references to a moveable fence or any reference to the gear required for a moveable fence to work.

While a co-owner of the Brewers, Veeck served for nearly three years in the United States Marine Corps during World War II in an artillery unit. During this time a recoiling artillery piece crushed his right leg, requiring amputation first of the foot, and shortly after of the leg above the knee. Over the course of his life he had 36 operations on the leg. He had a series of wooden legs and, as an inveterate smoker, cut holes in them to use as ashtrays. Veeck also used the wooden leg in props such as a recreation of iconic Revolutionary War soldiers during the Bicentennial year of 1976. At other times, engaged in intensive trade talks with competing owners, Veeck would complain they were demanding "an arm and a leg" in negotiations, then unbuckle the leg and throw it on the desktop for dramatic effect.

Attempted purchase of Philadelphia Phillies
Veeck had been a fan of the Negro leagues since his early teens. He had also admired Abe Saperstein's Harlem Globetrotters basketball team, which was based in Chicago. Saperstein saved Veeck from financial disaster early on in Milwaukee by giving him the right to promote the Globetrotters in the upper Midwest in the winter of 1941–42.

In the fall of 1942, Veeck met with Gerry Nugent, president of the Philadelphia Phillies, to discuss the possibility of buying the struggling National League team. He later wrote in his memoirs that he intended to buy the Phillies and stock the team's roster with stars from the Negro leagues. Although no formal rules barred African-American players from the majors, none had appeared in organized baseball since the 1890s.

Veeck quickly secured financing to buy the Phillies, and agreed in principle to buy the team from Nugent. While on his way to Philadelphia to close on the purchase, Veeck decided to alert MLB Commissioner Kenesaw Mountain Landis of his intentions.

Veeck did not believe Landis would dare say black players were unwelcome while blacks were fighting in World War II. However, when Veeck arrived in Philadelphia, he was surprised to discover that the National League had taken over the Phillies and was seeking a new owner (the Phillies were ultimately sold to lumber baron William D. Cox).

The authors of a controversial article in the 1998 issue of SABR's The National Pastime argued that Veeck invented the story of buying the Phillies and filling their roster with Negro leaguers, claiming Philadelphia's black press made no mention of a prospective sale to Veeck.

Subsequently, the article was criticized by historian Jules Tygiel, who reviewed it point-by-point in an article in the 2006 issue of SABR's The Baseball Research Journal, and in an appendix, entitled "Did Bill Veeck Lie About His Plan to Purchase the '43 Phillies?", published in Paul Dickson's biography, Bill Veeck: Baseball's Greatest Maverick. In the SABR article, Tygiel explained that Veeck and others had mentioned the alleged scheme to buy and stock the Phillies up to fifteen years before the publication of Veeck's memoir, but conceded that, "In all of these accounts the only voice telling the story remains Veeck's." The Tygiel article also conceded, "The overall assessment of Jordan, et al. - that Veeck's notion of buying the Phillies and fielding a team of Negro League stars never quite moved as far from the drawing board as Veeck claimed - may still be true. We still lack any solid evidence that confirms that Veeck had not only conceptualized this action, but made a firm offer to buy the Phillies and met a rebuff by Landis and (then-National League president Ford) Frick."

Cleveland Indians
In 1946, having sold his interest in the Class AAA Milwaukee Brewers, Veeck became the owner of a major league team, the Cleveland Indians. He immediately put all the team's games on radio (previously, only limited games had been broadcast). He also moved the team to Cleveland Municipal Stadium permanently in 1947. The team had split their games between the larger Municipal Stadium and the smaller League Park since the 1930s. However, Veeck concluded that League Park, which had been built in its final form in 1910, was far too small and deteriorated to be viable.

In July of that year, he signed Larry Doby, the first black player to play in the American League. Doby's first game was on July 5 and before the game, Doby was introduced to his teammates by player-manager Lou Boudreau. "One by one, Lou introduced me to each player. 'This is Joe Gordon,' and Gordon put his hand out. 'This is Bob Lemon,' and Lemon put his hand out. 'This is Jim Hegan,' and Hegan put his hand out. All the guys put their hand out, all but three. As soon as he could, Bill Veeck got rid of those three", Doby said. The following year Veeck signed Satchel Paige to a contract, making him the oldest rookie ever in Major League Baseball history.

To take advantage of the large size of Cleveland Municipal Stadium, Veeck had a portable center field fence installed in 1947, which he could move in or out depending on how the distance favored the Indians against their opponents in a given series. The fence moved as much as 15 ft between series opponents. Following the 1947 season, the American League countered with a rule change that fixed the distance of an outfield wall for the duration of a season.

As in Milwaukee, Veeck took a unique approach to promotions, hiring Max Patkin, the "Clown Prince of Baseball", as a coach. Patkin's appearance in the coaching box delighted fans and infuriated the front office of the American League. Although Veeck had become extremely popular, an attempt in 1947 to trade Boudreau to the St. Louis Browns led to mass protests and petitions supporting Boudreau. Veeck, in response, said he would listen to the fans, and re-signed Boudreau to a new two-year contract. Veeck claimed later that the trade talks had already broken down before they became public, but he seized the opportunity to promote the concept he had dropped the idea of the trade in response to public outcry.

By 1948, led by Boudreau's .355 batting average, Cleveland won its first pennant and World Series since 1920 (as of 2023, this remains the team's, now known as the Guardians, last World Series title). Famously, the following season Veeck buried the 1948 flag, once it became mathematically certain the team could not repeat its championship in 1949. Later that year, Veeck's first wife, Eleanor, filed for divorce. Most of his money was tied up in the Indians, so he was forced to sell the team to fund the divorce settlement. One year later, in 1950, Veeck married his second wife, Mary Frances Ackerman. He had met her the previous year while in Cleveland.

St. Louis Browns
After his second marriage, Veeck bought an 80% stake in the St. Louis Browns in 1951. Hoping to force the NL's St. Louis Cardinals out of town, Veeck hired Cardinal greats Rogers Hornsby and Marty Marion as managers, and Dizzy Dean as an announcer; and he decorated their shared home park, Sportsman's Park, exclusively with Browns memorabilia. Ironically the Cardinals had been the Browns' tenants since 1920, even though they had long since passed the Browns as St. Louis' favorite team.

Some of Veeck's most memorable publicity stunts occurred during his tenure with the Browns, including the appearance on August 19, 1951, by Eddie Gaedel, who had dwarfism and stood 3 ft tall, and is the shortest person to appear in a Major League Baseball game. Veeck sent Gaedel to pinch hit in the bottom of the first inning of the second game of a double header. Wearing "1/8" as his uniform number, Gaedel was walked on four straight pitches and then was pulled for a pinch runner.

Shortly afterwards "Grandstand Manager's Day" – involving Veeck, Connie Mack, and thousands of regular fans, enabled the crowd to vote on various in-game strategic decisions (i.e., steal, bunt, change pitchers) by holding up placards: the Browns won, 5–3, snapping a four-game losing streak.

After the 1952 season, Veeck suggested that the American League clubs share radio and television revenue with visiting clubs, a proposal anathema to the powerful Yankees, whose broadcasting revenues dwarfed all the other AL franchises. Outvoted, he refused to allow the Browns' opponents to broadcast games played against his team on the road. The league responded by eliminating the lucrative Friday night games in St. Louis.

A year later, Cardinals owner Fred Saigh was convicted of tax evasion. Facing certain banishment from baseball, he was forced to put the Cardinals up for sale. At first, the only credible offers came from out-of-town interests, and it appeared that Veeck would succeed in driving the Cardinals out of town. However, just as Saigh was about to sell the Cardinals to interests who would have moved them to Houston, Texas, he instead accepted a much lower bid from St. Louis-based brewing giant Anheuser-Busch, who entered the picture with the specific intent of keeping the Cardinals in town. It has long been claimed that Saigh was persuaded to accept Anheuser-Busch's bid more out of civic duty than money. However, according to Anheuser-Busch historian William Knoedelseder, Saigh's first preference all along was to sell the Cardinals to interests who would keep the team in St. Louis.

What is beyond dispute is that as soon as Anheuser-Busch closed on its purchase of the Cardinals, Veeck knew he was finished in St. Louis. He quickly realized that with Anheuser-Busch's wealth behind them, the Cardinals now had more financial resources than he could even begin to match, especially since he had no other source of income. Reluctantly, he decided to move the Browns elsewhere. As a preliminary step, he sold Sportsman's Park to the Cardinals, who would eventually rename it as the first incarnation of Busch Stadium.

At first Veeck considered moving the Browns back to Milwaukee (where they had played their inaugural season in 1901). Milwaukee recently built Milwaukee County Stadium in an attempt to entice a major league franchise.

However, the decision was in the hands of the Boston Braves, the parent team of the Brewers. Under major league rules of the time, the Braves held the major league rights to Milwaukee. The Braves wanted another team with the same talent if the Brewers were shut down, and an agreement was not made in time for the start of the 1953 season. Ironically, a few weeks later, the Braves themselves moved to Milwaukee. St. Louis was known to want the team to stay, so some in St. Louis campaigned for the removal of Veeck.

Undaunted, Veeck got in touch with a group that was looking to bring a major league franchise to Baltimore, Maryland. After the 1953 season, Veeck agreed in principle to sell half his stock to Baltimore attorney Clarence Miles, the front man of the Baltimore group, and his other partners. He would have remained the principal owner, with approximately a 40% interest. Even though league president Will Harridge told him approval was certain, only four owners—two short of the necessary six for passage—supported it. Realizing the other owners simply wanted him out of the picture (indeed, he was facing threats of having his franchise canceled), Veeck agreed to sell his entire stake to Miles' group, who then moved the Browns to Baltimore, where they were renamed as the Orioles, which has been their name ever since.

Chicago White Sox
Taking advantage of inter-familial friction within the Comiskey family, in 1959, Veeck became head of a group that purchased a controlling interest in the Chicago White Sox. Following Veeck's acquisition of the team, the White Sox went on to win their first pennant in 40 years. That year the White Sox broke a team attendance record for home games with 1.4 million. The next year the team broke the same record with 1.6 million visitors to Comiskey Park with the addition of the first "exploding scoreboard" in the major leagues – producing electrical and sound effects, and shooting fireworks whenever the White Sox hit a home run. The "exploding scoreboard" was carried over to the "new" Comiskey Park (now Guaranteed Rate Field) when it opened in 1991.

One year later in 1960, Veeck and former Detroit Tigers great Hank Greenberg, his partner with the Indians and White Sox, reportedly made a strong bid for the American League expansion franchise in Los Angeles. Greenberg would have been the principal owner, with Veeck as a minority partner. However Los Angeles Dodgers owner Walter O'Malley was not willing to compete with a team owned by Veeck, even if he would only be a minority partner. When O'Malley heard of the deal, he invoked his exclusive franchise rights for Southern California. Any potential owner of an American League team in the area would have had to have O'Malley's approval, and it was apparent that O'Malley would not allow any team to set up shop with Veeck as a major shareholder. Rather than try to persuade his friend to back out, Greenberg abandoned his bid for what became the Los Angeles Angels.

In 1961, due to poor health, Veeck sold his share of the White Sox to John and Arthur Allyn for $2.5 million. After selling the White Sox, Veeck worked intermittently as a television commentator for ABC. Veeck then moved to the Eastern Shore of Maryland with his family to convalesce.

When his health improved, Veeck made an unsuccessful attempt to buy the Washington Senators, then operated the Suffolk Downs race track in Boston in 1969–70. He also tried to buy the Baltimore Orioles in 1974 but failed due to troubles with the IRS. Veeck was not heard from again in baseball ownership circles until 1975, when he repurchased the White Sox from John Allyn (sole owner since 1969). Veeck's return rankled baseball's establishment, most owners viewing him as a pariah after exposing industry politics and maneuvering in his 1961 book Veeck As In Wreck. The owners were also unhappy with Veeck's extensive unfavorable discussion of the 1964 purchase of the New York Yankees by CBS in 1965's The Hustler's Handbook (a move Veeck felt exposed MLB to dangerous antitrust liabilities and endangered the antitrust exemption established in a 1922 ruling by the U.S. Supreme Court). The White Sox were slated to move to Seattle, Washington for the amount of $14 million while Charlie O. Finley planned to move his Oakland Athletics to Chicago. However, it was Andy McKenna who approached Veeck about the possibility of returning home to Chicago, which got Veeck to assemble an ownership group to make an offer for the team. On December 16, 1975, Veeck's group purchased the team from Allyn.

Almost immediately after reassuming control of the Sox, Veeck unleashed another publicity stunt. He and general manager Roland Hemond conducted four trades in a hotel lobby, in full view of the public; other owners considered this undignified. Two weeks later, however, arbitrator Peter Seitz's ruling struck down the reserve clause and ushered in the era of free agency, leading to dramatic increases in player salaries. Ironically Veeck had been the only baseball owner to testify in support of Curt Flood during his landmark court case, at which Flood had attempted to gain free agency after being traded to the Philadelphia Phillies. Veeck had proposed a gradual transition to a free-agent system in which players would gain free agency rights after a certain amount of service time. The owners gambled that Seitz would rule in their favor and maintain the reserve clause; he did not.

On the field, Veeck presented a Bicentennial-themed "Spirit of '76" parade on Opening Day in 1976, casting himself as the peg-legged fifer bringing up the rear. In the same year he reactivated Minnie Miñoso for eight at-bats, in order to give Miñoso a claim towards playing in four decades; he did so again in 1980, to expand the claim to five. He also unveiled radically altered uniforms for the players, including clamdigger pants and even shorts, which the Sox wore for the first time against the Kansas City Royals on August 8, 1976.

In an attempt to adapt to free agency, he developed a "rent-a-player" model, centering on the acquisition of other clubs' stars in their option years. The gambit was moderately successful: in 1977 the White Sox won 90 games and finished in third place with additions such as Oscar Gamble and Richie Zisk.

During this last run, Veeck decided to have announcer Harry Caray sing "Take Me Out to the Ball Game" during the seventh inning stretch. Veeck asked Caray to sing for the entire park, but he refused. Veeck replied that he already had a recording, so Caray would be heard either way. Caray reluctantly agreed to sing it live, accompanied by White Sox organist Nancy Faust, and went on to become famous for singing the tune, continuing to do so at Wrigley Field after becoming the broadcaster of the Chicago Cubs in 1982. This tradition has continued there since even with the death of Caray in 1998.

The 1979 season was filled with more promotions. On April 10, he offered fans free admission the day after a 10–2 Opening Day defeat by the Toronto Blue Jays. On July 12, Veeck, with assistance from son Mike and radio personality Steve Dahl, held one of his most infamous promotions, Disco Demolition Night, between games of a scheduled doubleheader, which resulted in a riot at Comiskey Park and a forfeit to the visiting Detroit Tigers.

Life after baseball
Finding himself no longer able to financially compete in the free agent era, Veeck sold the White Sox in January 1981, albeit not without controversy, as his first choice in Edward J. DeBartolo Sr. (owner of the NHL's Pittsburgh Penguins and the NFL's San Francisco 49ers) was rejected by a league vote (eight votes in favor with ten required to pass). Veeck then sold the Sox to his second choice, Jerry Reinsdorf and partner Eddie Einhorn for $20 million. When Einhorn stated his desire to make the White Sox a "high-class operation", Veeck publicly transferred his allegiance back to the Chicago Cubs, the team his father had operated in his youth (at any rate, when the White Sox won the 2005 World Series, the Veeck family received championship rings from the organization). Veeck retired to his home in Chicago but in summer could often be found in the Wrigley Field bleachers. Veeck also wrote occasional articles for magazines and newspapers, usually opining on the overall state of baseball.

Declining health and death
Veeck had been a heavy smoker and drinker until 1980. In 1984, Veeck underwent two operations for lung cancer. Two years later, on the day after New Year's Day, 1986, he died at the age of 71 from cancer. He was posthumously elected five years later to the Baseball Hall of Fame.

Veeck was survived by his wife, Mary Frances, and eight of his nine children. Two of the surviving children, Peter and Ellen, were from his first marriage, and the others (Mike, Marya, Greg, Lisa, Julie and Chris) were from his second marriage. He was predeceased by his eldest child, William III, who died in 1985. His body was cremated. Mike Veeck became a minor league and independent baseball executive and was the co-founder of the St. Paul Saints, a successful charter member of the Northern League. The younger Veeck emulated many of Bill Veeck's promotional stunts with the Saints. Greg Veeck earned a Ph.D. at the University of Georgia in 1988 and is a geography professor at Western Michigan University focusing on urban geology and East Asia.

Books by Veeck
Veeck wrote three autobiographical works, each a collaboration with journalist and sportswriter Ed Linn. The first two were reissued in updated editions in the 1980s following Veeck's return to baseball ownership. The books include:
 * Veeck as In Wreck (1962) – a straightforward autobiography, later updated after Veeck's then-declining health forced him to sell his interest in the White Sox.
 * The Hustler's Handbook (1965) – a sequel and extension of Wreck, divulging his experiences in operating as an outsider in the major leagues, detailing many episodes of behind-the-scenes drama in baseball, including the 1965 acquisition of the New York Yankees by CBS and the maneuvering involved in the move of the Milwaukee Braves to Atlanta, and also a recounting of the 1919 Black Sox Scandal through a diary by Harry Grabiner, business manager of the White Sox in 1919 and much later, an associate of Veeck with the Indians in 1948.
 * Thirty Tons a Day (1972) – chronicling the time he spent running Suffolk Downs racetrack in the late 1960s and early 1970s. The title refers to the daily quantity of waste (horse excrement, used hay and straw, etc.) that had to be disposed of.

Awards and honors

 * 1948 World Series champion (as owner/president of the Cleveland Indians)
 * National Baseball Hall of Fame and Museum (Class of 1991)
 * The Baseball Reliquary's Shrine of the Eternals (class of 1999).
 * In 2013, the Bob Feller Act of Valor Award honored Veeck as one of 37 Baseball Hall of Fame members for his service in the United States Marine Corps during World War II.

title: Bill Veeck


text:
Codename: Kids Next Door

Codename: Kids Next Door is an American animated television series created by Mr. Warburton for Cartoon Network. The series follows the adventures of a diverse group of five children who operate from a high-tech treehouse, fighting against adult and teenage tyranny with advanced 2×4 technology. Using their code names (Numbuhs 1, 2, 3, 4, and 5), they are Sector V, part of a global organization called the Kids Next Door.

The series' pilot premiered on Cartoon Network in mid-2001 as part of The Big Pick II, a special broadcast event showcasing 11 pilots for different series. The winner of a viewers' poll by Cartoon Network would decide which pilot would be greenlit to be a full series. After winning the poll, the series premiered on December 6, 2002, and concluded on January 21, 2008, after six seasons and 81 episodes. Two television films were broadcast: Operation: Z.E.R.O., which aired in 2006, and Operation: I.N.T.E.R.V.I.E.W.S., which aired as the series finale in 2008. A special half-hour crossover episode with fellow Cartoon Network series, The Grim Adventures of Billy & Mandy, aired in 2007.

Spin-off media include two video games, Operation S.O.D.A. and Operation V.I.D.E.O.G.A.M.E., as well as a trading card game, comic books, and DVD releases. Codename: Kids Next Door has also appeared in DVD anthologies and compilation video games from Cartoon Network.

Synopsis
The show revolves around a group of five 10-year-old kids (later retconned to be varying ages), using codenames Numbuhs 1 through 5, who are the main home operatives of what is known as Sector V, which is part of a worldwide espionage-style organization called the Kids Next Door. Their mission is to fight crimes against children (such as homework and flossing), many of which are willingly committed by "evil" adults, senior citizens, teenagers, and other children. Numbuh 1 is the bald, astute, no-nonsense, workaholic British-American boy Nigel Uno, leader of Sector V. Numbuh 2 is the overweight, intellectual, aviation enthusiastic, pun-cracking Jewish-American boy Hoagie P. Gilligan, Jr.. Numbuh 3 is the silly and happy-go-lucky Japanese-American girl Kuki Sanban. Numbuh 4 is the short-tempered, irrational, and fighting-prone Australian-American boy Wallabee Beetles. Numbuh 5 is the intelligent, tomboyish, laid-back, African-American girl Abigail Lincoln.

Following a period of training, every member of the Kids Next Door chooses a number or alphanumeric code (deliberately pronounced and spelled as "Numbuh") and is sent to a "sector" that acts as their home base. The sector headquarters, like some of the organization's bases and facilities, are tree houses, with both treehouse and the tree it is in being of ludicrous proportions, and often suited to their environment. This includes a base constructed beneath the Arctic ice shelf, and a base built into a large pine tree. The main headquarters of the Kids Next Door is a treehouse Moon Base. The Kids Next Door follow their oath of protecting other kids as well as battling adulthood until the age of 13 when they are "decommissioned", a process of wiping their memories of any past KND activity and warping their minds. Such a practice has inevitably led to the creation of many KND villains who escaped decommissioning (such as Numbuh 5's older sister Cree, formerly known as Numbuh 11, and Chad, formerly known as Numbuh 274 and supreme commander of the Kids Next Door).

The practice of strict decommissioning at age 13 was later on revealed to be subject to exceptions: kids who are deemed exceptional agents are offered the chance to carry on in KND as spies infiltrating the teen organization in the Teens Next Door. Decommissioning has also proved reversible via a "re-commissioning" module used four times in the series (once in Operation: E.N.D. and three times in Operation: Z.E.R.O.).

KND agents utilize a vast array of mechanical, electronic gadgets, weapons, and machinery, collectively referred to as 2x4 (two-by-four) technology. The KND's 2x4 technology was originally conceived as being constructed from an assortment of objects, mostly common household ones. However, as the series progressed, the kind of objects their technology was constructed from became bigger, consisting of things such as large vehicles and small buildings. Not only that, but the complexity of their technology, such as their defensive weaponry and means of transportation, advanced to such absurd levels as to be considered science fiction, despite all of it still being constructed from nothing but an assortment of objects.

Storylines
The episodes are titularly presented as the missions of the members of Sector V in the Kids Next Door, denoted as "Operation:" followed by an acronym that can give viewers clues as to what each mission is about. Most episodes are divided into two parts, each with a different mission, while some episodes consist of two directly linked parts with one mission. Usually, the episodes have very little continuity with each other, although occasionally an episode will have a reference to at least one earlier episode and/or lead to consequences in later ones. Season Five's "Operation: O.U.T.B.R.E.A.K." is a direct continuation of the episode "Operation: V.I.R.U.S.", and Season Six's "Operation: S.C.I.E.N.C.E." leads into "Operation: A.M.I.S.H." while another pair of Season Six episodes; "Operation: R.E.C.E.S.S." and "Operation: H.A.M.S.T.E.R.", occur simultaneously, the latter showing what sort of thing transpires while the team is away.

Stories in the earlier episodes were often about typical childhood problems, but magnified and exaggerated. As the series progressed, a more complex and continuous storyline developed. The final season revolved around the mysterious Splinter Cell within the KND itself observing Numbuh One for an unknown assignment, which was concluded in the series finale "Operation: I.N.T.E.R.V.I.E.W.S.".

Production
Warburton created a pilot episode, titled "Diseasy Does It", for another planned show, Kenny and the Chimp, which was to be produced by Hanna-Barbera. Among the planned recurring characters for Kenny and the Chimp was a group of rebellious children known as "Those Kids Next Door", who carried out their mischief from a house next to Kenny's home, and frequently caused trouble for him. The plot-line was then changed to focus on the group of kids alone, and later, the kids battling adulthood. In 2001, the show's pilot episode, "No P in the OOL", which was produced at Cartoon Network Studios, won a Cartoon Network viewer's poll, and as a result, Codename: Kids Next Door was greenlit to become a series, while Kenny and the Chimp was not greenlit by the channel. The character Professor XXXL, who appeared in "Diseasy Does It", became a recurring character in Codename: Kids Next Door after Kenny and the Chimp was not picked up for a series. Despite this, Kenny and Chimpy did make a cameo in "No P in the OOL".

Codename: Kids Next Door was the most popular TV series produced at Curious Pictures, who previously did the work on Sheep in the Big City at Cartoon Network.

Main characters

 * Numbuh 1/Nigel Uno (voiced by Benjamin Diskin) - The leader and head operative of Sector V as well as the only child and son of Monty Uno.
 * Numbuh 2/Hogarth Pennywhistle "Hoagie" Gilligan, Jr. (voiced by Benjamin Diskin) - The best friend of Numbuh 1, the joke-cracking engineer and 2x4 Technology Officer of Sector V as well as the older brother of Tommy Gilligan.
 * Numbuh 3/Kuki Sanban (voiced by Lauren Tom) - The happy-go-lucky tactician and medic of Sector V as well as the older sister of Mushi Sanban.
 * Numbuh 4/Wallabee "Wally" Beetles (voiced by Dee Bradley Baker) - The brash combatant of Sector V as well as the older brother of Joey Beetles.
 * Numbuh 5/Abigail "Abby" Lincoln (voiced by Cree Summer) - The intelligent, relaxed second-in-command/spy of Sector V and the younger sister of Cree Lincoln.

KND Organization

 * Numbuh 6/Bradley (vocal effects provided by Dee Bradley Baker) - A skunk that became an honorary member of Sector V after Hoagie and Kuki saved him in the streets. In "Operation: H.O.S.P.I.T.A.L." Bradley is made into a cyborg to save his life after he gets hit by a car.
 * Numbuh 9/Maurice (voiced by Khary Payton) - A former member of Sector V who was reinstated to the Teens Next Door, a special operations group that fake being decommissioned on their 13th birthday, so they can learn information from both adults and teenagers.
 * Numbuh 13 (voiced by Billy West) - The Klutz of the KND. While he means well, he is ignorant to the fact that he is incredibly clumsy, klutzy, and moronic. Like the KND's Toiletnator, every sector dreads having to work with him, even his own. The Sector Leader of N, Numbuh 14/Mary-Lou Sara-Jane Jones (voiced by Lauren Tom), has the literal job of being his damage control, which she resents very much.
 * Numbuh 60/Patton Drilovsky (voiced by Matt Levin) - A high-ranking operative of the Kids Next Door Arctic Base.
 * Numbuh 65.3/Herbie (voiced by Dee Bradley Baker) - The stuffy and nerdy Head Communications Officer of Moonbase. He often hails Sector V for urgent missions. He is also fond of Lizzie Devine.
 * Numbuh 83/Sonia (voiced by Janice Kawaye) - The Soda, Snacks, and Treats officer of Sector W, she has an irrational fear of the dark and will go into a blind rage when she is forced towards it.
 * Numbuh 84/Lee (voiced by Janice Kawaye) - The tactical Yo-yo Specialist of Sector W.
 * Numbuh 86/Fanny Fulbright (voiced by Jennifer Hale) - The Head of Decommissioning and Global Tactical Officer of the KND Organization. She is a bossy girl and speaks with an Irish accent.
 * Numbuh 92 and Numbuh 93 (voiced by Benjamin Diskin and Tara Strong) - Two KND operatives who reside on the Kids Next Door Moonbase. Their roles are effectively replaced with Numbuh 44/Pete and Peter Doblemitz (usually voiced by Lauren Tom), twin operatives who also work as infantry.
 * Numbuh 101/Matt (voiced by Ogie Banks) - The Head of the KND Seriously Cool Museum of Artifacts and Stuff. He is a mega fan of Sector V, having made a macaroni statue of Numbuh 5, and even having Numbuh 1's infamous Rainbow Monkey underwear; This can turn them off from him. He is also an avid KND history enthusiast, believing in Sector Z and Numbuh 0 even when others thought that they were just myths.
 * Numbuh 362/Rachel McKenzie (voiced by Rachael MacFarlane) - The Supreme Leader of the KND Organization.
 * Numbuh 363/Harvey McKenzie (voiced by Jennifer Hale) - The sector leader of Sector W, and the Supreme Leader's younger brother. He is rivaling with Sector V in the series finale, who do not like him very much due to his cockiness and dislike of being touched by others. He was decommissioned months later by Numbuh 5 because she got sick of him not wanting to be touched.
 * Numbuh 74.239 and Numbuh Infinity (voiced by Dave Wittenberg and Phil LaMarr respectively) - Two KND operatives who both worked for the Splinter Cell, a shadowy faction of the Kids Next Door. They have manipulated events to sign Nigel to the Galactic KND.

Villains

 * Father/Benedict Wigglestein (voiced by Maurice LaMarche impersonating Kirk Douglas when wearing the silhouette suit, Jeff Bennett without it) - The arch-nemesis of the KND, the main villain of the series, and the "adoptive" father of the Delightful Children From Down the Lane. He is also Nigel's paternal uncle and Monty's brother. In "Operation: Z.E.R.O.", the aforementioned family relation is revealed, as well as that Father kidnapped the kids formerly known as Sector Z and permanently brainwashed them to become the Delightful Children.
 * The Delightful Children From Down the Lane (voiced by Benjamin Diskin, Dee Bradley Baker, and Cree Summer, and by Tom Kenny, Rachael McFarlane, Jason Harris, Dee Bradley Baker, and Cree Summer as Sector Z), five 'delightfulized' kids, and Father's children/henchmen. In "Operation: Z.E.R.O.", they are revealed to be the former members of the missing Sector Z; Bruce (blonde boy with bowl cut), Alessandra (brunette-blond haired girl), David (tall, skinny boy with a comb-over), Lenny (black boy with Football Helmet), and Constance (fat girl with brown hair and pigtails), (clockwise from the front). 'Delightfulization' is shown to be a form of brainwashing throughout the series, with Sector Z's brainwashing being boosted by a blown fuse and thus made permanent. As a result, any attempt to reverse it can only be temporary.
 * Cree Lincoln (voiced by Cree Summer) - Numbuh 5's older sister, leader of the Teen Ninjas, and an apprentice to Father. She was originally a KND operative Numbuh 11. While a dangerous foe, Cree does care about her sister and wished that Numbuh 5 joined the teens just like her.
 * Chad Dickson (voiced by Jason Harris) - Formerly Numbuh 274, Chad was the supreme leader of the Kids Next Door until it was revealed in "Operation: E.N.D." that he had hidden his thirteenth birthday to the KND and arranged Sector V's decommissioning. Due to his treason he allies with the adults and joined the Teen Ninjas. In "Operation: T.R.E.A.T.Y.", it is revealed that he was actually a TND operative working for the Splinter Cell.
 * Mr. Boss (voiced by Jeff Bennett) - A corporate executive and the de facto second-in-command of the KND's standard rogues gallery. Mr. Boss is often the one who leads the other KND villains in his plots. In his debut episode, some of Sector V's parents work for him in his office building. In "Operation: D.A.D.D.Y.", it is revealed that he is Numbuh 86's father.
 * The Toiletnator/Lou Pottingsworth III (voiced by Dee Bradley Baker) - A toilet-themed incompetent villain, being considered the lamest villain by the KND and by other villains to the point where Mr. Boss quotes "Aw geez, it's the Toiletnator!" when he shows up. He is shown to have toilet based powers as seen within "Operation: C.A.N.Y.O.N.". In a comic spin-off, it is revealed that he is Wally's long lost uncle.
 * Stickybeard (voiced by Mark Hamill) - The candy-loving pirate captain of the Candy Pirates and a rival of Numbuh 5's due to their mutual obsession with sugar. Despite being sour towards the Kids Next Door, he does show a "sweet tooth" such as saving Sector V from the Great White Asparagus (which he loathes more than kids) and helping Numbuh 5 save Heinrich from cursed licorice pirates.
 * Knightbrace/Mr. Jelly (voiced by Tom Kenny) - An oral health-themed vigilante who performs painful and unnecessary dental and orthodontic procedures on the children he ambushes. In his debut episode, "Operation T.E.E.T.H.", his true identity is Mr. Jelly, the former owner of a candy shop the KND frequently visit. Mr. Jelly always wanted to be a dentist since he was a child, but was expelled from dental school for attempting to put braces on babies. He was forced to work in his family's candy store, but later became Knightbrace due to being angered at candy harming children's teeth. Despite being ashamed of reluctantly serving sweets to his customers, he likes taffy.
 * The Common Cold (voiced by Tom Kenny) - A sickness-based villain who uses his own snot to render all KND operatives sick so they'll be too weak on stopping other adults plans. At one point, The Common Cold was defeated by Mrs. Gilligan, who used chicken soup on him. He has a niece named Anna Worthington (his sister-in-law's daughter).
 * Gramma Stuffum (voiced by Grey DeLisle) - An old lady obsessed with force-feeding her disgusting food to children to make them unable to move so that they cannot bother adults. As seen in her debut episode, even the Delightful Children from Down the Lane cannot handle her food. She is often accompanied by liver and two giggling onions.
 * Count Spankulot (voiced by Daran Norris) - A vampire vigilante who spanks naughty children. Like the Toiletnator, he wants to join a group but his spank addiction always gets him rejected. In "Operation: L.O.C.K.D.O.W.N.", he can actually turn people into spank-happy vampires just by taking off his gloves, similar to a vampire bite, and can only be cured by spanking him back.
 * Mr. John Wink and Mr. Timothy Fibb (voiced by Tom Kenny and Dee Bradley Baker respectively) - A pair of villains who use robotic chairs to fight. For unknown reasons, Mr. Wink sports bison horns and Mr. Fibb sports walrus tusks. In "Operation C.O.W.G.I.R.L.", both of them used to be members of Cowboys Kids Club, but Timothy and John became villains due to fellow Cowboy Kids Club member, Lasso Lass, going to the prom with Texas Tommy instead of Timothy. They are a parody of Mr. Wint and Mr. Kidd and address each other in the same manner.
 * Crazy Old Cat Lady (voiced by Grey DeLisle) - An old woman with cat-like features who lives with thousands of black and white cats.
 * Professor XXXL (voiced by Frank Welker) - A scientist who wants to create the most perfect snow cone that has ever been made. Every time he appears, he gets different animalistic parts in his body. While Professor XXXL rarely attacks the KND, he does engage in other activities with the other villains.
 * Chester (voiced by Tom Kenny) - A greedy man who wants to make money at the expense of children while doing different jobs. Some of his numerous schemes include brainwashing campers for labor while operating as a camp counselor, selling children as burgers to sharks while operating as a fast food worker, and putting Numbuh 1 in a dream with the help of his Happy Headband while operating as a mad scientist.
 * Mega Mom and Destructo Dad / Mrs. and Mr. Dickson (voiced by Jeff Bennett and Grey DeLisle) - Numbuh 274's parents that wanted their son to be the best by petrifying the other KND operatives. They were easily defeated when 274 threatens them by quitting every extra curricular activity he is assigned.
 * Mr. Fizz (voiced by Jeff Bennett) - A businessman who is the head of the Soda Control Board who "legalize" the age of when children should not drink root beer. He cannot stand the sound of children and often drinks soda just to soothe his nerves. If he cannot steady his nerves, then he flies into a rage. He also has anosmia which makes him immune to horrible stenches.
 * The Great Puttinski / Rupert Puttkin (voiced by Rob Paulsen) - An arrogant and rude miniature golf champion who takes the sport very seriously. After losing to Hoagie, he shrinks him down to size in his basement where he created his own course (all the while to not disturb his mother).
 * Senior Citizen Squad (voiced by Candi Milo, Tom Kenny, and Dee Bradley Baker) - A group of senior citizens led by Hoagie's grandmother, Lydia Gilligan, who along with her companions, Sheldon and Maurice, use an anti-aging cream that temporarily turns them into teenagers.
 * Ice Cream Men (variously voiced by Dee Bradley Baker, Tom Kenny, Daran Norris, and Kevin Michael Richardson) - Ice cream vendors men who operate Ice Cream Trucks and only serve ice cream to adults. They serve mainly as henchmen to the Delightful Children and Mr. Boss while using the Tasty Taste Ice Cream Factory as their base. At one point, the Delightful Children reprimanded them for having a heater in their factory.
 * Elite Ice Cream Men (variously voiced by Jess Harnell, Maurice LaMarche, Matt Levin, Daran Norris, and Khary Payton) - A version of the Ice Cream Men that wear ice cream cone-themed armor. They are often in the services of Father.
 * Henrietta "Heinrich" Von Marzipan (voiced by Dee Bradley Baker while cursed and Candi Milo while uncursed), Numbuh 5's arch-rival, who travels the world in search of rare candy and will often go to villainous extremes to get it. She hates Numbuh 5 for an unknown past event in Guatemala, eventually explained in "Operation: C.A.R.A.M.E.L.". In the series, she appears to be a boy, but in "Operation: C.A.R.A.M.E.L.", it is revealed that she is actually female, suffering under the effects of a curse, and she and Abigail reconcile with each other after she is helped to become her true self again.
 * James Nixon McGarfield (voiced by Tom Kenny) - McGarfield was the Fourth Grade President-for-life of Gallagher Elementary until it was revealed that he allied with Father and began abusing his power until "Operation: S.N.O.W.I.N.G." when he was defeated for holding an assembly on a snow day. His name is a reference to previous presidents involved in scandals and disasters, Richard Nixon, James A. Garfield, William McKinley, and James Buchanan.
 * Laura Limpin / The Big Badolescent (voiced by Grey DeLisle in normal form, Dee Bradley Baker in teen form) - A little girl who has a "condition" that turns her into a hulking monster when she gets angry, she'll eventually calm down when she gets her way.
 * The Six-Gum Gang (voiced by Jennifer Hale, Tom Kenny, Benjamin Diskin, and Dee Bradley Baker) - A gang of child robbers who worked for the Delightful Children to steal other children's homework and pass it off as their own.
 * The Interesting Twins From Beneath The Mountain - Two Japanese twins consisting of an unnamed boy (voiced by Tom Kenny) and an unnamed girl (voiced by Tara Strong) who worked for Father, with facepaint similar to the Yin and Yang symbol. Although the two are masters of disguise and espionage, they tend to suffer a lot of misfortunes and setbacks. In "Operation: T.R.I.P.", they were following Numbuh 3 on her trip to Japan to infiltrate the home base of the Japanese Kids Next Door and unleash a team of ninjas on them. The Twins would later appear in "Operation R.E.C.R.U.I.T." to infiltrate the Kids Next Door headquarters by posing as a boy named "Bobby" only to fail as Sector V knew of their schemes.
 * King Sandy (voiced by James Arnold Taylor) - An average little kid that always portrays himself as a tyrannical king and hates being told that he is only pretending. He is accompanied by the Knights of the Round Towel (who are actually his cousins). He once tried to make Kuki his queen, but not before he sets his eyes on her baby sister Mushi.
 * Grandfather (voiced by Neil Ross) - Monty and Benedict's father who is the main antagonist in "Operation: Z.E.R.O.". His main goal was to turn all children and adults into obedient elderly zombies to reclaim domination across the world, he was successfully defeated by the recommissioned Numbuh 0 by placing both Grandfather and himself in the Decommissioning Chamber which erased their memories.
 * Ernest (voiced by Dave Wittenberg) - Ernest is the leader of the bullies who commissions underground sports involving kids to misbehave. He first ran "Bully-Fights" (similar to the real bullfighting sport) in Operation: M.A.T.A.D.O.R where he tricks innocent fathers into signing up for a "How to be a Better Dad Seminar" and hook them up on caffeine causing them to behave like angry Spanish Bulls. Wally enjoyed the sport but he immediately hated the idea when forced to fight his dad, who was brainwashed. After the "Bully Fights" were sabotaged, Ernest commissioned "Vaseball", a version of baseball, where children use pottery, glass and other breakable objects as baseballs. This, however, was a ploy by Ernest and his gang of bullies to get the kids grounded so no one could tattle on them while the bullies go vandalizing every house in the neighborhood. Although successful in getting the kids grounded, minus Numbuh Four, he and the bullies gets grounded themselves. His name is a reference to Ernest Hemingway, who was a fan of Spanish Bullfighting.

Other characters

 * Lizzie Devine (voiced by Grey DeLisle) - Nigel's girlfriend and then later ex-girlfriend; they broke up at the end of the season 6 episode, "Operation: G.I.R.L.F.R.I.E.N.D.".
 * Numbuh 0/Montgomery "Monty" Uno (voiced by Frank Welker in as an adult, Dave Wittenberg as a child, or Numbuh 0) - Nigel's father. He is later revealed to have started the Seventh Age of the KND after defeating Grandfather.
 * Mrs. Uno (voiced by Jennifer Hale) - Numbuh 1's mother and Father's sister-in-law. In "Operation: I.N.T.E.R.V.I.E.W.S.", it is revealed that she was originally a KND operative Numbuh 999, and was the first female operative of the Seventh Age.
 * Betty Gilligan (voiced by Candi Milo) - Numbuh 2's mother.
 * Thomas "Tommy" Gilligan (voiced by Dee Bradley Baker) - Hoagie's baby brother. In "Operation: G.R.A.D.U.A.T.E.S.", he temporarily becomes a KND operative "Numbuh T" until he resigns himself from the code module, and becomes a vigilante going by the alias of "The Tommy".
 * Kani Sanban (voiced by Keone Young) - Kuki's father. While high strung and moody, he does love his children. His name means "crab" in Japanese, fitting his crabby personality.
 * Genki Sanban (voiced by Lauren Tom) - Kuki's mother. She is a successful businesswoman and is the boss of Betty Gilligan. While she never played with toys as a girl, she does let her daughters have toys as to give them have a happy childhood unlike her. Her name means "energetic" in Japanese, yet Genki is portrayed as quiet.
 * Mushi Sanban (voiced by Tara Strong), Numbuh 3's baby sister. In season 4, she later becomes a villain after "murdering" her sister's new Rainbow Monkey out of jealousy, later she kidnaps Count Spankulot to create Spankenstine as revenge towards Numbuh 2.
 * Sydney Beetles (voiced by Jeff Bennett) - Wally's father.
 * Mrs. Beetles (voiced by Jennifer Hale) - Wally's mother.
 * Joey Beetles (vocal effects provided by Dee Bradley Baker) - Wally's baby brother. He is surprisingly powerful and witty for being only a baby, defeating multiple villains.
 * Dr. Lincoln (voiced by Kevin Michael Richardson impersonating Bill Cosby) - Abigail's father who is inspired by Cliff Huxtable from The Cosby Show due to the fact that they both work as doctors. He used to work as a clown, until his co-worker messed up his joke, ruining their careers. Unlike the other parents, Dr. Lincoln's face is never shown (except in clown makeup).
 * Mrs. Lincoln (voiced by Cree Summer) - Numbuh 5's mother.

Episodes
There are six seasons, each with 13 episodes (two half-length episodes counting as one), adding up to 78 episodes altogether. There have been two TV movies, the first taking place between the second and third episodes of season 6 (Operation: Z.E.R.O.), and the second at the end of season 6 (Operation: I.N.T.E.R.V.I.E.W.S.), which serves as the series finale.

Awards and nominations
In 2005, the series won the Best Television Series for Children Award at the Ottawa International Animation Festival for "Operation: A.R.C.H.I.V.E.", which was written by Mr. Warburton and Mo Willems and storyboarded by Guy Moore and Quack Leard. The following year, "Operation: L.I.C.O.R.I.C.E." won the Festival's Collideascope Award for Television Animation for Children.

It was also nominated for the Pulcinella award at the 2007 Cartoons on the Bay festival, in the category of action-adventure TV series.

Broadcast

 * Cartoon Network (December 2002 – 2008; 2010-2014; 2021 - present)
 * Kids' WB (2004)
 * Boomerang (February 2017–March 2017; January 2, 2018 – May 27, 2019, June 8, 2021 – October 23 2023)

Home media
Two DVDs totaling sixteen episodes were released by Warner Home Video. Four episodes were also released on the Game Boy Advance Video cartridge Codename: Kids Next Door, Volume 1. The entire series is available on digital purchase in six seasons on Amazon Prime. On May 30, 2019, the entire series, except for the "Operation: Z.E.R.O." TV movie, was added to the Boomerang streaming service and its VRV channel. The series, including "Operation: Z.E.R.O.", is available on the Max streaming service until it was removed.

In other series or works
On an episode of The Grim Adventures of Billy & Mandy entitled "Sickly Sweet", a scene depicts Grim watching Codename: Kids Next Door. Also, in Billy & Mandy's Big Boogey Adventure, Numbuh Three makes a cameo as Grim's replacement. Numbuh Two also made a cameo in "Billy & Mandy Moon the Moon". Also, in the MAD episode "Taking Nemo / Once Upon a Toon", Numbuh One makes a cameo as one of the cartoon characters who have forgotten his identity. The show was also referenced in the New Boyz song "Tough Kids". In the 2004 film Sideways, the show is playing on Miles' mother's television set. The Delightful Children from Down the Lane were reviewed on the Orientation Videos for Villains of Villainous "The Lost Cases of the Treehouse". Numbuh Five made a cameo in the OK K.O.! Let's Be Heroes episode "Crossover Nexus". In the Craig of the Creek episode "Kelsey the Elder", Barry mentions this show.

Publications
Stories featuring the Kids Next Door have been featured in the comic series Cartoon Cartoons, Cartoon Network Block Party, and Cartoon Network Action Pack from DC Comics. The characters are also featured in the books 2x4 Technology Handbook and Sooper Secrets and Boomerang Bloopers, both by Benjamin Alison Wilgus. The characters appeared in a one-shot tie-in for Cartoon Network and IDW's Super Secret Crisis War crossover comic in 2014.

Trading cards
A trading card game based on the series was launched by Wizards of the Coast in July 2005.

Video games
Two video games were released for the series: Operation: S.O.D.A. in 2004 for the Game Boy Advance and Operation: V.I.D.E.O.G.A.M.E. in 2005 for PlayStation 2, Xbox, and GameCube. Several browser games were also released on the Cartoon Network website. The MMORPG style game Operation: B.E.S.T. was playable for a brief time in 2005, but was shut down shortly thereafter.

In Cartoon Network Universe: FusionFall, Numbuhs One through Five, and villains Father, Toiletnator, and Stickybeard appear as non-playable characters. KNDefense armor and 2x4 Tech weapons are available for players, Sector V's treehouse can be explored, and KND S.C.A.M.P.E.R.s can be used for transport. In Cartoon Network: Punch Time Explosion, Father and Numbuh 1 are playable, Sector V Treehouse and the C.O.O.L.-B.U.S. are arenas, and Numbuh 2 and Stickybeard are assisted characters. In the console versions, Toiletnator is a playable character, Numbuh 4 is an assist character, and KND Moonbase is an arena.

Planned sequel and spin-off
On January 31, 2008, during a Q&A session on LiveJournal, when Tom Warburton was asked if "Operation: I.N.T.E.R.V.I.E.W.S." was in fact the true finale of Codename: KND, he said that it was not necessarily meant to be the finale, stating that a revival could be made in the future.

Warburton had unsuccessfully pitched a Galactic: Kids Next Door spin-off several times to Cartoon Network executives, and at one point he considered making a TV movie as a pilot for the potential spin-off series. Following having no response, Warburton eventually decided to create a pitch that would be distributed over the internet pseudonymously to try and get the series approved with help from fans. Warburton wrote the script and collaborated with others who had worked on the series to produce an animatic-style pitch. On March 19, 2015, the animatic was released, entitled Galactic: Kids Next Door. On April 1, 2015, a fan-made petition was started on Change.org to make G:KND a real series, was signed by Warburton himself and Dee Bradley Baker. Warburton later noted that the executives at Cartoon Network had noticed the response but were not interested in a continuation to KND, though he remained confident to get the sequel approved in the future.

title: Codename: Kids Next Door


text:
Korrigan

In Breton folklore, a Korrigan is a fairy or dwarf-like spirit. The word korrigan means in Breton "small-dwarf" (korr means dwarf, ig is a diminutive and the suffix an is a hypocoristic). It is closely related to the Cornish word korrik which means gnome. The name changes according to the place. Among the other names, there are korrig, korred, korrs, kores, couril, crion, goric, kornandon, ozigan, nozigan, teuz, torrigan, viltañs, poulpikan, poulpiquet, and paotred ar sabad.

As fairies and dwarves
The term is used variously by writers on Breton folklore. Théodore de Villemarqué in Barzaz Breiz uses the term interchangeably with "fairy" and distinguishes them from dwarves ("nains"). In contrast Walter Evans-Wentz in The Fairy Faith in Celtic Countries argued that in the mythology of Morbihan there is no clear distinction between korrigans and nains: "Very often corrigans regarded as nains, equally with all kinds of lutins, are believed to be evil spirits or demons condemned to live here on earth in a penitential state for an indefinite time." They like to dance around fountains. However, they give themselves away when they cannot enumerate the full list of the days of the week (because of the sacredness of the full week).

As siren water-sprites
Other authors use the term only to refer to siren-like female fairies who inhabit springs and rivers, "lovely lustful golden-haired women who tried to lure men into their beds – and into a watery death". These creatures are very beautiful when seen at dusk or night, but by day their eyes are red, their hair white, and their skin wrinkled; thus they try to avoid being seen by day.

Korrigans have beautiful hair and red flashing eyes. They are sometimes described as important princesses or druidesses who were opposed to Christianity when the Apostles came to convert Brittany. They hate priests, churches, and especially the Virgin Mary. They can predict the future, change shape, and move at lightning speed. Like sirens and mermaids, they sing and comb their long hair, and they haunt fountains and water wells. They have the power of making men fall in love with them, but they then kill the ones who do. In many popular tales, they are eager to deceive the imprudent mortals who see them dancing or looking after a treasure, and fond of stealing human children, substituting them with changelings. On the night of 31 October (Samhain), they are said to be lurking near dolmens, waiting for victims.

According to the Breton poem "Ar rannoù", there are 9 korrigans, "who dance, with flowers in their hair, and robes of white wool, around the fountain, by the light of the full moon."

Songs

 * Korrigan, CD "Tu es la" by the breton band STETRICE, www.stetrice.com

title: Korrigan


text:
Island Lake

Island Lake may refer to:

Lakes

 * Island Lake (Antarctica)
 * Island Lake (Alberta), Alberta
 * Island Lake (Manitoba), Manitoba
 * Big Island Lake (Manitoba), Manitoba
 * Island Lake (Saskatchewan), Saskatchewan

United States

 * Island Lake (Idaho), in the Sawtooth Wilderness
 * Island Lake (White Cloud Mountains), in Custer County, Idaho
 * Island Lake (Illinois)
 * Island Lake (Aitkin County, Minnesota)
 * Island Lake (Beltrami County, Minnesota)
 * Island Lake (Lyon County, Minnesota), Lyon County, Minnesota
 * Island Lake (Lincoln County, Montana), in Lincoln County, Montana
 * Island Lake (Missoula County, Montana), in Missoula County, Montana
 * Island Lake (Stillwater County, Montana), in Stillwater County, Montana
 * Island Lake (Nevada)
 * Island Lake (Oregon)

Canada

 * Island Lake, Algoma District, a community and settlement in northeast Ontario, located within the Aweres local service board
 * Island Lake, Manitoba, a small community in east–central / northeast Manitoba
 * Island Lake, Sudbury District, a community and settlement in northeast Ontario, located near Chapleau
 * Island Lakes, Winnipeg

United States

 * Island Lake, Illinois, a village in the far northwest Chicago suburbs
 * Island Lake, Beltrami County, Minnesota
 * Island Lake, St. Louis County, Minnesota, an unincorporated community near the city of Duluth
 * Island Lake Township, Lyon County, Minnesota, a township in southwest Minnesota
 * Island Lake Township, Mahnomen County, Minnesota, a township in northwest Minnesota
 * Island Lake, Wisconsin, an unincorporated community near Ladysmith

title: Island Lake