text:
Answers in Genesis

Answers in Genesis (AiG) is an American fundamentalist Christian apologetics parachurch organization. It advocates young Earth creationism on the basis of its literal, historical-grammatical interpretation of the Book of Genesis and the Bible as a whole. Out of belief in biblical inerrancy, it rejects the results of scientific investigations that contradict their view of the Genesis creation narrative and instead supports pseudoscientific creation science. The organization sees evolution as incompatible with the Bible and believes anything other than the young Earth view is a compromise on the principle of biblical inerrancy.

AiG began as the Creation Science Foundation in 1980, following the merger of two Australian creationist groups. Its name changed to Answers in Genesis in 1994, when Ken Ham founded its United States branch. In 2006, the branches in Australia, Canada, New Zealand, and South Africa split from the US and UK to form Creation Ministries International. In 2007, AiG opened the Creation Museum, a facility that promotes young-Earth creationism, and in 2016, the organization opened the Ark Encounter, a Noah's Ark-themed amusement park. AiG also publishes websites, magazines, journals, and a streaming service, and its employees have published books.

Organization
Answers in Genesis resulted from the merging of two Australian creationist organizations in 1980, one led by John Mackay and Ken Ham (Creation Science Supplies and Creation Science Educational Media Services) and the other by Carl Wieland (Creation Science Association). The organization later became known as Answers in Genesis. It is based in Petersburg, Kentucky, and has international offices in Australia, Canada, Peru, and the United Kingdom. Following turmoil in 2005, the AiG network split in 2006. The US and UK branches retained the AiG name and control of the AiG website under Ham's leadership. The Australian, Canadian, New Zealand, and South African branches rebranded themselves as Creation Ministries International (CMI). In 2007, CMI filed suit against AiG-USA alleging a variety of wrongdoings, including publicly defaming their organization. In April 2009, the ministries reached a settlement and ended their dispute.

In June 2006, Answers in Genesis launched the Answers magazine in the United States and United Kingdom, followed by the Answers Research Journal in 2008, which was widely criticized in the media and scientific circles. Also in 2006, the National Religious Broadcasters awarded Answers in Genesis their Best Ministry Website award. In May 2007, AiG launched the Creation Museum in the United States. The museum received criticism from the National Center for Science Education and petitions of protest from the scientific community.

Views and activities
From the outset, Ken Ham did not share the interest of other groups promoting creation science in aiming to produce evidence supporting young Earth creationism, although Answers in Genesis still maintains that "creation science is real science". Instead, Answers in Genesis focuses on presenting evangelicalism as an all-out battle of their biblical worldview against a perceived naturalistic scientific worldview. Ham's message has had three central points:

 * that teaching of evolution is an evil causing damage to society;
 * that the first eleven chapters of the Book of Genesis give a precise description of the process of creation of the universe and provide direct instruction on the organization of society;
 * that proper Christians must engage in a total conflict battling against atheistic humanism.

Answers in Genesis messages promote central young-Earth creationist doctrines, including the concepts of literal Creation of the Earth in six 24-hour days and effects of a global flood. Still, they focus mainly on accepting the authority of their particular literal reading of the Bible as a precondition for eternity in heaven. They present this as choosing one's personal ultimate authority for truth, with God's Word and human reason being the two possible options, and those choosing the latter over the former liable to perishment. They hence introduce the concept of "biblical reasoning", where one is "never to attempt to reason in opposition to the Word of God", and thus claim that this biblical reasoning and biblical faith "work very well together".

The Answers in Genesis organization rejects key scientific facts and theories as established by archeology, cosmology, geology, paleontology, and evolutionary biology and argues that the universe, the Earth and life originated about 6,000 years ago. (Creationism beliefs reject natural causes and events in scientific explanations of nature and of the origin of the universe in favor of the supernatural, and the Supreme Court of the United States has ruled that creationism is religion. )

A book published by one of AiG's employees in 2006 accused Hollywood of using subtle tactics to slip "evolutionary content" into SpongeBob SquarePants, Lilo & Stitch and Finding Nemo, affirming that "As Christians we need to reflect the Bible's standards and not Hollywood's perverted version of reality."

In 2020, AiG launched its own streaming service, Answers.tv, intended as an alternative to Netflix, Disney+, and other streaming platforms.

AiG has objected to the James Webb Space Telescope, saying "Sadly, many in this particular camp (sometimes ignorantly) have actually compromised Scripture by accepting the secular ideas being pushed by the JWST media at NASA (i.e., the big bang and evolution), thus rejecting the plain (biblical) reading of Genesis 1 and instead reinterpreting the days of creation to long ages. This is an unbiblical way of thinking that essentially elevates man's fallible ideas as the ultimate standard (i.e., humanism) over the infallible Word of God".

Creation Museum
AiG's Creation Museum is a museum displaying a Young-Earth creationist worldview and pseudoarchaeology. The facility has received much criticism from the scientific and religious communities, as well as from cultural commentators. The Creation Museum opened May 27, 2007, at a cost of $27 million raised entirely by private donations. The displays were created by Patrick Marsh, known for work on Universal Studios Florida attractions for King Kong and Jaws.

A. A. Gill, a British writer and critic, described the museum as "battling science and reason since 2007", writing: "This place doesn't just take on evolution—it squares off with geology, anthropology, paleontology, history, chemistry, astronomy, zoology, biology, and good taste. It directly and boldly contradicts most -onomies and all -ologies, including most theology."

In 2012 a report noted that "public fascination" with the Creation Museum was "fading". In November 2012 AiG reported that attendance for the year ended June 30 came to 254,074, which represented a 10 percent drop from the previous year and the attraction's "fourth straight year of declining attendance and its lowest annual attendance yet". By mid-2015, 2.4 million people had visited the museum (about 340,000 visitors over seven years), and in 2017, AiG reported that in the year since its other attraction, the Ark Encounter, opened, the Creation Museum saw over 800,000 visitors, nearly triple the annual average of 300,000 visitors.

Ark Encounter
Answers in Genesis opened Ark Encounter, a theme-park, in Grant County, Kentucky on July 7, 2016. The centerpiece of the park is a full-scale model of Noah's Ark at 510 ft long and 81 ft high. After a visit to Ark Encounter, Bill Nye, who had previously debated Ham, described his experience as "much more troubling or disturbing than [he] thought it would be" and stated that "on the Ark's third deck, every single science exhibit is absolutely wrong". In December 2016, for the holiday season, AiG lit the Ark with rainbow colors, aiming to "reclaim the symbol from the gay rights movement" and to remind viewers of the Noahic covenant.

By late October 2016, over 400,000 people had visited the attraction. This contrasts a state study that projected the attraction would receive 325,000 to under 500,000 visitors in the first year. AiG reported that the Ark Encounter in its first year of operation attracted over 1 million visitors and aggregated 1.5 million total visitors for both the Ark and the Creation Museum.

Workforce
In 2007 about 160 people including a chaplain worked at the Creation Museum (a division of AiG, so these were AiG employees) and another 140 people worked at the attached AiG headquarters. Each permanent employee of AiG including people who work at the museum must sign a statement of faith "in order to preserve the function and integrity of the ministry", indicating that they believe in young Earth creationism and the other teachings of Answers in Genesis. These include "Scripture teaches a recent origin for man and the whole creation", "the only legitimate marriage is the joining of one man and one woman", "the great Flood of Genesis was an actual historic event" and "no apparent, perceived or claimed evidence in any field, including history and chronology, can be valid if it contradicts the Scriptural record". When applying for work a written statement of one's beliefs is required along with résumé and references. In 2007, The Kentucky Post reported that the Creation Museum employed between 10 and 20 security guards armed with .40 caliber Glock handguns and three certified law enforcement canines.

Creationist geologist Andrew A. Snelling started working with AiG in 2007 as its director of research.

Reception
Creation science, which is supported by AiG, is a pseudoscience that "lacks the central defining characteristic of all modern scientific theories". Scientific and scholarly organizations, including the National Academy of Sciences, Paleontological Society, Geological Society of America, Australian Academy of Science, and the Royal Society of Canada have issued statements against the teaching of creationism. The National Center for Science Education, a science advocacy group, criticize AiG's promotion of non-science. In direct response to AiG, No Answers in Genesis is a website maintained by members of the Australian Skeptics and retired civil servant John Stear for the purpose of rebutting claims made by AiG.

Astronomer Hugh Ross's organization Reasons To Believe, a progressive creationist organization, is a critic of Answers in Genesis. The BioLogos Foundation, which promotes evolutionary creationism, has stated that the views of Answers in Genesis have "force[d] many thoughtful Christians to lose their faith", while The Biologos Foundation "protect[s the Christian] faith". In 2011 skeptic Brian Dunning listed it as #5 on his "Top 10 Worst Anti-Science Websites" list.

Richard Dawkins interview
In 1998, Answers in Genesis filmed an interview with Richard Dawkins, a prominent evolutionary biologist at Oxford University, resulting in a controversial video that AiG posted on its website. Dawkins addressed it in the essay: "The 'Information Challenge, published in A Devil's Chaplain in 2003. The "suspiciously amateurish" interview included, according to Dawkins, "the kind of question only a creationist would ask in that way" (namely, to "give an example of a genetic mutation or an evolutionary process which can be seen to increase the information in the genome"). Realizing that he had been duped, Dawkins, at his admission, was angry at the thought and initially refused to answer the question but relented and continued the interview. Dawkins wrote: "My generosity was rewarded in a fashion that anyone familiar with fundamentalist tactics might have predicted. When I eventually saw the film a year later, I found that it had been edited to give the false impression that I was incapable of answering the question about information content. In fairness, this may not have been quite as intentionally deceitful as it sounds. You have to understand that these people really believe that their question cannot be answered!"

The Australian Skeptics wrote that AIG edited the film to give the appearance that Dawkins was unable to "give an example of a genetic mutation or an evolutionary process which can be seen to increase the information in the genome" and that a segment that shows him pausing for 11 seconds was a film of him considering whether to expel the interviewer from the room for not revealing her creationist sympathies at the outset. Dawkins reported to the Australian Skeptics that the interviewer shown in the finished film was not the same person who had originally asked the questions. Dawkins and Barry Williams also said that AIG had subsequently changed the question to make it look like Dawkins, who answered the original question put to him, was unable to answer.

Anti-atheism billboards
In the spring of 2009, Answers in Genesis posted a billboard in Texas with a young boy aiming a gun towards the viewer with the words, "If God doesn't matter to him, do you?" The same image was used in a TV ad. In 2014, the organization purchased space in Times Square to run a 15-second video advertisement addressed "To all of our intolerant liberal friends". According to AiG, the goal of the billboard was to "challenge the secularists who are increasingly intolerant of the Christian message". The Christian Relevant Magazine described the ad as "passive-aggressive" and "weirdly combative".

Great Homeschool Conventions
In March 2011, the Board of Great Homeschool Conventions, Inc. (a young-Earth Christian group) voted to disinvite Ken Ham and AiG from future conventions due to Ham's words about other Christians making "unnecessary, ungodly, and mean-spirited statements that are divisive at best and defamatory at worst". The controversy stemmed from Ham's commentary on the position expressed by Peter Enns, of The BioLogos Foundation, who advocated a symbolic rather than a literal interpretation of the fall of Adam and Eve. Writing on his blog, Ham accused Enns of espousing "outright liberal theology that totally undermines the authority of the Word of God", which led to his invitation being revoked.

Legal action by Creation Ministries International
On May 31, 2007, Creation Ministries International filed a lawsuit in Supreme Court of Queensland against Ken Ham and Answers in Genesis seeking damages and accusing him of "unbiblical/unethical/unlawful behaviour" in his dealings with the Australian organization. Before the split, the Australian group had been producing periodicals, Creation magazine and Journal of Creation, which were then distributed in other countries by local groups. The Australian group had no access to the list of subscribers in the US. AiG discontinued the distribution arrangement, and produced a new magazine of their own, called Answers, and represented that to subscribers as a replacement. Creation Ministries International claimed $252,000 (US) in damages for lost revenue by misleading and deceptive conduct in relating to lost subscriptions.

An editorial analysis of the situation, including reference to estranged co-founder John Mackay's allegations in 1986 of necrophilia and witchcraft against Ken Ham's personal secretary is offered in an account in the Reports of the National Center for Science Education. In February 2009, the United States Court of Appeals for the Sixth Circuit ordered Australian-based Creation Ministries International into arbitration with Answers in Genesis over copyrights and control of affiliates in other countries. In April 2009, the ministries reached a settlement and ended their dispute.

title: Answers in Genesis


text:
Garrincha

Manuel Francisco dos Santos (28 October 1933 – 20 January 1983), nicknamed Mané Garrincha, best known as simply Garrincha (, "little bird"), was a Brazilian professional footballer who played as a right winger. He is widely regarded as one of the greatest players of all time, and by many, one of the greatest dribblers ever.

Garrincha played a vital role in Brazil's 1958 and 1962 World Cup victories. In 1962, when Pelé got injured, Garrincha led Brazil to a World Cup victory with a dominating performance throughout the tournament. He also became the first player to win the Golden Ball (Player of the tournament), Golden Boot (Leading Goalscorer) and the World Cup in the same tournament. He was also named in the World Cup All-Star Teams of both 1958 World Cup and 1962 World Cup. In 1994, he was named in the FIFA World Cup All-Time Team. Brazil never lost a match while fielding both Garrincha and Pelé. In 1999, he came seventh in the FIFA Player of the Century grand jury vote. He is a member of the World Team of the 20th Century, and was inducted into the Brazilian Football Hall of Fame. Due to his immense popularity in Brazil, he was also called Alegria do Povo (People's Joy) and Anjo de Pernas Tortas (Bent-Legged Angel).

At club level, Garrincha played the majority of his professional career for the Brazilian team Botafogo. In the Maracanã Stadium, the home team room is known as "Garrincha". In the capital Brasília, the Estádio Nacional Mané Garrincha is named after him. He is credited for inspiring the first bullfighting chants of olé to be used at football grounds.

Early life
Garrincha was born in Pau Grande, a district of Magé, in the state of Rio de Janeiro, in 1933. He was born with his right leg 6 centimetres shorter than his left, also his left leg turned outwards and his right turned inwards, leading one doctor to certify him as crippled as a child.

His father was an alcoholic, drinking cachaça heavily, a problem which Garrincha would inherit. A boy with a carefree attitude, he was smaller than other kids his age, with his sister Rosa noticing he was as small as a little bird she started calling him Garrincha, the north-eastern name for the wren, a little brown bird. The name stuck and by the age of four years he was known as Garrincha to his family and friends. Garrincha was also known as Mané (short for Manuel) by his friends. The combined Mané Garrincha is common among fans in Brazil.

Garrincha was known amongst footballing scouts but did not arrive in professional football until his late teens; he had no interest in a professional career despite his immense talent. Garrincha's younger brother, Jimmy dos Santos, played 20 games for Série A side CR Vasco da Gama in 1959.

Club career
Garrincha was already married and a parent when he signed for Botafogo in 1953. Team officials were ecstatic to learn that he was over 18 and able to be treated as a professional. In his first training session, he demonstrated his extraordinary skills by dribbling the ball through the legs of Nílton Santos, a Brazilian international defender and defensive midfielder who had 16 international caps. Santos was so impressed with the young Garrincha, he asked that Botafogo sign him. He played in a 5–0 win for Botafogo's reserves and then scored a hat trick on his first-team début against Bonsucesso on 19 July 1953.

Garrincha continued to play brilliantly, but Brazil had other talented players in his position, notably Julinho and together with a new European style of play centered on teamwork, he was not named in the squad for the 1954 World Cup. He helped Botafogo win the Campeonato Carioca in 1957 by scoring 20 goals in 26 games finishing second in the league scoring charts and this convinced the national team selectors to name him to the 1958 World Cup squad. After the 1962 World Cup, Garrincha returned to Rio and carried Botafogo to victory in the 1962 Campeonato Carioca final against Flamengo. Garrincha played for Botafogo for 12 years, the bulk of his professional career. He won the Campeonato Carioca three times with them, scored 232 goals in 581 matches, and became a symbol of the history of the club.

In 1966, with his career declining, he was sold to Corinthians. Two years later, he signed for Colombian team Atlético Junior. The same year he went back to Brazil and joined Flamengo, where he would stay until 1969. In 1971, there were rumours that Garrincha, 38, would join French club Red Star, but he never signed and stayed in Brazil.

An entertainer renowned for his dribbling skills in taking on opposing players, Garrincha inspiring the first bullfighting chants of olé to be used at football grounds; during a 1958 club game for Botafogo he gave a footballing lesson to River Plate defender Vairo, constantly teasing, feinting and going past him to ole's from the crowd, and when he "forgot" the ball and sprinted away with Vairo running after him the chants of olés changed to laughter. Garrincha's professional career as a footballer lasted until 1972, when he played for Olaria, but he played occasional exhibition matches until 1982.

Garrincha was subject to numerous transfer attempts by rich European clubs like Juventus of Turin, Italy who tried to sign him in 1954. Real Madrid of Spain tried to sign him in 1959 after some stunning performances by him on a tour of Europe. Internazionale, AC Milan and Juventus of Italy considered jointly signing him in 1963 (he would have to spend a season with each); a deal that would have been unique in football.

International career
Garrincha played 50 international matches for Brazil between 1955 and 1966, and was a starter for the national team in the 1958, 1962 and 1966 World Cups. Brazil lost only one match with him on the pitch, against Hungary at the 1966 World Cup. This was the last time Garrincha played in National team. Pelé did not play the game against Hungary, and thus Brazil never lost when Garrincha and Pelé were in the same lineup.

His first cap was against Chile in Rio de Janeiro in 1955. He played two matches at the Copa América of 1957 and four in the 1959 edition, Brazil finished runners up in both editions.

1958 World Cup
On 29 May, ten days before the 1958 World Cup finals started, Garrincha scored one of his most famous goals, against Fiorentina in Italy. He beat four defenders and the goalkeeper, before stopping on the goal line. Rather than kicking the ball into the open goal, he then dribbled past the returning Enzo Robotti to score. Despite his stunning performance his coaches were upset at what they considered an irresponsible move and this likely led to Garrincha not being picked for Brazil's first two matches of the 1958 tournament. However, he did start their third match against the USSR; this match marked the debut of both Garrincha and Pelé (although Garrincha was seven years older than Pele, both being born in October, respectively in 1933 and in 1940). The Soviets were one of the favourites for the tournament, and the Brazilians had been nervous about playing them. Their manager, Vicente Feola, decided to attack directly from the kickoff. Garrincha received the ball on the right wing, beat three opposing players and took a shot which hit the post. With the match still less than a minute old, he set up a chance for Pelé, who hit the crossbar, and continually caused problems for the Soviet defence. Brazil were so impressive in the opening moments that the game's start is often referred to as "the best three minutes of football of all time". Brazil won the match 2–0.

Following the Brazilians' narrow 1–0 quarter-final win against Wales on 19 June 1958, Mel Hopkins (the fullback who faced him that game) described Garrincha as "a phenomenon, capable of sheer magic. It was difficult to know which way he was going to go because of his legs and because he was as comfortable on his left foot as his right, so he could cut inside or go down the line and he had a ferocious shot too."

In the final against Sweden, Brazil fell behind 0–1 early, but rapidly equalized after Garrincha went past his marker on the right wing and sent a cross for Vavá to score. Before the end of the first half, Garrincha made a similar play, again setting up Vavá to make the score 2–1. Brazil ended winning the match and its first World Cup trophy, with Garrincha being one of the best players of the tournament; he was voted to the "Best XI" for the competition.

Garrincha never bothered about the 'details' of the game. As his teammates were celebrating the World Cup win, he was initially bemused, having been under the impression that the competition was more league-like and that Brazil would play all the other teams twice.

1958–1962
Garrincha put on weight after the World Cup, partly because of his drinking, so he was dropped from the national team for a friendly match in Rio against England on 13 May 1959. Later that month, he went on tour with Botafogo in Sweden and got a local girl pregnant. When he returned to Brazil, he drove home to Pau Grande and ran over his father, Amaro. He drove off without stopping, with an angry mob chasing him, and when they caught up with him they found him "drunk, almost catatonic, and with no grasp of what he had done." In August, his wife, Nair, gave birth to their fifth child, and his mistress Iraci announced her first pregnancy. His father died of liver cancer on 10 October having been dependent on alcohol for years.

1962 World Cup
Garrincha was the most outstanding player of the 1962 FIFA World Cup. When Pelé suffered an injury after the second match and was sidelined for the rest of the tournament, Garrincha played a leading role in Brazil's triumph, excelling particularly against England and Chile, scoring 4 goals in those two matches.

After one win and one draw, Brazil faced Spain, without Pelé. The South Americans were losing 0–1 in the second half. Amarildo, Pelé's substitute for the remainder of the tournament, scored the equalizer. Five minutes before the end, Garrincha took the ball on the right flank, dribbled past a defender and paused. Then he dribbled past the same man and another defender, and sent a cross to Amarildo, who scored again to win the match.

In the quarter-finals against England, Garrincha opened the score with a header off a corner kick. England equalized before half time. In the second half, Vavá scored Brazil's second goal off a rebound of a shot by Garrincha; minutes later, Garrincha received a ball outside the penalty area, paused, and sent a curved shot – known as the "banana shot" – into the bottom of the net. Brazil won 3–1 and advanced to the semi-finals. The British football press said he "was Stanley Matthews, Tom Finney and a snake charmer all rolled into one."

During the quarter final, a stray dog ran onto the pitch and evaded all of the players' efforts to catch it until England striker Jimmy Greaves got down on all fours to beckon the animal. Though successful in catching the dog, it managed to urinate all over Greaves' England shirt. Greaves claimed that Garrincha thought the incident was so amusing that he took the dog home as a pet. Ruy Castro's book expands upon this, by clarifying that the dog was captured by an official, and raffled off to the Brazilian squad, a raffle which Garrincha won. The dog was named "Bi" (from "bi-campeões" - "two times champions").

He scored two more goals in the semi-final against the hosts, Chile, as Brazil went on to win 4–2. His first goal was a 20-yard left-foot shot; the second one, a header. A subsequent headline in the Chilean newspaper El Mercurio read: "What planet is Garrincha from?" Garrincha was sent off in that match after 83 minutes for retaliating after being continually fouled. However, he was not suspended for the following match.

Brazil faced Czechoslovakia in the final. Garrincha played despite suffering from a severe fever, which did not prevent Brazil from winning 3–1 and him from getting voted player of the tournament. It was the second consecutive World Cup won by Garrincha and Brazil.

1966 World Cup
Though well short of match fitness and still struggling with a knee injury, which would plague him for the rest of his career, Garrincha still played in the first match of the tournament, a 2–0 win against Bulgaria, Garrincha scored one of the goals of this game with a free kick taken with the outside of his foot (the second goal of this game was scored by Pelé - this was the only time when Garrincha and Pelé both scored goals in the same game). Then Brazil lost 1–3 to Hungary at Goodison Park, in Garrincha's last ever international match, which was the only time Garrincha lost a match with the Brazil national team; he did not play in the last match of the first round against Portugal. Brazil were eliminated in the first round.

Retirement from professional football and farewell
In 1973, although he was still signed by Olaria, Garrincha decided to leave professional football. Apart from his age (he was already 40), "there was another reason for wanting to retire: he had become a grandfather for the first time – his daughter Edenir had just given birth to Alexandra – and being a professional football player and a grandfather felt weird." Alexandra with her three children still live in Garrincha's house in Pau Grande. On 19 December 1973, a farewell match for Garrincha between a FIFA World team and Brazil was celebrated at the Maracanã Stadium in Rio de Janeiro, in front of 131,000 spectators. The FIFA team was composed mainly of Argentine and Uruguayan players, while Brazil fielded Pelé, Carlos Alberto, and several other members of the 1970 World Cup winning squad. Garrincha started the match, and while in the first half, at a point when Brazil had the ball in attack, the referee stopped the match so Garrincha could leave the pitch and receive the crowd's respects. Garrincha then did a lap around the pitch before disappearing through the stadium's tunnel.

Final years and death
The success Garrincha enjoyed on the football pitch was in stark contrast to his personal life. He drank heavily throughout his adult life and was involved in several serious road accidents, notably a crash into a lorry in April 1969 which killed his mother-in-law. He was married twice, first to Nair Marques in 1952 (they separated in 1965), a factory worker from Pau Grande with whom he had eight daughters, and second to Elza Soares, a samba singer whom he married in an unofficial ceremony in March 1966. Soares had also been married previously, and the marriage saw Garrincha cast as a villain by the same press that had once feted him. The couple separated in 1977, when Soares left him after he struck her during an argument. Garrincha had other significant affairs, including one with showgirl Angelita Martinez, and he is known to have fathered at least 14 children.

After a series of financial and marital problems, Garrincha died of cirrhosis of the liver on 20 January 1983, in an alcoholic coma in Rio de Janeiro. He had been hospitalized eight times in the previous year, and by the time of his death he was a physical and mental wreck. His last years were unhappy and obscure – he seemed to have become a forgotten hero – but his funeral procession, from the Maracanã to Pau Grande, drew millions of fans, friends and former players to pay their respects. His epitaph reads "Here rests in peace the one who was the Joy of the People – Mané Garrincha." People had painted on the wall: Obrigado, Garrincha, por você ter vivido (Thank you, Garrincha, for having lived).

A multi-use stadium in Brasilia, the Estádio Nacional Mané Garrincha, is named after him. His career was presented in the 1962 film Garrincha, Alegria do Povo, and in 2003, another movie, called Garrincha – Estrela Solitária ("Lonely Star"), based on Ruy Castro's book, depicted his life on and off the field.

Style of play
An explosive, agile, and diminutive right winger with a low centre of gravity,  Garrincha is renowned for his creativity, pace, and speed of execution, as well as his remarkable ball control, technique, flair, imagination, dribbling skills and feints on the wing, which enabled him to create chances out of nothing. Capable of both scoring goals and creating chances for teammates, he also possessed a powerful shot with either foot and was a gifted crosser and set piece specialist known for his bending free kicks and corners taken with the outside of his foot. However, it was his dribbling skills he was most famous for, a skill he retained throughout his career. Regarding Garrincha's dribbling ability, football writer Scott Murray remarked when writing for The Guardian in 2010: "...the bottom line is uncontestable: Garrincha was the greatest dribbler ever."

Adored by the Brazilian public due to his innocence, carefree attitude and ability to entertain in making fools of opposing players, Garrincha was referred to as "Joy of the People". Djalma Santos, his Brazil teammate, stated, "He had a childish spirit. Garrincha was football's answer to Charlie Chaplin."

Examples of his shooting ability are his goals in World Cups against England in 1962 and Bulgaria in 1966. He was also able to turn on himself at top speed and explode at unusual angles, which he used to great effect. The numerous attacks and goal opportunities he generated through individual plays would often end up in an accurate pass to a teammate in a position to score. This occurred in the first two of Brazil's goals in the 1958 World Cup final and the second goal against Spain in the 1962 tournament. He was also an excellent header of the ball despite his relatively short stature. He is one of a few players to have scored direct from a corner, a feat he managed to do 4 times in his career.

Regarded as one of the greatest players of all time, he was voted into the World Team of the 20th Century by 250 of the world's most respected football writers and journalists, came seventh in the FIFA Player of the Century grand jury vote, and was named in the FIFA World Cup All-Time Team.

Honours
Botafogo
 * International Quadrangular Tournament: 1954
 * State Championship: 1957, 1961, 1962
 * Interclub Tournament Pentagonal Mexico: 1958
 * International Tournament of Colombia: 1960
 * International Tournament in Costa Rica: 1961
 * Tournament Home: 1961, 1962 and 1963
 * Pentagonal the International Club of México: 1962
 * Interstate Cup Champions Club: 1962
 * Rio-São Paulo Tournament: 1962 and 1964
 * World Champion Clubs (Paris Intercontinental Championship): 1963
 * Golden Jubilee Tournament Football Association of La Paz: 1964
 * Ibero-American Tournament: 1964
 * Panamaribo Cup: 1964

Corinthians
 * (Rio-São Paulo Tournament) 1966

Brazil
 * FIFA World Cup: 1958, 1962
 * O'Higgins Cup: 1955, 1959, 1961
 * Oswaldo Cruz Cup: 1961

Individual
 * FIFA World Cup Golden Ball: 1962
 * FIFA World Cup Golden Boot: 1962
 * FIFA World Cup All-Star Team: 1958, 1962
 * Brazilian Championship Best Player: 1962
 * Rio-São Paulo Tournament Best Player: 1962
 * Interstate Club Champions Cup Best Player: 1962
 * Carioca Championship Best Player: 1957, 1961, 1962
 * World Soccer World XI: 1962
 * Brazilian Football Museum Hall of Fame
 * World Team of the 20th Century.
 * FIFA World Cup All-Time Team inductee
 * World Soccer's Greatest Players of the 20th century (1999): #20
 * L'Équipe's top 50 South-American footballers in history: #4
 * IFFHS Brazilian Player of the 20th Century (2nd place)
 * IFFHS South American Player of the 20th Century (4th place)
 * IFFHS World Player of the 20th Century (8th place)
 * The Best of The Best – Player of the Century: Top 50
 * Ballon d'Or: 1962 - Le nouveau palmarès (the new winners)
 * IFFHS Legends
 * Ballon d'Or Dream Team (Silver): 2020

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

title: Garrincha


text:
José Jiménez (character)

José Jiménez was a fictional character created and performed by comedian Bill Dana on The Steve Allen Show in 1959 and who became increasingly popular during the 1960s. This character introduced himself with the catch phrase: "My name...José Jiménez". Dana played José in three non-variety shows: Make Room for Daddy, which spun off The Bill Dana Show, and a cameo in an episode of Batman ("The Yegg Foes in Gotham", October 20, 1966).

Astronaut
During the course of his José Jiménez acts, Bill Dana (who was of Hungarian-Jewish ancestry, unlike the Bolivian character he played) took his character through various roles including elevator operator, sailor, and submariner until settling into the most famous occupation that José would hold: astronaut. An excerpt from The Ed Sullivan Show:

José Jiménez: "My name... José Jiménez." Ed Sullivan: "Well, now I see you have some of your space equipment with you. Uh, what is that called, the crash helmet?" José Jiménez: "Oh, I hope not."

Ed Sullivan: "Now, what do you consider the most important thing in rocket travel?" José Jiménez: "To me the most important thing in the rocket travel is the blast-off." Ed Sullivan: "The blast-off." José Jiménez: "I always take a blast before I take off. Otherwise I wouldn't go near that thing."

The routine was later released as a double-sided single: "The Astronaut (Part 1 and 2)" made the Billboard charts, peaking at #19 in September 1961. Writer/producer Don Hinkley (who Dana had met when they were writers for the Allen show) played the part of the newscaster, asking José questions about his purported spaceflight. An LP, José Jiminez in Orbit (Bill Dana on Earth) (Kapp KL-1257), featuring similar routines, was issued in 1962.

The character of José Jiménez caught on with the seven real Mercury astronauts, and Dana became good friends with them: "Okay, José, you're on your way!" Deke Slayton quipped as Alan Shepard's famous first flight launched. José became the program's unofficial mascot, and Dana was even made an honorary Mercury astronaut. (Coincidentally, there was a real test pilot named Bill Dana, who flew as high as 59 miles up and qualified for NASA's Astronaut Badge.)

Decline
As time passed, Dana realized that such ethnic humor was becoming offensive, and Hispanic groups began protesting Dana's portrayal of the dim-witted Hispanic character. In 1970, Dana announced to a Mexican-American cultural pride festival that "after tonight, José Jiménez is dead", later holding a mock funeral for José on Sunset Boulevard. In 1997, Dana received an image award from the National Hispanic Media Coalition.

José Jiménez in popular culture
In the 1983 film The Right Stuff, Alan Shepard (played by Scott Glenn) is a fan of the character and uses the catchphrase in radio talk while piloting his airplane in for a carrier landing. Later he is warned by a very large, rather intimidating Hispanic medical aide (played by Anthony Muñoz) that the way he uses it is offending people, and he stops. Footage of the character's appearance as an astronaut on The Ed Sullivan Show was also seen in the film.

In the 1987 film The Pink Chiquitas, one of the characters reads a passage from a book describing an expedition by the "explorer" José Jiménez.

In his demo of the song "Wonderful Toys" written for the aborted Batman musical, Jim Steinman does a parody of Eminem, which includes the lines "My name is—my name is—my names is—José Jiménez!". The song is meant to be sung by The Joker.

In the Farscape season 4 episode, "Unrealized Reality", the lead character, John Crichton (who commonly quotes pop culture throughout his misadventures), experiences another possible reality of a scene from the first episode of the series. When asked his name, instead of saying John Crichton he replies, "My name José Jiménez."

In the television show Mystery Science Theater 3000, the puppet character of Crow uses the phrase "My name José Jiménez."

In the third episode of the HBO miniseries From the Earth to the Moon, called "We Have Cleared the Tower", someone mentions Bill Dana during the Apollo 7 pre-launch breakfast. This inspires Commander Wally Schirra (played by Mark Harmon) to recite some of José Jiménez's lines, to the great amusement of everyone at the table.

In a cameo appearance in the Get Smart episode, "Supersonic Boom", Dana alludes indirectly to Jiménez, in that his only line was "Sorry fella, don't speak Spanish. Boy, are you in the wrong neighborhood."

In season 4 episode 10 of The Larry Sanders Show, Arthur argues that José had been an inspiration to children because he was the "first Hispanic in space".

In the episode "Day One" of The Wonder Years, Kevin Arnold's teacher calls him, "a regular José Jiménez" when Kevin interrupts a class lecture. Earlier in the episode Kevin made a joke and embarrassed the same teacher.

In the Seinfeld episode "The Boyfriend", (season 3, episode 17), George Constanza goes to an unemployment office, where he nervously does an impression of José Jiménez.

Ventriloquist Jeff Dunham has performed with a pepper-shaped puppet named "José Jalapeño," described as "almost indistinguishable" from José Jiménez.

title: José Jiménez (character)


text:
Category:Zoos in the United States

This category is for articles about zoos in the United States.

title: Category:Zoos in the United States


text:
Category:Zoos

This category is for articles about and related to various types of zoos and public aquariums.

title: Category:Zoos


text:
Exercise Tiger

Exercise Tiger, or Operation Tiger, was one of a series of large-scale rehearsals for the D-Day invasion of Normandy, which took place in April 1944 on Slapton Sands in Devon. Coordination and communication problems resulted in friendly fire injuries during the exercise, and an Allied convoy positioning itself for the landing was attacked by E-boats of Nazi Germany's Kriegsmarine, resulting in the deaths of at least 749 American servicemen.

Because of the impending invasion of Normandy, the incident was under the strictest secrecy at the time and was only minimally reported afterwards.

Landing operations
In late 1943, as part of the build-up to D-day, the British government set up a training ground at Slapton Sands, Devon, to be used by Force "U", the American forces tasked with landing on Utah Beach. Slapton Beach was selected for its similarity to Utah Beach: a gravel beach, followed by a strip of land and then a lake. Approximately 3,000 local residents in the area of Slapton, now South Hams District of Devon, were evacuated. Some had never left their villages before being evacuated.

Landing exercises started in December 1943. Exercise Tiger was one of the larger exercises that took place in April and May 1944. The exercise was to last from 22 April until 30 April 1944, and covered all aspects of the invasion, culminating in a beach landing at Slapton Sands. On board nine large tank landing ships (LSTs), the 30,000 troops prepared for their mock landing, which also included a live-firing exercise.

Protection for the exercise area came from the Royal Navy. Four O-class destroyers, three Motor Torpedo Boats and two Motor Gun Boats patrolled the entrance to Lyme Bay while three Motor Torpedo Boats were stationed off Cherbourg, where German E-boats were based.

The first phase of the exercise focused on marshalling and embarkation drills, and lasted from 22 to 25 April. On the evening of 26 April the first wave of assault troops boarded their transports and set off, the plan being to simulate the Channel crossing by taking a roundabout route through Lyme Bay, in order to arrive off Slapton at first light on 27 April.

Friendly fire incident
The first practice assault took place on the morning of 27 April and was marked by an incident involving friendly fire. H-hour was set for 07:30, and was to include live ammunition to acclimatise the troops to the sights, sounds and even smells of a naval bombardment. During the landing itself, live rounds were to be fired over the heads of the incoming troops by forces on land, for the same reason. This followed an order made by General Dwight D. Eisenhower, the Supreme Allied Commander, who felt that the men must be hardened by exposure to real battle conditions. The exercise was to include naval bombardment by ships of Force U Bombardment Group fifty minutes prior to the landing.

Several of the landing ships for that morning were delayed, and the officer in charge, American Admiral Don P. Moon, decided to delay H-hour for 60 minutes, until 08:30. Some of the landing craft did not receive word of the change. Landing on the beach at their originally scheduled time, the second wave came under fire, suffering an unknown number of casualties. Rumours circulated among the fleet that as many as 450 men were killed.

Battle of Lyme Bay
On the day after the first practice assaults, early on the morning of 28 April, the exercise was blighted when Convoy T-4, consisting of eight LSTs carrying vehicles and combat engineers of the 1st Engineer Special Brigade, was attacked by German E-boats in Lyme Bay. Nine German E-boats had left Cherbourg shortly after midnight, avoiding the British MTBs watching the port area and patrols in the English Channel.

Around 0130 hrs six E-boats of the 5. S-Boot Flottille (5th E-Boat Flotilla) commanded by Korvettenkapitän Bernd Klug saw eight dark ships and split into three pairs to attack with torpedoes: first Rotte 3 (S-136 & S-138), then Rotte 2 under Oberleutnant zur See Goetschke (S-140 & S-142), then Rotte 1 (S-100 & S-143). The final three E-boats of the nine, S-Boot Flottille commanded by Korvettenkapitän Götz Freiherr von Mirbach (S-130, S-145 & S-150), saw the red flares for attack (or may have heard the contact report sent at 0203 hrs) and joined the attack. After, within the Rotte 1 pair, S-100 collided with S-143 and damaged its superstructure, the boats decided to leave, masking their retreat with smoke while sending another contact report. S-145 attacked the ships with gunfire. The attack ended circa at 0330 hrs. The Germans had been puzzled by the strange-looking ships which did not look like merchantmen. They estimated that they were some type of American landing ship with a shallow draft as the initial torpedoes from Rotte 3 and Rotte 2 seemed to miss.

Of the two ships assigned to protect the convoy, only one was present. HMS Azalea (K25), a corvette, was leading the LSTs in a straight line, a formation that later drew criticism since it presented an easy target to the E-boats. The second ship that was supposed to be present, HMS Scimitar (H21), a World War I destroyer, had been in a collision with an LST, suffered structural damage and left the convoy to be repaired at Plymouth. Because the LSTs and British naval headquarters were operating on different frequencies, the American forces did not know this. HMS Saladin (1919) was dispatched as a replacement, but did not arrive in time to help protect the convoy.

Casualties

 * USS LST-289 was set on fire but eventually made it back to shore with the loss of 13 Navy personnel.
 * USS LST-507 was torpedoed and sunk with the loss of 202 US Army/US Navy personnel.
 * USS LST-511 was damaged by friendly fire from USS LST-496 (intended to be directed at one of the E-boats which passed between the two LSTs) resulting in injuries to 18 US Army/Navy personnel.
 * USS LST-531 sank within six minutes of being torpedoed with the loss of 424 Army and Navy personnel.

The remaining ships and their escort fired back and the E-boats made no more attacks. In total, 749 servicemen (551 United States Army and 198 United States Navy) were killed during Exercise Tiger. Many servicemen drowned or died of hypothermia in the cold sea while waiting to be rescued. Many had not been shown how to put on their lifebelt correctly, and placed it around their waist, the only available spot because of their large backpacks. In some cases this meant that when they jumped into the water, the weight of their combat packs flipped them upside down, dragging their heads under water and drowning them. Dale Rodman, who travelled on LST-507, commented: "The worst memory I have is setting off in the lifeboat away from the sinking ship and watching bodies float by". The 248 bodies that were recovered were sent to Brookwood Cemetery in Surrey on 29 April. The unit with the most casualties was the 1st Special Engineer Brigade.

Operational consequences
Vice Admiral Kirk of the US Navy immediately realised the huge damage E-boats could inflict on slow-moving landing craft with minimal defences and feared that the German success in Lyme Bay could be repeated on D-day, with disastrous consequences. On 4 May 1944 he sent a signal to Admiral Ramsay of the Royal Navy arguing for heavy aerial and naval bombardment of Cherbourg: "In my opinion the E-boats must be destroyed or driven from the Cherbourg area, prior to D-day. The only successful defense against the E-boat is to sink it before it can reach an attack position."

Other consequences
The attack was reported up the chain of command to Dwight D. Eisenhower on 29 April. Eisenhower was enraged that the convoy was sailing in a straight line and not zig-zagging, that the attack reduced reserves of LSTs, that it indicated to the Germans that the Allies were nearly ready to invade, and that ten American officers with knowledge of the invasion were missing. The missing officers had BIGOT-level clearance for D-Day, meaning that they knew the invasion plans and could have compromised the invasion should they have been captured alive. As a result, the invasion was nearly called off until the bodies of all ten victims were found. He ordered that all the officers' bodies, and any incriminating papers they might have had, be found.

The ten American officers were from the 1st Engineer Special Brigade; they knew when and where the Utah and Omaha landings were to take place, and had seen the amphibious DUKWs that were to take the Rangers to below Pointe du Hoc. Merely knowing that exercises were taking place at Slapton was of interest to the Germans; the historian Stephen Ambrose suggests that the insistence in May by Hitler that the Normandy area be reinforced was because "he noticed the similarity between Slapton Sands and the Cotentin beach".

There were reports that E-boats were nosing through the wreckage for information with searchlights or torches. The shore batteries around nearby Salcombe Harbour had visually spotted unidentified small craft, but were ordered not to fire on them as it would have shown the Germans that the harbour was defended and disclosed the battery position.

As a result of official embarrassment and concerns over potential leaks just prior to the real invasion, all survivors were sworn to secrecy about the events by their superiors. There is little information about exactly how individual soldiers and sailors died. The US Department of Defense stated in 1988 that record-keeping may have been inadequate aboard some of the ships, and the most pertinent log books were lost at sea. A ninth LST (USS LST-508) was scheduled to be in the convoy, but was damaged. Author Nigel Lewis speculates that some or all of its infantrymen may have been aboard LST 507 when it went down. Various eyewitness accounts detail hasty treatment of casualties and rumours circulated of unmarked mass graves in Devon fields.

Several changes resulted from mistakes made in Exercise Tiger:
 * 1) Radio frequencies were standardised; Azalea and Scimitar were late and out of position due to radio problems, and a signal about the E-boats' presence was not picked up by the LSTs.
 * 2) Better lifejacket training was provided for landing troops
 * 3) Plans were made for small craft to pick up floating survivors on D-Day.

Official histories contain little information about the tragedy. Some commentators have called it a cover-up, but the initial critical secrecy about Tiger may have merely resulted in longer-term quietude. In his book The Forgotten Dead: Why 946 American Servicemen Died Off The Coast Of Devon In 1944 – And The Man Who Discovered Their True Story, published in 1988, Ken Small declares that the event "was never covered up; it was 'conveniently forgotten'".

The casualty statistics from Tiger were not released by Supreme Headquarters Allied Expeditionary Force (SHAEF) until August 1944, along with the casualties of the actual D-Day landings. This report stated that there were 442 army dead and 197 navy, for a total of 639. (However, Moon had reported on 30 April that there were 749 dead.) Charles B. MacDonald, author and former deputy chief historian at the U.S. Army Center of Military History, notes that information from the SHAEF press release appeared in the August issue of Stars and Stripes. MacDonald surmises that the press release went largely unnoticed in light of the larger events that were occurring at the time. The story was detailed in at least three books at the end of the war, including Captain Harry C. Butcher's My Three Years With Eisenhower (1946), and in several publications and speeches.

Memorials
Devon resident and civilian Ken Small took on the task of seeking to commemorate the event, after discovering evidence of the aftermath washed up on the shore while beachcombing in the early 1970s.

In 1974, Small bought from the U.S. Government the rights to a submerged tank from the 70th Tank Battalion discovered in his search. In 1984, with the aid of local residents and diving firms, he raised the tank, which now stands as a memorial to the incident. The local authority provided a plinth on the seafront to put the tank on, and erected a plaque in memory of the men killed. The American military honoured and supported him. Small died of cancer in March 2004, a few weeks before the 60th anniversary of Exercise Tiger.

The Slapton Sands memorial plaque reads: "Dedicated by the United States of America in honor of the men of the US Army's 1st Engineer Special Brigade, the 4th Infantry Division, and the VII Corps Headquarters; and the US Navy's 11th Amphibious Force who perished in the waters of Lyme Bay during the early hours of April 28, 1944."

A plaque was erected, in 1995, at Arlington National Cemetery entitled "Exercise Tiger Memorial". In 1997, the Exercise Tiger Association established a memorial to Exercise Tiger veterans in Mexico, Missouri. It is a 5,000-pound stern anchor from an LST of the Suffolk County Class on permanent loan from the Navy. In 2006, the Slapton Sands Memorial Tank Limited (a non-profit organisation, one of whose directors is Small's son Dean) established a more prominent memorial listing the names of all the victims of the attacks on Exercise Tiger.

In 2012, a memorial plaque was erected at Utah Beach, Normandy, on the wall of a former German anti-aircraft bunker. An M4 Sherman tank stands as a memorial to Exercise Tiger at Fort Rodman Park in New Bedford, Massachusetts.

In 2019, the US servicemen who died in the exercise were remembered in an art installation by artist Martin Barraud. Bootprints of 749 troops were laid out on Slapton Sands to mark the 75th anniversary of Exercise Tiger. Commemorative bootprints and special plaques made by veterans to represent each of the 22,763 British and Commonwealth servicemen and women who were killed on D-Day and during the Battle of Normandy in the summer of 1944 were sold. Barraud said: "Our enduring hope is that every one of the US, British and Commonwealth soldiers, sailors and airmen who gave their lives will have a bootprint purchased in their memory."

In popular culture

 * Someone In Time by Stuart Cowley is a 2019 novel based around the events of "Exercise Tiger" from the point of view of fictitious people and their individual stories.
 * Sanford Margalith's novel Captains is a fictionalised account of his experiences during the Slapton Sands incident.
 * In her book The Armada Boy, Kate Ellis relocated Exercise Tiger from Slapton to Bereton on the Devon coast, and used it as the background of the story.
 * A major plotline of Foyle's War was based on the Slapton Sands disaster, in the episode entitled "All Clear".
 * The Jack Higgins novel Night of the Fox begins with a fictionalised account of the Battle of Lyme Bay and the primary plot involves rescuing one of the BIGOT officers.
 * The Leslie Thomas novel The Magic Army is a fictionalised account of the evacuation of Slapton and the events leading up to the Slapton Sands disaster.
 * The 1985 film Code Name: Emerald is based around the disaster. As part of a deception from a Nazi spy who is a British Double Agent a message is sent to German High Command that indicating the location of a rehearsal for landings in France. Due to the secrecy around Operation Tiger they are unaware the location and time coincide with the Operation. Consequently, the E-boats attack and capture an officer with oversight of the D-Day landings. The plot revolves around ensuring his secrets aren't revealed necessitating a delay in the Normandy plans
 * The J. D. Salinger short story For Esme with Love and Squalor is narrated by an American serviceman suffering Post Traumatic Stress Disorder in Devon after the Slapton Sands massacre.

title: Exercise Tiger


text:
North Jersey

North Jersey comprises the northern portions of the U.S. state of New Jersey between the upper Delaware River and the Atlantic Ocean. As a distinct toponym, North Jersey is a colloquial one rather than an administrative one, reflecting geographical and perceived cultural and other differences between it and the southern part of the state.

North Jersey is characterized by its position, both geographically and culturally, within the greater New York City metropolitan area, as well as its high economic output, including its regional economic engines of Paramus in Bergen County, which had $6 billion in annual retail sales as of 2018 and Jersey City, whose financial district has been nicknamed "Wall Street West", Newark Liberty International Airport in Newark, and Port Newark–Elizabeth Marine Terminal.

Bergen County is the most populous county in both North Jersey and the state and serves as the western terminus for the George Washington Bridge, the world's busiest motor vehicle bridge, which connects Fort Lee, New Jersey to Upper Manhattan in New York City. Newark, located in Essex County, is New Jersey's most populous city. Jersey City, Paterson, and Elizabeth, located in Hudson, Passaic, and Union counties in North Jersey are the second, third, and fourth most populous cities in the state after Newark.

The exact definition of which counties constitute North Jersey is a subject of debate. Definitions of the North Jersey region of the state most consistently include Bergen, Essex, Hudson, Morris, Passaic, Sussex, Union, and Warren counties, though definitions of North Jersey frequently vary and may include other New Jersey counties in the New York metropolitan area that are sometimes differentiated as or considered "Central Jersey", including Middlesex County, Monmouth County, Somerset County, Hunterdon County, Mercer County, and even the northern portion or all of Ocean County.

Geography
Geologically, North Jersey is largely in the Piedmont Province, the Highlands Province, and the Ridge and Valley Province. Depending on definitions, some are counted as being in the Atlantic coastal plain.

North Jersey has a Humid Continental Climate (Dfb) by Köppen.

Definitions
One particular definition of North Jersey includes all points in New Jersey north of I-295 in the western part of the state and all points north of I-195 in the eastern part of the state. Another definition uses the old 1956-era 201 telephone area code, not the modern 201 area code, and all its additions, as this area code loosely included all of New Jersey north of Trenton. Some residents of the northern tier of counties use a narrower definition, counting only that area north of the mouth of the Raritan River. Conversely, people in South Jersey and within the Philadelphia metropolitan area, when using a two-portion approach that excludes Central Jersey as a separate category, may define North Jersey as consisting of Ocean County and every county north of it, essentially placing all New Jersey counties that are within the New York metropolitan area under the definition of North Jersey. The state is also sometimes described as having North Jersey and South Jersey separated from each other by Central Jersey.

Further subdivision
In 2008, the New Jersey State Department of Tourism divided the state into six tourist regions with the Gateway and Skylands regions included in North Jersey.

Counties most consistently defined as North Jersey counties
The following counties are most consistently considered North Jersey:

 * Bergen County
 * Essex County
 * Hudson County
 * Morris County
 * Passaic County
 * Sussex County
 * Warren County
 * Union County is sometimes considered as a transitional county between North Jersey and Central Jersey

History
North Jersey was the site of some of the earliest European settlements in what would become the United States of America. Its colonial history started after Henry Hudson sailed through Newark Bay in 1609. Although Hudson was British, he worked for the Netherlands, so he claimed the land for the Dutch as part of the provincial colony of New Netherland, with original settlements centered in Bergen in today's Hudson County. In 1664, the region became part of the Province of New Jersey.

During the American Revolutionary War, New Jersey was a strategic location between New York City, and the Continental Congress in Philadelphia. Important materials necessary to the war effort were sometimes produced in North Jersey, and the Continental Army made its home in North Jersey for part of the war. George Washington, commanding general of the Continental Army, maintained his headquarters at Ford Mansion in Morristown for part of the Revolutionary War, from December 1779 to June 1780. In the northwestern part of the state, iron mines and foundries supplied raw material for the Continental Army's guns and ammunition.

The American Industrial Revolution started by the founding of the North Jersey town of Paterson. Today, the United States and the world enjoy the fruit born of seeds planted in North Jersey during the Industrial Revolution. Alexander Hamilton, Secretary for the Treasury and President of the Bank of New York during the end of the eighteenth century, selected the Great Falls area, also known as the Passaic Falls, for an ambitious experiment. He promoted the natural power of the Great Falls as an excellent location for textile mills and other manufacturers.

Paterson attracted skilled craftsmen and engineers from Europe to run the mills and produced a large concentration of creative and able people. During the mid-nineteenth century, many of the engines and materials that would be used to colonize a continent were made here. Thomas Edison installed one of the first hydroelectric power plants in the world, which still provides electricity today, using the Great Falls as an energy source.

In West Orange, Edison created the first technical research and development facility with his invention factory. Electric light, improved motion pictures, and sound recording, were among the hundreds of inventions produced here.

Demographics
The seven counties that are most commonly included in North Jersey have an estimated total population of 3,787,937 as of 2022; this rises to 4,357,752 with the inclusion of Union County. As of the 2000 U.S. Census, the demographics of all the seven main counties combined are 66.8% White, 18.5% Hispanic or Latino, 15.4% African American, 6.6% Asian, 0.2% Native American, and 0.1% Pacific Islander.

Professional sports fans
Sports allegiances are often divided between the northern and southern portions of the state. The 2009 World Series divided the people of New Jersey, because South Jersey residents generally root for the Philadelphia Phillies, while North Jersey residents usually root for the New York Yankees or the New York Mets. A similar trend exists for most other major sports, with North Jersey residents supporting the Brooklyn Nets or the New York Knicks in basketball, the New Jersey Devils, or the New York Rangers in hockey, the New York Red Bulls or New York City FC in soccer, and the New York Giants or the New York Jets in football.

Notable North Jerseyans

 * People from Bergen County
 * People from Essex County
 * People from Hudson County
 * People from Morris County
 * People from Passaic County
 * People from Sussex County
 * People from Warren County

title: North Jersey


text:
Talk:American Academy and Institute of Arts and Letters

Untitled
Someone can give those chaps asterisks AND check up on what Robert actually won; if they still call the awards by the old name we can change the heading. Robin Patterson 06:56, 3 Jun 2004 (UTC)


text:
User talk:Buffed

Welcome to Wikipedia.

Congratulations on creating your first page: Katalyst. Be Bold! is the primary Wikipedia motto. However, might I direct you to Neutral Point of View or NPOV tutorial. Introduce yourself at New user log, puruse the Tutorial and play in the Sandbox. If you have any questions, leave me a note on my talk page or Village Pump. Burgundavia 06:56, 3 Jun 2004 (UTC)

title: User talk:Buffed


text:
Saag

Saag, also spelled sag or saga, is an Indian subcontinental leafy vegetable dish eaten with bread such as roti or naan, or in some regions with rice. Saag can be made from mustard greens, collard greens, basella or finely chopped broccoli along with added spices and sometimes other ingredients such as chhena.

In India, it is common, especially in the state of Odisha, where it is eaten with pakhala. In the Shree Jagannath Temple of Puri, saag is one of the dishes offered to Jagannath as part of Mahaprasad. Saag is also common in West Bengal and other regions of North India, where the most common preparation is sarson ka saag (mustard plant leaves), which may be eaten with makki ki roti, a yellow roti made with maize flour. Saag gosht or hariyali maans (spinach and mutton) is a common dish in the North Indian state of Punjab. In Pakistan, it is most commonly eaten in the Punjab province along with Makki ki roti and fresh cow butter or Desi ghee.

Etymology
The word saag is derived from the Sanskrit word shaak (śāka) meaning leafy green vegetables.

Odisha
In Odia cuisine, sāga (ଶାଗ) is one of the most important vegetables. It is popular all over the state. A large variety of plants are used as sāga in Odisha. A list of the plants that are used as sāga is as below.
 * Kalama sāga (କଳମ ଶାଗ): Ipomoea aquatica (water spinach)
 * Kosalā/Khadā sāga (କୋସଳା ଶାଗ/ଖଡା ଶାଗ): prepared from amaranth leaves.
 * Bajji sāga (ବଜ୍ଜୀ ଶାଗ): Prepared from Amaranthus dubius leaves.
 * Leutiā sāga (ଲେଉଟିଆ ଶାଗ) Amaranthus viridis leaves and tender stems.
 * Pālanga sāga (ପାଳଙ୍ଗ ଶାଗ) spinach
 * Sāga chhena (ସାଗ ଛେନା): Greens, especially spinach, with cottage cheese

 * Poi sāga (ପୋଈ ଶାଗ): prepared from basella leaves and tender stems.
 * Bāramāsi/sajanā sāga (ବାରମାସି/ ସଜନା ଶାଗ): prepared from leaves of the drumstick tree. Cooked with lentils or alone with fried onions.
 * Sunusuniā sāga (ସୁନୁସୁନିଆ ଶାଗ) Marsilea polycarpa leaves.
 * Pitāgama sāga (ପିତାଗମା ଶାଗ) Gilnus oppositifolius.
 * Pidanga sāga (ପିଡଙ୍ଗ ଶାଗ)
 * Kakhāru sāga (କଖାରୁ ଶାଗ): Prepared from leaves of the pumpkin plant.
 * Madarangā sāga (ମଦରଙ୍ଗା ଶାଗ): prepared from leaves of Alternanthera sessilis.
 * Sorisa sāga (ଶୋରିସ ଶାଗ) : Mustard greens
 * Methi sāga (ମେଥୀ ଶାଗ): prepared from methi or Fenugreek leaves and besara (mustard paste) cooked with vegetable.
 * Matara sāga (ମଟର ଶାଗ): The inner coating of peas is removed and then chopped to make the saga.
 * Bahal sāga
 * Kular sāga
 * Bhader sāga
 * Jhirel dal sāga

Bengali
In Bengali cuisine, sāg is one of the most important vegetables, being popular throughout the state. Most Bengalis eat at least one dish containing sāg at lunchtime every day - usually fried or accompanied by a little gravy (jhol) and served with rice. A list of the plants that are used as sāg is as below.
 * Kalmi sāg Ipomoea aquatica (water spinach)
 * Kosalā/khadā sāg: prepared from amaranth leaves.
 * Bajji sāg: Prepared from Amaranthus dubius leaves.
 * Leutiā sāg Amaranthus viridis leaves and tender stems.
 * Pālong sāg: spinach
 * Puin sāg : prepared from basella leaves and tender stems.
 * Bāramāsi/sojnā sāg: prepared from leaves of the drumstick tree. Cooked with lentils or alone with fried onions.
 * Sunusuniā sāg: Marsilea polycarpa leaves.
 * Pitāgama sāg
 * Helencha sāg: Enhydra fluctuans
 * Daata sāg
 * Peyanj sāg: prepared from spring onions
 * Mulor sāg
 * Lal sāg
 * Lau sāg : Prepared from the leaves and stems of bottle gourd plant.
 * Kumro sāg: Prepared from leaves of the pumpkin plant.
 * Madarangā sāg: prepared from leaves of Alternanthera sessilis.
 * Sorshe sag: Mustard greens
 * Methi sāg: prepared from methi or fenugreek leaves and besara (mustard paste) cooked with vegetable.
 * Matara sāg: The inner coating of peas is removed and then chopped to make the sāga.

Bihar

 * Kalmi saag
 * Munga saag
 * Koira Saag
 * Gandhari saag
 * Koinar saag
 * Chakod saag
 * Sarla saag
 * Chench saag
 * Chimti saag
 * Katai saag
 * Dhhahdhhaa saag
 * Golgola saag
 * Khesaari saag (Lathyrus sativus)
 * Poi saag (Basella alba)
 * Palak saag (Spinach)
 * Bathua saag (Chenopodium album)
 * Methi saag (Fenugreek)

Jharkhand
There are around 70 varieties of saag in Jharkhand. Some are as follows:
 * Beng saag
 * Bhaji saag
 * Kalmi saag
 * Khesari saag
 * Kohnda saag
 * Koinar saag
 * Methi saag
 * Munga saag
 * Palak saag
 * Pechki saag
 * Poi saag
 * Putkal saag
 * Sarla saag

Uttarakhand
Saags (Leafy greens) are an important part of the Garhwali, Kumaoni and Jaunsari cuisines of Uttarakhand. The abundance of leafy greens in the state are because of fertile land and forested land. Saags of Sarson (Mustard), Palak (spinach), Mooli (Radish) are common but exclusive saags cooked in the state are:

 * Kandali saag / Bicchu ghas ka saag / Sisun ka saag - saag prepared from young leaves of the stinging nettle weed. First the leaves are boiled in water, rendering their stinging hairs harmless, before grinding them into a paste and cooking with ghee, tomato and spices to flavour them. Nettle leaves so prepared are highly nutritious, containing essential minerals and large amounts of protein

 * Lingdi ka saag: made using tender fern leaves.

Haryana

 * Saag gosht or Hariyali Maans is a version of the dish prepared with meat often of mutton or lamb. This version of the dish is more common in the state of Haryana. The meat is usually cooked in a Bhatthi (clay oven) before being marinated in the other ingredients.
 * In winters, saags of Channa/Cholia (chickpea leaves), Sarson (mustard), Methi (fenugreek), Palak (spinach), Bathua (chenopodium) are commonly cooked in Haryanvi households. These saags are mainly eaten with millet breads like Makki ki roti & Bajra ki roti, smeared with ghee or butter.

Punjab

 * Saag is usually made with mustard leaves in Punjab, although spinach is common in other parts of the world. Saag is commonly served hot, usually with roti (wheat bread), chapati, makki ki roti, bajra ki roti and topped with clarified butter.

title: Saag


text:
Uta Barth

Uta Barth (born 1958 :3) is a contemporary German-American photographer whose work addresses themes such as perception, optical illusion and non-place. Her early work emerged in the late 1980s and 1990s, "inverting the notion of background and foreground" in photography and bringing awareness to a viewer's attention to visual information with in the photographic frame. Her work is as much about vision and perception as it is about the failure to see, the faith humans place in the mechanics of perception, and the precarious nature of perceptual habits. Barth's says this about her art practice: “The question for me always is how can I make you aware of your own looking, instead of losing your attention to thoughts about what it is that you are looking at." She has been honored with two National Endowments of the Arts fellowships, was a recipient of the John Simon Guggenheim Fellowship in 2004‑05, and was a 2012 MacArthur Fellow. Barth lives and works in Los Angeles, California.

Early years and education
Barth was born in Berlin, Germany in 1958. Growing up in Europe gave Barth a different cultural perspective. Her memory of West Berlin is "dark and austere" and she left for the United States before the Berlin wall was taken down in 1989. During early adolescence her father began a research project in the U.S. at Stanford University and she moved to the U.S. shortly after. Barth was 12 years old and did not know English when she arrived in the United States. The shift from cold-war Germany to 1970s California was a culture shock for Barth.

Later, Barth's received her Bachelor of Arts degree from the University of California, Davis in 1982 and a Master of Fine Arts from the University of California, Los Angeles in 1985. From 1990 to 2008, she was a professor in the Art Department at the University of California, Riverside, until she was given the honorary title of Professor Emeritus in the Department of Art in 2008 to the present. She was also a visiting Graduate Faculty member at the Art Center College of Design, Pasadena, California, from 2000 to 2012 and has been a visiting professor at the University of California, Los Angeles. After receiving the MacArthur Fellowship in October 2012, she noted that she still plans to teach on a part-time basis because teaching forces her to "put language to" what she is thinking.

Early work: late 1980s & early 1990s
In 1989 Barth's work was black and white, multi-paneled photographic and painted images mounted on wood that addressed the psychodynamics of vision, using optic patterns, repetitious visual metaphors for the eye, and diagrams related to light and human vision. The multi-panel work set up formal relationships that would continue through Barth's artistic practice in later works. Barth explains that this early work was about “the confrontation with the camera, in the feeling of being looked at, blasted with light, being blinded, all as a physical experience.” In 1990, Barth continued to explore optic patterns and illusions in her works Untitled #11–14. This work includes four small photographs of houses that are encompassed in large fields of black and white strips, similar to that of static on a television screen and creates an optic vibration. The work intersects with the themes of photographic vision and the idea of the ‘gaze.’

Mid 1990s
Barth's work began to internalize the space between the viewer and the object in the mid 1990s, zooming in and zooming out, looking close and far away in her works like Untitled #13 (1991) and Untitled #16 (1990). She begins playing with the communication of space with in the work through landscape and abstracted text, and plays with the idea of how the perception of the works occurs within the human body viewing it. Pamela Lee says, “the self-consciousness of looking is grounded in subjective looking” in Barth's work. In Untitled #13, Barth includes a photograph of a landscape whose details are blurred to slow down the immediate understanding of the image by the audience. This effect describes the instability of one's visual field of vision, and becomes the basis for Barth's next series of works Grounds.

Grounds (1992–1995)
This body of photographs consists of over 50 images in different sizes and scales. These photos defy the conventional flat photographic image by being laminated prints that are then mounted on wood boards multiple inches thick, projecting the print away from the wall. As a result, the images of Grounds impersonate an object instead of a print. This plays into Barth's conceptual ideas for the body of work, referring to these photographs as “containers of information." Writer Darren Campion says, "Barth's work addresses that fundamental dissonance between the world as it is and the world as we see it, the chasms of perceived experience. This is extended to other areas of the photographic process as well – the main correlate of space being, of course, time, and its fluidity, which seems antithetical to our notion of what photography does." Barth made the images by photographing generic locations outdoors as if she was shooting a formal portrait but removed the subject of the portrait in focus and left the out-of-focus background behind. Barth's gesture reverses the typical use of the camera, shooting something out of focus instead of something in-focus. As a result, she photographs unoccupied space. Barth was thinking about stock photography while making this body of work, picturing backdrops for family photos and portrait photography from the 1960s and 1970s >:3.

Fields (1995–1996)
In 1995 Barth began transitioning from her Grounds series into a new body of work known as Fields. She took her photographic approach in Grounds and turned it on its side, thinking about the site-specific relationship between the photograph and the physical space where it was made. This idea introduces motion into the work. Visual movement across the images in Fields creates a blur that is similar to that found in film and cinematic work. Fields produces the "illusion of filmic space and time" and Barth has said that she created this body of work in a similar way film producers scout locations for the perfect place to shoot a scene in a film.

In relation to her Field and Ground series, which depict blurred and empty foregrounds, Barth has stated: "I am interested in the conventions of picture-making, in the desire to picture the world and in our relationship, our continual love for and fascination with pictures."

Late 1990s
In 1998 Barth begins another series of Untitled works, including Untitled (98.4) and Untitled (98.6). Here, Barth begins to focus on sequencing in the gallery again, grouping images together in diptychs, triptychs and clusters. The work plays on the idea of multiple points of view or the experience of a visual double-take where a detail catches the viewer long enough to take a second image, a second look. To make this work, Barth would shoot multiple photographs in a row so that she could go back and edit the series of images to find the best photographs to pair together. This act re-introduces the notion of time into Barth's work. She begins spacing her panels of images on the wall in intervals to show gaps in time between shooting the photographs.

Early 2000s
Barth creates two of her most famous bodies of work during the same time period, nowhere near (1999) and …and of time (2000). Here, Barth interrogates the temporality of photography and the duration of vision. In nowhere near the camera records a repeated view out of Barth's living room window over multiple months. She made hundreds of images that contain moments of framing, records the ebb and flow of light and captures the change of the seasons. This body of work deals with the duration of looking and the prolonged engagement with "seeing" nothing. The series of work …and of time is the inverse series about the same window found in nowhere near. The images depict the light falling through the window, repeating grid like reflections of light that bounce and illuminate onto the wall and floor of Barth's living room. "The window becomes the aperture of the house and light and imagery project through it," Barth's says.

In 2002 Barth creates white blind (bright red). She deliberately sequences images, pairing anywhere from two, six or a dozen photographs of bare tree branches with white sky backdrops together. In contrast with the photographic panels are brightly colored panels of primary red, ox-blood, and a deep yellow scattered throughout the sequencing that break up the visual rhythm of movement from one image to the next. Instead of being drawn in by a single image, the viewer experiences a banned of images that flicker across the walls of the gallery in a horizon line of images. "A flickering of visual consciousness," Holly Myers, an art critic for the Los Angeles Times wrote in reference to the work. Optical illusion occurs, as the viewer walks through the sequencing of tree branches and interrupting red and yellow color panels interspersed throughout the photographic imagery, creating afterimages that strike the viewers eyes.

...and to draw a bright white line with light (2011)
This series of work was commissioned by the Art Institute of Chicago in 2011 and marks a turn in Barth's work. In this series, Barth's intervention of her own body parts into the photographic frame to position the subject of the photograph is made visible. The viewer can identify Barth's arm or arm's shadow, as she creates the lines of light the camera captures in the series of photographs. This more recent work embodies Barth's idea of her own personal intervention into the space that she photographs. In previous series she aimed to spark observation and a sense of visual perception in the work. "Perhaps I have just discovered a way to make marks with light that fits into my ongoing practice," Barth's explains about the series in an interview with Art in America. This interview was in conjunction with a show Barth's had on view at gallery 1301PE in Los Angeles in September–October 2011. …and to draw a bright white line with light was shown at the Art Institute of Chicago May 14–August 16, 2011, as well as at Tanya Bonakdar Gallery in New York in October–December 2011.

Collaborations
The Getty Museum commissioned eleven Los Angeles Artists for a collaborative exhibition titled Departures: 11 Artists at the Getty and Uta Barth was invited to participate. The exhibition was open to the public from February 29, 2000 through May 7, 2000. Each artist was commissioned to create works in response to art in the Getty's collection. Exhibition curator Lisa Lyons said, "Departures is intended to explore the potent and sometimes surprising ways in which the art of the past can inform contemporary art. Equally important, the new works produced for the exhibition will offer valuable insights into the Getty collections." The press release for the show gave a brief description of the each artists goals for their work, including Barth who planned to create a series of multi-panel photographs capturing variations of a single view of the interior of her home. These images where inspired by two artists represented at the Getty: the Impressionist painter Claude Monet (Wheatstacks, Snow Effect Morning, 1891) and environmental artist Robert Irwin (Central Garden, 1997).

Group shows
Uta Barth has also participated in multiple group shows nationally and international. One group show she participated in was held at the Getty Museum in 2013. The titled of the exhibition was "At the Window: A Photographer’s View” and also included Gregory Crewdson and Yuki Onodera. Barth showed work from ‘nowhere near’ and ‘…and of time.’ This show articulates a theme and motif throughout Barth's work: the window. In an interview with the artists in the show, Barth's says, “The window is a wonderful vehicle for referring to the act of looking.” The exhibition displayed the contemporary artists work alongside art historical works like French inventor Joseph Nicéphore Niépce who took the world's first photograph in 1826.

Selected exhibitions and collections
Her work has been featured in many exhibitions nationally and internationally, including Museum of Modern Art, New York; Metropolitan Museum of Art, New York; Museum of Contemporary Art, Chicago, Art Institute of Chicago; Henry Art Gallery, University of Washington, Seattle; the SCAD Museum of Art, Savannah; SITE, Santa Fe; Contemporary Arts Museum, Houston; Lannan Foundation, Santa Fe; and Museum of Contemporary Art, Los Angeles and Museum of Modern Art, Istanbul. "Uta Barth: Peripheral Vision", a large retrospective of her work, was shown at The Getty Center in 2022.

Barth's work is represented in numerous public and private collections worldwide, including the Whitney Museum of American Art, New York; The Museum of Modern Art, New York; The Solomon R. Guggenheim Museum, New York and Bilbao, Spain; The Tate Modern, London; Carnegie Museum of Art, Pittsburgh; Dallas Museum of Art, Texas; UCLA Hammer Museum, Los Angeles; Museum of Contemporary Art, Los Angeles; Museum of Contemporary Art, Chicago; Los Angeles County Museum of Art; The Getty Museum, Los Angeles; and The Walker Art Center, Minneapolis, among others.

Monographs

 * 2012 – Uta Barth. ... to draw with light. Blind Spot, New York.
 * 2010 – Uta Barth: The Long Now. Greg R. Miller & Co., New York. Essays by Jonathan Crary, Russell Ferguson, and Holly Myers.
 * 2006 – Uta Barth 2006: Just Spanning Time. Essay by Cheryl Kaplan Exh. cat. Minneapolis: Franklin Art Works.
 * 2004 – Uta Barth: white blind (bright red). Santa Fe: SITE Santa Fe. Essay by Jan Tumlir.
 * 2004 – Uta Barth. London: Phaidon Press. Essays by Uta Barth, Pamela Lee, and Jeremy Gilbert-Rolfe; interview with Matthew Higgs; and selected writings by Joan Didion.
 * 2000 – Uta Barth: ... and of time. Artist's book. Essay by Timothy Martin. Published in conjunction with a project commissioned by the J. Paul Getty Museum, Los Angeles, for the exhibition "Departures: 11 Artists".
 * 2000 – At the Edge of the Decipherable: Recent Photographs by Uta Barth. 2nd ed. Essay by Elizabeth A. T. Smith. Los Angeles: The Museum of Contemporary Art and St. Ann's Press.
 * 2000 – Uta Barth: In Between Places. Seattle: Henry Art Gallery and University of Washington. Essays by Sheryl Conkelton, Russell Ferguson, and Timothy Martin.
 * 1999 – Uta Barth: nowhere near. Artist's book. Essay by Jan Tumlir. Published in conjunction with a three-part exhibition project by the same name at ACME., Los Angeles; Bonakdar Jancou Gallery, New York; and Andréhn-Schiptjenko, Stockholm.
 * 1999 – Uta Barth: nowhere near. Exh. brochure. Overland Park, Kansas: Johnson County Community College Art Gallery. Text by Jan Tumlir.
 * 1995 – At the Edge of the Decipherable: Recent Photographs by Uta Barth. Essay by Elizabeth A. T. Smith. Los Angeles: The Museum of Contemporary Art.

Selected grants and fellowships

 * 2012  MacArthur Fellowship
 * 2012 Anonymous Was A Woman Award
 * 2010 Nominated for the 2011 Deutsche Börse Photography Prize
 * 2007 Broad Art Foundation USA Artist Fellowship
 * 2004–05 John Simon Guggenheim Fellowship
 * 1996 Nominated Tiffany Award
 * 1994–95 National Endowment for the Arts Visual Artist Fellowship
 * 1995 AMI Grant (Art Matters Inc., New York), Visual Artist Fellowship
 * 1992–93 AMI Grant (Art Matters Inc., New York), Visual Artist Fellowship
 * 1990–91 National Endowment for the Arts, Visual Artist Fellowship
 * 1983–84 National Arts Association

title: Uta Barth


text:
Shemot

Shemot (Hebrew, 'names') may refer to:

 * Book of Exodus, or Shemot
 * Shemot (parashah), in the Jewish cycle of Torah readings

title: Shemot


text:
Category:Subatomic particles

A subatomic particle is a particle smaller than an atom.

title: Category:Subatomic particles


text:
National Museum of American History

The National Museum of American History: Kenneth E. Behring Center is a historical museum in Washington, D.C. It collects, preserves, and displays the heritage of the United States in the areas of social, political, cultural, scientific, and military history. Among the items on display is the original Star-Spangled Banner. The museum is part of the Smithsonian Institution and located on the National Mall at 14th Street and Constitution Avenue NW in Washington, D.C.

In 2023, the museum received 2.1 million visitors, ranking the sixth-most visited museum in the U.S.

History
The museum opened in 1964 as the Museum of History and Technology. It was one of the last structures designed by the renowned architectural firm McKim Mead & White. In 1980, the museum was renamed the National Museum of American History to represent its mission of the collection, care, study, and interpretation of objects that reflect the experience of the American people.

The museum site had previously held two temporary war buildings constructed in 1942.

In May 2012, John Gray became the new director. He retired from the post in May 2018 and was succeeded by Anthea M. Hartig who was previously chief executive of the California Historical Society.

Renovations

The museum underwent an $85 million renovation from September 5, 2006, to November 21, 2008, during which time it was closed. Skidmore, Owings and Merrill provided the architecture and interior design services for the renovation, led by Gary Haney. Major changes made during the renovation include:

 * A new, five-story sky-lit atrium, which is surrounded by displays of artifacts that showcase the breadth of the museum's collection.
 * A new, grand staircase that links the museum's first and second floors.
 * A new welcome center, and the addition of six landmark objects to orient visitors.
 * New galleries, such as the Jerome and Dorothy Lemelson Hall of Invention.
 * An environmentally controlled chamber to protect the original Star-Spangled Banner flag.

In 2012, the museum began a $37 million renovation of the west wing to add new exhibition spaces, public plazas and an education center. The renovation will also include panoramic windows overlooking the National Mall on all three floors and new interactive features to the exhibits. The first floor of the west wing reopened on July 1, 2015, with the second and third floors of the west wing reopening in 2016 and 2017, respectively.

Layout
Each wing of the museum's three exhibition floors is anchored by a landmark object to highlight the theme of that wing. These include the John Bull locomotive, the Greensboro, North Carolina lunch counter, and a one of a kind draft wheel. Landmarks from pre-existing exhibits include the 1865 Vassar Telescope, a George Washington Statue, a Red Cross ambulance, and a car from Disneyland's Dumbo Flying Elephant ride.

Artifact walls, 275 ft of glass-fronted cases, line the first and second floor center core. The artifact walls are organized around themes including arts; popular culture; business, work and economy; home and family; community; land and natural resources; peopling America; politics and reform; science; medicine; technology; and the United States' role in the world.

Lower level
The lower level of the museum displays Taking America to Lunch, which celebrates the history of American lunch boxes, many decorated with pop culture. The museum's food court, the Stars and Stripes Café, and ride simulators are also located here.

First floor
The first floor's East Wing (called 1 East) has exhibits that feature transportation and technology; they include America on the Move and Lighting a Revolution. The John Bull locomotive is the signature artifact. Exhibits within America on the Move include Southern Railway locomotive no. 1401, Santa Cruz Railroad no. 3, and a Chicago "L" elevated station diorama featuring a CTA 6000-series railcar.

The exhibits in the West Wing (1 West) address science and innovation. They include Science in American Life featuring Robots on the Road and ''Bon Appétit! Julia Child's Kitchen. Spark!Lab'' is a hands-on exhibit of the Lemelson Center for the Study of Invention and Innovation. The Vassar Telescope is the signature artifact.

A café and the main museum store are also located on the first floor. The first floor also contains the Constitution Avenue lobby (1 Center), as well as a space for a temporary exhibit.

Second floor
The exhibitions in 2 East, the east wing of the second floor, consider American ideals and include the Albert Small Documents Gallery featuring rotating exhibits. From November 21, 2008, through January 4, 2009, an original copy of the Gettysburg Address, on loan from the White House, was on display. The Greensboro lunch counter is the signature artifact for this section of the museum.

Located in the center of the second floor (2 Center) is the original Star Spangled Banner Flag which inspired Francis Scott Key's poem. The newly conserved flag, the centerpiece of the renovated museum, is displayed in a climate-controlled room at the heart of the museum. An interactive display by Potion Design, just across the room from the flag, features a full-size, digital reproduction of the flag that allows patrons to learn more about it by touching different areas on the flag.

The George Washington statue, sculpted by Horatio Greenough for exhibit in the Rotunda of the United States Capitol and in celebration of the centennial of Washington's birth, is the signature artifact for 2 West, the west wing of the second floor of the museum.

An entire eighteenth century colonial house, the Choate-Caldwell House (c. 1710/1760) from Ipswich, Massachusetts is located on the second floor (in 2 West) as part of the "Within These Walls" exhibit.

The second floor also houses the museum's new welcome center and a store. The second-floor lobby leads out to Madison Drive and the National Mall.

Third floor
Exhibits in the east wing of the third floor, 3 East, are focused on the military history of the United States; they include The Price of Freedom: Americans at War and the gunboat Philadelphia.

The center of the third floor, 3 Center, presents The American Presidency: A Glorious Burden, which explores the personal and public lives of the men who have held that office. It also features the popular permanent exhibit of First Ladies of America, which features their contributions and changing roles, and displays their dresses as a mark of changing times.

The third-floor west wing, 3 West, has exhibits that feature entertainment, sports, and music. These include Thanks for the Memories: Music, Sports and Entertainment History, the Hall of Musical Instruments, and The Dolls' House. A car from Disneyland's Dumbo the Flying Elephant ride is the signature artifact.

Outdoor sculptures
In 1967, the 24 ft abstract sculpture Infinity was dedicated at the National Mall entrance. Designed by José de Rivera and created by Roy Gussow, it was one of the first abstract sculptures displayed at a major public building in Washington D.C. The sculpture is a 16 ft, polished stainless steel ribbon on top of a granite tower.

Alexander Calder's sculpture Gwenfritz was installed in a fountain on the west side. The steel abstract stabile was dedicated to the museum on June 2, 1969. In 1984, the museum moved the work to a site closer to Constitution Avenue until July 2013, when conservators removed it for restoration. The sculpture returned to its original site in November 2014, and sits in the midst of a re-created reflecting pool. Calder's original plan for the sculpture envisioned it surrounded by water jets, but architects and engineers of the site determined that the fountain would be challenging to maintain and the water spray would hasten deterioration of the metal.

Archives
In support of the museum's mission, the Archives Center identifies, acquires, and preserves significant archival records in many media and formats to document America's history and its diverse cultures. Center staff arrange, describe, preserve, and make collections accessible in support of scholarship, exhibitions, publications, and education.

The Archives Center occupies over 12000 ft of shelving in the National Museum of American History building. Subject strengths include the history of the radio, television, the telegraph, computing, and other aspects of the history of technology with a special interest in the history of invention; advertising, marketing, and entrepreneurship; commercial visual ephemera (postcards, greeting cards); American music (sheet music, jazz) and musical instruments. These, and a wide range of other subjects, are documented in business records, personal papers, and extensive holdings of motion picture film, video and sound recordings, historical photographs, and oral histories.

Jerome and Dorothy Lemelson Center for the Study of Invention and Innovation
The Lemelson Center, an initiative of the Lemelson Foundation, produces educational programs, popular and academic publications, exhibitions, podcasts and symposia about invention. The mission of the Lemelson Center is to document, interpret and disseminate information about invention and innovation, encourage creativity in young people, and foster an appreciation for the central role of innovation in the history of the United States. The Center frequently provides a multi-year focus on some aspect of how invention has influenced American society, such as its 2002 "Invention and the Environment" theme. Programs include an annual symposium, presentations and guest speakers, and often the publication of a book highlighting a particular topic.

The Center provides free curricular material to classrooms throughout the United States, organizes traveling museum exhibitions (such as Invention at Play), and provides research opportunities. It obtains archival collections related to invention for the museum's Archives Center. Such collections consist of the papers and materials that document the work of past and current American inventors.

Directors
The following individuals have served as the director of the NMAH. The museum was initially created on July 1, 1957, as the Museum of History and Technology within the United States National Museum; it became the National Museum of History and Technology in 1969 and the National Museum of American History in 1980.

 * Frank A. Taylor (April 16, 1958 – 1964)
 * John Canfield Ewers (1964–1965)
 * Robert P. Multhauf (1966–1968)
 * Daniel J. Boorstin (1968–1973)
 * Brooke Hindle (1974–1978)
 * Claudia Brush Kidwell (1979): acting director
 * Roger G. Kennedy (1979–1992)
 * Spencer R. Crew (1992–1994): acting director
 * Spencer R. Crew (1994–2001)
 * Marc J. Pachter (2001–2002): acting director
 * Brent D. Glass (October 2002 – August 2014)
 * Marc J. Pachter (August 2014 – July 2015): acting director
 * John Gray (July 2015 – May 2018)
 * Anthea M. Hartig (December 2018 – present)

Past exhibits

 * Slavery at Jefferson's Monticello: Paradox of Liberty, January 27 – October 14, 2012, Smithsonian Institution, a landmark exhibit, the first ever on the Mall to explore a president's relation to slavery; it focused on six major slave families at Monticello.
 * 24 Hours in Cyberspace – opened on January 23, 1997, this exhibit celebrated "the largest one-day online event" (February 8, 1996) up to that date, which took place on the then-active website, cyber24.com (it is online at a mirror website maintained by Georgia Tech). 24 Hours in Cyberspace was headed by photographer Rick Smolan. The exhibit featured 70 photos from the project.
 * Treasures of American History, temporary display at the National Air and Space Museum, closed in April 2008.
 * A Nation of Nations was the Smithsonian's Bicentennial salute to the American immigrant experience; it included many iconic rooms and examples of immigrants' contribution to the United States.

title: National Museum of American History


text:
Category:Database management systems

A database management system (DBMS) is a computer program (or more typically, a suite of them) designed to manage a database, a large set of structured data, and run operations on the data requested by numerous users. Typical examples of DBMS use include accounting, human resources and customer support systems.

Originally found only in large companies with the computer hardware needed to support large data sets, DBMSs have more recently emerged as a fairly standard part of any company back office.

title: Category:Database management systems