text:
User talk:Jcrocker

Map reading
You said: "Furthermore I am a bit unsettled that my alma mater now accepts engineering students who don't know how to read maps. I pray and pray that you are better at nuclear engineering than map reading, for if you are ever allowed near any large nuclear device it may signal the end of life on planet Earth."

 * I'm still not clear. Why do you think I can't read maps? The chicago tribune's website lists the Buena Park neighborhood in Lake View and since I used that as a source, that means I don't know how to read a map? What map are you talking about? Map reading is probably one of the simplest things to do. Also, map reading really has applications to only one engineering discipline, and that is Civil engineering. Nuclear engineering is derived from mechanical engineering so what I would need to be reading is blue prints or autocad drawings.

 * I assure you, I'm doing just fine in my studies so rest assured your alma mater is just as or probably more challenging than when you went there.

 * Also, blanking your talk page is considered poor etiquette because it signals to users that you have something to hide. A user's talk page is one record of their interactions with other users and it is a common way for other wikipedians to evaluate a fellow user's history.  Just thought I would point that out. Good day. — oo64eva (Alex) (U @  19:04, May 26, 2005 (UTC)

Rwandan genocide
I think just about any sentence that begins "It is interesting to note that...." is going to be POV. Even if what follows is a truthful statement of fact, why is it interesting? It's being singled out as interesting because some editor wants to hit people over the head with it, so as to advance a POV.

Beyond that, there's the question of why a particular fact is relevant to this article at all, let alone "interesting". On the failure of the U.S. to act in Rwanda, how about, "It is interesting to note that no other Western country took any effective action to prevent the genocide, either"? This is also a fact, but it too has a POV. Mentioning Iraq says the U.S. is hypocritical; mentioning other countries' inaction says the U.S. isn't so bad after all by comparison. Both points are made for editorializing purposes (although the latter one is actually about the Rwandan situation and could be converted into NPOV language).

If you want to include something in the Rwanda article about an action the U.S. took ten years later on another continent, you're going to have to show that it has some objective relevance. That doesn't mean "The statement is true, and I think it supports an argument against U.S. policy." It means that someone whose opinion is notable has made that argument. Even then it wouldn't belong in the article about the radio station unless it related specifically to jamming radio signals. If it were about the general subject of refraining from military action because of respect for another nation's sovereignty, it would belong in the more general Rwandan genocide article. My guess is that there would be better ways to report criticism of the U.S. than to draw a comparison to Iraq. JamesMLane 04:48, 24 Jun 2005 (UTC)

Invitation from WikiProject Chicago
Hi, I have noticed that you have been fairly active in editing the Chicago article and other articles related to the city. I have recently started WikiProject Chicago, a WikiProject designed to coordinate improvment of Chicago related topics and to turn the Chicago main page into a featured article, and would very much like you to join us. In order to achieve our fairly ambitious goals, we need devoted members who know the city inside and out and are willing to contribute their time and talent. Please visit the Project Page if you are interested in joining. Thanks, --Gpyoung 9 July 2005 17:59 (UTC)

Coldplay and ads
You missed this crucial line in that paragraph: The band allows their music to be used in film, television, and promotional spots such as the movie trailer to Peter Pan.

Those ABC commercials were promotional spots. They weren't for selling a specific product like a Razorlight in those Pontiac G6 commercials. --Madchester 18:06, July 15, 2005 (UTC)

Map
What are you talking about? siafu 13:08, 6 December 2005 (UTC)

 * I ask again, what the hell are you talking about? siafu 19:46, 6 December 2005 (UTC)

Image copyright problem with Image:Chitown jc01.jpg
Thanks for uploading Image:Chitown jc01.jpg. However, the image may soon be deleted unless we can determine the copyright holder and copyright status. The Wikimedia Foundation is very careful about the images included in Wikipedia because of copyright law (see Wikipedia's Copyright policy).

The copyright holder is usually the creator, the creator's employer, or the last person who was transferred ownership rights. Copyright information on images is signified using copyright templates. The three basic license types on Wikipedia are open content, public domain, and fair use. Find the appropriate template in Image copyright tags and place it on the image page like this:.

Please signify the copyright information on any other images you have uploaded or will upload. Remember that images without this important information can be deleted by an administrator. If you have any questions, feel free to contact me. Thank you. Longhair 02:57, 2 February 2006 (UTC)

 * Based on what you wrote ("Free to copy and distribute, please give credit to photographer"), I set the licensing to cc-by-2.0, which I believe is closest to what you meant, but please feel free to correct me if I'm wrong.  howch e  ng   {chat} 23:24, 13 February 2006 (UTC)

Image Tagging Image:A neighborhood map-uptown chicago.jpg
Thanks for uploading Image:A neighborhood map-uptown chicago.jpg. I notice the 'image' page currently doesn't specify who created the content, so the copyright status is therefore unclear. If you have not created this media yourself then you need to argue that we have the right to use the media on Wikipedia (see copyright tagging below). If you have not created the media yourself then you should also specify where you found it, i.e., in most cases link to the website where you got it, and the terms of use for content from that page.

If the media also doesn't have a copyright tag then you must also add one. If you created/took the picture, audio, or video then you can use GFDL-self to release it under the GFDL. If you believe the media qualifies as fair use, please read fair use, and then use a tag such as or one of the other tags listed at Image copyright tags. See Image copyright tags for the full list of copyright tags that you can use.

If you have uploaded other media, please check that you have specified their source and copyright tagged them, too. You can find a list of 'image' pages you have edited by clicking on the "my contributions" link (it is located at the very top of any Wikipedia page when you are logged in), and then selecting "Image" from the dropdown box. Note that any unsourced and untagged images will be deleted one week after they have been uploaded, as described on criteria for speedy deletion. Thank you. --Tawker 23:44, 17 February 2006 (UTC)

Image Tagging Image:Midwest regional rail initiative jc01.jpg
Thanks for uploading Image:Midwest regional rail initiative jc01.jpg. I notice the 'image' page currently doesn't specify who created the content, so the copyright status is unclear. If you have not created this media yourself then there needs to be an argument why we have the right to use the media on Wikipedia (see copyright tagging below). If you have not created the media yourself then it needs to be specified where it was found, i.e., in most cases link to the website where it was taken from, and the terms of use for content from that page.

If the media also doesn't have a copyright tag then one should be added. If you created/took the picture, audio, or video then the GFDL-self tag can be used to release it under the GFDL. If you believe the media qualifies as fair use, consider reading fair use, and then use a tag such as or one of the other tags listed at Image copyright tags. See Image copyright tags for the full list of copyright tags that you can use.

If you have uploaded other media, consider checking that you have specified their source and copyright tagged them, too. You can find a list of 'image' pages you have edited by clicking on the "my contributions" link (it is located at the very top of any Wikipedia page when you are logged in), and then selecting "Image" from the dropdown box. Note that any unsourced and untagged images will be deleted one week after they have been uploaded, as described on criteria for speedy deletion. Thank you. Shyam ( T / C ) 14:08, 22 March 2006 (UTC)

Image:Aon bldg jc01.jpg listed for deletion
An image or media file that you uploaded, Image:Aon bldg jc01.jpg, has been listed at Images and media for deletion. Please look there to see why this is (you may have to search for the title of the image to find its entry), if you are interested in it not being deleted. Thank you.

Meigs Field & Chicago architecture
I'm not sure I understand your concerns about the Meigs Field article. Since I edit some aviation-related articles, among other things, I wanted to expand the Meigs FIeld article, especially considering it is now consigned to history. Because of your comments, I wanted to get your input. What items in the current article strike you as POV? Are there phrases that should be rewritten, or is it a case of a lack of balance of information, especially from both sides of the closing issue? I'd really like to get a local's perspective. Also, I'm going to Chicago this weekend. Any tips for things to see & do, especially with regard to architecture & history, stuff that wouldn't be on the standard tourist to-do list? If so, I'd appreciate an [mailto:steveb_ohio@yahoo.com email] or better yet, a [mailto:9373047051@vtext.com text message] to point me in the right direction. --Ssbohio 16:06, 21 April 2006 (UTC)

Thanks
Thanks for the link to the dispute resolution page. Lets see what happens. Ajz123 20:48, 19 May 2006 (UTC)

Pederasty in ancient Greece
I am sorry you disagree with the material on Spartan pederasty, but I am afraid that just slapping a tag on the section and walking away is not workable. If you wish to discuss aspects that you disagree with I'd be happy to examine the matter. Haiduc 02:35, 20 May 2006 (UTC)

Missouri River
Holy cow! Thanks for adding the Missouri River to the list of tributaries to the Upper Mississippi River. Talk about a slight oversight; I might as well have neglected to mention that there's water in the river. -- Muffuletta 20:23, 26 May 2006 (UTC)

Your contributions to the pederasty article
Thank you for trying to improve the coverage of pederasty. It seems however that you think the material you have been editing was created by Wikipedia editors, In fact, it is a paraphrase of material from a scholarly paper. I am copying the source text below so that you can see it in its entirety. I am sure you will agree that modifying it so as to change its meaning, and removing the reference to the source are not appropriate actions, neither from a scholarly point of view nor from the point of view of Wikipedia rules.

 * "Current discussion of Greek homosexuality and pederasty start from Dover and Foucault. By pederasty we mean what the Greeks meant: a consensual, homoerotic relationship between adolescent and adult males, which we would categorize (somewhat anachronistically) as homosexual. Ped-erasty refers to the eros of the erastes for a pais, the adult love of an adolescent. In the pederastic verses attributed to Theognis, the cognate term, pedophilia, is used. Needless to say, pederasty (both ancient and modern) should not be confused with our meaning of pedophilia to designate the sexual exploitation - whether heterosexual or homosexual - of a child's immaturity. The distinction between the two is observed socially by recognizing an appropriate age for erotic interest on the part of the adult and for sexual consent on the part of the adolescent."

If you feel that I paraphrased the text misleadingly, please feel free to correct the entry. Otherwise, please be so kind as to reverse your edits, which distort the meaning of the concept being presented. Regards, Haiduc 04:38, 2 June 2006 (UTC)

Skyline photo
Actually, I made a slight modification of its contrast in order to make the image more vivid, and in my opinion, a little more appealling. It was my mistake, however, that I saved it as PNG. Because of that, the file size became larger. I will try to size it down, however. Sorry if this caused a problem for you. mcshadypl 22:45, 5 June 2006 (UTC)

Image:Chicago picasso.jpg
Hi! I have added this image to WP:IFD. I have struggled with this one for a while regarding a few of my own photos. There have been a number of debates about this on the wikimedia commons and the conclusion seems to be that US copyright law does not treat sculptures in public places any differently to those in a museum or gallery--meaning that for those that are still in copyright we need permission from the copyright holder to publish photographs of them. Please comment on this at IFD, as I am interested to see if Wikipedia editors come to the same conclusion as commons editors. Thanks, JeremyA 00:30, 25 July 2006 (UTC)

 * Hi again! I'm sorry for dragging this picture through IFD. However, I think that the result was really interesting--citation of a court case that appears (although I get a little lost in the legalese) to rule that the city has by default released the Picasso sculpture into the public domain. Between them Wikipedia and the Wikimedia Commons have a lot of images of the various sculptures that are around Chicago, and I have wondered for a long time whether these are all strightly legal--however, I think that the much of the ruling in case sited on the talk page of your Picasso image might extend to other sculptures in Chicago (e.g. the Bean), which is good news. I agree with you that Picasso would likely be perfectly happy for your photo of his sculpture to appear here, so thanks for your patience whilst the IFD proceeded. --JeremyA 03:36, 3 August 2006 (UTC)

Just a check
Kinda. For the last 3 weeks my computer was down. I had to completely reinstall windows for the second time. All that is fixed now.

My opinion of wikipedia has certainly changed for the worse however. The level of bias on anything regarding people, history, or controversial subjects is out of hand. So much so that I don't think Wikipedia is worth its existence. That probably is too harsh, but I find it very frustrating. Ajz123 00:09, 28 September 2006 (UTC)

2 Columbus Circle
I saw your request for a new photo and so took one when I was down in the city for the long weekend :-) Hope it helps. I haven't seen any of the remodeling plans, but it looks like they've cut out some massive new windows? Would love to know what you think. H0n0r 17:12, 12 November 2006 (UTC)

Image:Trump tower chi 05-jun-2006.jpg
I have uploaded this image at the Commons. I hope that that is OK with you. —JeremyA 03:04, 30 November 2006 (UTC)

Unspecified source for Image:A neighborhood map-uptown chicago.jpg
Thanks for uploading Image:A neighborhood map-uptown chicago.jpg. I notice the file's description page currently doesn't specify who created the content, so the copyright status is unclear. If you have not created this file yourself, then there needs to be a justification explaining why we have the right to use it on Wikipedia (see copyright tagging below). If you did not create the file yourself, then you need to specify where it was found, i.e., in most cases link to the website where it was taken from, and the terms of use for content from that page.

If the file also doesn't have a copyright tag, then one should be added. If you created/took the picture, audio, or video then the GFDL-self tag can be used to release it under the GFDL. If you believe the media meets the criteria at Fair use, use a tag such as or one of the other tags listed at Image copyright tags. See Image copyright tags for the full list of copyright tags that you can use.

If you have uploaded other files, consider checking that you have specified their source and tagged them, too. You can find a list of files you have uploaded by following [ this link]. Unsourced and untagged images may be deleted one week after they have been tagged, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you. MECU ≈ talk 20:57, 1 January 2007 (UTC)

Congress map
I used your suggestions and created a new animated map. Doesn't seem like anyone wants to use this one either.

J. Crocker 20:03, 8 February 2007 (UTC)

 * It looks great; it's too bad no one wants to use it :( Qqqqqq 06:28, 9 February 2007 (UTC)

Category:People who should just go away
Please try to maintain a neutral point of view -- that isn't, and never will be; the category is deleted, please stop adding pages into it. Thank you. – Luna Santin  (talk) 00:56, 12 February 2007 (UTC)

sorry

"might be the stoopidest image caption I've ever seen"
I'm reverting your rather conceited edit to list of United States cities by population. The list originally had a section that displayed how many cities with population over 100,000 each state had. As per a request at the featured list candidates page, the section was removed. The most notable of the facts on the table was that California had a whopping 62 cities with such population, and that nicely fit as a trivial caption for one of the images. By the way, I'm assuming your spelling of "stoopidest" is some kind of joke. I'll look back here for a response if you so desire. -Phoenix 04:07, 17 April 2007 (UTC)

2007
I still have an account, but I rarely/never check this place out anymore. Its a joke. This is actually the first time I checked my account in probably 2 months. The idea that Joe Douchebag can come here and write anything he wants or edit any article he wants is not in my opinion a good way to spread knowledge. If I need information on something, I will go to a dozen other places before I come here. Ajz123 06:27, 7 May 2007 (UTC)

Image:2004-07-14 2600x1500 chicago lake skyline.jpg
I left a msg at commons. Please could you do a better skyline photo with your SLR in daytime. davumaya 21:45, 9 October 2008 (UTC) SWEET. I have submitted it for consideration at Talk:Chicago davumaya 18:53, 2 November 2008 (UTC)

Wikipedia:Valued picture candidates/Marquette Building
You may wish to comment at Valued picture candidates/Marquette Building.--TonyTheTiger (T/C/BIO/WP:CHICAGO/WP:FOUR) 12:56, 1 September 2010 (UTC)

ArbCom elections are now open!
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Saint Fin Barre's Cathedral
Have used one of your photographs as the lead image for this page (switched over about half way into its TFA slot). Its a great, and I realise, was a difficult shot. Ceoil (talk) 05:37, 23 March 2019 (UTC)

October 2021
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Important Notice
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title: User talk:Jcrocker


text:
User talk:Snags

Hello and welcome to Wikipedia! Hope you like it here, and stick around.

Here are some tips to help you get started:

 * Try the Tutorial, and feel free to experiment in the test area.
 * If you need help, post a question at the Help Desk
 * Eventually, you might want to read the Manual of Style and Policies and Guidelines.
 * Remember Neutral point of view
 * Explore, be bold in editing pages, and, most importantly, have fun!

Good luck!

[[User:Meelar|Meelar (talk)]]

P.S. One last helpful hint. To sign your posts like I did above (on talk pages, for example) use the '~' symbol. To insert just your name, type ~~~ (3 tildes), or, to insert your name and timestamp, use ~~~~ (4 tildes).

CC license template
You might want to update your CC license with the Template:DualLicenseWithCC-BySA. Just replace your current notice with. That way, you'll be listed in What links here page. JesseW 07:03, 11 Oct 2004 (UTC)

Creative Commons
Hey, just wanted to let you know that you can use the   template on your user page to update your Creative Commons license to include version 2.0 as well as version 1.0. -- Ram-Man 03:39, Nov 17, 2004 (UTC)

normality
Why in the world would you redirect normality to concentration? It seems like such a blatantly obvious candidate to become a disambiguation page (which is what it now is). Michael Hardy 23:27, 17 July 2005 (UTC)

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

title: User talk:Snags


text:
A. Bruce Bielaski

Alexander Bruce Bielaski (April 2, 1883 – February 19, 1964) was an American lawyer and government official who served as the director of the Bureau of Investigation (now the Federal Bureau of Investigation) from 1912 to 1919.

Early life and education
Bielaski was born in Montgomery County, Maryland to the son of Methodist minister Alexander Bielaski. His grandfather was the Civil War Captain Alexander Bielaski and his uncle was the first Polish American in Major League Baseball, Oscar Bielaski. His sister, Ruth Shipley, would head the Passport Division of the United States Department of State for 27 years.

He received a law degree from The George Washington University Law School in 1904 where he was a founding father of the Gamma Eta chapter of Delta Tau Delta fraternity.

Career
That same year he joined the Department of Justice. Like his predecessor Stanley Finch, Bielaski worked his way up through the Justice Department. He served as a special examiner in Oklahoma where he "straightened out the court records" and aided in the reorganization of Oklahoma's court system when the Oklahoma Territory became a state. Returning to Washington, Bielaski entered the Bureau of Investigation and rose to become Finch's assistant. In this position he was in charge of administrative matters for the Bureau. At the end of April 1912, Attorney General George W. Wickersham appointed Bielaski to replace Finch. As Chief, Bielaski oversaw a steady increase in the resources and responsibilities assigned to the Bureau.

After leaving the Bureau in 1919, Bielaski entered into private law practice. According to The New York Times, while on a trip to Cuernavaca, Mexico in 1922, Bielaski was kidnapped. " He escaped three days later, saving himself and the ten thousand dollars gathered to rescue him. The local Mexican press accused him of "self-abduction" to gain notoriety. Two weeks later, after he testified before a judge, the case was closed.

Bielaski was very involved in the Delta Tau Delta fraternity and the greater fraternity community. He served three terms as international president of Delt from 1919 to 1925. In 1924 He was elected Chairman of the National Interfraternity Conference (currently known as the North American Interfraternity Conference).

Bielaski worked undercover as a Prohibition agent operating a decoy speakeasy in New York City. From 1929 to 1959 he headed the National Board of Fire Underwriters' team of arson investigators. In 1938, he served as president of the Society of Former Special Agents. He died on February 19, 1964, at the age of eighty.

title: A. Bruce Bielaski


text:
Chen-style tai chi

The Chen-style tai chi is a Northern Chinese martial art and the original form of tai chi. Chen-style is characterized by silk reeling, alternating fast and slow motions, and bursts of power (fa jin).

Traditionally, tai chi is practiced as a martial art but has expanded into other domains of practice such as health or performances. Some argue that Chen-style tai chi has preserved and emphasized the martial efficacy to a greater extent.

Origin theories
It is not clear how the Chen family actually came to practise their unique martial style and contradictory "histories" abound. What is known is that the other four tai chi styles (Yang, Sun, Wu and Wu (Hao)) trace their teachings back to Chen village in the early 1800s.

The Chen family were originally from Hongtong County in Shanxi. In the 13th or 14th century, later documents claim that the head of the Chen family, Chen Bu (陳仆; 陈卜), migrated to Wen County, Henan. The new area was originally known as Changyang Cun and grew to include a large number of Chen descendants. Because of the three deep ravines beside the village it came to be known as Chen Jia Gou. According to Chen Village family history, Chen Bu was a skilled martial artist who started the martial arts tradition within Chen Village. For generations onwards, the Chen Village was known for their martial arts.

The special nature of tai chi practice was attributed to the ninth generation Chen Village leader, Chen Wangting. He codified pre-existing Chen training practice into a corpus of seven routines. This included five routines of 108 form Long Fist (一百零八勢長拳) and a more rigorous routine known as Cannon Fist (炮捶一路). Chen Wangting integrated different elements of Chinese philosophy into the martial arts training to create a new approach that we now recognize as the Internal martial arts. These included the principles of Yin Yang, the techniques of Daoyin, Tui na, Qigong, and the theory of meridians. Those theories encountered in Classical Chinese Medicine and described in such texts as the Huangdi Neijing. In addition, Wangting incorporated the boxing theories from sixteen different martial art styles as described in the classic text, Jixiao Xinshu written by the Ming dynasty General Qi Jiguang.

Chen Changxing, a 14th generation Chen Village martial artist, synthesized Chen Wangting's open fist training corpus into two routines that came to be known as "Old Frame" (老架; lao jia). Those two routines are named individually as the First Form (Yilu; 一路) and the Second Form (Erlu; 二路, more commonly known as the Cannon Fist 炮捶). Chen Changxing, contrary to Chen family tradition, also took the first recorded non-family member as a disciple, Yang Luchan, who went on to popularize the art throughout China, but as his own family tradition known as Yang-style tai chi. The Chen family system was only taught within the Chen village region until 1928.

Chen Youben, also of the 14th Chen generation, is credited with starting another Chen training tradition. This system also based on two routines is known as "Small Frame". Small Frame system of training eventually lead to the formation of two other styles of tai chi that show strong Chen family influences, Zhaobao tai chi and Hulei jia. However, these are not considered a part of the Chen family lineage.

Other origin stories
Some legends assert that a disciple of Zhang Sanfeng named Wang Zongyue taught Chen family the martial art later to be known as tai chi.

Other legends speak of Jiang Fa, reputedly a monk from Wudang mountain who came to Chen village. He is said to have helped transform the Chen family art with Chen Wangting by emphasizing internal fighting practices. However, there are significant difficulties with this explanation, as it is no longer clear if their relationship was that of teacher/student or even who taught whom.

Recent history
During the second half of the 19th century, Yang Luchan and his family established a reputation of Yang-style tai chi throughout the Qing empire. Few people knew that Yang Luchan first learned his martial arts from Chen Changxing in the Chen Village. Fewer people still visited the Chen village to improve their understanding of tai chi. Only Wu Yuxiang, a student of Yang Luchan and the eventual founder of Wu (Hao)-style tai chi, was known to have briefly studied the Chen Family small frame system under Chen Qingping. This situation changed with the fall of the Qing empire when Chinese society sought to discover and improve their understanding of traditional philosophies and methods.

The current availability and popularity of Chen-style tai chi is reflective of the radical changes that occurred within Chinese society during the 20th century. In the decline of the Qing dynasty, the creation of the Republic of China and subsequently the Chinese Communist Revolution, Chen-style tai chi underwent a period of re-discovery, popularization, and finally internationalization.

In 1928, Chen Zhaopei (1893–1972) and later his uncle, Chen Fake moved from Chen village to teach in Beiping (now known as Beijing). Their Chen-style practice was initially perceived as radically different from other prevalent martial art schools (including established tai chi traditions) of the time. Chen Fake proved the effectiveness of Chen-style tai chi through various private challenges and even a series of lei tai matches. Within a short time, the Beijing martial arts community was convinced of the effectiveness of Chen-style tai chi and a large group of martial enthusiasts started to train and publicly promote it.

The increased interest in Chen-style tai chi led Tang Hao, one of the first modern Chinese martial art historians, to visit and document the martial lineage in Chen Village in 1930 with Chen Ziming. During the course of his research, he consulted with a manuscript written by 16th generation family member Chen Xin (陳鑫; Ch'en Hsin; 1849–1929) detailing Chen Xin's understanding of the Chen Village heritage. Chen Xin's nephew, Chen Chunyuan, together with Chen Panling (president of Henan Province Martial Arts Academy), Han Zibu (president of Henan Archives Bureau), Wang Zemin, Bai Yusheng of Kaiming Publishing House, Guan Baiyi (director of Henan Provincial Museum) and Zhang Jiamou helped publish Chen Xin's work posthumously. The book entitled Chen Style Taijiquan Illustrated and Explained (太極拳圖說 see tai chi classics) was published in 1933 with the first print run of thousand copies.

For nearly thirty years, until his death in 1958, Chen Fake diligently taught the art of Chen-style tai chi to a select group of students. As a result, a strong Beijing Chen-style tradition centered around his "New Frame" variant of Chen Village "Old Frame" survived after his death. His legacy was spread throughout China by the efforts of his senior students.

The Cultural Revolution (1966–1976) resulted in a period of Chen-style tai chi decline. Radical students led a campaign to suppress the "Four Olds", which included the practice of martial arts. Training facilities were closed and practitioners were prosecuted. Many Chen masters were publicly denounced. For example, Chen Zhaopei was pushed to the point of attempting suicide, and Hong Junsheng was left malnourished. Training was continued in secret and at great personal risk ensuring the continuation of the tradition.

During the Era of Reconstruction (1976–1989), the policy of repression of traditional Chinese culture was reversed. Under this new climate, Chen-style tai chi was once again allowed to be practiced openly. Through a series of government-sponsored meetings and various provincial and national tournaments, Chen-style tai chi regained its reputation as an important branch of Chinese martial arts. In addition, those meetings created a new generation of Chen-style teachers. The start of the internationalisation of Chen-style can be traced to 1981. A tai chi association from Japan went on a promotional tour to the Chen village. The success of this trip created interest in Chen-style tai chi both nationally and internationally. Soon tai chi enthusiasts from other countries started their pilgrimage to Chen village. The increasing interest led all levels of the Chinese governments to improve the infrastructure and support of the village including the establishment of martial art schools, hotels and tourist associations.

In 1983, martial artists from the Chen village received full government support to promote Chen-style tai chi abroad. Some of the best Chen stylists became international "roaming ambassadors" known as the "Four Buddha Warrior Attendants". Those four Chen stylists including Chen Xiaowang, Chen Zhenglei, Wang Xian (王西安) and Zhu Tiancai (朱天才) traveled relentlessly giving global workshops and creating an international group of Chen-style practitioners.

Other well known Chen teachers active in China or overseas include:
 * Chen Yu (陳瑜; grandson of Chen Fake)
 * Chen Bing (陳炳; Chen Village)
 * Chen Boxiang (陈伯祥; Chen Village)
 * Chen Xiaoxing (陳小星; Chen Village)
 * Chen Peishan (陳沛山) and Chen Peiju (陳沛匊) have been influential in promoting the less-known Chen Village Small Frame tradition
 * Tian Jianhua (田剑华; the last living student of Chen Fake, younger brother of Tian Xiuchen, teaching in Beijing)
 * Zhang Xuexin (張學信; 1928-2023 disciple of Feng Zhiqiang; teaching in the US),
 * Han Kuiyuan (韩奎元; 1948-), disciple of both Tian Xiuchen and Feng Zhiqiang. He is teaching in Hungary.
 * Cheng Jincai (程進才; disciple of Chen Zhaokui; The founder of International Chen Style Tai Chi Development Center, Houston, TX),
 * Li Enjiu (李恩久; disciple of Hong Junsheng)
 * Joseph Chen Zhonghua (disciple of Hong Junsheng and Feng Zhiqiang; teaching throughout North America),
 * Wu (Peter) Shi-zeng (吴仕增; a student of Hong Junsheng in Australia)
 * Chen Huixian (陈会贤; Disciple of Chen Zhenglei teaching in the US)
 * Chou Wenpei (周文沛; Berkeley, California): Student of Pan Yongzhou, has promoted and documented Chen-style tai chi since 1996.
 * Gil Rodrigues, Disciple of Master Chen Ziqiang. He is teaching in Brazil.

In recent decades Chen-style tai chi has come to be recognized as a major style of martial art within China and around the world. A strong Chen tradition have developed in countries such as the US, Canada, Britain, Austria, New Zealand, Germany, Italy, Czech Republic, Japan, Singapore and Malaysia.

Tai chi lineage tree with Chen-style focus
The story of Chen-style tai chi is rich and complex. The lineage tree is a concise summary and highlights some of the important personalities that contributed to its history. However, there are some missing details that can provide insight to the current understanding of this art.

Chen Xin (1849-1929), 8th generation Chen family member, provided one of the most important written description of the Chen style. He was the grandson of Chen Youshen (陈有恒), 6th generation Chen family member. Chen Youshen was the brother of Chen Youben (陈有本), the creator of Small Frame. Chen Xin's father was Chen Zhongshen and Chen Xin's uncle, Chen Jishen were twins. In that 7th generation Chen family, Chen Zhongshen, Chen Jishen, Chen Gengyun (陈耕耘, the son of Chen Chanxing), Yang Luchan (杨露禅, founder of Yang Style) and Chen Qingping (陈清萍, promoter of Zhaobao style tai chi) were all martial artists with exceptional abilities.

Chen Xin initially trained with his father but his father ordered him to study literature rather than the martial arts. It was only later that he decided to use his literature skills to describe his understanding of the secrets of Chen style. In Chen Xin's generation, his older brother, Chen Yao and his cousin, Chen Yanxi (陈延熙, father of Chen Fake) were considered masters of the Chen style. Chen Xin's legacy is his book and his student, Chen Ziming (陈子明). Chen Ziming, went on to promote Chen style small frame throughout China and wrote books promoting the art. Chen Ziming was in the same generation as Chen Fake.

Forms
Forms, also called Taolu (Chinese: 套路, tàolù: routine, pattern, standard method), play a fundamental role in Chen-style tai chi as choreographed sequences of movements that serve as repositories for various methods, techniques, stances, and types of energy and force production. Within the Chen-style tai chi tradition, there are at least two forms: Yi Lu (First Form) and Er Lu (Second Form). These forms represent the embodiment of the intricate theories unique to the Chen style. In the words of Chen Fake, the last great proponent of the Chen style in the modern era, 'This set of Taijiquan does not have one technique which is useless. Everything was carefully designed for a purpose' ('这套拳没有一个动作是空的, 都是有用的'). A correct Chen-style tai chi form is grounded in the same fundamental principles, transcending mere external appearances.

Within the Chen-style tai chi umbrella, there are various teaching traditions, and their practices may often vary somewhat from one another - often due to differences in how they cultivated their skill throughout their decades of practice. Chen Ziming wrote, "In the beginning of the training, conform to patterns. At an intermediate level, you may change patterns. Then finally, patterns are driven by spirit.” Over time and distance within the Chen style, these interpretations have given rise to subdivisions. Each variation is influenced by its own history and the training insights of master teachers. The current subdivisions include historical training methods from Chen Village, forms derived from the lineage of Chen Fake (commonly known as Big or Large Frame, including Old Frame and New Frame), Chen family Small Frame attributed to teachings within the Chen village, training methods from Chen Fake's students, and closely related traditions like Zhaobao tai chi. In the past, the effectiveness of training methods was determined through actual combat, but such tests of skill are less common in the modern era. With no recognized central authorities for tai chi, authenticity is often determined through anecdotal stories or appeals to historical lineage. However, the Chen style practitioner upholds a more stringent requirement, focusing on the underlying principles rather than external appearances.

As practitioners delve into the different frames and forms within Chen-style tai chi, they strive to honor and embody the profound principles handed down through the Chen Family's tai chi legacy. While uncertainties may exist due to the lack of written sources and the reliance on oral traditions, practitioners endeavor to interpret each subdivision. The Chen Family's tai chi legacy continues to captivate practitioners, as they aspire to unlock the essence of Chen-style tai chi and integrate its profound principles into their dedicated practice.

Fundamental principles
The fundamental principles of Chen-style tai chi find their roots in various poems, stories from Chen Village, and the teachings of Chen Fake. These principles, which encapsulate the essence of the art, can be summarized as follows:

 * Keep the head suspended from above (虚领顶劲, xū lǐng dǐng jìn)
 * Keep the body centered and upright (立身中正, lìshēn zhōngzhèng)
 * Loosen the shoulders and sink the elbows (松肩沉肘, sōng jiān chén zhǒu)
 * Hollow the chest and settle the waist (含胸塌腰, hán xiōng tā yāo)
 * Drop the heart/mind energy [to the dantian] (心气下降, xīn qì xià jiàng)
 * Breathe naturally (呼吸自然, hū xī zì rán)
 * Loosen the hips and keep the knees bent (松胯屈膝, sōng kuà qū xī)
 * The crotch is arch shaped (裆劲开圆, dāng jìn kāi yuán)
 * Empty and solid separate clearly (虚实分明, xū shí fēn míng)
 * The top and bottom coordinate (上下相随. shàng xià xiāng suí)
 * Hardness and softness facilitate each other (刚柔相济, gāng róu xiāng jì)
 * Fast and slow alternate (快慢相间, kuài màn xiāng jiàn)
 * The external shape travels a curve; (外形走弧线, wài xíng zǒu hú xiàn)
 * The internal energy travels a spiral path (内劲走螺旋, nèi jìn zǒu luó xuán)
 * The body leads the hand (以身领手, yǐ shēn lǐng shǒu)
 * The back waist is an axis (以腰为轴, yǐ yāo wèi zhóu)

Historical forms from Chen Village
The term 'historical forms' refers to training methods described in traditional boxing manuals from Chen Village, as well as through oral recollections and verbal histories. Although efforts have been made to find and recover them, most of these forms are considered lost and are no longer practiced.

Chen Wangting, a ninth generation Chen Village leader, was credited with the creation of seven routines:
 * The First Set of Thirteen Movements with 66 Forms (头套十三势 66式)
 * The Second Set with 27 forms (二套 27式)
 * The Third Set with 24 forms also known as the Four Big Hammer Set (三套24式 又称大四套捶)
 * Red Fist with 23 forms (红拳 23式)
 * The Fifth Set with 29 forms (五套29式)

 * The Long Fist with 108 forms (长拳 108式)
 * The Cannon Fist with 71 forms now commonly known as the Second Form, Erlu (炮捶 俗称二路71式)
 * Weapon forms including the broadsword, the sword, the staff and the hook (器械 刀, 枪, 棍, 钩等多种)
 * Two man training routines (对练套路)

The first five sets were a curriculum known as the five routines of tai chi (太極拳五路). The 108-form Long Fist (Boxing) (一百零八勢長拳, Yībǎi líng bā shì zhǎngquán) and a form known as Cannon Fist (Pounding) (炮捶, Pào chuí) were considered to be a separate curriculum.

Most of these forms were not commonly practiced after the time of Chen Changxing (陳長興, 1771–1853) and Chen Youben (陳有本, 1780–1858) of the 14th generation. Around that time, the curriculum was streamlined into two forms representing the two paths of curricula, the Yilu, the First Path, or Road, trained by the Thirteen Movements (十三势, Shísān shì) form, and the Erlu, the Second Path, trained by the Cannon Fist (炮捶, Pào chuí) form.

In order to preserve it, Chen Xin (1849-1929) recorded the 66-movement Thirteen Postures (十三势) form as it was passed to him in his book, Chen Family Taijiquan Illustrated and Explained (陳氏太極拳圖說, Chén shì tàijí quán túshuō).

Push hands as a means of training was not mentioned in the Chen historical manuals, rather it was described as a form of pair training. From a military perspective, empty-hand training was a foundation for weapons training and push hands training was a method to prevail in the bind (two weapons locked or pressed against each other). In terms of weapons, the Chen clan writings described a variety of weapons training including: spear, staff, swords, halberd, mace, and sickles, but the manuals specifically described training for spear (枪, qiāng), staff (棍, gùn), broadsword (saber)(刀, dāo), and straight sword (剑, jiàn).

Existing Chen Village forms
The two paths represent the two main forms used in any Chen-style tai chi training. The main variants in training with direct connection to Chen Village are: Large Frame (Old Frame and New Frame) and Small Frame. These frames developed and passed down by key figures such as Chen Zhaopei, Chen Zhaokui and others, embody distinct lineages and training approaches. From the dedication of Chen Zhaopei in preserving the art to Chen Zhaokui's introduction of innovative practices in New Frame, the evolution of Chen-style tai chi continues. The Small Frame gaining international recognition, shares similarities with teachings by Chen Xin and Chen Ziming. Despite their differences, these frames share common origins and principles, making them integral to the Chen-style tai chi system.

Two-path curriculum
Today, the two-path curriculum, originally developed by Chen Changxing, a master of the 14th generation, serves as the foundation for training in all branches of Chen-style tai chi. Each path is typically associated with a specific form: the First Form (Yi Lu), also known as the Thirteen Movements (十三势, Shísān shì), and the Second Form (Er Lu), sometimes referred to as Cannon Fist (炮捶, Pào Chuí). These paths follow distinct approaches to training.

The Yilu form initiates students into the fundamental principles of tai chi. It emphasizes essential aspects such as footwork, stances, and overall movement. Internal development, including silk reeling training, is also a key focus. The Yilu form aims to teach practitioners how to synchronize their minds, bodies, and internal energy in accordance with tai chi principles. Chen-style practitioners describe the Yilu form as having large and stretching movements, brisk and steady footwork, a naturally straight body, and the integration of internal energy throughout the entire body. (拳架舒展大方，步法轻灵稳健，身法中正自然，内劲统领全身. )

The Yilu form requires the practitioner to closely coordinate their mind, intent, internal energy, and body. Externally, the form's movements follow an arc, while internally, the energy flows in a spiral pattern. This interplay between soft external actions and corresponding hard internal actions is a hallmark of the Yilu form. (练习时，要求意、气、身密切配合，外形走弧线，内劲走螺旋，缠绕圆转，外柔内刚. ) Training application on this path is through the method of push hands. Push hands, a partner exercise, is commonly used to apply the principles learned in Yilu training. Push hands involves controlling an opponent through yielding, attaching, redirecting, manipulating, grappling, breaking structure, and other skills. Originally focused on refining the usage of tai chi, push hands has evolved over time into a competitive sport that is somewhat disconnected from its martial roots.

Erlu, the Second Path, typically comes after a student has achieved proficiency in Yilu. Erlu training concentrates on expressing the internal skills cultivated during Yilu practice. The applications in Erlu incorporate more striking, jumping, lunging, and athletically demanding movements. While Yilu emphasized using the body to guide the hands (以身领手, yǐ shēn lǐng shǒu), Erlu shifts the emphasis to using the hands to lead the body (以手领身, yǐ shǒu lǐng shēn). In terms of appearance, the Erlu form is often executed at a faster pace and is characterized by more explosive movements compared to Yilu. The intent of Erlu is focused on self-defense, with each posture training the practitioner for strikes or breaks rather than grappling. The techniques in Erlu employ smaller and tighter circles to generate power.

It is worth noting that while the Cannon Fist form is widely taught in various traditions, very few teach the self-defense skills associated with Erlu due to their inherent dangers. Even when taught, Erlu self-defense techniques are typically reserved for a select few trusted students. In some training traditions today, both forms may be employed to train practitioners in each path of the curriculum.

Frames - Large and Small, Old and New
Within the Chen Family, there are currently three main variants, or frames, of Chen-style forms that are practiced today. Each frame represents a distinct perspective within the Chen-style tai chi tradition. The concept of frames (架, jià, frame, rack, framework) refers to the general width of stances and range of motion employed in the forms. For example, in the Large Frame (大架, Dà jià ), the standard horse stance is at least two and a half shoulder widths wide, and the hand techniques appear large and expansive. On the other hand, the Small Frame (小架, Xiǎo jià), the standard horse stance is two shoulders width wide and the hand techniques are perceived as generally shorter and more compact.

The classification of all tai chi styles into "frames" based on the size of stance and other criteria was introduced by Tang Hao in the late 1930s and became common practice by the 1950s. Chen Fake's Chen-style tai chi was classified as Large Frame, while Wu Yuxiang's Wu (Hao)-style tai chi was classified as Small Frame at the time, based on research into the Hao family branch. Chen Qingping, Wu Yuxiang's Chen-style teacher, is associated with the Zhaobao style which includes large and small frame training, and this also suggested a small frame lineage. To simplify matters for new students, the Chen Family divided their tai chi into Large Frame, originating from Chen Fake, and Small Frame, associated with Chen Ziming. Large Frame may be further divided: Old Frame (老架, Lǎo jia) taught in the Chen Village by Chen Zhaopei and New Frame (新架, Xīn jià) taught in the Chen Village by Chen Zhaokui. Both teachers of Large Frame were students of Chen Fake.

Although the frames share more similarities than differences, the variations provide valuable insights. Despite the existence of clear lineage charts, many students are known to have trained with multiple teachers, often without strict adherence to a single lineage. For instance, Chen Zhaopei studied with his father Chen Dengke, his father's uncle Chen Yanxi, and Yanxi's son Chen Fake, all of whom are now considered practitioners of the Large Frame. However, Chen Zhaopei also studied theory with Chen Xin, who is now recognized as a Small Frame practitioner.

Large Frame: Old Frame (Laojia) tradition
In 1958, Chen Zhaopei (陈照丕, 1893-1972), nephew of Chen Fake, returned to visit Chen Village. There, he found that war, hardship, and migration had reduced Chen Style practitioners still teaching in the Village to a couple of aging teachers with a handful of students. He immediately took early retirement and returned to the hardships of village life in order to ensure the survival of his family martial art. His teachings are known today as Laojia (Old Frame).

In Laojia, there are 74 moves in the First Form and 44 moves in the Second Form. Chen Zhaopei recorded photographs of his First Form with instructions in a book, General Explanations of Taiji Boxing Fundamentals (太極拳學入門總解, Tàijí quán xué rùmén zǒng jiě) published in 1930. In Chen Village, Laojia is considered the foundation form. Because it is steady, fluid, and readily comprehended, it is always taught first.

Large Frame: New Frame (Xinjia) tradition
Near the end of the Cultural Revolution and later after Chen Zhaopei's death in 1972, tai chi practitioners in Chen Village petitioned Chen Zhaokui (陈照奎, 1928 – 1981), Chen Fake's only living son, to come and continue their education in the art. When Chen Zhaokui visited Chen Village to assist and later succeed Chen Zhaopei in training a new generation of practitioners, (e.g. the "Four Jingang," aka the "Four Tigers": Chen Xiaowang (陈小旺), Chen Zhenglei, Wang Xi'an (王西安), and Zhu Tiancai (朱天才)), he taught Chen Fake's practice methods that were unfamiliar to them. He made three separate visits, totaling under two years. Zhu Tian Cai, who was a young man at the time, claimed that they all started calling it "Xinjia" (New Frame) because it seemed adapted from the teachings they had previously learned from Chen Zhaopei, which they called “Laojia” (Old Frame).

In Xinjia, there are 83 moves counted in the First Form and 71 moves in Second Form. Chen Xiaoxing, Chen Xiaowang’s brother and a student of Chen Zhaokui, said the primary differences between the Xinjia and Laojia are the small circles, which highlight the turning of the wrists and make visible the folding of the chest and waist. Xiongyao zhedie (chest and waist layered folding) is the coordinated opening and closing of back and chest along with a type of rippling wave (folding) running vertically up and down the dantian/waist area, connected to twisting of the waist/torso. Rotations of the waist and dantian become more apparent in Xinjia.

Chen Zhaopei also added tuishou (push hands) and martial application methods over a series of visits. Chen Zhaokui's teaching of the Xinjia was explicitly practiced with the purpose of developing tangible and effective martial arts methods based on spiral energy usage, fajin (energy release) and qinna (joint locking) movements. The stances in Xinjia tend to be more compact with the goal of training for better mobility in fighting applications, while they still remain quite low. This includes more dynamic, springing and jumping movements. This form tends to emphasize manipulation, seizing and grappling (qin na) and a tight method of spiral winding for both long and shorter range striking. Zhu Tian Cai has commented that the Xinjia emphasizes the silk reeling movements to help beginners more easily learn the internal principles in form and to make application more obvious in relation to the Old Frame forms. The New Frame Cannon Fist is generally performed faster than other empty hand forms.

Chen Xiaoxing also emphasized that "the fundamental principles of the two frames, (Laojia and Xinjia), are the same with regards to postural requirements and movement principles. Both require the practitioner to exhibit movements that are continuous, round and pliant, connecting all movements section by section and closely synchronising the actions of the upper and lower body....The Old and New Frames should not be viewed as different entities because both are foundation forms. If you look beyond the superficial differences, the Old Frame and New Frame are the same style, sharing the same origin and guiding principles. In Chen Village, people have the advantage of knowing both the first routines." However, because of common fundamentals and training methods, either frame, Laojia or Xinjia, can each be trained as a complete curriculum.

Small Frame tradition
The Small Frame (小架, Xiǎo jià) is the most recent subdivision of the Chen Family martial art to gain international recognition. It closely resembles both the 66-movement form described in Chen Xin's (陈鑫, 1849-1929) book Chen Family Taijiquan Illustrated and Explained (陳氏太極拳圖說, Chén shì tàijí quán túshuō) published posthumously in 1933 and the photographed form of his student, Chen Ziming (陳子明, d.:1951), in his book Inherited Chen Family Taiji Boxing Art’’ (1932)''.

The name, nature, and teachings of this Chen subdivision have been a source of confusion for nearly a century. Chen Ziming, in describing the lineage of his art from Chen Wangting to himself, mentioned changes in the Chen Village that led to the division of the art into "old frame" (laojia) of Chen Wangting and "new frame" (xinjia) that he learned. This was the first published reference dividing Chen-style tai chi into frames. Chen Xin's book did not mention frames since there was little or no formal distinction between lineages or branches of teaching methods within the Chen Village.

In Xiaojia, there are 78 moves in the First Form and 50 moves in the Second Form. And, some lineages teach additional forms that may date back to Chen Wangting's original system. Xiaojia is known mainly for encouraging students to seek to internalize spiral movements while practicing the form. Most spiral silk reeling action is within the body. The limbs are the last place the motion occurs. Stances seem smaller because the feet do not turn outward in order to maintain a rounded crotch, the front hip is allowed to fold, and the pelvis is not forced forward. The palms must stay below the eyebrows and may not cross the center line of the torso. The body is constrained from shifting left and right horizontally except when stepping. Fajin may be expressed, but it is more calm.

Despite its growing international recognition, authentic Xiaojia instructors are still rare, especially internationally. However, this is beginning to change, and there is a growing body of online and video material available.

Closely related Chen traditions
Since the popularization of Chen-style tai chi by Chen Fake and the discovery of the rich martial heritage of Chen Village, there have been numerous training methods claiming to be part of Chen-style tai chi. According to Hong Junsheng, a close student of Chen Fake, only direct descendants of the Chen family can truly consider themselves practitioners of Chen Family tai chi. All other practitioners of Chen-style tai chi are regarded as Chen stylists (陈式) as long as they adhere to the unique principles of Chen style. There are several closely related Chen traditions that are recognized, including the Chen tai chi Beijing Branch, which continues the training of Chen Fake, Xinyi Hunyuan tai chi by Feng Zhiqiang, the Practical Method of Hong Junsheng, Zhaobao tai chi, and modern synthetic forms.

Beijing Branch
After Chen Fake’s death, his students began passing on what they had learned to their own students. These teachers and their students collectively are referred to as the Beijing Branch. The Beijing forms are counted similarly to those called Xinjia (New Frame, 新架) by Chen Zhaokui's students in Chen Village. They are attributed to Chen Fake, and some regard him as the originator of the branch.

When Chen Zhaokui (Chen Fake' son) returned to Chen Village, he taught Chen Fake's form. The unfamiliar teachings became coined as "Xinjia" (New Frame), because they seemed adapted from the earlier frame they had learned, which they then called Old Frame (Laojia). Because of this distinction, Chen Fake's disciples in Beijing decided to name their master's style "Beijing Chen Style" to differentiate it from Chen Village Xinjia, and they considered the 1st generation as Chen Fake (17th generation member of Chen clan and 9th generation Grandmaster of Chen-style tai chi). This means that the Beijing disciples of Chen Fake continued the Chen-style tai chi master-lineage (10th, 11th, 12th, 13th generation, etc...), but some also start counting from Chen Fake.

Important for the diffusion of this style was Tian Xiuchen (田秀臣; 1917–1984; 10th generation master of Chen-style tai chi and 2nd generation master of Beijing Chen-style tai chi), the disciple that learned Chen style with Chen Fake for the longest continuous time. He introduced tai chi teaching in Chinese universities. The lineage of this branch continued with masters Tian Qiutian, Tian Qiumao and Tian Qiuxin (11th generation Chen style and 3rd generation Beijing Chen Style).

Because of his location in Beijing, Chen Yu (19th generation member of Chen clan and 11th generation master of Chen-style tai chi and 3rd generation master of Beijing Chen-style tai chi), Chen Zhaokui's son (Chen Fake's grandson), is often counted among the Beijing Branch, however he is a member of the Chen Family. He studied under his father's supervision starting at seven years old. Oftentimes, his style is called "Chen Taijiquan Gongfu" or "Gongfujia", since Chen Yu rebuts the idea that either his father or grandfather (i.e. Chen Fake) ever called their style "Xinjia" or believed that what they practiced was newer than other branches of Chen-style tai chi.

Xinyi Hunyuan tai chi
Chen-style Xinyi Hunyuan tai chi (陈式心意混元太极拳), called Hunyuan tai chi for short, was created by Feng Zhiqiang (冯志强; 1928-2012; 10th generation master of Chen-style tai chi and 2nd generation master of Beijing Chen-style tai chi), one of Chen Fake's senior students and a student of Hu Yaozhen (胡耀貞; 1897-1973). It is much like the traditional forms of the Beijing branches of Chen-style tai chi with an influence from Xing Yi Quan and Qigong, learned from Hu Yaozhen and Tongbeiquan, learned in his youth. Feng, who died on 5 May 2012, was widely considered the foremost living martial artist of the Chen tradition.

"Hun Yuan" refers to the strong emphasis on circular, "orbital" or spiraling internal principles at the heart of this evolved Chen tradition. While such principles already exist in mainstream Chen-style, the Hun Yuan tradition develops the theme further. Its teaching system pays attention to spiraling techniques in both body and limbs, and how they may be harmoniously coordinated together.

Specifically, the style synthesizes Chen-style tai chi, Xinyi, and Tongbeiquan (both Qigong and, to a lesser degree, martial movements), the styles studied by Feng Zhiqiang at different times. Outwardly, it appears similar to the New Frame Chen forms and teaches beginners/seniors a 24 open-fist form as well as a 24 Qigong system.

The training syllabus also includes 35 Chen Silk-Reeling and condensed 38 and 48 open-fist forms in addition to Chen Fake's (modified) Big Frame forms (83 and 71).

The Hunyuan tradition is internationally well organized and managed by Feng's daughters and his long-time disciples. Systematic and comprehensive theory/practice international teaching conventions are held yearly. Internally trained instructors teach tai chi for health benefits with many also teaching Chen martial-art applications. Feng's specially trained "disciple instructors" teach Chen internal martial art skills of the highest level.

Grandmaster Feng in his late years rarely taught publicly but devoted his energies to training Hun Yuan instructors and an inner core of nine "disciples" that included Cao Zhilin, Chen Xiang, Pan Houcheng, Wang Fengming and Zhang Xuexin.

Han Kuiyuan (韩奎元; 1948-), who is another recognized disciple of Feng Zhiqiang (and formerly Tian Xiuchen), has been teaching Chen style Xinyi Hunyuan tai chi in Hungary since 1997.

The Practical Method
This branch of Chen-style tai chi descends through the students of Hong Junsheng, a senior student of Chen Fake, who became a disciple in 1930 and studied daily through 1944 when Hong moved to his ancestral home in Jinan, Shandong. Hong continued to practice and returned to study with Chen Fake in 1956. Modifications to the original forms taught by Chen Fake to Hong and later used in the Practical Method were made during this visit.

Hong appended the term, "Practical Method" (实用拳法, shí yòng quán fǎ), to his teaching method to emphasize the martial aspects of his study and training, as well as the harmonized training syllabus joining gōng (功) and fǎ (法) aspects of training within the Yilu (first road). Some started calling the system Hong-style tai chi, but Hong Junsheng objected to this designation. He claimed he was not the creator of anything. Everything he taught was Chen-style tai chi as taught to him by his teacher, Chen Fake.

Hong taught, in traditional Chen-style tai chi, the First Path (Yilu) used the First Form, without explosive fajin (发劲, Send out Strength), and related foundation exercises as a curriculum focused on learning to control one's self and move in a tai chi manner. Push hands was the method to learn how to use the First Form’s movements to control opponents. With these situational control skills, the Second Path (Erlu), could be learned as self-defense with the objective of injuring and disabling an attacker as quickly as possible. For this curriculum, the First Form was repurposed to include fajin and the Second Form added. Training methods also included sparring (散手, sǎn shǒu), fighting technique (拳法, quán fǎ: ) and weapons training. Today, however, Yilu and Erlu are used generally to refer to the First and Second Forms, respectively, and teachers often use Second Path skills to demonstrate martial efficacy while teaching the First Form.

In the Practical Method, there are 81 moves in the First Form and 64 moves in the Second Form, which may be joined together, not repeating the joining move, for a form of 144 moves. The sequence and names of the movements are similar to Xinjia and Beijing forms. The Second Form was reduced by naming fewer, but not deleting, moves. However, the manifested small circles and turning of the wrists characteristic of Xinjia are reduced to spirals and helices and internalized. This gives the Practical Method forms more of the look of Laojia.

Hong said Chen Fake taught, "Taijiquan is learned according to the rules (规矩, gui ju)." In this regard, theoretically, the Practical Method aligns closely with the writings of Chen Xin and, hence, Xiaojia, except that one foot is allowed to turn outward 45° so that both hips (kua, 胯) may stay open to round the crotch. Pragmatic oral instructions were passed from Chen Fake to illuminate theoretical principles, such as: Lead inward with the elbow do not lead inward with the hand; Go out with the hand do not go out with the elbow. (收肘不收手，出手不出, Shōu zhǒu bù shōu shǒu, chū shǒu bù chū zhǒu.); Only rotate don't move. (只转不动, Zhǐ zhuǎn bù dòng); Better to advance one hair than to retreat one foot. (宁进一毫，不退一尺, Níng jìn yī háo, bù tuì yī chǐ); and many others.

One innovation by Hong Junsheng for teaching movement in the form was the nomenclature, "positive" and "negative" circles. Previously, shùn chán (顺缠, following coiling) and nì chán (逆缠, opposing coiling) were used to describe silk-reeling rotations and inward and outward arcs and circles of the extremities. This worked well for describing the longitudinal rotations of the arms and legs, but arcs and circles would often have both shun and ni rotations within them. Hong found it confusing to students to describe complete revolutions. A Positive (formerly shùn) Circle rotates inward (shùn chán) at the bottom and outward (nì chán) at the top, and a Negative (formerly nì) Circle rotates inward (shùn chán) at the top and outward (nì chán) at the bottom. This terminology has been adopted by teachers of many styles of martial arts.

Currently, Li Enjiu is the Standard Bearer and Chen Zhonghua is International Standard bearer of Chen-style tai chi Practical Method. The Chen Style tai chi Practical Method is taught by teachers around the world.

Zhaobao tai chi and Chen-style tai chi forms
Zhaobao Village (Zhaopucun 赵堡村) lies about 2 miles (3 km) to the northeast of Chen Village. Since the village was a local trade center and not settled by a single family, Zhaobao tai chi is a true village martial art, and the style was passed master to disciples among the villagers. Village martial arts developed as skills could be brought to a village. There they were merged with prior knowledge and evolved and were taught primarily for common defense. Zhaobao tai chi designates several lineages and traditions rather than a single one. Also, tai chi forms from other nearby villages get grouped with Zhaobao, such as Huleijia (Sudden thunder frame), even though they are not directly related.

The villages proximity allowed residents of the Chen Village to intermarry or move to Zhaobao, so there has been an influence from Chen tai chi for centuries. Several Zhaobao lineages trace their roots to Jiang Fa (1574-1655), who lived with Chen Wangting. They claim that Jiang Fa moved to Zhaobao Village and taught tai chi there for a number of years.

Several other notable Chen Family members also lived in Zhaobao. The best documented was Chen Qingping, who moved and taught there. Some Zhaobao lineages include Chen Qingping. So, Zhaobao tai chi shares many stylistic similarities with Chen-style tai chi, particularly Xiaojia, because it was influenced by Chen Family stylists. His disciples, such as He Zhaoyuan and Wu Yuxiang, promoted this unique style.

Zhaobao tai chi is village style rather than one of the tai chi "family" styles, and it does not originate through the teaching interaction of Chen Changxing with Yang Luchan as do other styles of tai chi. Despite the similarities in appearance to Chen tai chi, this style has its own theory, philosophy, and long history. It is truly a different "style" of tai chi. Some consider it to be a distinct and separate traditional Chinese martial art altogether.

Modern Chen forms
Similar to other family styles of tai chi, Chen-style has had its frame adapted by competitors to fit within the framework of wushu competition. A prominent example is the 56 Chen Competition form (Developed by professor Kan Gui Xiang of the Beijing Institute of Sport under the auspice of the Chinese National Wushu Association. It is composed based on the lao jia routines (classical sets), and to a much lesser extent the 48/42 Combined Competition form (1976/1989 by the Chinese Sports Committee developed from Chen and three other traditional styles).

In the last ten years or so even respected grandmasters of traditional styles have begun to accommodate this contemporary trend towards shortened forms that take less time to learn and perform. Beginners in large cities don't always have the time, space or the concentration needed to immediately start learning old frame (75 movements). This proves all the more true at workshops given by visiting grandmasters. Consequently, shortened versions of the traditional forms have been developed even by the "Four Buddha’s warriors." Beginners can choose from postures of 38 (synthesized from both lao and xin jia by Chen Xiaowang), 19 (1995 Chen Xiaowang), 18 (Chen Zhenglei) and 13 (1997 Zhu Tiancai). There is even a 4-step routine (repeated 4 times in a circular progression, returning to start) useful for confined spaces (Zhu Tiancai).

In a sense, shorter and well composed sets of forms are modernizing tai chi to suit modern needs and lifestyle. As well as that some composers incorporated up to day medical knowledge to improve tai chi's efficacy for health and wellness.

Weapon forms
Chen Tai Chi has several unique weapon forms.
 * the 49 posture Straight Sword (Jian) form
 * the 13 posture Broadsword (Dao) form
 * Spear (Qiang) solo and partner forms
 * 3, 8, and 13 posture Gun forms
 * 30 posture Halberd (Da Dao/Guandao) form
 * several double weapons forms utilizing the above-mentioned items

Additional training
Before teaching the forms, the instructor may have the students do stance training such as zhan zhuang and various qigong routines such as silk reeling exercises.

Other methods of training for Chen-style using training aids including pole/spear shaking exercises, which teach a practitioner how to extend their silk reeling and fa jing skill into a weapon.

In addition to the solo exercises listed above, there are partner exercises known as pushing hands, designed to help students maintain the correct body structure when faced with resistance. There are five methods of push hands that students learn before they can move on to a more free-style push hands structure, which begins to resemble sparring.

Martial application

The vast majority of Chen stylists believe that tai chi is first and foremost a martial art; that a study of the self-defense aspect of tai chi is the best test of a student's skill and knowledge of the tai chi principles that provide health benefit. In compliance with this principle, all Chen forms retain some degree of overt fa jing expression.

In martial application, Chen-style tai chi uses a wide variety of techniques applied with all the extremities that revolve around the use of the eight gates of tai chi to manifest either kai (expansive power) or he (contracting power) through the physical postures of Chen forms. The particulars of exterior technique may vary between teachers and forms. In common with all neijia, Chen-style aims to develop internal power for the execution of martial techniques, but in contrast to some tai chi styles and teachers includes the cultivation of fa jing skill. Chen family member Chen Zhenglei has commented that between the new and old frame traditions there are 105 basic fajin methods and 72 basic Qinna methods present in the forms.

title: Chen-style tai chi


text: Category:1572 deaths

title: Category:1572 deaths


text:
William E. Allen

William Ellam Allen (1880–1960) was an acting director of the U.S. Bureau of Investigation (BOI) during 1919. The BOI was a predecessor of the Federal Bureau of Investigation (FBI).

A former assistant in war matters to the chief of the Bureau of Investigation, Allen was appointed acting director on February 10, 1919. Allen resigned the post from June 30, 1919, and was replaced by William J. Flynn.

title: William E. Allen


text:
William J. Flynn

William James Flynn (November 18, 1867 – October 14, 1928) was the director of the Bureau of Investigation from July 1, 1919, to August 21, 1921.

Early life and education
Flynn was born in New York City and began his government career in 1897, after receiving a public school education.

Early career
Flynn began his career as a Manhattan plumber. His first law enforcement job was as an agent in the United States Secret Service. He spent many years combating counterfeiting, which led to his investigation and arrests of Black Hand extortionists and members of the American mafia, many of them associated with the Morello crime family.

Flynn collaborated with New York Police Department Detective Giuseppe "Joe" Petrosino, who was murdered in 1909 in Palermo, Sicily, where he was tracing the backgrounds of the gangsters plaguing New York City. Petrosino's murder was never officially solved, but the author and historian Mike Dash implicates the likely gunman and his accomplice and says there is little doubt that Giuseppe Morello was behind it. Flynn and his operatives built the case that culminated in the 1910 convictions of Morello and his associates and their imprisonment in Atlanta Federal Prison.

Flynn gained recognition in 1911, when he successfully reorganized the New York City detective force. He later returned to the Secret Service as Chief (1912–1917). During World War I he investigated threats of sabotage. In 1915 he investigated espionage involving a German-owned wireless station on the coast of Long Island in Sayville, New York. It was suspected of sending communications related to the war which were prohibited. He enlisted an amateur radio operator named Charles E. Apgar who recorded the transmissions. These recordings provided evidence that led to the facility being seized by the United States government to stop the activity.

BOI career
In 1919, Flynn was named director of the Bureau of Investigation. Attorney General Palmer praised his new appointee as "the leading, organizing detective of America...Flynn is an anarchist chaser...the greatest anarchist expert in the United States." In one of Flynn's high-profile incidents, one of his operatives who was trailing the German diplomat Dr. Heinrich Albert on a streetcar, snatched Albert's briefcase, which contained sensitive documents. The papers documented Albert's having spent $27 million to build up a spy network in the United States, using German money to fund dock strikes, attacks on shipping, and bombs planted in munitions plants.

Resignation
Flynn's hard-line approach to counterespionage and his scaremongering public statements meant to rouse the US to the threat of German espionage angered the German and Irish communities, and eroded Flynn's support in Washington, ending in his resignation.

After resigning, Flynn "accepted a sinecure as head of the Federal Railway Administration Police".

Reinstatement and replacement
Two years after leaving the Secret Service, in the wake of concerted terrorist action, including a bomb that "shook the home of A. Mitchell Palmer, the attorney general of the United States, virtually demolishing it", Palmer "dedicated his Department of Justice to tracking down the men responsible". He appointed Flynn director of the Bureau of Investigation. Flynn took charge of hunting down the bombers and assigned "an ambitious Justice Department clerk by the name of J. Edgar Hoover" to monitor suspected radicals.

Through painstaking work, Flynn's team identified the likely suspects. However, they were unable to obtain the type of evidence that would stand up in court. Public opinion turned against the bureau, as the public wanted arrests, and Hoover launched a series of "Palmer Raids" that became a public relations nightmare. These events resulted in low morale among Flynn's staff, and the new Harding Administration replaced Flynn with William J. Burns.

Semi-retirement
After his forced retirement, Flynn went into business for himself. He founded a New York detective agency with his daughter Veronica and son Elmer as partners, which generated some income. However, according to Dash, the partnership was unsuccessful and contributed to the business's ultimate demise: Veronica and Elmer "were running the detective business into the ground. Both heavy drinkers, they overspent and upset clients. The pair's increasingly erratic behavior distressed their more abstemious father, and the worry weakened him."

Flynn earned the bulk of his income, at that point, from writing. He had occasionally contributed articles, typically about his greatest cases, to such journals as The New York Herald and The Washington Post since 1911. After retiring, he worked briefly as a crime novelist. Flynn also became a scenario writer for the motion picture industry through his acquaintance with the actor King Baggot who, Dash notes, was considered the greatest film star in the country at that time in 1912. The producers Theodore and Leopold Wharton commissioned him to write story lines for their films, including The Perils of Pauline, and eventually adapted Flynn's experiences into a 20-part spy thriller titled The Eagle's Eye (1918), starring Baggot. The same year they were also published as weekly installments in The Atlanta Constitution's magazine section under the title The Eagle's Eye: True Story of the Imperial German Government's Spies and Intrigues in America. Some of these episodes were published in a book with the same name in 1919.

He also edited a magazine which bore his name, Flynn's Weekly Detective Fiction, and became the longest-running, most successful journal of its genre. After Flynn's death, the periodical was temporarily renamed Detective Fiction Weekly (formerly Flynn's) before resuming its original title; the periodical published a total of 703 issues.

Death
Flynn died at age 60 of heart disease in October 1928, in Larchmont, New York. He is buried in a family plot in Valhalla, New York.

title: William J. Flynn


text:
Guys and Balls

Guys and Balls (German: Männer wie wir, literally Men like us, UK title: Balls) is a 2004 German sports comedy/romance film by German American director Sherry Hormann about a gay goalkeeper who assembles a gay-only soccer team to play against his ex-team, which fired him due to homophobia.

Plot
Ecki (Maximilian Brückner) lives with his parents who own a bakery in Boldrup, a (fictitious) small German town near Dortmund. Football, the German national pastime, is particularly popular in this heavily industrialized region and Ecki has been an avid and successful player in a local club FC Boldrup, since his childhood days.

In a decisive game, he fails to keep a ball at a penalty and the team fails to get the promotion to the district league. The team are devastated and get drunk at a party. Ecki is then evicted from the team, with his mistake being used to cover the real reason—the revelation that he is gay that comes about when he is observed by some of his teammates kissing another player Tobias on the mouth.

Ecki is defiant and immediately sets out to form his own team and beat his ex-teammates at their game. So he sets off for Dortmund to find members for his new team with the help of his sister Susanne, who is living there. From the fans of his favorite club Borussia Dortmund he finds confusion, but he gradually succeeds in others places, such as a kebab shop and the leather bar 'Steel Tube' to recruit more homosexual players for his team. Among the greatest hopes are the two Brazilians Ronaldo and Ronaldinho and the actually hidden heterosexual bookseller Klaus.

Meanwhile, he also manages to win the heart of dreamboy Sven (David Rott), who becomes his first boyfriend. Training of the team is done by Karl (Rolf Zacher), an ex-soccer player himself who quit the sport years ago after a stinging defeat.

When the big day of the game comes, the match starts out badly for Ecki's team, but ultimately they are able to triumph over his old teammates by allowing their homophobia to turn against themselves.

Cast

 * Eileen Eilender as Susanne jung 1
 * Leon Breitenborn as Ecki jung 1
 * Dietmar Bär as Vater (Father)
 * Saskia Vester as Mutter (Mother)
 * Anna Koesling as Susanne jung 2
 * Steven Wellmann as Ecki jung 2
 * Melody Sitta as Cordula jung
 * Jan Giffel as Udo jung
 * Maximilian Brückner as Ecki
 * Willi Thomczyk as Wirt, Ticket seller
 * Jochen Stern as Rentner Rudi
 * Judith Hoersch as Cordula (billed as Judith Delphine Hoersch)
 * Carlo Ljubek as Udo
 * Mirko Lang as Tobias
 * Tobias van Dieken as Bernhard (billed as Tobias Vandieken)
 * Simon Solberg as Frank
 * Felix Vörtler as Udos Vater
 * Lisa Maria Potthoff as Susanne
 * Hans Löw as Klaus
 * Nikolai Will as Kunde in der Bäckerei, Customer
 * Rolf Zacher as Trainer Karl
 * Mariele Millowitsch as Wirtin Elke
 * Ute Maria Lerner as Pregnant lady (Schwangere Frau)
 * Nicholas Bodeux as Ehemann
 * David Rott as Sven
 * Heppi Pohl as beer garden Guest 1
 * Dirk Koch as beer garden Guest 2
 * Andreas Schmidt as Jürgen
 * Michael Kleiber as BVB Fan 1
 * Hans-Joachim Bauer as BVB Fan 2
 * Billey Demirtas as Ercin
 * Markus John as Tom
 * Christian Berkel as Rudolf
 * Charly Hübner as Horst
 * Jeanette Goetz as male nurse (Krankenschwester) 1
 * Sunia-Shahana Ali as male nurse (Krankenschwester) 2
 * Marcel Nievelstein as Jan
 * Sascha Herzogenrath as transvestite
 * Thomas Fischer as Gay Firefighter 1
 * Heup	Henning Heup as Gay Firefighter 2
 * Michael von Burg as Martin
 * Edesson Batista De Jesus as Ronaldo
 * Edilton Pereira Da Cruz as Ronaldino
 * Judith Döker as Prostitute
 * Sybille J. Schedwill as Jan's Mutter
 * Mohammad-Ali Behboudi as Ercin's Vater
 * Max Hopp as Steffen
 * Helmut Schenkel as Harley rider (Harleyfahrer)
 * Rolf Vogel as Harleyfahrer
 * Klaus Schwen as Harleyfahrer
 * Frank Krebs as Harleyfahrer
 * Franz-Josef Neumann as Harleyfahrer
 * Markus Kaiser as Harleyfahrer
 * Dennis Schenkel as Harleyfahrer
 * Wolfgang Jansen as Harleyfahrer
 * Markus Meisinger as FC Boldrup Fan
 * J. Geraldo Datovo as Samba-Truppe
 * Heinrich Weitz as referee (Schiedsrichter) 1
 * Willi Meuser as Schiedsrichter 2
 * Oskar Bläser as Trainer Boldrup
 * Frank Tepferd as footballer (Fußballspieler) FC Boldrup
 * Stefan Nüsser as Fußballspieler FC Boldrup
 * Heiko von der Bey as Fußballspieler FC Boldrup
 * David Careno as Fußballspieler FC Boldrup
 * Daniel Careno as Fußballspieler FC Boldrup
 * Martin Watson as Fußballspieler FC Boldrup
 * Christoph Paeßens as Fußballspieler FC Boldrup
 * Oli Scheel as Fußballspieler FC Boldrup
 * Lutz Herdener as Fußballspieler FC Boldrup
 * Jan Platte as Fußballspieler FC Ruhrgold
 * Willi Schaaf as Fußballspieler FC Ruhrgold
 * Marc Gößlig as Fußballspieler FC Ruhrgold
 * Daniel Edingloh as Fußballspieler FC Ruhrgold
 * Sebastian Klein as Fußballspieler FC Ruhrgold
 * Detlev Henke as Fußballspieler FC Ruhrgold
 * Christoph Kanne as Fußballspieler FC Ruhrgold
 * Miklas Melin as Fussballspieler FC Ruhrgold 8 (as Niklas Melin)
 * Malte Kossleck as Fußballspieler FC Ruhrgold
 * Christian Ernst as Fußballspieler FC Ruhrgold
 * Eric Beta as Fußballspieler FC Ruhrgold

Reaction
Männer wie wir may be regarded as the first major German sports comedy. While this genre is far more established in the United States with movies such as Hardball (2001) or The Mighty Ducks (1992) in which an underdog team is posed to somehow find the spirit to win an important game against a far superior opponent, these kinds of movies are relatively rare in German cinema. It may therefore not be surprising that this particular movie was made by an American-born director.

Awards

 * Audience Award of the Connecticut Gay & Lesbian Film Festival 2006 in the category Best Feature Film (3rd place)
 * Audience Award of the Gay & Lesbian Film Festival 2005 in Philadelphia in the category Best Feature
 * Audience Award of the Milano Festival Internazionale di Cinema Gaylesbico 2006 in the category Best Film
 * Audience Award of Outfest 2005 in Los Angeles in the category Outstanding Narrative Feature
 * Jury Award of the Lesbian & Gay Festival Brussels 2005 in the category Best Foreign Language Film
 * Le Prix du public of the Gay & Lesbian Film Festival 2005 in Long Island in the category Meilleur Long Gay

Critical reception
Joshua Katzman of the Chicago Reader called the film "engaging" and "well-paced" with "a vibrantly funny script". Dennis Harvey of Variety states that the film is "by-the-numbers ensemble dramedy that hits every underdog and gay-fish-out-of-water cliche on the nose". Jeanette Catsoulis of The New York Times said the "script groans with double-entendres" and it contains "lots of cheerful nudity, loving threesomes and more synonyms for "gay"".

title: Guys and Balls


text:
William J. Burns

William John Burns (October 19, 1861 – April 14, 1932) was an American private investigator and law enforcement official. He was known as "America's Sherlock Holmes" and earned fame for having conducted private investigations into a number of notable incidents, such as clearing Leo Frank of the 1913 murder of Mary Phagan, and for investigating the deadly 1910 Los Angeles Times bombing conducted by members of the International Association of Bridge, Structural, Ornamental and Reinforcing Iron Workers. From August 22, 1921, to May 10, 1924, Burns served as the director of the Bureau of Investigation (BOI), predecessor to the Federal Bureau of Investigation (FBI).

He was born in Baltimore, Maryland, and he was educated in Columbus, Ohio. As a young man, Burns performed well as a Secret Service Agent and parleyed his reputation into the William J. Burns International Detective Agency, now a part of Securitas Security Services USA. A combination of natural ability as a detective combined with an instinct for publicity made Burns a national figure. His exploits made national news, the gossip columns of New York City newspapers, and the pages of detective magazines, in which he published "true" crime stories based on his exploits.

Marriage and children
Burns married Annie M. Ressler in 1880. The couple had six children. Burns's sons, Raymond J. and William Sherman, also worked as detectives for the William J. Burns National Detective Agency.

Los Angeles Times bombing
The City of Los Angeles hired Burns to catch those responsible for the bombing of the Los Angeles Times building on October 1, 1910, which killed 20 people. Revenge or anger was the suspected motive as Times publisher Harrison Gray Otis was a staunch opponent of labor unions, and the incident was similar to a nationwide series of dozens of earlier but not-fatal bomb attacks that Burns had been investigating for the National Erector Association.

After months of investigation, Burns's son Raymond and police officers from the Detroit and Chicago police departments arrested Jim McNamara and associate Ortie McManigal on April 14, 1911, in Detroit. Ironworkers Union secretary-treasurer John McNamara, Jim's brother, was arrested later that month in Indianapolis, Indiana. Extradited to Los Angeles, the brothers pleaded guilty to murder in the bombing. The MacNamara brothers were important members of the Ironwokers Union and the investigation implicated numerous other members of the union up to President Frank M. Ryan. Burns's investigation found the Ironworkers Union leadership knew and approved of over 100 bombings between 1905 and 1910, perhaps the largest domestic terrorism campaign in American history.

BOI career
Burns was considered well qualified to direct the Bureau of Investigation, and was friends with President Warren Harding's Attorney General Harry M. Daugherty. Burns was confirmed as Director of the Bureau of Investigation on August 22, 1921. He continued to run the Burns Detective Agency throughout his tenure as Director of the BOI. Under Burns, the Bureau shrank from its 1920 high of 1,127 personnel to 600 employees in 1923. Burns was responsible for hiring the first female special agents, Alaska P. Davidson in 1922 and Jessie B. Duckstein in 1923.

At the request of Attorney General Daugherty, Burns sent agents to investigate Montana Sen. Thomas J. Walsh for evidence of criminal wrongdoing. The investigation was actually a pretext for retaliation; the congressman had been instrumental in opposing oil leases granted by Secretary of the Interior Albert Fall, a friend of Daugherty and fellow cabinet member. Burns later refused to turn over Department of Justice documents to Congressional investigators, who in turn began investigating the BOI; Senate hearing revelations of BOI misdeeds were avidly covered in the press, and became known as the Daugherty-Burns scandal. Burns's BOI field agents made visits to the offices of newspapers around the country who had presented the BOI's actions in a negative light; their clumsy attempts to intimidate newspaper editors caused a backlash in public opinion and Congress. Burns was forced to resign in 1924 at the request of Attorney General Harlan Fiske Stone and on May 10, 1924, J. Edgar Hoover took over the position on a provisional basis.

Burns Detective Agency and Teapot Dome
In October 1924, the CPUSA's Daily Worker newspaper reported that Jacob Spolansky, recently resigned from the BOI, had joined the Burns Detective Agency, run by "Bill" Burns, "King of Dicks."

Burns also became indirectly involved in the Teapot Dome Scandal, involving the secret leasing of naval oil reserve lands to private companies. In November 1927, Harry F. Sinclair went on trial in federal court for conspiracy to defraud the US in the leasing of the Teapot Dome naval oil reserve. At the request of Sinclair oil executive Henry Mason Day, Burns secretly hired a squad of 14 men from the William J. Burns Detective Agency to "investigate" his jurors. Day arranged for their compensation and received their daily reports. Midway through the trial the government's investigators discovered Burns's agents, and a mistrial was immediately declared.

At a new hearing, Sinclair's defense was that he had had the jurors followed to protect them against federal influences and that in no case had the operatives made direct contact with the jurors. Sinclair was convicted on corruption charges and sentenced to six months in jail, Day to four months' imprisonment, William J. Burns to 15 days' imprisonment, and Burns's son, William Sherman Burns, was ordered to pay a $1,000 fine. The father immediately appealed, and the Supreme Court later reversed his conviction (Sinclair v. United States, 279 US 749 – Supreme Court 1929).

Later life and death
After his retirement from the Burns Detective Agency, Burns moved to Florida and for several years published detective and mystery stories based on his long career. He died of a heart attack in Sarasota, Florida, in April 1932.

Burns was portrayed by actor Paul Dooley in the television miniseries The Murder of Mary Phagan and by Gary Basaraba in the film Killers of the Flower Moon.

Writings

 * The masked war; the story of a peril that threatened the United States New York, George H. Doran Co. 1913
 * The Argyle case with Arthur Hornblow, Harriot Ford and Harvey O'Higgins New York, London, Harper, 1913
 * The crevice with Isabel Ostrander New York : Grosset & Dunlap, 1915

title: William J. Burns


text:
Sharp PC-1211

The Sharp PC-1211 is the first pocket computer ever released, marketed by Sharp Corporation in March 1980. The computer was powered by two 4-bit CPUs laid out in power-saving CMOS circuitry. One acted as the main CPU, the other dealt with the input/output and display interface. Users could write computer programs in BASIC.

A badge-engineered version of the PC-1211, the TRS-80 Pocket Computer (model PC-1), was marketed by Radio Shack in July 1980 as the first iteration of the TRS-80 Pocket Computer with just a marginally different look (outer plastic parts in black, not brown, gray display frame)

Technical specifications

 * 24 digit dot matrix LCD
 * Full QWERTY-style keyboard
 * Integrated beeper
 * Connector for printer and tape drive
 * Programmable in BASIC
 * Uses four MR44 $1.35 V$ Mercury button cells
 * Battery life in excess of 200 hours
 * 1424 program steps, 26 permanent variable locations (A-Z or A$-Z$) and 178 variables shared with program steps
 * Built out of off-the-shelf CMOS components, including SC43177/SC43178 processors at $256 kHz$ and three TC5514P $4 Kbit$ RAM modules

Accessories

 * CE-121 Cassette Interface
 * CE-122 Printer

TRS-80 Pocket Computer ("PC-1")
A badge-engineered version of the Sharp PC-1211 was marketed by Radio Shack as the original TRS-80 Pocket Computer. (This was later referred to as the "PC-1" to differentiate it from subsequent entries (PC-2 onwards) in the TRS-80 Pocket Computer line.)

Introduced in July 1980, the "PC-1" measured 175 × 70 × 15 mm and weighed 170 g, and had a one-line, 24-character alphanumeric LCD.

The TRS-80 Pocket Computer was programmable in BASIC, with a capacity of 1424 "program steps". This memory was shared with variable storage of up to 178 locations, in addition to the 26 fixed locations named A through Z. The implementation was based on Palo Alto Tiny BASIC.

Programs and data could be stored on a Compact Cassette through an optional external cassette tape interface unit. A printer/cassette interface was available, which used an ink ribbon on plain paper.

title: Sharp PC-1211


text:
Castor, Alberta

Castor is a town in Alberta, Canada. It is located at the intersection of Highway 12 and Highway 861, approximately 143 km east of the City of Red Deer. It has an elevation 816 m.

Castor is French (also Latin) for beaver. The town is known for its duck and geese migration in the fall since its territory includes many stopping points well frequented by migrating waterfowl.

History
Castor was incorporated on July 13, 1910.

Demographics
In the 2021 Census of Population conducted by Statistics Canada, the Town of Castor had a population of 803 living in 383 of its 426 total private dwellings, a change of NaN% from its 2016 population of 929. With a land area of 2.61 km2, it had a population density of in 2021.

In the 2016 Census of Population conducted by Statistics Canada, the Town of Castor recorded a population of 929 living in 419 of its 448 total private dwellings, a NaN% change from its 2011 population of 932. With a land area of 2.63 km2, it had a population density of in 2016.

Tourism
Castor's tourism peaks during the summer months. Each year Castor's lake-like creek that wraps around the north-east end of the town, is a large drawing point for visitors. This one of a kind creek is framed by sandstone cliffs, and a visit will usually be filled with numerous wildlife sightings. The creek is one of the best places on the Alberta prairies for Kayaking and paddle-boarding. Other creek activities include motor-boating and swimming. On dry years natural beaches form at the base of some of the cliffs, giving visitors opportunities to dock their kayaks, during parts of creek. In addition to the creek, the town hosts many museums, including the towns original hospital dating back to 1911, the Machine Shed Museum, the Pharmacy Museum housed in the towns original drug store, the Beaver School Museum, the historic All Saints Anglican Church, the Grain Elevator Historical Site, and the Train Station Museum.

Economy
The town's main industries are agriculture, mining and oil and gas services.

Infrastructure
Castor is home to the Our Lady of the Rosary Hospital.

Education
The Town of Castor has two schools, one Public named Gus Wetter School and one Catholic named Theresetta Catholic School. A source of humour for those familiar with Castor is the name of Gus Wetter's school men's sports teams: The Castor Raiders.

Media
The local newspaper is the Castor Advance covering news events occurring in Castor as well as neighbouring communities.

Literature
W. O. Mitchell was a teacher in Castor when he wrote Who Has Seen the Wind.

Notable people

 * Darcy Tucker, former professional hockey player

title: Castor, Alberta