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University of Guadalajara

The University of Guadalajara (Universidad de Guadalajara) is a public research university located in the Mexican city of Guadalajara. The university has several high schools as well as graduate and undergraduate campuses, which are distributed all over the state of Jalisco. It is regarded as the most significant university in the state. Chronologically, based on its foundation, it is the second oldest university in Mexico, the seventeenth oldest in North America and the fourteenth oldest in Latin America.

Since 1994, the university works through a network model to organize its academic activities. This university network is integrated by 15 university centers, the Virtual University System, the High School Education System and the general administrative body of the university. During 2014–2015 the total number of enrolled students is 255,944 of which 116,424 belong to graduate and undergraduate students and 139,520 to high school students.

The Royal University of Guadalajara (1791–1821)
At the time of its foundation in 1586 College began offering higher education in Guadalajara, and as a result, it was the first institution that granted academic degrees. The first one who requested to establish a university in Guadalajara was Friar Felipe Galindo y Chavez who, in 1696, asked the King Charles II of Spain to increase the range of the recently founded Royal Seminary of San Jose. This way, a long century of arrangements to found the University of Guadalajara began. Chronologically, the second oldest in Mexico, the seventeenth in North America, and the fourteenth in Latin America.

The proposition of Friar Felipe was reconsidered by the lawyer Matias Angel de la Mota Padilla, who, in 1750, was able to involve the Guadalajara's city hall into the project. However, it was only after the banishment of all Company of Jesus' members from all Spain's territories in 1767, when the need of a university in the region of Nueva Galicia was relevant. This occurred because the Company of Jesus managed the two most important colleges in the city: the Santo Tomas College and the San Juan Bautista College. Moreover, on December 12, 1771, arrived to Guadalajara the new bishop to Nueva Galicia, Friar Antonio Alcalde y Barriga, who significantly supported the foundation of the university. In 1775 the Friar replied a grit from King Charles III of Spain, who consulted him about the convenience of establishing a university in Nueva Galicia. The answer of the Friar was completely positive, so on November 18, 1791, the King Charles IV of Spain enacted a royal writ where he proclaims the foundation of the Royal University of Guadalajara.

This writ arrived to the authorities in Nueva Galicia on March 26, 1792, who proceeded to celebrate and quickly revamp the said Santo Tomas College. Therefore, the university was founded on November 3, 1792. By mutual agreement between the Friar Antonio Alcalde and the president of the Royal Audience, Jacobo de Ugarte y Loyola, Jose Maria Gomez y Villaseñor was named as the first Rector of the university. Academically speaking, the university was first composed by the Art, Theology, Law and Medicine Faculties.

The Confrontation between the University of Guadalajara and the Institute of Sciences of the State of Jalisco (1821–1861)
The university adhered itself to the Agustin de Iturbide's Plan of Iguala, with which the Independence of Mexico was concluded, and as a result the university kept its royal status. However, its status became imperial when the first Mexican Empire of Agustin I was proclaimed. However, when the Republic was established it became a national university.

On January 16, 1826, during the administration of José Cesareo de la Rosa as the Rector, the Jalisco State Congress proclaimed the first enclosed order to the University of Guadalajara and then the State's Governor, Prisciliano Sanchez Padilla, reestablish the Institute of Sciences. However, on September 1, 1834, the State's Governor, José Antonio Romero, declared the first reopening of the university and the closing of the Institute of Sciences. Nevertheless, thirteen years later, in 1847, the State Congress proclaimed the Public Teaching Program by which the University of Guadalajara as well as the San Juan Bautista College would be closed, furthermore it'd also reestablish the Institute of Sciences and found two high schools, namely the Boys' Lyceum and the Ladies' Lyceum. Yet the Program was not executed since Mariano Hurtado convinced the State's Governor, Joaquin Angulo, not to do so. As a result, in that same year, it was proclaimed that the Institute of Sciences and the University of Guadalajara would coexist, although the latter would lose its finances and headquarters. Fortunately, a later State's Governor, Jose Maria Yañez Carillo, proclaimed 1853 the assimilation of the Institute of Sciences into the University of Guadalajara, so the later recovered its traditional patrimony.

At the time the Plan of Ayutla got the triumph around 1855, the State's Governor, José Santos Degollado, proclaimed the second enclosed order to the university and the reestablishment of the Institute of Sciences. However, during the Reform War, on February 2, 1859, the Governor and Commander of the State of Jalisco, Leonardo Marquez, reestablish the University of Guadalajara.

Despite that, following the military success of the liberal wing in 1860, the State's Governor, Pedro Ogazon, proclaimed the third enclosed order to the university which also proclaimed the reestablishment of the Institute of Sciences, the Boys' Lyceum and the Ladies' Lyceum.

The University Interregnum (1861–1925)
During this period the higher and high school education both came to be totally dominated by the Government of Jalisco which triggered the emergence of private schools. Besides, the Medicine, Law and Engineering Schools, as well as the Boys' Lyceum and the Ladies' Lyceum continued teaching higher and high school education as a result of the governmental support that they received, except from some governors as Ramon Corona and Manuel Macario Dieguez, since the latter closed the Lyceums and founded the Preparatoria Jalisco in 1914.

The University of Guadalajara (1925–1989)
Derived from the worries that many intellectuals and artists manifested in the reunions at the "Centro Bohemio," the conference given by the engineer Juan Salvador Agraz Ramirez de Prado about a project to establish the "National University of Guadalajara" and the new orientations that the Mexican Revolution brought about in 1910, the Jalisco State's Governor, Jose Guadalupe Zuno Hernandez, reopened the University of Guadalajara by third time in 1925 and named Enrique Diaz de Leon as its Rector. Therefore, the study plans for high schools and faculties, as well as the Organic Law were elaborated and then approved by the State Congress on September 7, 1925. In the first meeting of the University Council the motto of the university was chosen: “Piensa y Trabaja" (Think and Work).

In the First Congress of Universities that took place at Mexico City, the Rector Diaz de Leon supported the socialist education, but when he tried to carry it out in Guadalajara, several student's protests happened. As a result of the protests the Governor, Sebastian Allende decided to close the University of Guadalajara again. However, to prevent the Autonomous University of Guadalajara to take the historic name of University of Guadalajara, the State Congress reopened the university and named Constancio Hernandez Alvirde as its twenty ninth Rector.

The Jalisco University Network (1989–present)
During this period the need to create a modern, efficient, qualified and eco-friendly university was recognized, however, this meant a change in the academic and administrative structure of the university would be necessary. This purposes were established in the Institutional Development Programme: A Future Vision, presented in 1989 by the Rector Raúl Padilla López, who is regarded for accomplishing the modernization the university. In this document, the aims and programs of all, teaching, researching and extension areas were established, which were based on a series of projected indicators to 1995.

Additionally, on September 2, 1989, the General University Council approved the document “Bases for the discussion about the Reform of the University of Guadalajara,” which had a current diagnostic about the university and proposed to decentralize the services and functions of the institution all across its entities. Also, some elements as the updating and creation of study plans, the expansion of research and graduate studies, the promotion of cultural and sports activities as well as the diversification of its financial funds were presented in the document. This reform took place when the State Congress approved the new Organic Law of the University of Guadalajara. In this, the autonomy of the university in matters as the academic planning and the financial administration was acknowledged. In that same year the thematic and regional university campuses were created and the High School Education System was established.

Moreover, the Labor Union of the Academic Workers of the University of Guadalajara was created and the Labor Union of University Workers got enhanced, the Union of University Students was established as well. Among other changes derived from the creation of the University Network, it is important to mention the creation of the Virtual University System and the University System of Radio, Television and Cinematography.

In 2014, with Itzcoatl Tonatiuh Bravo Padilla as the Rector of the university, the Institutional Development Programme was updated with projections to 2030. Besides, the arrangements to build a new regional university campus located in Zapotlanejo, Jalisco, began. At present the University Network is located in each region of Jalisco and has campuses in 109 of 125 municipalities in the State.

General University Council
The General University Council is the most significant government body of the university. It is integrated by 186 members, presided by the General Rector and constituted by students, academics and headmasters. Each year the students and academics representatives in the General University Council are chosen through direct and secret suffrage of its pairs.

General Rector
The General Rector is the most important executive authority of the university, it is also its legal representative and president of the General University Council and the Rectors' Council. The Rector is chosen by the vote of the members of the General University Council and stays in office for six years, beginning the first day of April.

Rectors' Council
This council is the body that plans and coordinates the whole University Network and is constituted by the General Rector, who presides it, the Executive Vice-Rector, the general secretary, the headmasters of each university campuses, the headmaster of the Virtual University System and the headmaster of the High School Education System.

Campuses of the University of Guadalajara
Currently, the University of Guadalajara has fifteen undergraduate and graduate campuses; from this, six specialize in different areas of study and are located in the Guadalajara Metropolitan Area and eight, called regionals, are located in different regions of the State of Jalisco.
 * Thematic
 * CUAAD – University Center of Art, Architecture and Design
 * CUCBA – University Center of Biological and Agricultural Sciences
 * CUCEA – University Center of Economic and Managerial Sciences
 * CUCEI – University Center of Exact Sciences and Engineering
 * CUCS – University Center of Health Sciences
 * CUCSH – University Center of Social Sciences and Humanities
 * Regional
 * CUAltos – located in Tepatitlán de Morelos
 * CUCiénega – located in Ocotlán, La Barca and Atotonilco el Alto
 * CUCosta – located in Puerto Vallarta and Tomatlán
 * CUCSur – located in Autlán
 * CULagos – located in Lagos de Moreno y San Juan de los Lagos
 * CUNorte – located in Colotlán
 * CUSur – located in Ciudad Guzmán
 * CUTlaquepaque - located in Tlaquepaque
 * CUTonala – located in Tonalá
 * CUValles – located in Ameca

Mid-High Education System
Also understandable as the Baccalaureate Education System by a literal translation from Spanish, is the branch of the University Network that executes instruction and diffusion on baccalaureate education since the institutional restructuration in 1994. In the 2015 A period it is integrated by 166 schools that are located in 109 municipalities of Jalisco. From this 166 schools there are: 24 metropolitan high schools, 36 regional high schools, 4 metropolitan offices, 78 regional offices and 24 regional extension centers. The total number of students registered in that same period is 135, 244, which study one of the 24 education options for high school. Moreover, the System is the responsible to supervise around one hundred incorporated high schools that are officially recognized by this body. sems Mid-High
 * Metropolitan Baccalaureate Schools
 * Preparatoria Jalisco
 * High School No.2
 * High School No.3
 * High School No.4
 * High School No.5
 * High School No.6
 * High School No.7
 * High School No.8
 * High School No.9
 * High School No.10
 * High School No.11
 * High School No.12
 * High School No.13
 * High School No.14
 * High School No.15 Prepauno2mural.jpg
 * High School No.16
 * High School No.17
 * High School No.18
 * High School No.19
 * High School No.20
 * High School No.21
 * High School No.22
 * Tonalá High School
 * Northern Tonalá High School
 * South Tonala High School
 * Polytechnic High School of Guadalajara
 * Jorge Matute Remus Polytechnic High School
 * Vocational High school
 * Regional Baccalaureate Schools
 * Ahualulco de Mercado Regional High School
 * Ameca Regional High School
 * Arandas Regional High School
 * Atotonilco Regional High School
 * Autlán de Navarro Regional High School
 * Casimiro Castillo Regional High School
 * Chapala Regional High School
 * Cihuatlán Regional High School
 * Ciudad Guzmán Regional High School
 * Colotlán Regional High School
 * Degollado Regional High School
 * El Grullo Regional High School
 * El Salto Regional High School
 * Etzatlán Regional High School
 * Jamay Regional High School
 * Huejuquilla el Alto Regional High School
 * Jalostotitlán Regional High School
 * Jocotepec Regional High School
 * La Barca Regional High School
 * Lagos de Moreno Regional High School
 * Ocotlán Regional High School
 * Puerto Vallarta Regional High School
 * San Juan de los Lagos Regional High School
 * San Martín de Hidalgo Regional High School
 * San Miguel el Alto Regional High School
 * Santa Anita (Jalisco) Regional High School
 * Sayula Regional High School
 * Tala Regional High School
 * Tamazula de Gordiano Regional High School
 * Tecolotlán Regional High School
 * Tepatitlán Regional High School
 * Tequila Regional High School
 * Tlajomulco de Zuñiga Regional High School
 * Toluquilla Regional High School
 * Tuxpan Regional High School
 * Villa Corona Regional High School
 * Unión de Tula Regional High School
 * Zacoalco de Torres Regional High School
 * Zapotiltic Regional High School
 * Zapotlanejo Regional High School
 * Wixárika School of Higher Education
 * High School of San José del Valle de Tlajomulco de Zúñiga
 * Regional High School of Ahualulco de Mercado

Virtual University System
The Virtual University System (VUS) -commonly known as UDGVirtual in Spanish is a decentralized body of the University of Guadalajara responsible to administrate and develop distance education programmes comprising mid-high education (baccalaureate by competencies online) as well as higher education (undergraduate and postgraduare curricula).

The VUS has a presence in 108 municipalities of Jalisco, the 32 federative entities of Mexico, and ten countries worldwide. There are 3,953 undergraduate and graduate students living in Mexico, from which 69% (2,768) reside In Jalisco. States that concentrate the highest enrollment, after Jalisco, are the State of Mexico, with 9% (349), and Mexico City with 4% (167). From all students in educational programs, 43 are abroad: 27 are in the United States, 4 in Ecuador, 3 in Colombia, 2 in Spain, 2 in Canada, and the rest of them in Bulgaria, Chile, Peru, Puerto Rico and the Dominican Republic. From 43 students residing abroad, 32 are Mexicans who reside in Bulgaria (1), Canada (2), Spain (2), United States (25), Puerto Rico (1), Dominican Republic (1). Among our school population are 28 students of foreign nationality, of whom 17 live in Mexico and other eleven study from their home countries.

Educational programmes
Currently, the University of Guadalajara offers a significant number of educational programmes for high school, undergraduate and graduate education. Until the first period of 2015, the university offers the following educational programs:
 * 30 High School Programmes
 * 2 General High School
 * 11 Technologic High School
 * 3 Middle Professional
 * 11 Technical
 * 3 Technical Professional
 * 141 Undergraduate Programmess
 * 108 Bachelor
 * 33 High Technical
 * 211 Graduate Programmes
 * 63 Specialties
 * 106 Masters
 * 42 PhD's

Scientific research
During 2014–2015, the university holds 1,640 researchers of which 852 are members of the National System of Researchers. Besides, the University of Guadalajara has several research institutes and centers, some of them are presented in the following section, distributed according to the university campus they belong:
 * CUAAD
 * Center of Metropolitan Studies
 * Institute of Studies about Historic Centers
 * Institute of Aesthetics Studies
 * CUCBA
 * Center of Ground Ecosystems Studies
 * Center of Molecular Genetics Studies
 * Institute of Animal Biotechnology
 * Institute of Botanics
 * Institute of Seed's Science and Technology
 * Institute of Cellular Physiology
 * Institute of Limnology
 * Institute of Management and Exploitation of Fitogenetic Resources
 * Institute of Environment and Human Communities
 * Institute of Neurobiology
 * Institute of Neurosciences
 * CUCEA
 * Center of Social and Economic Studies
 * Center for the Quality and Innovation of Higher Education
 * Institute of Public Policies and Government Studies
 * Institute for the Development of Innovation and Technology in Small and Medium Enterprises
 * CUCEI
 * Institute of Astronomy and Meteorology
 * Institute of Seismic Engineering
 * CUCS
 * Institute of Chronic Degenerative Diseases
 * Institute of Biomedical Sciences Studies
 * Institute of Odontology Studies
 * Institute of Translational Neurosciences
 * CUCSH
 * Center of Gender Studies
 * Center of Strategic Studies for the Development
 * Center of North America Studies
 * Institute of Innovation and Governance Studies
 * CUCiénega [[File:Instituto Manantlán de Ecología y Conservación de la Biodiversidad en el CUCSur.jpg|250px|thumb|IMECBIO was originated from the Natural Laboratory "Las Joyas de la Sierra de Manatlan" created in 1985, whose objective was the preservation of the Manatlan Mountain Chain's biosphere. The Laboratory transferred its headquarters to El Grullo and then incorporated to CUCSur in 1995]]
 * Center of Design of the Business Incubator
 * Center of Innovation, Incubation and Design
 * Institute of Genetics
 * CUCSur
 * Manantlan Institute of Ecology and Biodiversity Preservation(IMECBIO)
 * CUCosta
 * Center of Western Seismology and Volcanology Studies
 * CULagos
 * Center of Psychological Support for the Community
 * CUSur
 * Center of Nourish Behavior and Nourishment Studies
 * Research Center in Molecular Biology of Chronic Diseases (CIBIMEC)
 * CUTonalá
 * Institute of Water and Energy
 * CUValles
 * Center of Entrepreneurship and Incubation
 * Center of Nanosciences and Nanotechnologies Studies
 * VUS
 * Institute for Management of Knowledge and Apprenticeship through Virtual Environments

Scientific journals
The university holds an important variety of scientific research journals, particularly five of these journals are included in the Scientific and Technologic Journals Index of the National Science and Technology Council.
 * EconoQuantum: This journal of business and economics is published twice a year by the Department of Quantitative Methods of the Master in Economics of CUCEA. It aims to publish academic articles in English and Spanish through the use of quantitative methods in business and economics.
 * Mexico and the Pacific Basin: Is a quarterly published journal founded in 1998 by the Department of Pacific Studies of CUCSH. Its articles cover topics related to the economy, international relations, politics, society and culture of the countries in the Asian Pacific region through an interdisciplinary approach.
 * Communication and Society: Biannually published, this journal specializes in the area of social communication and is integrated by national and international researches. It is published by the Department of Social Communication Studies of CUCSH.
 * Espiral. State and Society Studies: Is a quarterly published scientific research journal of the State and Society Division of CUCSH. It's opened to national and international social sciences researchers.
 * Apertura. Educational Innovation Journal: Is a scientific research journal published by the Virtual University System whose articles cover topics related to unconventional education practices based on the use of new communication and information technologies.

University chairs
The university holds several chairs of free access to the university's community and the general public.
 * Émile Durkheim Chair
 * Fulbright-García Robles US Studies Chair
 * Hugo Gutiérrez Vega Chair
 * Jorge Alonso Chair
 * José Martí Chair
 * Julio Cortázar Latin American Chair
 * Primo Levi Chair
 * UNESCO Chairs: Derived from an UNESCO initiative approved in 1992, the aim of the UNESCO Chairs is to boost and improve the research and development programs of higher education through the creation of university networks. They also aim to foster the inter-university cooperation through knowledge sharing across boundaries. Currently, the University of Guadalajara holds four UNESCO Chairs:
 * Chair on Media and Information Literacy and Intercultural Dialog (held in CUCSH)
 * Chair on Gender, Leadership and Equity (held in CUCEA)
 * Chair on Equality and No Discrimination (held in CUCSH)
 * Chair on Youth (held in CUCEA)

University sports
The University of Guadalajara has a large sports infrastructure for individual and group disciplines. The university is co-owner of the Jalisco Stadium and also holds a significant quantity of university teams and sports areas distributed across its campuses and high schools.

University Sports Complex
In the complex's facilities, located in the area where CUCEI, the Vocational High School and the Polytechnic High School are located, several physical activities are offered to the university's community and the general public, namely: athletics, basketball, boxing, gymnastics, volleyball, swimming and diving.

UdeG Sports Club
Located near La Primavera Forest, the club provide service to academics, administrators, students and the general public. It aims to provide an area to satisfy resting, recreation, physical training or cultural activities through its facilities which include: olympic pool, diving pit, football stadium, as well as tennis, basketball, racquetball, volleyball, squash fields, bicycle path, restaurant, camping area, among others.

Aquatic Center for Rehabilitation and Rescue
The center has facilities for aquatic activities and physical training where services to internal and external users are offered. There are swimming courses offered to all ages, specialized in freestyle, diving and rescue, also physical training is offered with the support of trainers in a wide range of disciplines.

University of Guadalajara's Leones Negros
The University of Guadalajara is the owner of the Leones Negros that currently compete in the Mexican "Ascenso" League. However, it was not until 2014 when, after 20 years away of the "Primera Division," that the Leones Negros got to ascend in the national league. Nonetheless, in the 2015 championship, the Leones Negros descended again to the "Ascenso" League. The team is itself an approach to the university's community with the aim to foster a sports culture within the university.

UDG Culture
UDG Culture is the body of the University of Guadalajara dedicated to foster and spread the culture as well as every artistic representation. This body aims to provide areas that stimulate artistic creation and to generate social interaction platforms to develop and maintain the cultural and artistic representations. Currently, it collaborates with public, private, national, and international institutions, as well as culture creators groups, artistic promoters, civil organizations, social organizations and the campuses of the University of Guadalajara Network, all of which work together to create cultural projects that are generated by the Music, Performing Arts and Literature Divisions.

Folkloric Ballet of the University of Guadalajara
After 1960 when several dancing couples organized to create a group that would represent the Visual Arts College, in 1966 the Rector, Ignacio Maciel Salcedo, name this group as the Folkloric Ballet of the University of Guadalajara. The Ballet aims to spread and maintain the Mexican cultural traditions expressed in music and dances by presenting in their choreographies a recreation of elements present in everyday life in several Mexican regions. At present, the Ballet is composed of fifteen couples of dancers and twelve couples of singers. The resident group and the children's ballet are composed of the same number of dancers and singers. As a total, the Ballet has 168 artists trained in dance or music.

Editorial Universitaria
Editorial Universitaria is the publishing house of the University of Guadalajara, which publishes academics texts, manuals, monographs, and a wide variety of books. Through the publishing of these, the Editorial aims to spread knowledge to enhance teaching and researching tendencies in the students and teachers of the university. Besides, since its publications reflect the institution's profile, it contributes to show the university's image to the society.

Guadalajara International Book Fair
Created in 1987 by a University of Guadalajara's initiative, The Guadalajara International Book Fair is nowadays the biggest international book market for Spanish publications. Each year editors, literary agents, reading promoters, translators, book dealers and librarians attend looking for commercial and professional interactions. Besides, each year around 600 thousand people attend and during nine days enjoy one of the most important cultural fair of Latin America.

The Fair is also a significant opportunity to enhance the tides that bond Mexico and Hispano-America with other cultures. That is why, since 1993, the Fair has had a region or a country as a guest of honor which shows in this cultural platform the best of its publishing and artistic productions. Until now, the guests of honor have been: Colombia (1993), New Mexico (1994), Venezuela (1995), Canada (1996), Argentina (1997), Puerto Rico (1998), Chile (1999), Spain (2000), Brazil (2001), Cuba (2002), Quebec (2003), the Catalan Culture (2004), Peru (2005), Andalusia (2006), Colombia (2007), Italy (2008), Los Angeles (2009), Castile and Leon (2010), Germany (2011), Chile (2012), Israel (2013), Argentina (2014) and United Kingdom (2015).

Guadalajara International Film Festival
The Guadalajara International Film Festival is the most important cinematographic event in Latin America because of the important initiatives it offers to the film industry. The Festival is a forum for training, instruction and creative exchange between professionals, international film critics and Hispanic students. The Festival is hosted by the University of Guadalajara, The Mexican Institute of Cinematography, the National Council for Culture and Arts, the Jalisco State Government, the Zapopan and Guadalajara City Halls and Cinépolis.

Papirolas Creative Festival for Youth and Children
Papirolas begins in 1995 as a part of the Guadalajara International Book Fair with the aim to create an exclusive area for youth and children through interactive expositions and diverse artistic shows. Since 2010, Papirolas began to present expositions, then in 2011 it began offering training programs for teachers and cultural agents.

International Fair of Music Professionals
This Fair emerges as a professional platform for the development of the Mexican and Latin American music industry. It holds several concerts, markets and conferences which are a meeting point for professionals in the industry like composers, musicians, audio engineers, record labels, producers, and editors.

Arts Museum (MUSA)
With the aim to give the Jalisco's community an area of cultural presentations in a facility that holds important creations of the muralist José Clemente Orozco, the Rector of the University of Guadalajara, Raúl Padilla López, managed to use the ground floor of the General Rectory Building as a museum. In 1994, the area was enabled as a museum which until now has been house to many national and international contemporary art presentations of many artists. Besides, the museum has its own collection of Jalisco's contemporary art.

On February 28, 2013, the General University Council of the University of Guadalajara modified the use of the building known as the General Rectory Building to dedicate it completely to cultural representations. Following this, the name of the building changed to University of Guadalajara's Arts Museum.

Jorge Martinez Arts Laboratory
The Arts Laboratory is a place that exhibits interdisciplinary arts that depends on the Arts and Humanities Division of CUAAD. This laboratory aims to boost projects that experiment with aesthetics through the creation of a critique forum of researching and collaboration among Division's students.

Diana Cultural Center
The Diana Cultural Center, integrated by the Diana Theater and the Diana Studio, is a model for performing arts since it works with its own financial resources and the best service standards with a little financial aid from the University of Guadalajara. The Diana Theater opened in 2005, year in which 250 shows were offered. In 2014, 377 shows took place, the largest number in its history. After a decade of life, the theater has left a mark among the "tapatios" since it has had about 2 million and a half spectators in almost 3 thousand shows.

Cineforo
The Cineforo is a space dedicated to show films that stands as an alternative for the people in Guadalajara that enjoy the seventh arte since it shows films that are not usually show in the commercial cinemas. It is located in the General Rectory Building of the University of Guadalajara and was inaugurated in 1988 by the Rector Javier Alfaro Anguiano. It has capacity for 440 people and its facilities have also been used to show theater, dancing and music performances. At present, the Cineforo is the principal cinema of the Guadalajara International Film Festival held each year.

Calle 2
Since 2005, Calle 2 works as a multifunctional facility for entertainment. It is integrated by seven pavilions, two forums, three concourses and one arena. It can hold fairs, expositions, concerts, as well as social and sports events with a capacity for 80 thousand people.

Cavaret Studio Theater
The Cavatet Studio Theater made it possible to cover the need that the Guadalajara Metropolitan Area had for facilities to host alternative shows of national and international reputation. This is a space for recreation, entertainment and production cultural and sports events, conventions, expositions and concerts of any genre.

Vivian Blumenthal Theater
The Vivian Blumenthal Theater was created to get close and spread the large production of classic theater to the community. This cultural space is enabled to hold theater projects and many kind of music projects. It also represents a stimulation to the artistic and cultural activities in the city, since it allows the presentation of premium shows with the involvement of local, national and international productions. The theater is considered a significant scenario for multidisciplinary arts experimentation and proposals.

Jalisco's Experimental Theater
The Jalisco's Experimental Theater, whose building was designed by the architect Eric Coufal, was opened up on December 6, 1960, and is part of the National Cultural Heritage. The theater is a cultural space built by the Jalisco State Government by the 50s. It is located inside of the Agua Azul Park and is property of the Jalisco State Government and managed by the University of Guadalajara.

University Cultural Center
The University Cultural Center is the first university cultural complex of the mid-west region of Mexico which is currently in building process and located in the city of Zapopan in Jalisco. Here, the largest and most significant cultural space of the Guadalajara Metropolitan Area will be located since this project will be home to thousands of cultural and academic activities.

The University Cultural Center will articulate university campuses, arts schools, the media, thematic and archaeological parks, as well as the sports and residential areas. It is also home of the Telmex Auditorium, the Bicentenary Plaza and the "Juan Jose Arreola" Public Library of the State of Jalisco, moreover there are two projects that are currently under their building process which are the Environmental Sciences Museum and the Performing Arts Complex.

"Juan Jose Arreola" Public Library of the State of Jalisco
The "Juan Jose Arreola" Public Library of the State of Jalisco has the aim to preserve, guard and offer a free access to its large catalogue of contemporary and historic books. With the largest bibliography of the State and a huge quantity of historic documents (some with 500 years of history) the Library is a really important space for studying and researching. The Library depends on the University of Guadalajara since 1925. Since 1975, it was located in a part of the Jalisco House of Culture building. In 2001, the University General Council name it as the "Juan Jose Arreola" Public Library of the State of Jalisco in memory of the writer who had been its headmaster since 1991 until his death in 2001.

In 2011, the bibliography and its collections were moved to a new building which is stands as the entrance of the University Culture Center. The new building of the Library owns around 3 million books which hold around 500 years of not only the Jalisco State, but also of Northern Mexico and the Southeast area of the United States of America.

Telmex Auditorium
The Telmex Auditorium was founded on September 1, 2007, and is currently one of the most important shows areas in Latin America. The Auditorium, designed by the Mexican architect Jose de Arimatea Moyao, is located in the Guadalajara Metropolitan Area and is part of the most significant and transcendent cultural project of the University of Guadalajara which is the University Cultural Center.

Performing Arts Complex
This project that will be opened up at the end of 2015 aims to boost the development of performing arts in the region. It will be composed by four halls and a scenario dedicated to present shows outdoors. This project will satisfy the need of local production and will be primarily used for theater. In its scenarios will be possible to present: opera, symphonic concerts, musical theatre, dance, films, visual arts and congresses. For instance, it can also be used for conferences and book presentations.

Center of Transdisciplinary Instrumentation and Services
This project of the University of Guadalajara, whose building will be located at the University Cultural Center, will have four unites of microscopy, spectroscopy, molecular biology, proteomics and bioinformatics in which the classification of biological, medical, industrial and environmental samples will be possible. The objective of this center is to enhance the research work that about 400 researchers across the different campuses of the university already carry on.

Environmental Sciences Museum
The Environmental Sciences Museum will be the first of its kind in Mexico which will devote to show natural and social environments of the region, the nation and the continent. Its aim is to show through an interesting way topics related to the environment, the nature, the culture and the sustainability of life on Earth. It will be strongly attached to the regional identity of Jalisco that, along with Guadalajara, covers a design of five sustainability edges: ecology, economy, politics, culture and society. Besides, at the same time it will cover contemporary topics regarding the sustainability in the Guadalajara Metropolitan Area.

Channel 44
Channel 44 UDGTV is a project of the University of Guadalajara that started to broadcast since 2011 after two decades of having initiated the arrangements to found its own TV channel. The channel has a cultural aim to spread programs through the four municipalities that integrate the Guadalajara Metropolitan Area. These are musical, cultural and informative programs.

University of Guadalajara Radio Network
This is a project of the University of Guadalajara which is composed by eight radio stations that cover the mid-west region of Mexico with the aim to serve as a tide with the community. It is a cultural radio that supports cultural movements, local indie artists, and social and cultural diversity. The radio stations that integrate the University of Guadalajara Radio Network are:
 * Guadalajara XHUG 104.3 FM
 * Lagos de Moreno XHUGL 104.7 FM
 * Autlán XHAUT 102.3 FM
 * Ciudad Guzmán XHUGG 94.3 FM
 * Ocotlán XHUGO 107.9 FM
 * Colotlán XHUGC 104.7 FM
 * Puerto Vallarta XHUGP 104.3 FM
 * Ameca XHUGA 105.5 FM

Collaboration with the Guadalajara Civil Hospital
The Guadalajara Civil Hospital is a health institution located in Guadalajara, Jalisco since the 17th century. It was founded in 1794 by the Guadalajara's Bishop, Fray Antonio Alcade y Barriga, as a partner institution of the University of Guadalajara. Since then, the hospital works as the hospital school of the university where students and academics of the health divisions perform professional practices and researches, respectively. At the present, the Civil Hospital, which is a decentralized body of the Jalisco State Government since 1997, holds two hospital units (the Friar Antonio Alcalde Hospital and the Dr. Juan I. Menchaca Hospital) which attend 29% of the Jalisco population. Its first building was the San Miguel de Belen Hospital, which was renamed, and is currently the Friar Antonio Alcalde Old Civil Hospital.

University of Guadalajara in Los Angeles (UDGLA)
The university extends its reach and goes beyond boundaries to offer academic opportunities to Mexicans living in Los Angeles, creating, at the same time, bonds with their Latin American roots. UDGLA works so co-national migrants and Hispanics improve their quality of life and social integration by increasing their cultural knowledge and education through its cultural and academic projects.

Los Angeles Spanish-Language Book Fair (LéaLA)
This event has the aim to promote Spanish-language books and the acknowledgment of the Latin American population, its culture and customs. LéaLA is an initiative supported by the University of Guadalajara in Los Angeles and the Guadalajara International Book Fair. This Fair offers presentations of Spanish-language books, conferences about culture and historic roots of Latin American countries, meetings of writers from Latin America and other regions, discussion forums about the problems of book sales and their distribution, participation of celebrities from the Latin American community in a variety of activities within the cultural and literary events, all of which aim to foster a reading culture and the written word interest among children.

Guadalajara International Film Festival in Los Angeles
This Festival is an open window to the Mexican and Hispanic contemporary film world and an extension of the Guadalajara International Film Festival. The objectives of this festival are: to increase the access to Mexican and Hispanic films; create a bridge between the Mexican and American film industries; to foster collaborations between international filmmakers; and to enhance the presence of Mexican and Hispanic films in the United States of America.

Channel 31.2 in Los Angeles
The programs broadcast on Channel 44 in Guadalajara are also broadcast in Los Angeles on Channel 31.2. The University of Guadalajara in LA'' aims to get closer to the university's community and the Hispanic society through this channel.

Notable alumni

 * Alejandro Colunga, painter, sculptor
 * Guillermo del Toro, Academy Award-winning film director, screenwriter, producer, and novelist
 * Pedro Moreno, insurrectionist hero of the Mexico Independence
 * Valentin Gomez Farias, doctor, politician, President of Mexico
 * Ignacio Luis Vallarta, Jalisco State Governor, President of the Supreme Court of Justice of the Nation
 * Mariano Azuela, doctor, author of The Underdogs
 * Ali Chumacero, poet, editor
 * Hugo Gutierrez Vega, lawyer, poet, writer, actor, teacher, diplomat
 * Jose Luis Martinez Rodriguez, President of the Mexican Language Academy
 * Luis Barragán, is considered as the most significant Mexican architect, awarded with the Pritzker Prize
 * Fernando Gonzalez Cortazar, architect, writer, sculptor
 * Jorge Matute Remus, civil engineer, Rector of the University of Guadalajara, author of movement of the "tapatia" telephone company building
 * Lucia Maya, painter, sculptor
 * Sandra Pascoe Ortiz, researcher and chemical engineer
 * Barbara Padilla, soprano, runner-up on the fourth season of America's Got Talent
 * Ximena Puente de la Mora, lawyer, academic, and researcher
 * Cristo Fernández, Actor

title: University of Guadalajara


text:
Sympathy for the Devil

"Sympathy for the Devil" is a song by English rock band the Rolling Stones. The song was written by Mick Jagger and credited to the Jagger–Richards partnership. It is the opening track on the band's 1968 album Beggars Banquet. The song has received critical acclaim and features on Rolling Stone magazine's "The 500 Greatest Songs of All Time" list, being ranked number 106 in the 2021 edition.

Inspiration
"Sympathy for the Devil" is credited to Jagger and Richards, though the song was largely a Jagger composition. The working title of the song was "The Devil Is My Name", having earlier been called "Fallen Angels". Jagger sings in first person narrative as the Devil, who boasts of his role in each of several historical atrocities and repeatedly asks the listener to "guess my name." The singer demands the listener's courtesy towards him, implicitly chastising the listeners for their collective culpability in the listed killings and crimes. In the 2012 documentary Crossfire Hurricane, Jagger stated that his influence for the song came from Baudelaire and from the Russian author Mikhail Bulgakov's novel The Master and Margarita (which had just appeared in English translation in 1967). The book was given to Jagger by Marianne Faithfull and she confirmed the inspiration in an interview with Sylvie Simmons for the magazine Mojo in 2005.

In a 1995 interview with Rolling Stone, Jagger said, "that was taken from an old idea of Baudelaire's, I think, but I could be wrong. Sometimes when I look at my Baudelaire books, I can't see it in there. But it was an idea I got from French writing. And I just took a couple of lines and expanded on it. I wrote it as sort of like a Bob Dylan song." It was Keith Richards who suggested changing the tempo and using additional percussion, turning the folk song into a samba.

Jagger stated in the Rolling Stone interview: "it's a very long historical figure – the figures of evil and figures of good – so it is a tremendously long trail he's made as personified in this piece." By the time Beggars Banquet was released, the Rolling Stones had already caused controversy for sexually forward lyrics such as "Let's Spend the Night Together" and their cover of the Willie Dixon's blues "I Just Want to Make Love to You". There were also claims they had dabbled in Satanism (their previous album, while containing no direct Satanic references in its music or lyrics, was titled Their Satanic Majesties Request). "Sympathy" brought these concerns to the fore, provoking media rumors and fears among some religious groups that the Stones were devil worshippers and a corrupting influence on youth.

The lyrics focus on atrocities in mankind's history from Satan's point of view, including the trial and death of Jesus Christ, European wars of religion, the violence of the Russian Revolution of 1917 and the 1918 execution of the Romanov family during World War I, and World War II. The song was originally written with a line asking who shot Kennedy, but after Robert F. Kennedy's assassination on 5 June 1968, the line was changed to reference both assassinations.

The song may have been spared further controversy when the first single from the same album, "Street Fighting Man", became even more controversial in view of the race riots and student protests occurring in many cities in Europe and in the United States.

Recording
The recording of "Sympathy for the Devil" began at London's Olympic Sound Studios on 4 June 1968; overdubs were done on 8, 9 and 10 June. Personnel included on the recording include Nicky Hopkins on piano, Rocky Dijon on congas and Bill Wyman on shekere. Marianne Faithfull, Anita Pallenberg, Brian Jones, Charlie Watts, photographer Michael Cooper, Wyman, and Richards performed backup vocals. Richards plays bass on the original recording, and also electric guitar. Brian Jones plays a mostly mixed out acoustic guitar, although in isolated tracks of the studio cut, it is audible playing along with the piano.

In the 2003 book According to the Rolling Stones, Watts commented: ""Sympathy" was one of those sort of songs where we tried everything. The first time I ever heard the song was when Mick was playing it ... and it was fantastic. We had a go at loads of different ways of playing it; in the end I just played a jazz Latin feel in the style that Kenny Clarke would have played on "A Night in Tunisia"."

On the overall power of the song, Jagger continued in Rolling Stone: "It has a very hypnotic groove, a samba, which has a tremendous hypnotic power, rather like good dance music. It doesn't speed up or slow down. It keeps this constant groove. Plus, the actual samba rhythm is a great one to sing on, but it's also got some other suggestions in it, an undercurrent of being primitive – because it is a primitive African, South American, Afro-whatever-you-call-that rhythm (candombe)."

The backing vocals came about by accident by producer Jimmy Miller and Anita Pallenberg. Pallenberg was in the engineering booth with Miller while Jagger was belting out an early vocal take of the song. According to Pallenberg, Miller was half talking to himself as Jagger sang, saying "Who, who?" He then repeated the words several times as Jagger sang on, and Pallenberg realized how wonderful that all sounded. After the take, she told Jagger what transpired in the booth and suggested that "who who" be used in the song as a backing vocal chant. The Stones then gave it a go and after the first take, "Who who" became "woo-woo", with most of this caught on film by director Jean-Luc Godard for his One Plus One (a.k.a. Sympathy for the Devil) movie.

Legacy
Of the change in public perception the band experienced after the song's release, Richards said in a 1971 interview with Rolling Stone, "Before, we were just innocent kids out for a good time, they're saying, 'They're evil, they're evil.' Oh, I'm evil, really? So that makes you start thinking about evil ... What is evil? Half of it, I don't know how many people think of Mick as the devil or as just a good rock performer or what? There are black magicians who think we are acting as unknown agents of Lucifer and others who think we are Lucifer. Everybody's Lucifer."

Hunter S. Thompson and his attorney Oscar Zeta Acosta kept replaying the song hundreds of times during their drug-induced road trip to Las Vegas in 1971 to maintain focus whilst high. In Thompson's novel, Fear and Loathing in Las Vegas and the film of the same name, the song is referenced several times.

Contrary to a widespread misconception, it was "Under My Thumb" and not "Sympathy for the Devil" that the Stones were performing when Meredith Hunter was killed at the Altamont Free Concert. Rolling Stone magazine's early articles on the incident typically misreported that the killing took place during "Sympathy for the Devil", but the Stones in fact played "Sympathy for the Devil" earlier in the concert; it was interrupted by a fight and restarted, Jagger commenting, "We're always having – something very funny happens when we start that number." Several other songs were performed before Hunter was killed.

Personnel
According to authors Philippe Margotin and Jean-Michel Guesdon, except where noted:

 The Rolling Stones
 * Mick Jagger – lead vocals, hand drum
 * Keith Richards – backing vocals, lead guitar, bass
 * Brian Jones – backing vocals, acoustic guitar (inaudible)
 * Bill Wyman – backing vocals, shekere
 * Charlie Watts – backing vocals, drums

 Additional personnel
 * Unidentified musician – maracas
 * Nicky Hopkins – piano
 * Rocky Dzidzornu – congas, cowbell
 * Michael Cooper, Marianne Faithfull, Anita Pallenberg –  backing vocals

Avant-garde film

Sympathy for the Devil is also the title of a 1968 film by Godard, also titled One Plus One. A depiction of the late 1960s American counterculture, the film primarily featured the Rolling Stones in the process of recording the song in the studio. On the filming, Jagger said in Rolling Stone: "[it was] very fortuitous, because Godard wanted to do a film of us in the studio. I mean, it would never happen now, to get someone as interesting as Godard. And stuffy. We just happened to be recording that song. We could have been recording 'My Obsession'. But it was 'Sympathy for the Devil', and it became the track that we used."

During the several days of recording the Stones as they played, a film lamp set up by Godard's crew started a major fire in the studio that caused substantial damage to the studio and laid waste to some of the band's equipment. However, the song's tapes were saved by Miller before he fled the studio, and Godard kept his cameras rolling capturing the fire on film as it roared on.

Guns N' Roses version
Guns N' Roses recorded a cover in 1994 which reached number 55 on the Billboard Hot 100; it was featured in the closing credits of Neil Jordan's film adaptation of Anne Rice's Interview with the Vampire and was included on their Greatest Hits album. This cover is noteworthy for causing an incident involving incoming guitarist Paul "Huge" Tobias, that was partially responsible for guitarist Slash departing from the band in 1996. Slash has described the Guns N' Roses version of the song as "the sound of the band breaking up".

Rhythm guitarist Gilby Clarke, who does not appear on the recording, noted that the recording foreshadowed his departure from the band: "They did that while I was on the road touring for my solo record. [...] I knew that that was the ending because nobody told me about it. Officially I was in the band at that time, and they did that song without me. That was one of the last straws for me, because nobody had said anything to me, and they recorded a song by one of my favorite bands."

This was the band's final single until 2021's "Absurd" to feature guitarist Slash and bassist Duff McKagan.

Personnel

 * W. Axl Rose – lead vocals, piano
 * Slash – lead and rhythm guitars
 * Duff McKagan – bass, backing vocals
 * Matt Sorum – drums, percussion
 * Dizzy Reed – keyboards
 * Paul Huge – rhythm and lead guitars, backing vocals

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

title: Sympathy for the Devil


text:
User:Land1234567890

Land1234567890 is a great guy. Land1234567890 is also a nation in the online game NationStates.

title: User:Land1234567890


text: User:O lara o

title: User:O lara o


text:
Albert E. Todd

Albert E. Todd (August 5, 1878 – October 26, 1928) served as mayor of Victoria, British Columbia Canada from 1917 to 1919. He was seen as a visionary whose impact was felt both during his term and after. He was born to Jacob Hunter Todd and Rosanna Wigley in 1878.

One of the first licensed drivers in the city, he was keen on promoting the city as a tourist destination and making it easier to get around town.

During his time in office he envisioned a crossing over the harbour to the west side (which later became the Johnson Street Bridge), saw through the installation of the now iconic cluster of street lights around the downtown area and promoted the Malahat Drive. He died at the age of 50 in 1928.

title: Albert E. Todd


text:
Signet Society

The Signet Society of Harvard University was founded in 1870 by members of the class of 1871. The first president was Charles Joseph Bonaparte. It was, at first, dedicated to the production of literary work only, going so far as to exclude debate and even theatrical productions. According to The Harvard book "It seemed to the founders that there was room in the College world for another association that should devote itself more exclusively to literary work than is possible with large numbers. Accordingly, they confined the membership to a few, and required that new members shall be, so far as possible, 'representative men,' and that at least five should be in the first half of their class."

After a few years in quarters on university property, the Signet moved to an off-campus location at 46 Dunster Street.

The Signet Society's mission
The Signet celebrates most of the arts, including music, the visual arts, and theater. Members are active in most undergraduate publications. Many undergraduate Signet members are in other Harvard College artistic and literary organizations, including the Harvard Advocate, the Hasty Pudding Theatricals, the Harvard Crimson, the Harvard Lampoon, the Harvard Radcliffe Orchestra, and the Harvard Radcliffe Dramatic Club. It admits both men and women without prejudice, unlike final clubs. Membership dues are required, but are pro-rated by Harvard's financial aid calculations, allowing all members of the college community to be considered for membership. Harvard faculty and administrators have been and are Signet officers, associates, and members.

The opening remarks of the Signet's minutes state: "On Tuesday evening, November 1, 1870, a meeting was held at 10 Grays Hall preliminary to the organization of a senior society, which was to afford to a select number a pleasant means of intercourse with each other, not to be expected from the illiberal policy of the only society of reputation existing." This "illiberal policy" refers to the displeasure with which the founders of the Signet greeted the established Final Clubs. These first members formed the society's admissions criteria to transcend the social politics that they perceived as dominating in the Final Club system.

To distinguish the Signet from other exclusive organizations, the founding members stated in the original charter that members would be chosen according to "merit and accomplishment." Today, those membership criteria are still present in the club's constitution mandating that members "shall be chosen with regard to their intellectual, literary and artistic ability and achievements." While these criteria are central to the put-up process (admissions procedure), personal character is also considered.

Architecture
Architectural historian Douglass Shand-Tucci includes an in-depth discussion of Signet's building in his history of Harvard's campus, relating the oddity that a firm known for its preeminence in Gothic Revival was employed to renovate an 1820s Colonial residence (converted in 1880 to a Victorian clubhouse) into a neo-Federal structure with baroque details. Regarding its distinctive features, Shand-Tucci writes: "It is in feeling wildly Baroque (of all things)—a welcome touch of flamboyance for what would otherwise have been a rather staid clubhouse for the Signet... the graphic quality of Cram & Goodhue's and LaRose's new frontispiece is actually rather reminiscent of book design (not to mention the Palladianism of several Tory Row mansions), and centers on a two story pedimented Ionic pavilion displaying the Signet arms.... The design concept- cavalier enough, but very successful—discloses another guise of history-making in Harvard architecture: to restore the house, not as it originally was, but in LaRose's words, as it 'ought to have been.' Thus the architectural solecism of the two orders of the porch—the Doric columns and Ionic pilasters—was retained."

Traditions
The emblem of the Signet was, at one time, "a signet-ring inclosing a nettle," the signet-ring symbolizing unity and the nettle symbolizing impartiality. The emblem which appears over the door of the Signet includes a beehive and bees, and a legend in Ancient Greek: μουσικήν ποίει και εργάζου -- "Create art, and live it." Another motto of the Society is attributed to Virgil: Sic vos non vobis Mellificatis apes -- "So do you bees make honey, not for yourselves." From this comes the Society's tradition of referring to its undergraduate members as "drones."

The Signet eschews initiation rituals common to Harvard's Final Clubs and the Lampoon in favor of an induction, during which each new member receives a red rose. The rose is to be kept, dried, and returned to the Signet Society upon the publication of the member's first substantial published work. The Signet maintains a library of these works, which were originally literary, but now include programs or other artifacts marking the performance of music, films, or displays of the visual artistry of members.

Dried roses hang on the walls of the Signet nearby the works that occasioned their return. Particularly noteworthy is T.S. Eliot's rose, which hangs along with his original letter of acceptance to the society.

Since 1910, the Signet has hosted an Annual Dinner honoring poets, authors, musicians, and social commentators. The Signet has a longstanding, reciprocal relationship with the Elizabethan Club, (or "The Lizzie") of Yale University. The two organizations sporadically hold a lawn croquet tournament, for which a handled and engraved silver pudding cup in a mahogany case serves as the trophy.

An alumni corporation administers the Signet's endowment, property, and staff. Since 2010, the Society has hosted Artists-in-Residence in a second-floor apartment.

Notable members
Following is a list of notable members of the Signet Society.

Academia

 * Derek Bok, Harvard President
 * James B. Conant, Harvard President, scholar, chemist
 * Charles W. Eliot, Harvard President, chemist, mathematician
 * Owen Gingerich, professor emeritus of astronomy and of the history of science at Harvard University and a senior astronomer emeritus at the Smithsonian Astrophysical Observatory
 * Mason Hammond, Classics scholar
 * William James, philosopher, psychologist, and the first educator to offer a psychology course in the United States
 * Thomas Kuhn, philosopher and college professor
 * Abbott Lawrence Lowell, Harvard President, historian
 * Charles Eliot Norton, author, social critic, and Harvard professor
 * Neil Rudenstine, Harvard President
 * Arthur Schlesinger, Jr., historian
 * Andrew Weil, founder of the Arizona Center for Integrative Medicine at the University of Arizona College of Medicine

Entertainment

 * Andy Borowitz, writer, comedian, actor
 * Leonard Bernstein, composer and conductor
 * Amy Brenneman, actress
 * Nicholas Britell, film composer and producer
 * Tommy Lee Jones, actor
 * Rashida Jones, actress
 * John Lithgow, actor
 * Donal Logue, actor
 * James Murdoch, media owner
 * Conan O'Brien, talk show host
 * Natalie Portman, actress
 * Whit Stillman, writer-director
 * Tom Werner, producer, Red Sox co-owner
 * Alan "Scooter" Zackheim, reality show winner Beauty and the Geek

Literature

 * James Agee, novelist, screenwriter, poet, author
 * Conrad Aiken, author
 * John Ashbery, poet, writer
 * John Berendt, writer
 * Earl Derr Biggers, novelist and playwright
 * T. S. Eliot, poet, author
 * Robert Frost, poet
 * Donald Hall, poet
 * Seamus Heaney, poet
 * Norman Mailer, writer
 * Samuel Eliot Morison, Pulitzer Prize winning author, maritime historian, and retired Rear Admiral
 * George Plimpton, writer, journalist
 * George Santayana, philosopher, poet, novelist
 * Wallace Stevens, poet
 * John Updike, writer
 * John Hall Wheelock, poet

Journalism

 * Jill Abramson, executive editor of The New York Times
 * Adam Gopnik, writer for The New Yorker
 * Hendrick Hertzberg, senior editor of The New Yorker
 * Walter Isaacson, chair and CEO of CNN and the editor of Time
 * Joseph Lelyveld, executive editor of The New York Times
 * Frank Rich, essayist and liberal op-ed columnist with The New York Times
 * Reihan Salam, executive editor of National Review
 * Alessandra Stanley, co-founder of Air Mail
 * Andrew Sullivan, founder of the political blog The Daily Dish
 * Richard Tofel, former president of ProPublica
 * Fareed Zakaria, editor, author, commentator

Religion

 * Peter J. Gomes, preacher, theologian

Politics

 * Benazir Bhutto, late Prime Minister of Pakistan
 * Charles Joseph Bonaparte, United States cabinet member
 * Hamilton Fish II, Congressman
 * Mark Penn, pollster, author
 * Jay Rockefeller, U.S. Senator from West Virginia
 * Franklin D. Roosevelt, 32nd President of the United States
 * Theodore Roosevelt, 26th President of the United States
 * Chuck Schumer, U.S. Senator from New York
 * Caspar Weinberger, former Secretary of Defense
 * William Weld, former Massachusetts Governor

Fictional members

 * James "Toofer" Spurlock, fictional character on television show 30 Rock

Controversy
One of the Signet Society's "gravest mistakes" was their rejection of cellist Yo-Yo Ma while he was an undergraduate at Harvard.

title: Signet Society


text:
User talk:Eequor/Archives/Zealotry

Objection to Jewish mythology
OBJECTION!!!

I OBJECT most strongly to placing the classical Jewish texts under the category "Jewish Mythology". "Category:Jewish mythology" and the Subcategories being "Category:Jewish texts" And then God becomes ARBITRARILY part of "mythology"! Perhaps Midrash could go with it, BUT not these others. I vote that the titles be REVERSED and that "Jewish mythology" become a Subtext of Jewish texts. I plan to take this to arbitration!IZAK 12:23, 6 Jun 2004 (UTC)

 * Well, okay. It's a little silly to start voting on my talk page, though.  You might as well make the appropriate changes yourself.
 * As for the latter, all religions have mythologies, which gods are most certainly a part of. --Eequor 04:04, 8 Jun 2004 (UTC)

Eequor, please note my change of Category:Jewish mysticism. I have moved this "up" a level to go directly under Category:Judaism, as I do not believe it should be a subset of Category:Jewish mythology. See also Category_talk:Jewish mysticism, where I've left a more in-depth explanation. Please discuss; I ended up undoing a lot of categorisation edits on Jewish articles today, and I hope we can work something out. JFW | T@lk  20:07, 8 Jun 2004 (UTC)

Clash between Jewish history and Israeli history
Hi, Please note that JEWISH history comes before modern Israeli History. There is already a category Category:Israel and Zionism and it would not help readers of Wiki to be confused by two "lines" of history categories : One for "Jewish" and one for "Israeli" when they are the exact same thing really. What do you say? IZAK 14:33, 11 Jun 2004 (UTC)

 * There are differences between the three:
 * Category:Israeli history concerns Israel as a country and its people in a secular sense;
 * Category:Israel and Zionism concerns Israel in a religious sense;
 * Category:Jewish history concerns the history of Judaism as a religion.

 * But Category:Israeli history seems like it belongs under Category:Israel and Zionism too, so I'll do that. --Eequor 15:12, 11 Jun 2004 (UTC)

 * Never mind, I see that Category:Israel is already there. --Eequor 15:13, 11 Jun 2004 (UTC)

Hi Eequor: That's funny, I thought that modern Zionism was mostly secular. Does being "Israeli" have nothing to do with any sort of Zionism at all, or are you just a knee-jerk anti-Judaism person no matter what    :-) ??? IZAK 08:35, 13 Jun 2004 (UTC)

 * Where did you get the idea I'm antisemitic? I think I'm just anti-you.  --Eequor 12:30, 13 Jun 2004 (UTC)

Hi Eequor:I just love it! I did NOT accuse you of being "anti-Semitic" at all, for all I know you are a rabbi, I was just using YOUR own words :..." It would be fair to say she has a fierce antipathy for the three major religions -- Judaism, Islam, and especially Christianity."...isn't that what you write about YOURSELF?! Take it easy, I happen to like you...IZAK 12:38, 13 Jun 2004 (UTC)

 * Yet you call me a witch.  --Eequor 12:46, 13 Jun 2004 (UTC)

Mythology and religion

 * My apologies if you mistunderstood me, I did not refer to YOU as a "witch" (besides, I think that real witches do NOT really exist nowadays -- but there sure are lots of wannabees and phony-balony ones -- and that it's just "mythology" in any case, don't you agree?). My objecton was that no rational person would allow Judaism to be interpreted by those who want to place it on a par with people who "believe" in the witches as mythology or not. Look at my words carefully: "What's the matter Eequar, are you afraid of the NPOV FACTS that are here, do you want witches to take over Judaism now??" I most definitely DID NOT call you or anyone else specifically a "witch"! I was asking if you would want witches (as group of fictitious cockamamy mythological voodoo artists) to be the ones deciding what is or is not Judaism and what Judaism does or does not believe in. So don't get so jumpy, and I still like you. IZAK 03:20, 15 Jun 2004 (UTC)

 * You really don't understand what mythology and religion are, do you? Mythology has nothing to do with fictionality.  Religion has nothing to do with truth.  Mythology is the collection of beliefs, stories, and deities of a religion.  Religion is the collection of practices based on those beliefs.  Mythology can neither be verified nor denied.  The only part of religion that is verifiable is the history of what its followers have done, including their present and continuing actions.  I suggest you get a firmer understanding of what the terminology means before you try to talk about it seriously.  --Eequor 12:11, 15 Jun 2004 (UTC)

Eequor: YOU say: "Religion has nothing to do with truth"...now, where did you learn that??? How do YOU know that YOUR statement is "TRUE"? You obviously do NOT get what religion is about in any case, especially not the Jewish religion, as actually according to Judaism, the Torah upon which it is based is not just THE Truth, but it's actually the ABSOLUTE TRUTH. Now I know this runs counter to your way of thinking, as for some reason you seem to think that it's okay to apply notions about "myths", "stories" and "deities" (which Judaism would never accept, NOT just merely me "personally") as Judaism believes in ONLY ONE True God...yes,I know, you are rubbing your eyes in "disbelief", but why should you be so ignorant of Judaism when it is so simple to grasp: Just ONE God; Just ONE Torah; Just ONE covenant with ONE people (the Jews); All being just ONE Truth. That's Judaism 101. So give me a break with all the hokum about (as you say it):" Mythology is the collection of beliefs, stories, and deities of a religion. Religion is the collection of practices based on those beliefs" blah, blah, blah,......tell that to the "marines" as we used to say in the good ol' days. Got it now, or are we getting there...I am very patient with friends. IZAK 13:16, 15 Jun 2004 (UTC)

 * Religion professes to know The Truth, but that does not make it true. Can you prove that gods exist?  Nobody can.  It cannot be known whether a religion holds the truth, and thus what you make of it is an opinion and nothing more.  --Eequor

Hi again:Firstly, Judaism is not a "religion" in the conventional sense. Secondly, there are many types of well-known philosophical proofs for God's existence that have been around for a long time: 1) The argument from Design: If you found a clock and examined the mechanism within it, you would probably think that this intricate mechanism was not the outcome of mere chance, that it had been designed. Now look at the universe; is it possible that such an intricate mechanism, from the orbits of planets round the sun to the cells in your fingernails could all have happened by chance? Surely, this enormously complex mechanism has been designed, and the being that designed it must be God. 2) The ontological argument:  God is the perfect being. As He is most perfect, He must have all perfections. If God lacked existence He would not be perfect, as He is perfect he must exist. 3) The cosmological argument (God as "First cause"): Everything that exists has a cause. However, there must at some time have been a cause prior to all other causes. This 'prime mover' or first cause is necessary to explain existence. This first cause is God." IZAK 17:13, 20 Jun 2004 (UTC)

 * Disagree. Nothing can be proven without experiential knowledge.

 * 1 is countered by the anthropic principle. If all coincidences in the universe had not occurred as they did, we would not be here to observe their results.  It is meaningless to talk about the chances of the coincidences happening.  Probability only applies to potential events.  The chance of a different universe developing exactly the same way would surely be very small, but the "chance" of our universe developing as it did is 100%.

 * 2 is circular reasoning. It presumes the existence of a perfect god and then defines perfection as "existence of god".  Is it not said that nobody can know the true nature of the Judeochristian God?  On what do you base your claim that God is perfect?  I would argue that the state of the world and the vast suffering taking place clearly demonstrates that God is not perfect.

 * Who is to say that existence is perfection? We exist and cannot contemplate nonexistence; therefore our view of existence is very biased.  Perhaps nonexistence is perfect.  Buddhism believes so.

 * 3 is a non sequitur. The cosmological argument argues only that a "first cause" existed, and then fails to prove even that in its rush to leap to a conclusion.  It makes a huge assumption about causality, namely that causality is real.  It further assumes that causality is strictly linear.  It cannot be known whether time had a first event.  Where does a circle begin?

 * The argument also fails to demonstrate the continued existence of the "first event". Consider Abraham and the Jewish people.  Jews exist today; Abraham does not.  Yet Abraham was the ancestor of all Jews.

 * The cosmological argument closes with a statement that is at worst a leap of faith and at best a misrepresentation. The argument argues for nothing except the existence of a first event.  To then name the first event God might make the argument look important, but there is no meaning in the name given to the first event.  One might as well name the first event Blue.

 * Why name the first event God, then? Because the argument is intended as a deception.  The name God is attached to very much meaning.  The closing statement means to form an association between "first cause" and the meaning of God.

 * Does your God deceive you? The cosmological argument claims that He does.  --Eequor 18:34, 20 Jun 2004 (UTC)

 * How is Judaism not a religion? A religion is composed of a set of beliefs, correct behavior based upon those beliefs, and possibly mysticism or mythology to provide context for the beliefs.  Judaism contains all four.  See Jewish principles of faith.  --Eequor 18:44, 20 Jun 2004 (UTC)

 * Examples of the four aspects of religion:

 * User:Eequor/Eequor contains mysticism and mythology
 * User:Eequor/Sininaniinaninaan contains beliefs and vague indications of proper behavior

 * It is my religion, and I consider its beliefs to be correct and its mythology to be true. I feel secure in the truth of my mythology:  I have experiential knowledge of my goddess.  --Eequor 18:57, 20 Jun 2004 (UTC)

Hi there Eequor again: YOU had asked: "Can you prove that gods exist? Nobody can." and I provided you with THREE classical ways of "PROVING" that God exists that I did not "invent" but which have been used by philosophers (not just theologians) for hundreds of years. You then launch into arguments "against" those proofs for God's existence. Now, the fact that one can always come up with counter-arguments is well-accepted by Judaism because it believes in the FREEDOM OF  CHOICE so that you are always free to ignore perfectly valid PROOFS (which you asked for) and reject the fact that there is only one true God. What is actually beautiful is when YOU say that: "Nothing can be proven without experiential knowledge" which is EXACTLY what Judaism believes as well, as Judaism teaches through the Torah that since THE ENTIRE NATION OF  ISRAEL E X P E R I E N C E D and witnessed the Revelation of God at Mount Sinai when he gave the Ten Commandments to Moses THEREFORE we can rely on the fact that they reported a true experience and that is one of the main reasons that Jews should believe in God, because their ancestors EXPERIENCED God themselves. You may have experienced your own encounters with something, but the Torah says that there are also alternative experiences that whilst they may be "real", must also be avoided as they are harmful to one's own spiritual well-being. Take care. IZAK 05:41, 22 Jun 2004 (UTC)

 * That's a contradiction, and hypocritical. You just said Judaism accepts experiential knowledge.  Now you claim it does not.

 * How are we to know that the Ten Commandments were not an alternative experience? We cannot know that God spoke to Moses first.  Maybe your entire religion is based on an experience harmful to your spiritual well-being.  --Eequor 06:18, 22 Jun 2004 (UTC)

(Oh, and by the way, Judaism is not a "religion" --with a God restricted to a place of worship or acting capriciously--, it is a "way of life" -- with 613 mitzvot that deal with all human emotions and relations, elevating all mankind created in the Divine image and thus being divine too.) IZAK 05:41, 22 Jun 2004 (UTC)

 * Just because a line of reasoning has been used for hundreds of years doesn't mean it's logically sound. People used to believe the sun orbited the Earth, too.  See critical thinking.  God gave you a brain, didn't he?  Try thinking about things on your own instead of following others like some ruminant.

 * None of those "proofs" you suggest actually prove anything. They may have been called proofs at times, but that does not make them proofs.

 * You still don't get what religion is. Religion has nothing to do with places of worship.  Any Protestant will tell you that.  Religions are ways of life.  --Eequor 06:10, 22 Jun 2004 (UTC)

 * Well hon, I am using my brain, and it tells me that someone who runs around convinced that there is a "blue godess" must have watched too many Walt Disney movies (or is suffering from some sort of delusional condition best left unsaid). IZAK 06:33, 22 Jun 2004 (UTC)

 * I and my goddess happen to have a sense of humor. --Eequor 06:56, 22 Jun 2004 (UTC)

 * The arguments/proofs that you seem so allergic too are not meant to produce a "genie" at the end of the line so that "out pops a little god to make you happy"...the idea is meant to be that they are logical enough to provide the LOGICAL argumentation YOU said does "not" exist. As for the Protestants? And where do you think they got their best ideas from if not from the "Old Testament" of Judaism itself? ... which brings us back to the very beginning that one should not class Judaism and its belief system as "mythology" in the first place. IZAK 06:33, 22 Jun 2004 (UTC)

 * That's exactly my point. Those arguments are not logical enough.  They can be quickly shown to be fallacious.

 * What does the relation of Protestantism to Judaism have to do with anything? Protestantism is a reaction to Catholicism, which is a religion that places great emphasis on places of worship.

 * How does that bring us back to Jewish mythology being invalid? Non sequitur.  --Eequor 06:42, 22 Jun 2004 (UTC)

title: User talk:Eequor/Archives/Zealotry


text:
Win, Lose or Draw

Win, Lose or Draw is an American television game show that aired from 1987 to 1990 in syndication and on NBC. It was taped at CBS Television City (one of the few non-CBS game shows to tape there), often in Studios 31, 33, and 43 at various times. It was co-produced by Burt & Bert Productions (headed by Burt Reynolds and Bert Convy, the original host of the syndicated version) and Kline & Friends for Disney's Buena Vista Television. It has also had two versions on The Disney Channel: Teen Win, Lose or Draw from 1989 to 1992, and a revived version known as Disney's Win, Lose or Draw which aired in 2014. New York described Win, Lose or Draw as "a knockoff" of the board game Pictionary, however, Burt Reynolds and Ed McMahon referred to playing the game at Burt's home during the August 2, 1978 episode of The Tonight Show, with Johnny Carson, three years before Pictionary was created.

The set for the original Win, Lose or Draw was modeled after Burt Reynolds' living room.

Broadcast history
A pilot with Bert Convy as host was taped on November 2, 1986, at CBS Television City in Los Angeles, California, and featured Loni Anderson, Betty White, Burt Reynolds, and Tony Danza playing the game, with Rod Roddy announcing. The pilot, produced by Reynolds and Convy, garnered the interest of both the NBC network and various local stations nationwide; thus, two separate editions of the program were sold and produced with production beginning in June 1987.

On September 7, 1987, Win, Lose or Draw was launched with Kline and Friends joining Burt & Bert Productions as a second production company. Vicki Lawrence hosted the edition produced for NBC, which inherited the 11:30 a.m. Eastern timeslot that had been occupied by Scrabble for three years prior to its premiere. The syndicated edition, premiering that same day, was hosted by Bert Convy. Bob Hilton announced for the daytime series, with Gene Wood performing those duties for the syndicated series, while Hilton occasionally filled in on the latter version, and Johnny Gilbert and Dean Goss did so on the daytime show.

Lawrence, with the exception of a month in 1988 when Sally Struthers hosted in her place, hosted the daytime Win, Lose or Draw for its entire two-year run. The daytime version faced off against the second half of the hit CBS game show The Price Is Right and the ABC talk show Home (which expanded to an hour in January 1989). NBC canceled the daytime series in the summer of 1989, and its final episode aired on September 1 of that year. Meanwhile, Robb Weller began hosting the third season of the syndicated series later that month after Convy opted to host a new production for his company, 3rd Degree. The final new episode aired in June 1, 1990; reruns of the series continued to air until the show was withdrawn from syndication on August 31, 1990.

Reruns of the syndicated version aired on the USA Network from January 1, 1991, to December 24, 1992, and on Game Show Network from April 15, 2002, to March 14, 2004.

During its run, the syndicated Win, Lose or Draw made several road trips, including Hawaii, Central Park in New York City, Burt Reynolds' ranch in Jupiter, Florida, Walt Disney World, Disneyland and Navy Pier in Chicago.

Gameplay
The idea is similar to the game Pictionary. Two teams, men versus women, each composed of two celebrities and one contestant (or a celebrity and two college students in the College Tournament in 1988), took turns guessing a phrase, title or thing, and one teammate was drawing on a large pad of paper with markers. Each team sat on a couch on a set designed after Burt Reynolds' actual living room at the time. The team member doing the drawing could not speak about the subject in his or her drawing and could not use letters, numbers, or symbols. If one of these illegal clues was used, any money won in that puzzle was split between the two teams. However, if a non-drawing team member mentioned a word that was part of the answer, their teammate at the sketch pad was then allowed to write it down.

In the first three rounds, each team had one minute to solve a puzzle, earning $200 ($250 in the pilot) for a correct guess. At the thirty-second mark, a doorbell sounded (or fanfare during the College Tournament in 1988), and the drawing player had the option of handing the marker off to one of his/her teammates, but the puzzle value would then be cut in half. If the team did not guess within the time limit, the opposing team was given one chance to confer and guess. If they gave the correct answer, they were awarded the money; if not, no money was awarded. By 1989, the first round was later changed to have the drawing contestant sketch a series of clues to a puzzle, one clue at a time. If the team guessed the puzzle from the identified clues, they scored $200.

Following round three, one player for each team was nominated to draw clues in a 90-second speed round. The topics for drawing were simpler for this round compared to those in previous rounds. Each correct guess was worth $100, and the team could only pass twice. The speed round started with the team that was ahead. The team with the most money at the end of the game won, and the contestant on the winning team received $1,000 in addition to the money they had already earned. If both teams were tied at the end of the speed round, each contestant earned $500. By the end of the daytime version's run, the speed round was decreased to 60 seconds and $50 a word.

Bonus Round
The daytime series underwent another significant change towards the end of its run, which was eliminating the $1,000 bonus and instead replacing it with a bonus round, which the series had not seen in either iteration to this point. This change coincided with one that added an additional civilian contestant to each team in place of a celebrity.

The bonus round was played similar to the speed round, except that players were allowed to pass multiple times. The first word was worth $50 and each correct answer that followed doubled the bank. Passing resulted in the bank resetting to zero and the contestant had to start building a new bank.

Originally, the bonus was played with as many words as possible within the time limit. Under this format a team was able to win $25,600 in one round, guessing ten words without a miss. Afterwards, the scoring format was adjusted, this time, if the winning team correctly identified seven words within the time limit of 90 seconds, regardless of how many passes were used, they won $5,000.

Audience game
If there was extra time at the end of the show, an audience member would be called on stage and given the opportunity to sketch a subject for either the men's or women's team to guess in 60 seconds, much like the main rounds, with $100 awarded if the chosen team was able to identify the subject.

1989–1990 changes
The third and last season of the syndicated Win, Lose or Draw saw a significant format overhaul itself, as the front game was altered, and both the shortened speed round and bonus round were added.

The object of the first two rounds was the same. However, the drawing team was not allowed to switch partners at any point. A guess could not be made until twenty-five of the sixty seconds had elapsed, and if the team guessed the puzzle before thirty seconds had elapsed the civilian contestant won $200. If not, the puzzle was played for $100. A successful steal by the opposing team was only worth $50.

If the game ended in a tie, a tie-breaker was played with the last team to play the speed round going first. The player at the board was given the choice of two words and began drawing, trying to convey the word as fast as he/she could. Once the word was guessed, the opposing team had to guess their word in a faster time. Doing so won the game; if not, the first team won the game.

At this point, the show began to use returning champions, who stayed on for ten days or until defeated, whichever came first.

Teen Win, Lose or Draw
From April 29, 1989, to April 28, 1990, and again from September 10, 1990, to September 26, 1992, Disney Channel aired a version called Teen Win, Lose or Draw. This version was hosted by Marc Price. Jay Wolpert produced the first season, which taped at the Disney-MGM Studios in Orlando, with Stone-Stanley Productions taking over for the rest of the run, at which time production also moved to Hollywood Center Studios in Los Angeles. Originally the show aired on Saturdays at 6:30 p.m. and Sunday mornings at 11:30 a.m. Rotating as announcers during the first season were Brandy Brown, Chase Hampton and Tiffini Hale from The Mickey Mouse Club, with Mark L. Walberg taking over that duty for the final two seasons. Teams were made up of two teenage contestants (one each of two boys and two girls), and a teenage celebrity. Gameplay was largely identical to the original run, with the following differences:

 * Round 1 – The Clue Round: A player from each team draw as many words within 60 seconds. Each of the words was a clue to a puzzle – a person, place, thing, event, etc. The team in control had the first chance to answer, if they were unable to give the correct answer, the opposing team could guess to win the points.
 * Round 2 – The Phrase Round: The team is given a category, with the phrase based in that category. As in the original, the clue-giver could hand off to a teammate after 30 seconds.
 * Round 3 – The Speed Round: Played identically to the adult version, with the trailing team going first (or the team that went first in round one playing first if the score was tied). A grand prize was given to the winning team, with the losing team getting a consolation gift.
 * If the score was tied following the Speed Round, each team would play another speed round with 20 seconds on the clock. The team that got more in the 20 seconds won. If the tie persisted after this overtime round, each team would try to guess one word as fast as possible (with a maximum of 60 seconds), and the team that was faster won.

Disney's Win, Lose or Draw
In April 2013, the Disney Channel announced a new version of Win, Lose or Draw, to be hosted by Justin Willman, which premiered on January 17, 2014. As with Teen Win, Lose or Draw, the two teams on each program are made up of two young contestants plus a teenage celebrity (this time, from a Disney Channel or Disney XD program). New motion-control technology is featured.

Board game
Milton Bradley Company created its version in 1987. It could be played like the TV show, or a variation of the game with pawns and a game board. Party, Junior, and Travel Junior editions were produced, plus a Refill Pack for the game. All contestants who appeared on the show received a copy of the Party edition, as did select audience members.

Computer and video games
Hi Tech Expressions released two editions of the DOS version of the game in 1988, as well as a "Junior" version, followed by a version for the Nintendo Entertainment System in 1989. Both versions of this party game featured a scene set in a living room, with the game contestants (representing real-life players) seated on opposite couches, much like the television show. While the game system drew a picture on the screen, one of the players would have a limited amount (60 seconds for the main game, and 90 for the speed round) of time to type in the word or phrase represented by the image. If the player typed in the incorrect answer, a player on the opposing team would have an opportunity to type the correct answer (in single-player games, the game system would type a random incorrect answer). The team that typed the correct answer would win money for that round, and the team that earned the most money at the end of the game won.

A "plug-and-play" console version was released by Senario in 2005; unlike the earlier computer and console adaptations, this one allowed players to actually draw the subjects, using an electronic pen, for their teammates to guess.

title: Win, Lose or Draw