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Linda Lavin

Linda Lavin (born October 15, 1937 ) is an American actress and singer. She is known for playing the title character in the sitcom Alice and for her stage performances, both on and off-Broadway.

After acting as a child, Lavin joined the Compass Players in the late 1950s. She began appearing on Broadway in the 1960s, earning notice in It's a Bird...It's a Plane...It's Superman in 1966 and receiving her first Tony Award nomination for Last of the Red Hot Lovers in 1970. She moved to Hollywood in 1973 and began to work on television, making recurring appearances on the sitcom Barney Miller before landing the title role on the hit comedy Alice, which ran from 1976 to 1985. She appeared in many telefilms and later she appeared in other TV works. She has also played roles in several feature films.

In 1987, she returned to Broadway, starring in Broadway Bound (winning a Tony Award), Gypsy (1990), The Sisters Rosensweig (1993), The Diary of Anne Frank (1997–1998) and The Tale of the Allergist's Wife (2000–2001), among others. In 2010, she appeared as Ruth Steiner in Collected Stories, garnering her fifth Tony nomination. She starred in NBC's short-lived sitcom Sean Saves the World as Lorna and the CBS sitcom 9JKL. She also starred in the CBS sitcom B Positive.

Early life and career
Lavin was born in Portland, Maine, the daughter of David Joseph Lavin, a businessman, and Lucille (née Potter), an opera singer. The Lavin family were active members of the local Jewish community. Both sets of grandparents, Simon and Jessie Lavin and Harry and Esther Potter, emigrated from Russia. Her family was musically talented, and Lavin has been on stage since the age of five. She studied acting at HB Studio in New York City. She attended Waynflete School before enrolling in the College of William & Mary. While at William and Mary, she performed with the William and Mary Theater in many productions directed by long-time Professor Howard Scammon. In the summer of 1958, she played one of the leads in The Common Glory, an outdoor drama written by Pulitzer Prize–winning playwright Paul Green and staged at an amphitheater on campus. Upon her graduation from William and Mary, she had already received her Actors' Equity Association card. She was a member of the Compass Players in the late 1950s. By the early 1960s, Lavin had appeared in several Broadway shows and appeared on the 1966 cast recordings of The Mad Show performing Stephen Sondheim's "The Boy From...". From It's a Bird...It's a Plane...It's Superman, one of her numbers, "You've Got Possibilities", was the album's best-received song and was called "The one memorable song...flirty, syncopated" by the Dallas Observer.

Television and film
In 1967, Lavin made an appearance as Gloria Thorpe in a television version of the baseball musical Damn Yankees with Phil Silvers. In 1969, Lavin married actor Ron Leibman, and by 1973, the couple had arrived in Hollywood, California. After various guest appearances on episodic television series such as The Nurses, Rhoda, Harry O and Kaz, Lavin landed a recurring role as Detective Janice Wentworth on Barney Miller during the first and second seasons (1975–1976).

She left Barney Miller to star in the lead role in Alice. The show was a popular hit for CBS and ran from 1976 to 1985. The series was based on the Martin Scorsese–directed Ellen Burstyn film Alice Doesn't Live Here Anymore. Lavin portrayed Alice Hyatt, a waitress and singer, the character that Burstyn had played. Lavin performed the series' theme song, "There's a New Girl in Town," which was written by David Shire and Alan and Marilyn Bergman and was updated for each of the first six seasons. During the series' nine-season run, Lavin earned two Golden Globe Awards and a Primetime Emmy Award nomination, and gained experience directing, especially during the later seasons. Lavin also played a dual role in Alice, as Debbie Walden, the wizened and former landlady of the character Vera Louise Gorman-Novak. Lavin also made numerous television appearances outside of Alice, including hosting her own holiday special for CBS, Linda in Wonderland (1980). She acted in two sitcoms, Room for Two (1992–93) and 1998's Conrad Bloom. In Room for Two, she played a mother who moved in with her daughter, played by Patricia Heaton, who has a show on a local television station. The daughter gives Lavin's character her own segment, called "Just a Thought", at the end of her program.

After working in theatre for many years, Lavin was cast in the NBC television sitcom Sean Saves the World (2013–14) playing Sean Hayes' pushy, meddling mother Lorna. The Los Angeles Times interviewer noted: "A highlight of the show is the wonderful chemistry between Lavin and Hayes, who exchange repartee and quips with breezy ease. And the cast seems smitten with her."

She made numerous television guest appearances, including roles on The Muppet Show (1979), Law & Order: Criminal Intent, The O.C., Touched by an Angel (1999) and HBO's The Sopranos (2002).

She also appeared in many telefilms between 1967 and 1998, including: Damn Yankees!, Sadbird, The Morning After, Jerry, Like Mom, Like Me, The $5.20 an Hour Dream, Another Woman's Child, Maricela, Lena: My 100 Children, Whitewash, A Dream is a Wish Your Heart Makes: The Annette Funicello Story, Stolen Memories: Secrets from the Rose Garden, For the Future: The Irvine Fertility Scandal, The Ring, and Best Friends for Life. Lavin produced and starred in A Matter of Life and Death, the 1981 telefilm based on the work of nurse thanatologist Joy Ufema. She directed the 1990 telefilm Flour Babies.

Lavin made her feature film debut in The Muppets Take Manhattan (1984). Her other feature film appearances include See You in the Morning, starring Jeff Bridges; Alain Resnais's I Want to Go Home, opposite Gérard Depardieu (both 1989); and The Back-up Plan (2010).

Lavin also provided the voice of the Mother Vulture in the animated series Courage The Cowardly Dog for the episode Watch The Birdies.

In 2015, Lavin guest starred as a judge approached to stop an execution in the episode of Bones titled "The Verdict in the Victims." Actress Emily Deschanel said "Lavin was particularly fun to have on" the show.

Lavin played Judy Roberts in the CBS sitcom 9JKL (2017–18) alongside Mark Feuerstein and Elliott Gould. Lavin caught up with Portland Magazine in its Winterguide 2018 issue about her return to CBS stating: Like Alice, 9JKL deals with family relationships–except it's a more sophisticated and edgier show. The people are more privileged and on a higher economic level than Alice. I love to go to work every day. I feel very grateful and fortunate for this role, the quality of work and good people at this stage of my life. Fun and creative are the operative words for me. I'm very committed to participating in projects where I can bring and exchange those qualities with like-minded people.

In 2019, Lavin joined the cast of the Netflix comedy/horror Santa Clarita Diet, starring Drew Barrymore and Timothy Olyphant.

In 2020, Lavin performed the song "The Boy From..." from The Mad Show in Take Me to the World: A Sondheim 90th Birthday Celebration.  Lavin appeared in the CBS comedy B Positive, which aired from 2020 to 2022, in a recurring role as Norma, one of the senior citizens at a local retirement home.

Theater
In 1960 Lavin appeared at the East 74th Street Theater in George Gershwin's Oh, Kay!, with Penny Fuller and Marti Stevens.

Lavin began her career with Broadway appearances in the musical A Family Affair (1962) and plays such as The Riot Act (1963) and Carl Reiner's Something Different (1967). In his New York Times review of John Guare's two one-act plays, Cop-Out (1969), Clive Barnes wrote: "Miss Lavin...carries versatility almost to the point of paranoia, and camps up a storm."

Lavin also appeared in numerous Off-Broadway productions, including the revue Wet Paint (1965), the musical The Mad Show (1966) (in which she introduced the cabaret standard "The Boy From...", written by Stephen Sondheim and Mary Rodgers), and Little Murders (1969). Lavin won the Theatre World Award for Wet Paint and a Drama Desk Award for Little Murders. In 1975, she appeared in the Shakespeare in the Park production of The Comedy of Errors at the Delacorte Theater.

She "arrived at showbiz stardom with a featured role" in the musical It's a Bird...It's a Plane...It's Superman (1966). She received her first Tony Award nomination in 1970, for her role in the Neil Simon play Last of the Red Hot Lovers (1969). Clive Barnes, in his review for The New York Times, wrote: "Linda Lavin, eyebrows, [sic] flaunting like telegraphed messages, mouth twitching and pouting, voice as dry as thunder and with a cough like electric static, is beautiful as Elaine, the sex cat feeling coolly kittenish and looking for a safe tin roof." Lavin's last Broadway credit before she moved to Hollywood was in Paul Sills' Story Theatre in 1971.

In 1984, Lavin played the character of "The Mother" in Luigi Pirandello's Six Characters in Search of an Author in a production directed by Robert Brustein at the American Repertory Theatre in Cambridge, Massachusetts.

After more than a decade away, Lavin returned to the Broadway stage in 1987, winning a Tony Award for Best Actress in a Play and her second Drama Desk Award for her role as Kate in Simon's play Broadway Bound. In his review in The New York Times, Frank Rich wrote: "One only wishes that Ms. Lavin, whose touching performance is of the same high integrity as the writing, could stay in the role forever." Theatre critic Charles McNulty wrote of her performance that it "is widely considered one of the most memorable in contemporary Broadway history, winning not just awards but praise approaching the level of myth. The theater critic Gordon Rogoff, extolling 'the power available only to an actor at the height of her own command of detail,' went so far as to describe Lavin's portrayal as 'one of those textbook lessons in great acting...' "

She then starred on Broadway in Gypsy as Mama Rose Hovick, replacing Tyne Daly in July 1990. June Havoc saw Lavin's performance in Gypsy and sent Lavin a photo of Havoc's mother, the real Rose Hovick, with a note of appreciation for Lavin's portrayal of the character.

Subsequent Broadway roles included The Sisters Rosensweig, as a replacement Gorgeous Teitelbaum starting in September 1993 and Mrs. Van Daan in The Diary of Anne Frank (1997–1998), opposite Natalie Portman, for which she garnered a Tony nomination as Featured Actress in a Play. In 1995 she appeared in the Off-Broadway Death-Defying Acts, which consists of three one-act plays; Lavin performed in the Elaine May (Hotline) and Woody Allen plays (Central Park West). She was nominated for a Drama Desk Award (Outstanding Actress – Play) and won an Obie Award (Performance) and the Lucille Lortel Award. She also directed theater during this period.

She played Marjorie in The Tale of the Allergist's Wife (2000–2001), co-starring Tony Roberts and Michele Lee, for which she was nominated for a Tony Award, Leading Actress in a Play, and Drama Desk Award, and "nanny" for Helen (young Carol Burnett, played by Sara Niemietz and Donna Lynne Champlin) in Hollywood Arms in Chicago and on Broadway in 2002.

In 2010, Lavin appeared as Ruth Steiner in a Broadway revival of the play Collected Stories, reprising her role for a PBS production of the play, and received a fifth Tony nomination for the role. She appeared in the new play by Jon Robin Baitz, Other Desert Cities, Off-Broadway at the Mitzi Newhouse Theater (Lincoln Center) beginning in previews in December 2010, closing February 27, 2011. Lavin was featured in the Kennedy Center (Washington, DC) production of the musical Follies, from May 2011 to June 2011, as Hattie Walker.

She appeared in the premiere of the Nicky Silver play The Lyons at the Off-Broadway Vineyard Theatre, beginning in September 2011, through November 11. Ben Brantley, The New York Times reviewer, commented: "Watching Ms. Lavin, I found myself thinking of Nora from Ibsen's Doll's House – well, a pursed-lipped, lemony-sour, older Nora in pseudo-Chanel, one who's never at a loss for what to say and when to say it. Rita may be a little behind schedule in discovering herself, but no one can fault the hair-trigger timing of the actress playing her or the surprising dimensions she finds within one-liners." She reprised her role in the Broadway production, which opened at the Cort Theatre on April 23, 2012 and closed on July 1, 2012.

Lavin appeared in the new Nicky Silver play Too Much Sun, which opened Off-Broadway at the Vineyard Theatre on May 18, 2014. Ben Brantley, in his review for The New York Times wrote: "And it's an unconditional treat to witness an actress like Ms. Lavin tuned so precisely into the writer's wavelength that script and performance become a marriage of true minds."

Lavin appeared in 2015/16 on Broadway at the Samuel J. Friedman Theatre in a Manhattan Theatre Club production of Richard Greenberg's Our Mother's Brief Affair.

In January 2017, Lavin appeared in New York City Opera's production of Leonard Bernstein's Candide at the Rose Theatre at Lincoln Center in the role of The Old Lady.

In 2020, Lavin performed "The Boy From..." as part of Take Me to the World: A Sondheim 90th Birthday Celebration. Writing in The New York Times, critic Ben Brantley called her performance of the song "deliciously undersold," and noted that she had introduced it 54 years earlier.

Cabaret and recording
Lavin has appeared in cabaret and concert performances. In 2005 she appeared at the Empire Plush Room in San Francisco, accompanied by Billy Stritch and her husband, Steve Bakunas. The Talkin' Broadway reviewer summed up her performance: "Linda Lavin is funny, warm and full of personality." In April 2006 she performed at Birdland (New York) "with her critically acclaimed cabaret act The Song Remembers When", with Billy Stritch. She performed with the Wilmington Symphony (Wilmington, North Carolina) in March 2012.

Her recording Possibilities was released by Ghostlight Records in 2012. Steven Suskin wrote: "There is still that sweet, friendly sound of long ago (and 'sweet' and 'friendly' are not words you'd use to describe Lavin-the-actress)."

Personal life

Lavin has been married three times. Her first marriage to Ron Leibman ended in divorce in 1981. Her second marriage, to Kip Niven, whom she met on the set of Alice, ended in a bitter divorce in 1992. While Lavin has no biological children, she is the stepmother of the children of her second husband and plays an active role in their lives and also in the lives of her grandchildren. She is also the stepmother of the children of her third and current husband, artist/musician Steve Bakunas, whom she married in 2005. The couple resided in Wilmington, North Carolina, where they were committed community members who were working together to rehabilitate impoverished neighborhoods including renovating many homes, donating a park to the city and creating a community theatre, the Red Barn Studio. In 1997, Lavin founded The Linda Lavin Arts Foundation in Wilmington, "to promote and foster the advancement of the performing and visual arts, with special emphasis on arts in education. Her foundation has created a theatre program called Girl Friends, whose purpose is to raise the self-esteem of at-risk teenage girls of the inner city."

Both of her former husbands, the aforementioned Niven and Leibman, died in 2019, as did Alice co-stars Philip McKeon and Charles Levin.

In Wilmington, she was a stage director. One of her directorial credits was a 1998 production of William Shakespeare's As You Like It, updated to a Brazilian jazz style. In both Wilmington and New York she teaches master classes in acting and singing.

In September 2012, Lavin announced that she intended to sell her home in Wilmington and return to New York City. Lavin and Bakunas have lived in New York City since circa 2013–2014. In July 2016, the Luxury Living website posted Lavin's Central Park South apartment for sale at $1.25 million.

Awards and nominations
Lavin was inducted into the American Theater Hall of Fame for 2010 in January 2011.

Tony Awards
 * 1970 Best Performance by a Featured Actress in a Play – Last of the Red Hot Lovers (Nominated)
 * 1987 Best Performance by a Leading Actress in a Play – Broadway Bound (Won)
 * 1998 Best Performance by a Featured Actress in a Play – The Diary of Anne Frank (Nominated)
 * 2001 Best Performance by a Leading Actress in a Play – The Tale of the Allergist's Wife (Nominated)
 * 2010 Best Performance by a Leading Actress in a Play – Collected Stories (Nominated)
 * 2012 Best Performance by a Leading Actress in a Play – The Lyons (Nominated)

Drama Desk Awards
 * 1987 Outstanding Actress in a Play – Broadway Bound (Won)
 * 2008 Outstanding Featured Actress in a Play – The New Century (Won)

Obie Award
 * 1994–95 Outstanding Actress – Death Defying Acts (Won)
 * 2012 Performance The Lyons (Won)

Golden Globe Awards
 * 1979 Best TV Actress in a Musical or Comedy – Alice (Won)
 * 1980 Best TV Actress in a Musical or Comedy – Alice (Won)
 * 1981 Best TV Actress in a Musical or Comedy – Alice (Nominated)

Primetime Emmy Awards
 * 1979 Outstanding Lead Actress in a Comedy Series – Alice (Nominated)

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John Savage (actor)

John Smeallie Youngs (born August 25, 1949 ), known professionally as John Savage, is an American actor. He first rose to prominence in the late 1970s for his portrayals of troubled-but-sensitive characters in films like The Deer Hunter (1978), The Onion Field (1979) and Hair (1979). His television roles include Donald Lydecker on Dark Angel (2000–2002) and Hack Scudder on Carnivàle (2003–2005).

Early life
John Smeallie Youngs was born in Old Bethpage on Long Island, New York on August 25, 1949, to Floyd and Muriel Youngs. Savage's younger siblings, Gail (b. 1952) and Jim Youngs (b. 1956), are also actors. His younger sister, Robin Young, is a Peabody Award-winning journalist and news broadcaster.

After graduating from the American Academy of Dramatic Arts, Savage worked for the Manhattan's Children's Theatre Group.

Career
Savage has appeared in more than 200 feature films, short films, recurring roles in television series and guest appearances in episodes of television series. One of Savage's first notable roles is as Claude Hooper Bukowski in the 1979 film Hair. His first major film role was as Steven Pushkov in the multiple Oscar-winning 1978 film The Deer Hunter. He also had a lead role in the 1979 film The Onion Field.

In the late 1970s, he performed in the Broadway production of David Mamet's play American Buffalo.

In 1991, he starred in Italian director Lucio Fulci's final film Door to Silence. He then had a brief role in the 1998 war film The Thin Red Line, portrayed Captain Ransom in the two part episode "Equinox" of the television series Star Trek: Voyager in 1999, and appeared in the recurring role of Donald Lydecker in the first and second seasons of the 2000 television series Dark Angel.

Savage appeared in the recurring role of Henry Scudder in the HBO television series Carnivàle between 2003 and 2005. He appeared in unrelated roles in two of the series in the Law & Order franchise: the 2004 Law & Order: Criminal Intent episode "Conscience" as a man who put his wife in a permanent coma, and the 2005 Law & Order: Special Victims Unit episode "Quarry" as a child molester on death row for murdering one of his victims.

Savage appeared in the 2015 horror film Tales of Halloween, the 2017 film In Dubious Battle, and on the 2017 continuation of the television show Twin Peaks.

In 2017, Savage spoke at a tribute honoring director Richard Donner, held by The Academy of Motion Picture Arts and Sciences. In 2018, he appeared on the television show Goliath. In the same year, Savage lent his voice to a monologue on the title track of the album This Town by Steve Smith of Dirty Vegas.

Personal life
Savage has two children with his first wife, Susan (divorced 1969), including actress Jennifer Youngs (b. 1969). He was married to South African actress Sandi Schultz between 1993 and 2002.

During the 1980s and 1990s, Savage was an anti-apartheid activist in South Africa, and became acquainted with Nelson Mandela. He helped secure Mandela's involvement in the 1992 film Malcolm X, directed by Spike Lee, on which he was the assistant production manager for the South Africa unit.

Savage's former brother-in-law was actor Robert Duvall, who was married to his sister Gail Youngs, from 1982 to 1986.

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

title: John Savage (actor)


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Muriel Box

Violette Muriel Box, Baroness Gardiner, (22 September 1905 – 18 May 1991) was an English screenwriter and director, Britain's most prolific female director, having directed 12 feature films and one featurette. Her screenplay for The Seventh Veil (co-written with husband Sydney Box) won an Academy Award for Best Original Screenplay.

Early life
Violette Muriel Baker was born in Simla, Poplar Grove, New Malden, Surrey, on 22 September 1905. She was the third child of Caroline Beatrice (née Doney) (1872–1961) and Charles Stephen Baker (d. 1945). Her mother had been a pupil teacher, a maid, and an assistant in a magic lantern shop. Her father worked as a clerk for the South Western Railway at Waterloo. Her family called young Muriel "Tiggy". She attended St Matthew's School, Tolworth, for her primary school years moving up to Holy Cross Convent in Wimbledon in 1915, but was expelled, mostly as she had not been baptised. She then transferred to Surbiton High School. Here she took ballet lessons and studied drama with Sir Ben Greet. In the 1920s, she met Joseph Grossman of Stoll Pictures which led to work as an extra in The Wandering Jew and in the thriller series The Old Man in the Corner.

In 1929, Baker left a typing job at Barcley Corsets in Welwyn Garden City, for the scenario department of British Instructional Pictures. As talkies were introduced, Barker was given the task of reading unsolicited manuscripts which led to her developing story writing and dialogue skills. She landed a job as continuity clerk on Anthony Asquith's Tell England (1931). She moved to British International Pictures at Elstree, where she worked on Alfred Hitchcock's Number Seventeen (1932).

Career
In 1935, she met and married journalist Sydney Box, with whom she collaborated on nearly forty plays with mainly female roles for amateur theatre groups. Their production company, Verity Films, first released short wartime propaganda films, including The English Inn (1941), her first directing effort, after which it branched into fiction. The couple achieved their greatest joint success with The Seventh Veil (1945) for which they gained the Academy Award for Best Writing, Original Screenplay in the following year.

After the war, the Rank Organisation hired her husband to head Gainsborough Pictures, where she was in charge of the scenario department, writing scripts for a number of light comedies, including two for child star Petula Clark, Easy Money and Here Come the Huggetts (both 1948). Muriel Box occasionally assisted as a dialogue director, or re-shot scenes during post-production. Her extensive work on The Lost People (1949) gained her a credit as co-director, her first for a full-length feature. In 1951, her husband created London Independent Producers, allowing Box more opportunities to direct. Many of her early films were adaptations of plays, and as such felt stage-bound. They were noteworthy more for their strong performances than they were for a distinctive directorial style. She favoured scripts with topical and frequently controversial themes, including Irish politics, teenage sex, abortion, illegitimacy and syphilis — consequently, several of her films were banned by local authorities.

She pursued her favourite subject – the female experience – in a number of films, including Street Corner (1953) about women police officers, Somerset Maugham's The Beachcomber (1954), with Donald Sinden and Glynis Johns as a resourceful missionary, again working with Donald Sinden on Eyewitness (1956) and a series of comedies about the battle of the sexes, including The Passionate Stranger (1957), The Truth About Women (1958) and her final film, Rattle of a Simple Man (1964).

Box often experienced prejudice in a male-dominated industry, especially hurtful when perpetrated by another woman. Jean Simmons had her replaced on So Long at the Fair (1950), and Kay Kendall unsuccessfully attempted to do the same with Simon and Laura (1955). Many producers questioned her competence to direct large-scale feature films, and while the press was quick to note her position as one of very few women directors in the British film industry, their tone tended to be condescending rather than filled with praise.

Later years
Muriel Box left film-making to write novels and created a successful publishing house, Femina, which proved to be a rewarding outlet for her feminism. She published her memoirs, Odd Woman Out, in 1974, and published Rebel Advocate, a biography of her second husband, Gerald Gardiner, in 1983.

Personal life
She married Sydney Box in 1935 and gave birth to a daughter, Leonora the following year. They divorced in 1969. Her sister-in-law Betty Box was Head of Production at the Gainsborough Pictures studio in Poole Street, Hoxton, and her brother-in-law through Betty was Peter Rogers, producer of the Carry On series of British comedy films. In 1970, she married Gerald Austin Gardiner, who had been Lord Chancellor, who died in 1990. She died in Mote End, Nan Clark's Lane, Mill Hill, Hendon, Barnet, London on 18 May 1991, aged 85.

Daughter
Leonora went on to study at the Royal Academy from 30 September 1957 until December 1960, exhibiting at both the 1959 and 1960 Royal Academy of Arts Exhibitions, while living at Pond Cottage, Nan-Clark's Lane, Mill Hill NW7.

Screenwriting credits

 * Too Young to Love (1960)
 * The Truth About Women (1957)
 * The Passionate Stranger (1957)
 * Street Corner (1953)
 * The Happy Family (1952)
 * Christopher Columbus (1949)
 * Here Come the Huggetts (1948)
 * The Blind Goddess (1948)
 * Daybreak (1948)
 * Good-Time Girl (1948)
 * Easy Money (1948)
 * Portrait from Life (1948)
 * When the Bough Breaks (1947)
 * Holiday Camp (1947)
 * Dear Murderer (1947)
 * The Brothers (1947)
 * The Man Within (1947)
 * A Girl in a Million (1946)
 * The Years Between (1946)
 * The Seventh Veil (1945)
 * 29 Acacia Avenue (1945)
 * Alibi Inn (1935)

Directing credits

 * Rattle of a Simple Man (1964)
 * The Piper's Tune (1962, featurette for Children's Film Foundation
 * Too Young to Love (1960)
 * Subway in the Sky (1959)
 * This Other Eden (1959)
 * The Truth About Women (1957)
 * The Passionate Stranger (1957)
 * Eyewitness (1956)
 * Simon and Laura (1955)
 * To Dorothy a Son (1954)
 * The Beachcomber (1954)
 * A Prince for Cynthia (1953, short)
 * Street Corner (1953)
 * The Happy Family (1952)
 * The Lost People (1949)
 * The English Inn (1941, documentary short [credited as Muriel Baker])

title: Muriel Box


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Portland Linux/Unix Group

The Portland Linux/Unix Group (PLUG) is a group of Linux and Open Source enthusiasts in Portland, Oregon. The group was started in early 1994 as a venue to discuss and promote Linux and Unix, and is one of the oldest Linux User Groups in existence. PLUG is volunteer-run and does not have any formal criteria for membership.

PLUG's activities include:

 * Active mailing list discussions
 * A monthly General Meeting on the first Thursday of the month
 * A monthly Advanced Topics Meeting on the third Tuesday of the month
 * A monthly hands-on Clinic on the third Sunday of the month
 * Booth presentations at events around the region

title: Portland Linux/Unix Group


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Sesshū Tōyō

Sesshū Tōyō (雪舟 等楊), also known simply as Sesshū (雪舟), was a Japanese Zen monk and painter who is considered a great master of Japanese ink painting. Initially inspired by Chinese landscapes, Sesshū's work holds a distinctively Japanese style that reflects Zen Buddhist aesthetics. His prominent work captured images of landscapes, portraits, and birds and flowers paintings, infused with Zen Buddhist beliefs, flattened perspective, and emphatic lines.

Sesshū was born into the samurai Oda family (小田家) and trained at Shōkoku-ji temple in Kyoto, Japan, as a Zen monk. From his early childhood, Sesshū showed a talent for painting and eventually became widely revered throughout Japan as a wise, reputable Zen scholar, and the greatest painter priest of Zen-Shu.

Sesshū worked in a painting atelier whilst training under Tenshō Shūbun (c. 1418–1463). But upon visiting China, his work took on a distinctive Chinese influence, merging Japanese and Chinese styles to develop his individualistic style of Zen paintings. Sesshū's influence on painting was so wide that many schools of art appointed him their founder. Sesshū's most acclaimed works are Winter Landscape (c. 1470s), Birds and Flowers (1420–1506) and Four Landscape Scrolls of the Seasons (1420–1506).

Early life
Sesshū Tōyō was born in Akahama (Soja City), a settlement in Bitchū Province, which is now a part of the Okayama Prefecture, during the Muromachi period. As a child, Sesshū entered the Buddhist community at the Hofukuji temple in Okayama, Japan. Little is known about Sesshū's early life, but there is a well-known tale that, whilst at Hofukuji Temple, Sesshū's instructor was forced to discipline him by tying him to a temple post. After a few hours passed, Sesshū used his tears as ink to draw a mouse on the wooden floor. The mouse was so realistic that it sprung to life and gnawed at the tight ropes to set him free.

At the age of twelve or thirteen years old, Sesshū entered the Shōkoku-ji temple in Kyoto, Japan, as an acolyte under the head priest of all zen temples, Shunrin Shuto, and eventually became a zen monk. Shōkoku-ji temple held a close relationship with the Muromachi government as the temple's main supporters were a part of the ruling Ashikaga family. Whilst at Shōkoku-ji temple, Sesshū was a pupil of Tenshō Shūbun, who was often regarded as Japan's first great master of ink landscape painting. Sesshū worked under Shūbun for 20 years before leaving Kyoto for a small provincial zen temple in western Japan. Here, he was left free from monastic and political duties to focus on painting.

China
Funded by a wealthy warrior clan that engaged in trade with China, then ruled by the Ming Dynasty, Sesshū travelled to China in 1467 as a member of a Japanese envoy. He travelled to China for three years, exploring the Chan monasteries, landscapes, and studied professional artists' Chinese paintings, rather than those by literati masters. Here, Sesshū had the opportunity to study traditional Chinese master paintings, learning about their realistic styles. During his travels from Ningbo to Perking, Sesshū felt the vastness of nature, learning from the original references used in Chinese ink painting. This influenced his following work greatly since, before visiting China, Sesshū worked under Shūbun's style. Following Sesshū's three years in China, his familiarity with Chinese landscapes showed in succeeding works as they held a distinct Chinese influence with his developing individualistic style.

Return to Japan and death
In the last years of Sesshū's life, he visited Masuda, Japan, to study zen whilst painting and creating spiritual gardens called Sesshū's gardens. In 1506, at 87 years old, Sesshū died at Tokoji temple, but his remains were taken to Ikoji temple, subsequently known as Sesshū temple, where they were cremated. Following Sesshū's death, his pupil, Shutoku, inherited his studio, Unkoku-an.

Paintings and techniques
Sesshū's works are predominantly suibokuga, meaning "water and ink paintings". For suibokuga artists, the exclusivity of black ink allowed them to focus on the essential character of the subject since Zen Buddhism stresses material simplicity and sensitivity to the natural world. To create his monochrome paintings in diluted greys and black ink, Sesshū used black sumi, meaning charcoal or soot-based solid ink on paper or silk, thus following the art of sumi-e Some of Sesshū's most acclaimed works include Winter Landscape (c. 1470s), Four Landscape Scrolls of the Seasons (c. 1420 – 1506) and, Birds and Flowers (c. 1420 – 1506), demonstrating his style of flattened space, emphatic outlines, and angular brushstrokes to portray zen beliefs.

Winter Landscape (c. 1470s)
Following his sojourn in China, Sesshū painted Winter Landscape (c. 1470s) in Japan's rural provinces, demonstrating how Sesshū combined his artistic techniques and zen concepts. Sesshū solely used black sumi ink diluted to shades of grey. Flat, overlapping mountains depict the snowy landscape. Through short, expressive brushstrokes, Sesshū depicts a male figure trekking up a steeped pathway to a barren temple complex, suggesting the arduousness of his journey during the peak of winter. Common to Sesshū's paintings, the single figure is surrounded by a towering landscape that draws on the concept of mono no aware, humankind being present with nature, to create a secluding atmosphere. Throughout the composition, Sesshū uses the shumpo technique, varying the firmness and thickness of outlines to depict three-dimensionality and textures. This modelling is enhanced by the diluted ink washes and rendering using fine lines. In the foreground, the rocks and trees show weighted, dark lines whilst the left distant mountains are outlined against the grey sky with a single brushstroke to capture the moment. The intensity of Sesshū’s work is shown by the sharp, angular brushstrokes in the centre, reflecting Zen Buddhism's influence. Similarly, he uses ink wash for the rolling mist to divide the space between solid and void, mirroring the Taoist metaphysical concept of tension between subjects. This is heightened by the sharp diagonals of the opposing foreground rocks as they bring a sense of inescapable, pent up energy. The background features a single, strong, lightning-like brushstroke that outlines the central cliffs as the tip vanishes into the mist, suggesting transitory moments in time, as believed in Zen Buddhism. Overall, Winter Landscape represents Sesshū's stylistic choices and implementation of Zen Buddhist concepts, notably drawing on Chinese landscapes that symbolised a virtuous man’s dedication to remaining honourable during strenuous moments.

Four Landscape Scrolls of the Seasons (c. 1420–1506)
Painted at 67 years old, Sesshū Tōyō's Four Landscape Scrolls of the Seasons (c. 1420–1506) depicts the flow of the four seasons whilst reflecting on his experiences with Japanese and Chinese landscapes. Each scroll is composed of two silk strips as the paintings were originally screen panels, but were later arranged on a single kakemono. Despite depicting the seasons sequentially as Spring-Summer-Autumn-Winter, the Autumn scroll is distinctively different. From Sesshū's travels, Autumn holds a dominating Chinese stylistic influence. For example, Sesshū's use of the Chinese technique progressive vision, where using several viewpoints creates an image more accurate to one's experience with nature, suggesting a synthesis of time and space. Sesshū's treatment of pine needles aligns with the method of sung-yeh-tien whilst the dotted leaves mirror ku-chiao-tien (black-pepper-dots), which were techniques shared by Chinese artists before Sesshū. Within this painting, Sesshū reduces proportions as the space recedes whilst placing distant objects higher in the composition. This is heightened through atmospheric perspective where Sesshū ambiguously manipulates the line quality and texture for recession. Overall, Four Landscape Scrolls of the Seasons demonstrates Chinese influences on Sesshū's work and his use of space and composition to represent the soul of nature in the landscapes.

Birds and Flowers (c. 1420–1506)
The influences of Sesshū's studies in China are reflected in two famous hanging scrolls of seasonal landscape paintings of birds and flowers, painted in ink and colour on silk, in the Perry Collection. Sesshū paints assertive rock contours and textures using a wet brush with splitting hairs. This brings a scratchy, rough texture to give the rocks a sense of solidity and tangibility. Such technique can be seen in the Four Landscape Scrolls of the Seasons Autumn and Winter landscapes. As a recurring motif in Sesshū's landscapes, the rock is trapezoidal with two indentations on top. Like in Winter Landscape, Sesshū uses a zigzag, or lighting shape to contribute to the composition's structure. Within this composition, Sesshū flattens space using spatial ambiguities and variations in scale. Sesshū's contrast in scale creates an illusion similar to the Zen notion of zero time and space, where there are no distinctions between past, present or future. Compositionally, there is no distinction between the whole image and the subjects that make it. Sesshū purposefully controls tonal intensities to suggest atmospheric perspective through subtle ink gradations for the mist to evoke poetic autumnal feelings.

Legacy
Sesshū's emphasis on Zen Buddhism, personal interpretation and economical expression in painting was the basis of his legacy for succeeding Japanese artists. Subsequently, his rendering techniques were widely used by sixteenth-century artists, notably those who attended Sesshū's painting schools.

Landscapes

 * Four Landscape Scrolls of the Seasons (c. 1420–1506)
 * Winter Landscapes from Landscapes of the Four Seasons (c. 1420–1506); Tokyo National Museum)
 * Autumn and Winter Landscapes (c. 1470s; Tokyo National Museum)
 * Short Scroll of Landscapes (c. 1474–1490; Kyoto National Museum)
 * Long Scroll of Landscapes (c. 1486; Mori Collection, Yamaguchi, Japan)
 * Haboku Sansui, "splashed-ink" technique scroll (1495; Tokyo National Museum)
 * View of Ama-no-Hashidate (c. 1502–1505; Kyoto National Museum)
 * Landscape by Sesshū

Other

 * Portrait of Masuda Kanetaka (1479; Masuda Collection, Tokyo)
 * Huike Offering His Arm to Bodhidharma (Daruma and Hui K'o) (1496; Sainen-ji, Aichi, Japan)
 * Flowers and Birds, pair of sixfold screens (undated; Kosaka Collection, Tokyo)

title: Sesshū Tōyō


text:
CRRES

The Combined Release and Radiation Effects Satellite (CRRES) was launched on July 25, 1990, into a geosynchronous transfer orbit (GTO) for a nominal three-year mission to investigate fields, plasmas, and energetic particles inside the Earth's magnetosphere. As part of the CRRES program, the SPACERAD (Space Radiation Effects) project, managed by Air Force Geophysics Laboratory, investigated the radiation environment of the inner and outer radiation belts and measured radiation effects on state-of-the-art microelectronics devices.

CRRES carried an array experiments including chemical releases and a complement of sophisticated scientific instruments to accomplish these objectives. Other chemical release active experiments were performed with sub-orbital rocket probes. The chemical releases 'painted' the magnetic and electric fields of earthspace with clouds of glowing ions. Earthspace was the laboratory, and the releases were studied with an extensive network of ground-, aircraft-, and satellite-based diagnostic instruments.

Other magnetospheric, ionospheric, and cosmic ray experiments were also included onboard CRRES and supported by NASA or the Office of Naval Research. The chemical release project was managed by NASA/MSFC and utilized the release of chemicals from onboard canisters at low altitudes near dawn and dusk perigee times and at high altitudes near local midnight. The chemical releases were monitored with optical and radar instrumentation by ground-based observers to measure the bulk properties and movement of the expanding clouds of photo-ionized plasma along field lines after the releases occurred. In order to study the magnetosphere at different local times during the mission, the satellite orbit was designed to precess with respect to the Earth-Sun line such that the local time at apogee decreased by 2.5 minutes/day from 08:00 (LT) just after launch and returned to this position in nineteen month cycles.

The CRRES spacecraft had the shape of an octagonal prism with solar arrays on the top side. The prism is 1 m high and 3 m between opposite faces. Four of the eight compartments were for the chemical canisters and the other four housed the Space Radiation Effects and other experiments. The spacecraft body was spun at 2.2 rpm about a spin axis in the ecliptic plane and kept pointed about 12 degrees ahead of the Sun's apparent motion in celestial coordinates. The spacecraft was built by Ball Aerospace and was originally intended for launch by the U.S. Space Shuttle. The Challenger accident in 1986 resulted in a need to reconfigure the spacecraft and mission for launch by a medium expendable launch vehicle (Atlas I). Pre-launch and in-flight operations were supported by the Space Test and Transportation Program Office of the U.S. Air Force Space Division.

Communications with CRRES abruptly stopped on October 12, 1991. Analysis presumed that an onboard battery failure resulted in loss of power to various systems resulting in a premature end to the mission about one year after launch instead of the original three-year plan.

title: CRRES


text:
William Gunn

William or Bill Gunn may refer to:

 * Bill Gunn (footballer, born 1932) (1932–1991), Australian rules footballer for South Melbourne and Williamstown
 * Bill Gunn (footballer, born 1899) (1899–1970), Australian rules footballer for South Melbourne
 * Bill Gunn (Queensland politician, born 1895) (1895–1970), member of the Queensland Legislative Assembly for Wynnum
 * Bill Gunn (Queensland politician, born 1920) (1920–2001), Australian politician and former Queensland Deputy Premier
 * Bill Gunn (Massachusetts politician), Massachusetts candidate for United States House of Representatives
 * Bill Gunn (writer) (1934–1989), American playwright, novelist, actor and film director
 * Billy Gunn (born 1963), American professional wrestler
 * Will A. Gunn, American lawyer, former officer in the American armed forces
 * William Gunn (cricketer) (1858–1921), English Test cricketer and footballer
 * William Gunn (writer) (1750–1841), English miscellaneous writer
 * William Gunn (physician) (1855–1922), Florida's first black doctor
 * William Alphonsus Gunn (1760–1806), English evangelical cleric

title: William Gunn


text: Category:Tasmanian rivers

title: Category:Tasmanian rivers


text: Category:Electronics work tools

title: Category:Electronics work tools


text: Category:Geography of Tasmania

title: Category:Geography of Tasmania


text:
Umana

Umana may refer to:

 * Numana (in Curiate Latin), an Italian city, former bishopric and present Latin Catholic titular see
 * Mario Umana (1914-2005), American judge and politician
 * Rafael Alfonso Umaña Mendez, the Colombian artist known to most as Umaña, who created art for seven decades in New York, France, Spain, Florida, and Virginia
 * Antonio Gutierrez de Umana and Francisco Leyba de Bonilla, Spanish explorers of the Great Plains in the 16th century
 * Unama people, more commonly known as Omagua, Indigenous peoples of South America.
 * Umana Yana, a thatched hut conference building in Georgetown, Guyana

title: Umana


text:
User:Davidcannon/Index

=Articles (Index)=

title: User:Davidcannon/Index


text:
Wikipedia:Articles for deletion/Portland Linux/Unix Group

I believe that this page should stay. Entries like this are what make the wikimedia much more current and relevant than any printed encylopedia could ever be.

Today it's been micronations, vanity pages, college radio stations, non-notable schools, patent nonsense, the usual vandal bot and now this. Do local/regional computer clubs get an entry? - Lucky 6.9 02:00, 21 Jul 2004 (UTC) I added the PLUG page. My belief is that PLUG is more than just a "computer club". It is representative of the culture of Portland Oregon. We're a bit different out here (see the FreeGeek and PersonalTelco links).
 * If high schools can get an entry, why not Linux user Groups? (Note: I am the webmaster for PLUG, so consider this a question, not a vote against VfD.) -- llywrch 03:17, 21 Jul 2004 (UTC)
 * Is there something particularly distinctive about the Portland LUG that makes it any more notable than a typical representative of the thousands of other LUGs out there? --Robert Merkel 04:03, 21 Jul 2004 (UTC)
 * I dunno. Was there anything distinctive about the Homebrew Computer Club that would qualify an entry in Wikipedia? -- llywrch 05:11, 22 Jul 2004 (UTC)
 * Delete: It's simply a case of numbers and uniqueness. Geogre 13:57, 21 Jul 2004 (UTC)
 * Does the group number a thousand active members, or any significant individuals in the Linux/GNU community? If not, I currently vote delete. Besides, the current page has more external links than text... Average Earthman 14:24, 21 Jul 2004 (UTC)
 * Delete. Non-notable.  Bacchiad 18:02, 21 Jul 2004 (UTC)

Since the focus of this discussion seems to be on things that differentiate PLUG from other LUGs, I'll innumerate them:

 * PLUG has been in continuous operation for ten years. That's centuries in Net years.

 * The Linux Fund and FreeGeek were started by PLUG members. Both projects have significant national visibility.

 * PLUG for Education created a thin client system called K12LTSP, that is being used by schools world wide.

 * Notables who participate in PLUG include: Randal Schwartz, Randy Dunlap (USB kernel drivers), Phil Hughes (Linux Journal), members of IBM's Linux Technology Center, and members of the Open Source Development Lab. Ward Cunningham, another local, has participated to a limited extent.

The page may be a bit link heavy. I was trying to demonstrate the things that make PLUG unique and to show how PLUG fits in with the community. If the page isn't deleted, we may be able to get llywrch flesh it out. --Rasp

 * Who are you? Please sign comments in VfD. Average Earthman 21:52, 21 Jul 2004 (UTC)

 * Sorry, fixed. --Rasp 00:10, 22 Jul 2004 (UTC)

 * I have to admit that Rasp has been a little too enthusiastic about the influence PLUG has had. No, Schwartz, Dunlap, & Hughes are not core members of PLUG (although Randal does participate on the PLUG mailling list). However, we have encouraged a few further developments in Open Source/Free Software: the Personal Telco Project is a spin-off from PLUG, & our group has influenced other LUGs in Oregon & southern Washington. And there are a few local developers (like Zach Welch) who look to us as a place to express their ideas & share their work before it gets published.

 * I want to be neutral about this discussion, but I have to wonder if the line for inclusion in Wikipedia is being drawn fairly. There are articles about high schools; articles about porn stars; articles about American cities with fewer than 100 inhabitants; and countless articles on telecommunication or computer technology. Is it fair to include all of these, & to exclude a "computer club" that I consider is in the top 20 or 30 of this category?

 * Well, it's not as if there's a fixed editorial body judging Wikipedia, it's whoever comes along to do it. If you find articles in Wikipedia that are clearly wrong or irrelevent, you're free to nominate them for VfD. I just vote my personal opinion on what is presented in front of me, and at the time of nomination, the page didn't give me a strong impression of notability. I think the page needs a major rewrite at the least, I'd rather any important information was on the page than on the end of a link. Average Earthman 12:32, 22 Jul 2004 (UTC)

 * At the least, I feel it is unfair to lump PLUG with "micronations, vanity pages, college radio stations, non-notable schools, patent nonsense" or "the usual vandal bot". I don't know who Rasp is, or if he even attends one of our meetings, but unlike the rest of this collection of fringe groupings, PLUG will survive, grow & even thrive without an article in Wikipedia. Despite my obvious interest in this article, I really don't care if it passes VfD or not -- but it will make Wikipedia look foolish & capricious when one of our members develops the next big thing in Open Source/Free Software, & some overly critical types vote an article on this group off of Wikipedia. -- llywrch 05:11, 22 Jul 2004 (UTC)

 * I didn't mean to sound as if I was lumping you in with anything else. Your article was posed during a rather stressful time here.  Lots of very unusual articles were being posted.  A delete vote isn't a personal attack, and it's often difficult to express that in text. - Lucky 6.9 06:03, 22 Jul 2004 (UTC)
 * Thanks. I appreciate the clarification. --Rasp 21:17, 22 Jul 2004 (UTC)
 * I'm not clear who it is who is questioning the relevance of Randal et al, but I don't think I said they were "core members". Phil Hughes founder and former editor of Linux Journal has helped us out in a number of ways over the years - but most of it was behind the sceenes. Randal and Randy have at times been very active on the mailing list. --Rasp 21:17, 22 Jul 2004 (UTC)
 * I wrote that, Rasp, & it is based on my experience with the group. Unfortunately, we seem to be somewhat at cross purposes -- can you email me offlist (there's a link to a form on my User page), so we can provide a better defense of this article? -- llywrch 04:46, 23 Jul 2004 (UTC)
 * Keep. Significant to enough people. Wile E. Heresiarch 02:10, 26 Jul 2004 (UTC)


text:
Willard Warner

Willard Warner (September 4, 1826 – November 23, 1906) was a brevet brigadier general in the Union Army during the American Civil War. He was a U.S. senator from the state of Alabama after the war.

Early life and career
Warner was born in Granville, Ohio. His great-grandfather was Luke Knowlton, a founder of Newfane, Vermont, and a leader of Vermont during the American Revolution. He graduated from Marietta College, and founded the Newark Machine Works in Newark, Ohio. He was the brother-in-law of future Civil War general Charles R. Woods of Newark.

Civil War
In December 1861, Warner joined the volunteer army as major of the 76th Ohio Infantry. He served in several battles in the Western Theater, including the Battle of Fort Donelson, the Siege of Corinth, and the Vicksburg Campaign. In 1863 he became lieutenant colonel of the regiment, which he led from Vicksburg to Chattanooga. He served on the staff of William T. Sherman during the Atlanta Campaign as the inspector general.

In October 1864, he was named as colonel of the 180th Ohio Infantry. He received the brevet ranks of brigadier general and major general of volunteers to rank from March 13, 1865, and mustered out in July of that year.

He served one term in the Ohio State Senate immediately after the war, removed to the South in 1867, where he engaged in cotton-planting and was a member of the Alabama House of Representatives in the succeeding year. Elected upon readmission of Alabama to the Union, the Republican served as a Senator from July 13, 1868, to March 3, 1871, alongside George E. Spencer. He did not win reelection, turned down Grant's tendered appointment as Governor of New Mexico, and returned to Alabama and later to Tennessee to pursue various business interests.

He was collector of customs at Mobile, Alabama, from July 1871 until February 1872, when he declined the appointment of Governor of New Mexico, as he did the diplomatic post of Minister to Argentina. He was a member of the Republican National Convention of 1868. In 1873 he organized the Tecumseh Iron Company, and in 1887 he was elected president of the Nashville Iron, Steel, and Charcoal Company.

He died in Chattanooga, Tennessee, and was buried in Cedar Hill Cemetery in Newark, Ohio.

title: Willard Warner


text:
George Goldthwaite

George Goldthwaite (December 10, 1809 – March 16, 1879) was an Alabama Supreme Court justice and U.S. senator for Alabama. He served in the Senate from March 4, 1871, to March 3, 1877, and did not run for reelection.

He was a native of Boston, Massachusetts. He succeeded William P. Chilton as Chief Justice of the Supreme Court of Alabama in 1856. State legislators from Alabama wrote to the U.S. Senate in protest of his election stating he did not receive a majority of the votes from state legislators and was therefore not elected legitimately. He was seated and remained in office.

A great-grandson, George G. Siebels, Jr., was a 20th-century mayor of Birmingham and a member of the Alabama House of Representatives. Another descendant, Alfred Goldthwaite, was a state representative from Montgomery and a state chairman of the Alabama Republican Party.

In 1853 he ruled that a freed woman in Ohio could be returned so slavery to satisfy the debts of her former owner but that her son could not.

title: George Goldthwaite


text:
John T. Morgan

John Tyler Morgan (June 20, 1824 – June 11, 1907) was an American politician who was a brigadier general in the Confederate States Army during the American Civil War and later was elected for six terms as the U.S. Senator (1877–1907) from the state of Alabama. A prominent slaveholder before the Civil War, he became the second Grand Dragon of the Ku Klux Klan in Alabama during the Reconstruction era. Morgan and fellow Klan member Edmund W. Pettus became the ringleaders of white supremacy in Alabama and did more than anyone else in the state to overthrow Reconstruction efforts in the wake of the Civil War. When President Ulysses S. Grant dispatched U.S. Attorney General Amos Akerman to prosecute the Klan under the Enforcement Acts, Morgan was arrested and jailed.

Due to his notoriety in Alabama for opposing Reconstruction efforts, Morgan was elected as a U.S. Senator in 1876. During his subsequent six terms as Senator, he was an outspoken proponent of black disfranchisement, racial segregation, and lynching African-Americans. According to historians, he played a leading role "in forging the ideology of white supremacy that dominated American race relations from the 1890s to the 1960s." Widely considered to be among the most notorious racist ideologues of his time, he is often credited by scholars with laying the foundation of the Jim Crow era.

In addition to his lifelong efforts to uphold white supremacy, Morgan became an ardent expansionist and imperialist during the Gilded Age. He envisioned the United States as a globe-spanning empire and believed that island nations such as Hawaii and the Philippines should be forcibly annexed in order for the country to dominate trade in the Pacific Ocean. Accordingly, he advocated for the United States to annex the independent Republic of Hawaii and to construct an inter-oceanic canal in Central America. Due to this advocacy, he was often posthumously referred to as "the Father of the Panama Canal" despite being a proponent of the Canal to be located in Nicaragua. Morgan was a staunch opponent of women's suffrage.

After his death by heart attack in 1907, Morgan's numerous relatives remained influential in Alabama politics and high society for many decades. His extended family owned the First White House of the Confederacy in Montgomery. His nephew and protege, Anthony Dickinson Sayre, was President of the Alabama State Senate and later an Associate Justice of the Supreme Court of Alabama. Sayre played a pivotal role in passing the landmark 1893 Sayre Act which disenfranchised black Alabamians for seventy years and ushered in the Jim Crow period in the state. Morgan's grand-niece was Jazz Age socialite Zelda Sayre, the wife of novelist F. Scott Fitzgerald.

Early life and career
John Tyler Morgan was born in a log cabin one mile from Athens, Tennessee. His family claimed descent from a Welsh ancestor, James B. Morgan (1607–1704), who settled in the Connecticut Colony. Morgan was initially educated by his mother but, in the fall of 1830, the six-year-old barefoot boy walked a quarter of a mile each day to attend Old Forest Hill Academy.

In 1833, his family moved to Calhoun County, Alabama, where he attended schools and then studied law in Tuskegee with justice William Parish Chilton, his brother-in-law. After admission to the Alabama bar, he established a practice in Talladega. Ten years later, Morgan moved to Dallas County and resumed the practice of law in Selma and Cahaba. By 1857, he had grown prosperous and owned over half-a-dozen slaves—including an entire family who served as his personal household servants.

Early political activity
Turning to politics, Morgan aligned himself with the pro-slavery Fire-Eaters led by fellow Alabama politician William Lowndes Yancey and became an ardent exponent of the Southern secession movement. He became a presidential elector on the Democratic ticket in 1860, and tentatively supported Southern Democrat John C. Breckinridge. One year later, he was a delegate from Dallas County to the Alabama constitutional convention of 1861, and he played a key role in passing the ordinance of secession.

Amid the fractious debates at the Alabama constitutional convention, a 36-year-old Morgan defended slavery—including the transatlantic slave trade—as a morally-uplifting and Christian institution. As a proud slaveholder, he publicly declared his reasons for advocating Alabama's secession from the Union in a speech on January 25, 1861: "The Ordinance of Secession rests, in a great measure, upon our assertion of a right to enslave the African race, or, what amounts to the same thing, to hold them in slavery." At the close of this same speech in 1861, Morgan envisioned a future slave-holding territory spanning the Gulf of Mexico and the islands of the Caribbean.

American Civil War
After Alabama seceded from the Union and the commencement of the Civil War, the 37-year-old Morgan enlisted as a private in the Cahaba Rifles, which volunteered its services in the Confederate Army and was assigned to the 5th Alabama Infantry. He first saw action in a skirmish preceding the First Battle of Manassas in the summer of 1861.

As the war progressed, Morgan rose to major and then lieutenant colonel. He served under Col. Robert E. Rodes, a future Confederate general. Morgan resigned his commission in 1862 and returned to Alabama, where in August he recruited a new regiment, the 51st Alabama Partisan Rangers, becoming its colonel. He led it at the Battle of Murfreesborough, operating in cooperation with the cavalry of Nathan Bedford Forrest.

When Rodes was promoted to major general and given a division in the Army of Northern Virginia, Morgan declined an offer to command Rodes's old brigade and instead remained in the Western Theater, leading troops at the Battle of Chickamauga. On November 16, 1863, he was appointed as a brigadier general of cavalry and participated in the Knoxville Campaign. His brigade consisted of the 1st, 3rd, 4th, 9th, and 51st Alabama Cavalry regiments.

His men were routed and dispersed by Federal cavalry on January 27, 1864. He was reassigned to a new command and fought in the Atlanta Campaign. Subsequently, his men harassed William T. Sherman's troops during the March to the Sea. Soon after, he was stripped of his command due to drunkenness and reassigned to administrative duty in Demopolis, Alabama. At the time of the Confederacy's collapse and the end of the war, Morgan attempted with little success to organize Alabama black troops for home defense.

Reconstruction era
After the war ended, Morgan resumed his law practice in Selma, Alabama. He became the affluent legal representative for the widely-loathed railroad companies. By 1867, angered by formerly enslaved persons serving as state legislators, Morgan began to play a highly public role against the Republican Reconstruction.

Soon after, Morgan toured throughout the American South giving race-baiting speeches and urging fellow Southerners to refuse all compromise with Reconstruction. Aligning himself with the Bourbon Democrats and employing their electoral strategy, Morgan wrote numerous newspaper editorials urging white Alabama voters to "redeem" their state from Republican control and to unite against African-Americans for "self-preservation."

Amid his political struggle against Reconstruction in 1872, Morgan succeeded James H. Clanton as the second Grand Dragon of the Ku Klux Klan in Alabama. According to Alabama Representative Robert Stell Heflin, Morgan and fellow Klan member Edmund W. Pettus became the ringleaders of white supremacy in the state who, more than anyone else, "resisted and finally broke down and destroyed the reconstruction policy which followed the Civil War."

When President Ulysses S. Grant dispatched his U.S. Attorney General Amos T. Akerman to vigorously prosecute Alabama Klan under the Enforcement Acts, Morgan was arrested and jailed. After the demise of the first Ku Klux Klan, Morgan and Pettus continued to resist Reconstruction efforts and to reassert white supremacy in Alabama. Morgan took an active part in opposing all attempts to redress the political and socioeconomic legacies of slavery in Alabama.

Due to his efforts to suppress African-Americans from exercising their political rights and to vouchsafe white supremacy in Alabama during the Reconstruction era, Morgan became a well-known public figure in national politics and subsequently became a presidential elector-at-large on the Democratic Samuel J. Tilden ticket in 1876. Party insiders favored him to win Alabama's seat to the United States Senate in that year.

Senatorship
Following his election as U.S. Senator for the state of Alabama in 1876, Morgan was reelected five times in 1882, 1888, 1894, 1900, and 1906. He served as chairman of Committee on Rules (46th U.S. Congress), the Committee on Foreign Relations (53rd U.S. Congress), the Committee on Interoceanic Canals (56th and 57th Congresses), and the Committee on Public Health and National Quarantine (59th U.S. Congress).

He became Alabama's leading political spokesperson for nearly half-a-century. For much of his senatorial tenure, he remained aligned with the Bourbon Democrats, and he served in the Senate alongside his close friend Edmund W. Pettus, a former Confederate general and Klan member.

Throughout his senatorship, Morgan staunchly labored for the repeal of the Fifteenth Amendment to the U.S. Constitution, which was intended to prevent the denial of voting rights based on race. He frequently urged the disenfranchisement of black citizens in every U.S. state, and he is accordingly credited by scholars with laying the foundation of the Jim Crow era. In a 1890 speech, Morgan declared that, when black residents entered any area, it became necessary to "deny the right of suffrage entirely to every human being." He likened such mass disenfranchisement to having "to burn down the barn to get rid of the rats."

Morgan opposed the passage of a woman suffrage's amendment, arguing it would draw a “line of political demarcation through a man’s household”. He warned that women's suffrage would “open to the intrusion of politics and politicians that sacred circle of the family where no man should be permitted to intrude".

Due to his relentless efforts to disenfranchise black citizens across the United States and his vociferous championing of congressional legislation "to legalize the practice of racist vigilante murder [lynching] as a means of preserving white power in the Deep South," Morgan is frequently credited by historians with "forging the ideology of white supremacy that dominated American race relations from the 1890s to the 1960s."

Black repatriation efforts
Morgan frequently advocated for the migration of black people to leave the United States. Historian Adam Hochschild notes that, "at various times in his long career Morgan also advocated sending them [negroes] to Hawaii, to Cuba, and to the Philippines—which, perhaps because the islands were so far away, he claimed were a 'native home of the negro.'"

By the 1880s, Morgan began to focus on the Congo for his repatriation visions. After the Belgian monarch Léopold II signaled that his International Association of the Congo would consider immigration and settlement of African Americans, Morgan became one of the foremost advocates of this emerging colonial enterprise in Central Africa. Morgan's support was vital for United States' early diplomatic recognition of the new colony, which became the Congo Free State in December 1883.

After revelations about major atrocities by the colonial occupiers, Morgan cut his ties with the Congo Free State. He feared the brutality against the inherent African population would deter black U.S. citizens from emigrating and jeopardize his plans to create an exclusively white American nation. Hence, by 1903, Morgan became the most active U.S. congressional spokesperson of the Congo reform movement, a humanitarian pressure group that demanded reforms in the notorious Congo Free State.

The alliance between this pioneering international human rights movement and the radical white supremacist Morgan has often led to scholarly astonishment. However, the sociologist Felix Lösing pointed to the ideological nexus between the racial segregation promoted by Morgan and calls for cultural segregation raised by prominent Congo reformers. Both Morgan and the majority of the Congo reform movement were ultimately concerned with the consolidation of white supremacy on a global scale.

Support for imperialism
Between 1887 and 1907, Morgan played a leading role on the powerful Foreign Relations Committee. He called for a canal linking the Atlantic and Pacific oceans through Nicaragua, enlarging the merchant marine and the Navy, and acquiring Hawaii, Puerto Rico, the Philippines, and Cuba. He expected Latin American and Asian markets would become a new export market for Alabama's cotton, coal, iron, and timber. The canal would make trade with the Pacific much more feasible, and an enlarged military would protect that new trade. By 1905, most of his dreams had become reality, although the canal bifurcated Panama instead of Nicaragua.

Morgan was a strong supporter of the annexation of the Republic of Hawaii, and, in 1894, Morgan chaired an investigation known as the Morgan Report into the Hawaiian Revolution. The investigation concluded that the U.S. had remained completely neutral in the matter. He authored the introduction to the Morgan Report based on the findings of the investigative committee. He later visited Hawaii in 1897 in support of annexation. He believed that the history of the U.S. clearly indicated it was unnecessary to hold a plebiscite in Hawaii as a condition for annexation. He was appointed by President William McKinley in July 1898 to the commission created by the Newlands Resolution to establish government in the Territory of Hawaii. A strong advocate for a Central American canal, Morgan was also a staunch supporter of the Cuban revolutionaries in the 1890s.

Death and legacy
While still in office, Morgan died of a heart attack in Washington, D.C. He was buried in Selma, Alabama, at Live Oak Cemetery, near the grave of fellow Confederate cavalry officer and Klan member Nathan Bedford Forrest. The remainder of Morgan's term was served by John H. Bankhead.

In April 2004, Professor Thomas Adams Upchurch summarized Morgan's career and legacy in the Alabama Review:

"His congressional speeches and published writings demonstrate the central role that Morgan played in the drama of racial politics on Capitol Hill and in the national press from 1889 to 1891. More importantly, they reveal his leadership in forging the ideology of white supremacy that dominated American race relations from the 1890s to the 1960s. Indeed, Morgan emerged as the most prominent and notorious racist ideologue of his day, a man who, as much as any other individual, set the tone for the coming Jim Crow era."

Family and relatives
As the patriarch of a powerful Southern family, Morgan's extended relatives remained influential in Alabama politics for many decades and owned the First White House of the Confederacy in Montgomery. His nephew and protege, Anthony Dickinson Sayre (1858–1931), served first as a member of the Alabama State Senate (1894-95) and then as President of the Alabama State Senate (1896-97).

According to historians, Morgan's nephew Anthony D. Sayre played a key role in undermining the Fourteenth and Fifteenth Amendments in Alabama and enabling the ideology of white supremacy. As a state legislator, he introduced the landmark 1893 Sayre Act which disenfranchised black Alabamians for nearly a century and ushered in the racially segregated Jim Crow period in the state.

Later, in 1909, Governor Braxton Bragg Comer appointed Sayre as an Associate Justice of the Supreme Court of Alabama. Like his uncle, Sayre was a Bourbon Democrat. Sayre married Minerva Machen (1860-1958), the daughter of Willis B. Machen, a former Confederate Senator and later a U.S. Senator from Kentucky. Sayre's daughter and Morgan's grand-niece was Jazz Age socialite Zelda Sayre, the mentally-ill wife of novelist F. Scott Fitzgerald who wrote The Great Gatsby. According to biographers, Zelda was extremely proud of her family and her Confederate roots, and she boasted that she drew her strength from Montgomery's Confederate past.

Morgan's great-grand-niece was Frances "Scottie" Fitzgerald. In 1973, Fitzgerald retired from Washington, D.C. to her mother Zelda Sayre's home town of Montgomery, Alabama. After her retirement, she researched her family's history and discovered her family's pivotal role in disenfranchising "the black people of Alabama, and thousands of poor whites, of the right to vote." Upon learning of this fact, Scottie felt both embarrassment and guilt. For the remainder of her life, she devoted herself to voter outreach programs in Alabama. According to Scottie, black citizens living in Montgomery still viewed the Sayre family with askance as late as the 1970s, and they would not reciprocate her social overtures.

Memorialization

 * In 1913, a memorial arch was built on the grounds of the Federal Building and U.S. Courthouse in Selma, Alabama, to honor U.S. Senators Morgan and Pettus, both former Grand Dragons of the Alabama Ku Klux Klan.
 * In 1953, amid national tension over the ongoing Brown v. Board of Education litigation, Morgan was elected by vote to membership in the Alabama Hall of Fame.
 * In 1965, in the wake of the U.S. Supreme Court ruling that segregated public schools were unconstitutional, white segregationists founded the John T. Morgan Academy in Selma. The segregation academy held its classes in Morgan's old house until a new campus was built in 1967.
 * Morgan Hall on the campus of the University of Alabama, which houses the English Department, was named for him. On December 18, 2015, Morgan's portrait was removed from the building, and in 2016 the university was pondering the results of a petition to rename the building for Harper Lee. By June 2020, the Alabama Board of Trustees had finally decided to study the names of buildings on campus and consider changing them. On September 17, 2020, they voted to remove his name from the building.

title: John T. Morgan


text:
Dino Campana

Dino Campana (20 August 1885 – 1 March 1932) was an Italian visionary poet. His fame rests on his only published book of poetry, the Canti Orfici ("Orphic Songs"), as well as his wild and erratic personality, including his ill-fated love affair with Sibilla Aleramo. He is often seen as an Italian example of a poète maudit.

Life
Campana was born near Faenza in the small town of Marradi, which is found in the Apennines along the border between the regions of Emilia-Romagna and Tuscany. His father Giovanni, who was always affectionate and understanding with Dino, was an elementary school principal, and forthright member of the community, but had a weak and neurotic character. His mother, Fanny Luti, came from a wealthy family but was an eccentric and compulsive woman, affected by mental illness. She would often wander the hills, forgetting about family duties, but was overly attached to Dino's brother Manlio, born in 1888. After his younger brother arrived, Dino was overlooked by his mother and had to fight for her affection.

In 1900, at approximately fifteen years of age, Campana was diagnosed with the first symptoms of nervous disturbances, was medicated and sent to an asylum. This did not, however, prevent him from completing most of his schooling. He completed his elementary education in Marradi - his third, fourth and fifth gymnasium years at the Salesiani di Faenza. Afterwards, he began the lyceum at the Liceo Torricelli in Faenza and then in Carmagnola near Turin where he earned his high school diploma in July 1903. When he returned to Marradi his nervous condition worsened and he suffered frequent mood swings - due to the difficult relationship with his family (especially his mother) and the town. To overcome the monotony of winter evenings in Marradi, Dino used to go to the nearby town of "Gerbarola", where he spent time with the locals enjoying roasted chestnuts (marroni chestnuts grow near Marradi). This type of activity appeared to have a positive effect on his mental health. At the age of 18, in the Autumn of 1903 he enrolled in faculty of chemistry at the University of Bologna. In 1905, after being denied entry into the military as an officer in Ravenna, Dino enrolled in faculty of pharmaceutical chemistry in Florence, but after only a few months he returned to Bologna. Some of his first poetic work would be written here, and later included in Orphic Songs. Campana did not finish university and had a difficult time finding his true calling.

Journeys
Campana had an irrepressible desire to escape and dedicate himself to a life of vagrancy, which he accomplished by undertaking various jobs. The first reaction of his family, his town, and the public authorities was to consider Campana's strange behavior and travels to foreign countries as an obvious signs of madness. He was judged with suspicion both because his physical traits were considered too German, and due to the vigorous way he discussed poetry and philosophy. Following his journeys, the police (in agreement with the psychiatric practices of the time and the uncertainty of his family), admitted him to a lunatic asylum, at the age of 21.

Between May and July 1906, Campana made a first trip to Switzerland and France, which ended with his arrest in Bardonecchia and his admission to the mental asylum Imola. In 1907, not knowing what to do about their son's madness, Campana's parents sent him to stay in Latin America with a family of Italian immigrants. This was not exactly an autonomous journey for the poet, who would not have been able to obtain a passport for the new world by himself, since he was a known ‘madman’ and in fact, his family had to apply for his passport and organise the trip. Campana left out of fear of being sent back to the asylum. Campana's parents also supported the move to send him to America, in the hope that it would help him recover, but it seems that the passport was valid only for arrival - likely an attempt to get rid of him, since living with Campana had become unbearable, at that point. It seems that his mother had come to believe that her son was the Antichrist.

His travels in America represent a particularly obscure and unknown point in Campana's biography: there are those who see him as ‘the poet of two worlds’, while others instead claim that Campana did not even travel to the continent. There are also different opinions about possible dates of travel and the route home. The most credible hypothesis is that he left in the autumn of 1907 from Genova, and wandered around Argentina until the spring of 1909, when he returned to Marradi, and was subsequently arrested. After a short intermission at San Salvi in Florence, he left for Belgium, but was arrested again in Brussels, and was interned in a ‘maison de santé’ in Tournai at the start of 1910. After asking his family for help, he was sent back to Marradi and lived through a quieter period, likely re-enrolling in university.

Canti Orfici
In its original form, Campana's only book of poetry contained poems composed between 1906 and 1913. In 1913 Campana went to Florence, to meet with Lacerba magazine associates Giovanni Papini and poet/painter Ardengo Soffici (his distant relative), to deliver his manuscript for publication, entitled "The longest day". It was not taken into account and the manuscript was lost, only to be found in 1971, after the death of Soffici, among his papers in the house of Poggio a Caiano (probably in the same place where it had been abandoned and forgotten). After a few months of waiting Campana travelled from Marradi to Florence to recover his manuscript. Papini did not have it and sent him to Soffici who denied that he ever had the booklet. Campana, whose mind was already frail, became angry and despondent, for he had delivered, trustingly, the only copy he had. His continual pleading only won him the contempt and indifference of the cultural milieu that revolved around the 'red shirts' of the Caffè Giubbe Rosse. Finally, exasperated, Campana threatened to come with a knife to take justice from the 'infamous' Soffici and his associates, whom he called 'sciacalli ' (jackals).

In the winter of 1914, convinced he could no longer recover the manuscript, Campana decided to rewrite everything, relying on memory and his sketches. In a few days, working at night and at the cost of huge mental effort, he managed to rewrite the poetry, albeit with modifications and additions. In the spring of 1914, with the help of a local printer of religious tracts, Campana was finally able to self-publish the collection 'Orphic Songs' at his own expense, the title a reference to the mythic figure of Orpheus, the first of poet-musicians. The first edition constituted around 500 copies (originally meant to be 1,000). 44 copies were sold on subscription and Campana attempted, with marginal success, to sell the remainder of his portion of the run (the printer had taken half the books as partial printing payment) himself at cafes in Florence.

The text is an autobiographical journey from Marradi through Bologna, Genova, Argentina and back to Genoa. Paralleling the actual physical journey is a spiritual and mystical voyage undertaken by Campana in search of The Longest Day of Genoa (il più lungo giorno di Genova)- his concept of an eternal moment (l'eterno presente) outside of normal space-time in which everything and everywhere exists simultaneously. This concept is not explicitly defined in the text, which is less expository or didactic than incantatory in nature. Indeed, it has been left to his critics to extrapolate much of the underlying theory in Campana's work.

An erratic autodidact, Campana taught himself functional French, German and English- enough to read the Symbolists and Whitman in the original languages. The text is subtitled, in German, The Tragedy of the Last German in Italy and is dedicated to Kaiser William II. Campana ended his book with a faultily remembered quotation in English from Leaves of Grass: “They were all torn and cover'd with the boy's blood”.

The original manuscript was found amongst Soffici's belongings in 1971. This find demonstrated that not only had Campana rewritten the original text almost perfectly but had also nearly doubled it in size. This has led some to suggest that Campana had another copy of the manuscript from which he “reconstructed” the work.

Later years
In 1915, Campana again went travelling, without a fixed goal: passing through Turin, Domodossola, and then Florence. At the outbreak of the First World War, Campana the pacifist and neutralist, was exempt from military service, ostensibly because of physical health problems, but in reality he was known to be seriously mentally ill.

In 1916 the poet looked for employment in vain. He wrote to Emilio Cecchi and began a short correspondence with the author. At Livorno he met with the journalist Athos Gastone Banti, who wrote him a disparaging article in the journal "Il Telegrafo": this nearly ended in a duel. In the same year Campana met Sibilla Aleramo, the author of the novel Una donna, and began an intense and tumultuous relationship with her, that she ended at the start of 1917 after a brief encounter at Christmas 1916 in Marradi. Their letters and correspondence, published by Feltrinelli in 2000, are testimony of the relationship between Campana and Aleramo. This correspondence begins with a letter from Aleramo dated June 10, 1916, where author expresses her admiration for "Canti Orfici", declaring the poems have 'enchanted and bedazzled' her. The letter was written while Sibilla was on holiday at the Villa La Topaia in Borgo San Lorenzo and Campana was in a critical condition at Firenzuola, recovering from a partial paralysis on his right side.

In 1918, Campana was once again admitted to a psychiatric hospital in Castel Pulci, in Scandicci (Florence), where he was to remain until his death. The only surviving accounts of this period of Campana's life are in the interviews with the psychiatrist Carlo Pariani, who confirmed the irrefutable diagnosis of Campana's mental state: Disorganised schizophrenia - an incurable and extremely serious form of schizophrenia. Dino Campana died, seemingly from sepsis on March 1, 1932. One theory is that the infection was caused by a barbed wire injury during an escape attempt.

The following day, the body of Campana was buried in the cemetery of San Colombano in Badia a Settimo, Scandicci. In 1942, on the behest of Piero Bargellini, the remains of the poet were given a more dignified burial and the body was transferred to the chapel below the bell tower of the Church of San Salvatore. During the Second World War, on August 4, 1944, the retreating German army blew up the bell tower, destroying the chapel. In 1946, following a ceremony attended by numerous Italian intellectuals, including Eugenio Montale, Alfonso Gatto, Carlo Bo, Ottone Rosai, Pratolini and others, the bones of the poet were placed inside the church of San Salvatore Badia a Settimo, where they remain today.

Poetry
Campana's poetry is a new poetry in which sounds, colors and music are blended in a powerful vision. The line is undefined, an expressive articulation of monotony, but at the same time full of dramatic images of annihilation and purity. The title of Campana's only published work alludes to the Orphic hymns, a literary genre developed in ancient Greece between the second and third century AD and characterized by a non-classical theogony. Also prayers to the gods (especially the god Phanes) are characterized by spells to prevent evil and misfortune.

Key Themes
One of the major themes of Campana, which is present at the beginning of the "Orphic Songs" in the early prose parts - "The Night", "Journey and Return" - is the obscurity between dream and wakefulness. Adjectives and adverbs return with the repetitive insistence of a dreamer's speech: a dream, however, that is interrupted by startling shifts in tone (as in the poem "The Skylight"). In the second part - the nocturne of "Genoa", all the basic mythic figures and scenes that will preoccupy Campana return: port cities, barbaric mother figures, enormous prostitutes, windy plains, the captive teenager. Even in his prose poems, the use of repetition, superlatives, and keywords, as well as the effect of resonance in prepositions, create a strong scene.

Interpretation
In the fifteen years following his death at the end of World War II, and before, during the period of expressionism and futurism, the interpretation of Campana's poetry focused on the apparently uncontrolled depth of the word, hidden in a psychological state of hallucination and ruin. In his verse, where there is evidence of weak supervision and rough writing, there is - according to many critics - the vitality of the turn of the century avant-garde. Because of this, many different poets have been drawn to his poetry, such as Mario Luzi, Pier Paolo Pasolini, and Andrea Zanzotto.

Selected works
The current edition of Dino Campana's collected writings is Dino Campana Opere (Milan: Editori Associati, 1989).

title: Dino Campana


text:
Talk:Film producer

New version
Hi, I have taken the liberty to give this article a brush-up. I have dropped all the detailled information on what an executive producer or a line producer does. If somebody wants to have that explained, they (I love modern English) can just use the internal link of the same name... (Or instead they use the internal link for film crew!) I don't recognise a necessity to blow the article out of proportion by adding any long lists because readers can just activate a category if they should crave for lists. Well, that's my point of view.NordhornerII (talk)_The man from Nordhorn 04:06, 15 March 2013 (UTC)

 * It was useful having the Comparison to other producer roles section on here. This page is a natural place to expect to find such info. It's important to note that the various titles do not have strict definitions, however. For example, as the previous text said:

 * Since the 1980s, it has become increasingly common for the line producer to be given the title of executive producer, while the initiating producer takes the "produced by" credit. On other projects, the reverse happens, with the line producer taking the "produced by" credit. So the two credits have become effectively interchangeable, with no precise definition.

 * And you've introduced other problems in the article. Several of your refs don't back up what you're saying. The producer does not always have final say on which film director gets hired, although that happens, as with De Laurentiis. But it's not consistently true. In fact one of the refs used there shows how the newly hired director took over developing the script from producer De Laurentiis. Producers don't always have the last word when it comes to casting questions either. Your lead says producers prepare and then supervise the making of a film before presenting the product to a financing entity or a film distributor.  That is self-contradictory. And a production will always have people functioning as line producer and unit production manager, whether it's being shot on location or not. - Gothicfilm (talk) 03:13, 18 March 2013 (UTC)

 * Hello Gothicfilm, thank you for your candour. The executive producer and the line producer have their own articles and of course all readers can follow up the given internal links. So they can draw their own comparisons if they want to go there. I agree that the distinctions between the different kinds of producers are fuzzy and that their responsibilities do often overlap. Moreover it is always possible that responsibilities are shifting during the making of a film. Anyway, how somebody is actually credited seems to depend a lot on demands and negotiations. I think the readers want a comprehensible definition which concentrates on clarity instead of stressing just all the fuzziness. Well, you are also right when you imply that a film producer is often also the film distributor. But that is not always the case. Even if a film producers is a distributor too, he might have to negotiate with other distributors. For example, Luc Besson negotiated recently with a Chinese distributor.

NordhornerII (talk)_The man from Nordhorn 23:01, 18 March 2013 (UTC)

 * What I tried to explain is you cannot take one model of how a film was made, as with De Laurentiis or Besson, and then make it sound like it always happens that way in the article. You did not respond to most of the points above. And for the sake of re-writes, I'm all for a comprehensible definition that concentrates on clarity, but it should also be accurate. For example, people should not be left with the impression there is a precise definition for specific producer roles when there isn't. - Gothicfilm (talk) 00:19, 19 March 2013 (UTC)

 * Hello Gothicfilm, when I rewrote this article I had Artur Brauner in mind. He was a (famous) producer and just a producer. When I describe what he did as a producer, I certainly do describe what a producer does. Should you have further questions, please be specific. I am confident somebody has all the appropriate answers. If you want to make changes, you can do that as you see fit. Go on without my approval. We are both just equal members of the same community. [User:NordhornerII|NordhornerII]] (talk) _The man from Nordhorn 00:50, 20 March 2013 (UTC)

Dubious claims
"Consequently it is normal that the main producer will appoint executive producers,"

This is not the standard way things work. It's more often the other way around. EPs generally represent a financial interest (or sometimes an Intellectual Property interest)in a production (i.e. they keep supervisory eye on how the money is being spent, and make sure the production is following the general route that investor/s want) or, perhaps, a person such as the creator of a format who has now moved to a back seat but still wants to exercise some control over the direction of their creation. Hence it is far more usual that EPs will be involved in the appointment of a Producer than the other way around.

I also note that citation 21 does not claim what is stated to (in respect to the quote in italics above). 149.241.214.232 (talk) 14:10, 14 May 2013 (UTC)

 * As I said in the section above, there are now several statements in the article that are not accurate in all cases, and which are not backed up by their cited sources. Producer roles vary greatly film to film. There is no longer any consistent definition for executive producer in feature films, or for producer or co-producer either, and the article should not make it sound like there is. I don't have time now to re-write it myself. - Gothicfilm (talk) 20:43, 16 May 2013 (UTC)

Types
There is no such thing as purely a "film producer". There are already articles for different types of producers (Executive producer, Line producer) which makes this article rather redundant since no one is ever credited as a Film Producer. Suggest merging all subtypes of producers under this single article as an umbrella as none of the other articles are of significantly different context to warrant a split. Alternatively suggest merging any valuable content to the appropriate producer article dependent on the relevant type and deleting this article.

As is it seems to be a bit scattered. David Condrey  log talk  09:17, 21 October 2014 (UTC)

George Lucas photo
Should George Lucas's photo be used as an illustration of a "producer"? I always thought he was more of an executive producer. Trivialist (talk) 17:29, 23 May 2015 (UTC)
 * Agreed, it's a bad example, seeing as he didn't produce either of the franchises mentioned!!! --Rob Sinden (talk) 14:26, 21 February 2017 (UTC)

Addition to Content
I added the sentence "Within the industry, all of the producers union contracts are negotiated by The Alliance of Motion Picture and Television Producers ( AMPTP).[10] It was orginally founded in 1924 by the U.S Trade Association as the Association of Motion Picture Producers, due to mergers and companies dropping out, it wasn't until 1984 that it evolved into what we know of it today .[11]" under types of the film producer wiki page. I wasn't sure where else to put it. Should I put it somewhere else or is it fine under the types section?--Mpanico2345 (talk) 19:10, 3 February 2017 (UTC)

Draft of article.
Hello Everyone my name is Matthew Panico and I have created a draft for some of the sections for the "Film Producer" wikipedia article. I would really appreciate it if someone could look at it and give me some feedback.I put the draft in my sandbox link located below. The draft is written at the bottom of my sandbox. Thank you-- https://en.wikipedia.org/wiki/User:Mpanico2345/sandbox Mpanico2345 (talk) 17:36, 19 February 2017 (UTC)
 * Hello Everyone my name is Matthew Panico and I have created an updated draft for some of the sections for the "Film Producer" wikipedia article. I would really appreciate it if someone could look at it and give me some feedback. I put the draft in my sandbox link located below. The draft is written at the bottom of my sandbox. Thank You-- https://en.wikipedia.org/wiki/User:Mpanico2345/sandbox Mpanico2345 (talk) 15:28, 26 February 2017 (UTC)

Draft of Article (Part 2)
Hello, I have created a draft for some of the sections of the "Film Producer" wikipedia article and would really appreciate if someone took a look at it and gave me feedback. The draft is in my sandbox and I have attached the link to it below. Thank you!-- https://en.wikipedia.org/wiki/User:Jennaseacott/sandbox Jennaseacott (talk) 26 February 2017 (UTC)

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title: Talk:Film producer