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Donald Luskin

Donald Luskin (born April 1954) is Chief Investment Officer for Trend Macrolytics LLC, a consulting firm he founded in 2001, providing investment strategy and macroeconomics forecasting and research for institutional investors. Luskin contributes commentaries on the editorial page of the Wall Street Journal, and appears regularly on Fox Business. He was formerly a CNBC contributor, a contributing editor and columnist for National Review Online (NRO), and a columnist for TheStreet.com. His media commentaries and appearances touch on investing, economic and political matters.

Luskin has published three books, Index Options and Futures: The Complete Guide, Portfolio Insurance: A Guide to Dynamic Hedging and I Am John Galt: Today's Heroic Innovators Building the World and the Villainous Parasites Destroying It (co-author Andrew Greta).

Luskin also wrote a blog, "The Conspiracy to Keep You Poor and Stupid," based on the title of his as-yet unpublished book. The blog's tagline was: "How big government, big business, big media and big academia block your road to financial freedom—and tell you it's for your own good." Luskin is a self-avowed libertarian, and his blog linked to other financial and political blogs espousing similar beliefs.

Biography and achievements
On his former blog, Luskin stated he "attended Yale in 1973–1974; dropped out to rejoin the real world as soon as possible."

After dropping out of college, Luskin worked for several years as a creative consultant to Los Angeles companies such as Mattel and Teledyne, and motion picture studios LucasFilm and Warner Brothers, where he worked on iconic films such as Stanley Kubrick's The Shining and Ken Russell's Altered States. He and two colleagues developed a series of all-night treasure-hunts, one of which was adapted into the Walt Disney motion picture Midnight Madness.

Luskin's investment career began in 1979, when he started a hedge fund while an options market maker on the Pacific Stock Exchange. As his fund grew and evolved, he became a market maker on the Chicago Board Options Exchange (where he helped pioneer index options trading, executing the very first OEX contract) and the New York Stock Exchange, where he traded the first option contract in the NYSE's history.

In 1984 Luskin joined Jefferies & Co., a brokerage firm. There as senior vice president, he invented POSIT, a crossing network enabling institutional investors to exchange entire portfolios with each other. POSIT was later spun out of Jefferies as a separate publicly traded company, Investment Technology Group.

In 1987 Luskin joined Wells Fargo Investment Advisors, a division of Wells Fargo Bank, as senior vice president in charge of investment management and trading. He became vice chairman when the firm merged with Nikko Securities in 1989, becoming Wells Fargo Nikko Investment Advisors. When the firm was acquired by Barclays Bank in 1995 and became Barclays Global Investors, Luskin became chief executive officer of the firm's global business in mutual funds. The firm was subsequently acquired by BlackRock. Over Luskin's eleven years with the firm, assets under management grew from $69 billion to over $500 billion. Luskin was responsible for numerous innovations in index funds and quantitative investing—including the development of domestic and international quant-active funds, every one of which outperformed its benchmark over Luskin's tenure. Luskin developed the iShares ETF family and created the LifePath funds, the first target-date mutual funds, for which he is the named inventor on a US patent.

In August 1999, during the tech bubble, Luskin and partner Dave Nadig started the MetaMarkets Open Fund, the first mutual fund to publish trades and list its holdings in real-time via its website. This "transparency" and "openness," Luskin and Nadig said, was a step forward in the financial world, equivalent to the political revolutions and international democratic transformations of the 1990s, because it leveled the playing field for the average investor and overthrew "financial elites." MetaMarkets.com, the venture-backed company that Luskin and Nadig founded to operate OpenFund, was funded primarily by the venture arm of global luxury goods firm LVMH. It was hailed by Fortune magazine as one of the "coolest companies" in America in 2000. Their model was dismissed by some analysts as being a "gimmick," having nothing to do with investing per se: "They brought chat boards to life in a mutual fund." At its peak, OpenFund received $45 million in investments, and the fund's biggest positions included companies like JDS Uniphase and Extreme Networks. At the end of 1999, OpenFund was among a handful of the best-performing mutual funds in America. After the market top in March 2000, the valuations of technology companies collapsed and many OpenFund investors redeemed their shares. The fund was shut down in the summer of 2001, after losing much of its investors' money. Published reports note that the open fund lost over half its value.

Predictions
Over the years, some of his predictions have drawn controversy. In May 2001, when he was a columnist for the financial website theStreet.com, he predicted a new bull market in gold and gold stocks, for which he drew intense criticism from fellow columnists including Jim Cramer. Shortly thereafter, Luskin's escalating public dispute with Cramer led to his resignation from theStreet.com via real-time postings on the site's discussion boards that became a cause célèbre on the web.

Luskin's predictions courted controversy again in 2008 when, in a September The Washington Post opinion piece, he cited evidence of what he claimed were factual errors made by Barack Obama and members of his presidential campaign concerning the state of the economy. Luskin claimed that the market was healthy, and Obama was simply using the state of the economy to discredit John McCain. However, the following day, Lehman Brothers filed for the biggest bankruptcy in US history and two days later, on September 16, stock markets imploded, thus discrediting every prediction he made in his editorial. Additionally, in the same editorial, he cited evidence that the economy was weak, but not in recession. He wrote, "…anyone who says we're in a recession, or heading into one—especially the worst one since the Great Depression—is making up his own private definition of recession." Shortly afterward, following the sudden collapse of Lehman and several other large financial firms, the economy sharply worsened, and was subsequently declared to have been in recession all year by the National Bureau of Economic Research. Foreign Policy included Luskin's prediction in its list of "The 10 Worst Predictions for 2008" on its website and noted that it gave additional opportunities for liberal bloggers to criticize Luskin. The editors of The Yale Book of Quotations also made note of the inopportune timing of Luskin's editorial and included his prediction in their list of "Top ten quotes of 2008". He has been singled out for "some of the worst, money losing commentary of the past few years."

He has been frequently referred to by Brad DeLong as "the Stupidest Man Alive" for, among other things, his continued support for literal interpretations of the Laffer Curve.

Conflicts with Paul Krugman
Luskin has been controversial as a public intellectual. Much of his blog and many of his NRO columns were devoted to arguments that economic facts, figures, and trends are distorted by politicians, pundits and the media. He has a particular animosity towards The New York Times, especially columnist and Nobel laureate Paul Krugman, whose economic pronouncements he endeavored to debunk. Luskin was de facto leader of what he called the "Krugman Truth Squad," an ad hoc group of bloggers dedicated to detailing and rebutting what they consider Krugman's lies and distortions.

According to Daniel Okrent, former Public Editor of the Times, "Luskin serves as Javert to Krugman's Jean Valjean. From a perch on National Review Online, he regularly assaults Krugman's logic, his politics, his economic theories, his character and his accuracy." Luskin claims that his work has resulted in corrections from Krugman and "the imposition of a new and more rigorous corrections policy for the entire Times editorial page."

Krugman occasionally responded directly to Luskin's criticisms. In one instance Luskin accused Krugman of making an error in his appraisal of the costs and effects of the 2003 tax cuts. Krugman responded with a series of postings on his website. In one such posting, apparently referring to the persistence of Luskin's criticisms, Krugman humorously referred to Luskin as his "stalker-in-chief". Later, after Luskin appeared at a Krugman book signing, Krugman said of Luskin on the Fox News television program Hannity and Colmes, "That's a guy, that's a guy who actually stalks me on the web, and once stalked me personally". The animosity between Luskin and Krugman became so intense it became the subject of a story in The New Yorker with extensive remarks from both men. Krugman's characterization of Luskin as a stalker was repeated by blogger Atrios (Duncan Black) prompting a threat of legal action from lawyers representing Luskin.

title: Donald Luskin


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Spoonman

"Spoonman" is a song by the American band Soundgarden. Written by the band's frontman, Chris Cornell, "Spoonman" was released on February 14, 1994, as the first single from the band's fourth studio album Superunknown (1994). "Spoonman" is credited as one of the songs that launched Soundgarden's career into the mainstream. The song peaked at number three on the Billboard Album Rock Tracks chart and number nine on the Modern Rock Tracks chart. A remixed version of the song by Steve Fisk appears on the "Black Hole Sun" and "My Wave" singles. The song was included on Soundgarden's 1997 greatest hits album A-Sides and the 2010 compilation album Telephantasm.

Origin and recording
"Spoonman" was originally written for the soundtrack to the 1992 film Singles. At that time, Soundgarden, along with Pearl Jam, were working on the soundtrack for the film. Pearl Jam's bass guitarist, Jeff Ament, had been put in charge of creating the name for a fictional band that would appear in the film. Before finally choosing Citizen Dick for its name, Ament had compiled a list of potential names, which included the name "Spoonman". The name was inspired by Artis the Spoonman, a street performer from Santa Cruz, California, and later Seattle, Washington, who plays music with a set of spoons. Soundgarden's vocalist and songwriter, Chris Cornell, eventually used the names on the list to create songs for the film. "Spoonman" was among these, and an acoustic version was created from it. This early version of the song is played during a scene in the film in which a poster advertising a Citizen Dick show is stapled to a lightpost.

Rather than just leave the song on the film's soundtrack, Soundgarden began working on an electric version of "Spoonman". The song's inspiration, Artis the Spoonman, played a prominent role in the song. The final version of the song featured Artis the Spoonman playing his spoons as part of the song's bridge. Drummer Matt Cameron also plays pots and pans on the song and bass guitarist, Ben Shepherd, performs backing vocals.

Composition
"Spoonman" was performed in drop D tuning.The main riff was written in septuple meter, in time. The chorus is and part of the spoon solo is in. The guitarist, Kim Thayil, has said that Soundgarden usually did not consider the time signature of a song until after the band had written it and said that the use of odd meters was "a total accident".

Lyrics
Cornell on "Spoonman": It's more about the paradox of who [Artis] is and what people perceive him as. He's a street musician, but when he's playing on the street, he is given a value and judged completely wrong by someone else. They think he's a street person, or he's doing this because he can't hold down a regular job. They put him a few pegs down on the social ladder because of how they perceive someone who dresses differently. The lyrics express the sentiment that I much more easily identify with someone like Artis than I would watch him play.

Release and reception
The band played "Spoonman" while on its 1993 tour with Neil Young. With hype building around the band's upcoming album Superunknown, Soundgarden released the single in 1994, a month before the album's release, with a previously unreleased B-side titled "Exit Stonehenge". On the choice of "Spoonman" as the album's first single, Shepherd called it a "great first choice", adding that "it just jumps out at you instantly". Shepherd said, "You know how you listen to a record and there is one song that literally seems to leap out of the speakers—well, 'Spoonman' did that to me." Shortly after the single's release, the song became widely popular, reaching high positions on rock charts. The song peaked at number three on the Billboard Mainstream Rock Tracks chart and number nine on the Billboard Modern Rock Tracks chart. At the 1995 Grammy Awards, "Spoonman" received the award for Best Metal Performance.

Outside the United States, the single was released commercially in Australia, Canada, Germany and the United Kingdom. In Canada, the song reached number 12 on the Canadian singles chart, reached the UK Top 20, peaked at number 23 on the Australian Singles Chart, reached the top 30 in Ireland and the top ten in New Zealand.

In 2017, Billboard ranked the song number 12 on its list of the 15 greatest Soundgarden songs, and, in 2021, Kerrang ranked the song number five on its list of the 20 greatest Soundgarden songs.

"Spoonman" appears in the 2001 video game ATV Offroad Fury for the PlayStation 2. The song is also used in the 2008 video games Battle of the Bands, Rock Band 2, and as a cover in Rock Revolution. The following year, the song appeared on the soundtrack of the PSP game Rock Band Unplugged, which included a number of tracks from Rock Band 2. Despite the inclusion on the Unplugged track list, Spoonman did not export from Rock Band 2 to Rock Band 3 because of licensing conflicts. It appeared again on the track list of the 2012 downloadable game Rock Band Blitz and became playable in Rock Band 3 as part of the Blitz song pack. The song is also available as downloadable content for Guitar Hero: Warriors of Rock as part of the Telephantasm album pack and for Fantasia: Music Evolved.

Music video
The music video for "Spoonman" was directed by Jeffrey Plansker (under the alias "John Smithey"). The video features Artis prominently, making him the focus of the video instead of the band, who are shown only in black-and-white still photographs. The video was released in February 1994.

In an interview with Hit Parader magazine in 1994, Chris Cornell said about the music video: "I think we were fairly smart with 'Spoonman' in that you really don't see us that much in the video. You see various pictures of us, but it's not quite the same as having us in your living room all the time. We're trying to maintain some degree of mystique about Soundgarden, I guess. I remember back when I was a kid, long before MTV, and the only way to see my favorite bands was to go to their concerts. It was an incredible experience. MTV has helped a lot of bands, but they've also helped rob a lot of groups of that special mystique. It's tough when you can see a great rock band on TV one second, then hit the clicker and be watching a soap opera or a sitcom the next. That's what rock and roll has become for some people."

Track listings
All songs were written by Chris Cornell, except where noted.

CD (Europe) and 12-inch vinyl (Europe)
 * 1) "Spoonman" – 4:06
 * 2) "Fresh Tendrils" (Matt Cameron, Cornell) – 4:16
 * 3) "Cold Bitch" – 5:01
 * 4) "Exit Stonehenge" (Cameron, Cornell, Ben Shepherd, Kim Thayil) – 1:19

Cassette (UK) and 7-inch vinyl (UK)
 * 1) "Spoonman" – 4:06
 * 2) "Fresh Tendrils" (Cameron, Cornell) – 4:16

CD (Germany)
 * 1) "Spoonman" (edit) – 3:51
 * 2) "Cold Bitch" – 5:11
 * 3) "Exit Stonehenge" (Cameron, Cornell, Shepherd, Thayil) – 1:19

CD (Australia and Canada)
 * 1) "Spoonman" – 4:06
 * 2) "Cold Bitch" – 5:01

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

title: Spoonman


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Brent Catchpole

Brent Catchpole is a New Zealand politician. He is a member of New Zealand First and served as president of the party.

Professional life
Before entering politics, Catchpole worked first as an accountant and then as a marketing director for a tourism company. He now works as a political lobbying consultant. In 2015 he was elected party president of New Zealand First.

Member of Parliament
He was elected to Parliament as a list MP in the 2002 election, but lost his seat in the 2005 election. He was his party's spokesperson on Communications & IT, Environment, Biosecurity, Internal Affairs, and Tourism portfolios.

Local body politics
In 2007 he was elected to the Papakura District Council in the Ardmore ward. He had also contested the Papakura mayoralty that year, but placed third behind Calum Penrose, who was successful, and the incumbent John Robertson.

In the 2010 local body elections, he stood for the Papakura Local Board and the Counties Manukau District Health Board. He was successful with the local board, but unsuccessful with the District Health Board.

Catchpole was re-elected to the Papakura Local Board at the 2016 Auckland elections and again at the 2019 Auckland elections.

title: Brent Catchpole


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Darling Downs

The Darling Downs is a farming region on the western slopes of the Great Dividing Range in southern Queensland, Australia. The Downs are to the west of South East Queensland and are one of the major regions of Queensland. The name was generally applied to an area approximating to that of the Condamine River catchment upstream of Condamine township but is now applied to a wider region comprising the Southern Downs, Western Downs, Toowoomba and Goondiwindi local authority areas. The name Darling Downs was given in 1827 by Allan Cunningham, the first European explorer to reach the area and recognises the then Governor of New South Wales, Ralph Darling.

The region has developed a strong and diverse agricultural industry largely due to the extensive areas of vertosols (cracking clay soils), particularly black vertosols, of moderate to high fertility and available water capacity. Manufacturing and mining, particularly coal mining are also important, and coal seam gas extraction experienced significant growth in the decade up to 2016.

The landscape is dominated by rolling hills covered by pastures of many different species, vegetables, legumes such as soy beans and chick peas, and other crops including cotton, wheat, barley and sorghum. Between the farmlands there are long stretches of crisscrossing roads, bushy ridges, winding creeks and herds of cattle. There are farms with beef and dairy cattle, pigs, sheep and lamb stock. Other typical sights include irrigation systems, windmills serving as water well pumps to get water from the Great Artesian Basin, light planes crop-dusting, rusty old woolsheds and other scattered remnants from a bygone era of early exploration and settlement.

The region is recognised as a cultural icon on the list of Queensland's Q150 icons.

Geography

The largest city and commercial centre of the Darling Downs is Toowoomba about 132 km west of Brisbane. Other towns situated on what is now called The Downs include Dalby, Warwick, Stanthorpe, Wallangarra, Goondiwindi, Oakey, Miles, Pittsworth, Allora, Clifton, Cecil Plains, Drayton, Millmerran, Nobby, and Chinchilla. The New England Highway, Gore Highway and the Warrego Highway traverse the region. The Toowoomba Second Range Crossing has been constructed so that heavy traffic can avoid passing through Toowoomba. Coolmunda Dam, Leslie Dam, Cooby Dam, Perseverance Dam, Cressbrook Dam, Storm King Dam and the Glenlyon Dam are some of the major water storage facilities in the area. West of Toowoomba is the Toowoomba Wellcamp Airport. The Darling Down is situated in the drainage basins of the Condamine River and Maranoa River and tributaries. The Condamine River flood plain is noted for its good soils formed by basaltic alluvium. On the northern boundaries of the Downs are the Bunya Mountains and the Bunya Mountains National Park. The region to the north is the South Burnett and the Maranoa lies to the west. A section of the western downs lies over coal deposits of the Surat Basin. Towards the coast, the mountains of the Scenic Rim form the headwaters of the westward flowing Condamine.

Climate
The majority of the Darling Downs has a humid subtropical climate although some areas experience a semi-arid or subtropical highland climate. Summer maximum temperatures range from 28 to 34 C, while winter maximums range from 13 to 19 C. The annual rainfall ranges from 600 mm in the far west of the region, to 1000 mm in the east. In the south-east of the Darling Downs winter temperatures can drop below -5 C with heavy frost and occasional snow, while in the north-west summer temperatures can surpass 45 C. Severe thunderstorms and damaging floods are a threat at times, as are bushfires in dry years.

Southern Downs
Part of the Darling Downs, which includes the towns of Allora, Clifton, Warwick, Killarney and the rocky district in the south known as the Granite Belt, is known as the Southern Downs. The phrase is also used to define political boundaries and in the promotion of tourism in the area. The Dumaresq and the MacIntyre are found in this part of the region. (This is different to the IBRA subregion also known as The Southern Downs Interim Biogeographic Regionalisation for Australia, which is further west, around the towns of Roma, Mitchell and Injune).

History
Baranggum (also known as Barrunggam, Barunggam Parrungoom, Murrumgama) is an Australian Aboriginal language spoken by the Baranggum people. The Baranggum language region includes the landscape within the local government boundaries of the Western Downs Regional Council, particularly Dalby, Tara, Jandowae and west towards Chinchilla.

Originally, the Darling Downs was covered with a wealth of indigenous grasses which created an ideal verdure for stock eight months of the year. The Darling Downs Aboriginals had an annual burning season at the time when the indigenous grasses were ripe and dry. The annual fires gave the local Aboriginals of the Darling Downs the name "Goonneeburra" or "Fire Blacks" – "goonnee" being a name for fire and "burra" a generic word for the whole race. This is what the Downs tribes were known as to the coastal Aborigines who inhabited the Moreton Bay area. Murri is a wider-spread generic word meaning the whole race but in the Kamabroi dialect. The Downs tribes spoke one common dialect, called Waccah and so to all other surrounding tribes were known as the Wacca-burra. The Goonnee-burra were once situated where Warwick stands today. Goonnee meant "the ones who hunt with fire".

Allan Cunningham set out to explore the area to the west of Moreton Bay in 1827, crossing to the west of the Great Dividing Range from the Hunter Region and travelling north. In June 1827, Cunningham climbed to the top of Mount Dumaresque (near what is now Clintonvale close to Maryvale) and after wrote in his diary that this lush area was ideal for settlement. Exploring around Mount Dumaresque, Cunningham found a pass, now known as Cunninghams Gap. Cunningham returned to Moreton Bay in 1828 and with Charles Fraser charted the route through the pass to the Darling Downs. Ludwig Leichhardt in 1844 saw the remains of a camp showing the signs of white men through ridge poles and steel axes.

News of the lush pastures quickly spread resulting in a land grab that authorities in the distant New South Wales colony found difficult to stop. Patrick Leslie was the first European person to settle on the Darling Downs in 1840, establishing a sheep property at Canning Downs on the Condamine River in 1846. Other well-established residences on the southern downs include Glengallan Homestead, Talgai Homestead, Pringle Cottage and Rosenthal Homestead. One of the first stations to be established was Jimbour House. It was also the point where Leichhardt launched his expedition to the Northern Territory in 1844.

By 1844 there 26 properties including a number of sheep stations with more than 150,000 head. Local aboriginals and European squatters co-settled the area from the late 1840s onwards. Darling Downs then became known as the 'jewel in the diadem of squatterdom' with an elite 'pure merino' class living in comfortable houses.

In 1854, Charles Douglas Eastaughffe settled in the area. Spicers Gap Road opened up the area in the 1850s. Later the expansion of Queensland Rail's train networks and Cobb and Co's stagecoach transport greatly assisted access to the region. Gold was found in the district around this time, however it was agricultural activity that provided for the boom times ahead.

The 1891 Australian shearers' strike started at Jondaryan. The Darling Downs experienced a water crisis as the Condamine River dried up during the severe drought of 1994/1995.

During the early 20th century dairy was a significant industry for Queensland. The 1930s saw the peaking of the dairy industry on the Downs with 6,500 farms and over 200,000 milking cows. The Downs Co-operative Dairy Association expanded, constructed or purchased at least 10 butter and cheese factories across the Darling Downs. The Downs Co-operative Dairy Association Limited Factory in Toowoomba closed in 2006.

In 2010, the population of the Darling Downs was estimated to be 241,537 people.

In 2022, the Wieambilla police shootings took place, marking the first fundamentalist Christian terrorist attack in Australia.

Industry
The Queensland Gas Pipeline oil pipeline and the Roma to Brisbane Pipeline, Australia's first natural gas pipeline both cross the region from west to east. There are three coal mines, New Acland Mine, Kogan Creek Mine and Cameby Downs coal mine and a number of power stations situated on the Downs, including the Millmerran Power Station, Oakey Power Station, Darling Downs Power Station and the Kogan Creek Power Station. Tarong Power Station is building the state's largest grid battery storage project. The Dingo Fence starts at the town of Jimbour across the country to the Great Australian Bight. Mining exploration leases cover more than 90% of the Darling Downs. The western Downs has seen a massive installation of coal seam gas wells.

After agriculture and mining and manufacturing are the next most important sectors. Manufacturing focuses on food and beverages but also the production of machinery, equipment and metal products.

Agriculture
The region produces around one quarter of the state's agricultural output. Water for irrigation is mostly sourced from groundwater from alluvial aquifers. Water is also extracted from streams, off-stream reservoirs and on-farm dams. The lower temperatures of the milder summers in the Stanthorpe and Killarney regions allows farmers to grow lettuce, celery, brassicas and potato.

The Darling Downs contains the largest deposit of rich black agricultural soils in Australia. A commonly grown grass species Panicum coloratum, also known as Bambatsi, is well-suited for pastures used for grazing because it is suitable to the heavy-cracking clay soils found in the area. The eastern Downs feature a wide range of soil types.

Brothers Friedrich Wilhelm Ernst Ziesemer and Theodor Martin Peter Ziesemer were significant pioneers of large scale wheat farming on the Darling Downs.

Meat
The area is home to Australia's largest concentration of feedlots. In 2010, two abattoirs at Pittsworth and Killarney owned by Dudley Leitch were closed. Several other plants in the area were also closed leaving the remaining meat processor at Yangan in high demand. By late 2012, the industry was recovering with smaller processing facilities at Crows Nest and Inglewood opening. In 2014, the Oakey Abattoir which is the fourth largest meat processing plant in Australia, launched an environmental initiative to extract green energy biogas from its waste water streams. It was the first ever use of a covered lagoon to treat effluent.

Wine
In the Southern Downs region surrounding Stanthorpe in an area called the Granite Belt there are now over sixty cellar doors, wineries, and vineyards. The industry first began as a table grape growing region that by the mid-1960s was starting to plant wine grape cultivars. This region has a subtropical highland climate atypical to the rest of Queensland due to its elevation. Altitudes from 680 m to over 1200 m above sea level make it ideally suited to premium wine production.

Attractions
The region is popular with tourists because of its many natural and heritage attractions, including the Goomburra State Forest, Cunninghams Gap, Spicers Gap and the Queen Mary Falls near Killarney in the Main Range National Park. Lake Broadwater is the only natural lake on the tablelands.

The town of Jandowae gained fame after offering vacant blocks of land for just $1. This was done to encourage residents to settle in the small town which had less than 1,000 people in 2001.

The Cobb & Co Museum has displays of horse-drawn vehicles and material on the history of the Darling Downs. The Jondaryan Woolshed is a heritage-listed shearing shed situated at a site where a tourist operator has collected numerous related structures. The region has also a small zoo, Darling Downs Zoo near Clifton.

The region has uncovered important megafauna fossil finds. The rich discoveries have lent weight to the theory that humans were not a factor in the extinction of the ancient megafauna species. Many of the fossils in the region date to the Pleistocene and include species such as Diprotodon optatum, the largest-ever marsupial. In 2021, examination of a partial skull revealed a site on the Darling Downs was the location for a new species of Tomistominae crocodile, representing the largest extinct crocodile species ever discovered in Australia.

The Darling Downs Golf Association has 21 affiliated golf clubs on the Darling Downs.

Environment
Before European settlement many areas on the Darling Downs were fertile wilderness. For example, around Ma Ma Creek, rich swampy wetlands provided a haven for many animal species not currently found on the downs. The Darling Downs hopping mouse and paradise parrot have both become extinct since cattle farming began.

The New Acland Mine expansion, north of Oakey, has been delayed by the largest environmental public interest court cases in Australian history.

Awards
In 2009 as part of the Q150 celebrations, the Darling Downs was announced as one of the Q150 Icons of Queensland for its role as a "location".

In fiction
Steele Rudd (Arthur Davis) wrote a series of comic novels on rural life, starting with On Our Selection (1899), about Dad, Mother and Dave Rudd of Snake Gully. The Rudds had four (or six) acres adjoining a sheep run in the Darling Downs. The stories were made into films and a radio series.

title: Darling Downs


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Keenan Wynn

Francis Xavier Aloysius James Jeremiah Keenan Wynn (July 27, 1916 – October 14, 1986) was an American character actor. His expressive face was his stock-in-trade; and though he rarely carried the lead role, he had prominent billing in most of his film and television roles.

Early life
Wynn was born on July 27, 1916, in New York City, the son of vaudeville comedian Ed Wynn and his wife, the former Hilda Keenan. He took his stage name from his maternal grandfather, Frank Keenan, one of the first Broadway actors to star in Hollywood. His father was Jewish and his mother was of Irish Catholic background. Ed Wynn encouraged his son to become an actor, and to join The Lambs Club, which he did in 1937.

Theatre and radio
Wynn began his career as a stage actor. He appeared in several plays on Broadway, including Remember the Day (1935), Black Widow (1936), Hitch Your Wagon (1937), The Star Wagon (1938), One for the Money (1939), Two for the Show (1940), and The More the Merrier (1941).

Wynn starred in the radio show The Amazing Mr. Smith on Mutual Broadcasting System April 7 – June 30, 1941. He played the title role, "a carefree young man who runs into trouble galore and becomes an involuntary detective".

Film and television
Wynn appeared in hundreds of films and television series between 1934 and 1986. He was a Metro-Goldwyn-Mayer contract player during the 1940s and 1950s. He had a brief role as a belligerent, unsympathetic drunk in the wartime romance The Clock (1945). Arguably his most dynamic performance was a small role in The Hucksters (1948) with Clark Gable. His early postwar credits include The Three Musketeers (1948), playing D'Artagnan's servant; Annie Get Your Gun (1950); Royal Wedding (1951); Kiss Me, Kate (1953); The Man in the Gray Flannel Suit (1956); The Absent-Minded Professor (1961); The Americanization of Emily (1964) and Dr. Strangelove (1964).

The Wynns, father and son, both appeared in the original 1956 Playhouse 90 television production of Rod Serling's Requiem for a Heavyweight. The son was returning the favor: according to radio historian Elizabeth McLeod, Keenan had helped his father overcome professional collapse, a harrowing divorce, and a nervous breakdown to return to work a decade earlier, and now helped convince Serling and producer Martin Manulis that the elder Wynn should play the wistful trainer. Both he and his father also appeared in a subsequent TV drama called The Man in the Funny Suit (1960), which detailed the problems they had experienced while working on that series. In it, the Wynns, Serling, and many of the cast and crew played themselves. Keenan also featured in another Rod Serling production, a Twilight Zone episode entitled, "A World of His Own" (1960) as playwright Gregory West, who uniquely caused series creator Rod Serling to disappear.

On January 18, 1959, Wynn starred in S. J. Perelman's Hollywood satire, "Malice in Wonderland", broadcast on NBC's prestigious Sunday afternoon anthology series Omnibus.

Wynn took a dramatic turn as Yost in the crime drama Point Blank (1967) with Lee Marvin. He had a leading role in the third Beach Party movie, Bikini Beach (1964) as a scheming newspaper publisher who wants to banish the local young people. Later he played Hezakiah in the comedy film The Great Race (1965). He was the voice of the Winter Warlock in Santa Claus Is Comin' to Town (1970) and appeared in several Disney films, including Snowball Express (1972), Herbie Rides Again (1974) and The Shaggy D.A. (1976) (as a villain who learns Wilbur Daniels's secret and uses it against him). He appeared as villainous businessman Alonzo Hawk in three Disney films – The Absent-Minded Professor, Son of Flubber, and Herbie Rides Again.

He appeared in Francis Ford Coppola's musical Finian's Rainbow (1968), Sergio Leone's epic western Once Upon a Time in the West (also 1968), and Robert Altman's Nashville (1975). During this time, his guest television roles included Alias Smith and Jones (1971–1972), Emergency! (1975), Movin' On (1975) and The Bionic Woman (1978). Wynn appeared in ten episodes of TV's Dallas during the 1979–1980 season, playing the role of former Ewing family partner-turned-enemy Digger Barnes. David Wayne, a friend of Wynn's, had played Digger Barnes in 1978 but was unable to continue with the role because of his co-starring role on the CBS series, House Calls, starring Wayne Rogers.

Wynn was initially cast in Superman (1978) to play Perry White (the boss of Clark Kent and Lois Lane at the Daily Planet) in April 1977. By June (production had moved to Pinewood Studios in England), Wynn collapsed from exhaustion and was rushed to a hospital. He was replaced by Jackie Cooper.

He played Charles Picker Dobbs on a 1982 episode of The Love Boat. In 1983, he guest-starred in one of the last episodes of Taxi and Quincy, M.E. In 1984, he starred in the television film Call to Glory, which later became a weekly television series.

Personal life and last years
Wynn was married to former stage actress Eve Lynn Abbott (1914–2004) until their divorce in 1947, whereupon Abbott married actor Van Johnson, one of the couple's closest friends. Abbott contended her marriage to Wynn was a happy one, but that her divorce and remarriage were engineered by MGM studio boss Louis B. Mayer, who refused to renew Wynn's contract unless Abbott divorced him and married Johnson, who was the subject of rumors that he was homosexual. One son, actor and writer Ned Wynn (born Edmond Keenan Wynn), wrote the autobiographical memoir We Will Always Live In Beverly Hills. His other son, Tracy Keenan Wynn, is a screenwriter whose credits include The Longest Yard and The Autobiography of Miss Jane Pittman (both 1974). His daughter Hilda was married to Paul Williams. He was an uncle by marriage to the Hudson Brothers. His granddaughter is actress Jessica Keenan Wynn.

In his later years, Wynn undertook a number of philanthropic endeavors and supported several charity groups. He was a long-standing active member of the Westwood Sertoma service club, in West Los Angeles.

Death
During his last years, Wynn suffered from pancreatic cancer, which caused his death on October 14, 1986. His ashes are interred in Glendale's Forest Lawn Memorial Park in The Great Mausoleum, Daffodil Corridor, Columbarium of the Dawn, in a niche alongside his father Ed Wynn, his daughter Emily (February 13, 1960 – November 27, 1980), who died from lupus, and his aunt.

Film

 * Somewhere I'll Find You (1942) as Sergeant Tom Purdy (uncredited)
 * The War Against Mrs. Hadley (1942) as Voice of Radio Announcer (uncredited)
 * For Me and My Gal (1942) as Eddie Milton (uncredited)
 * Northwest Rangers (1942) as 'Slip' O'Mara
 * Lost Angel (1943) as Packy Roost
 * See Here, Private Hargrove (1944) as Private Mulvehill
 * Since You Went Away (1944) as Lieutenant Solomon
 * Marriage Is a Private Affair (1944) as Major Bob Wilton
 * Without Love (1945) as Quentin Ladd
 * The Clock (1945) as The Drunk
 * Between Two Women (1945) as Tobey
 * Ziegfeld Follies (1945) as Caller ('Number Please')
 * Week-End at the Waldorf (1945) as Oliver Webson
 * What Next, Corporal Hargrove? (1945) as Private Thomas Mulvehill
 * Easy to Wed (1946) as Warren Haggerty
 * The Thrill of Brazil (1946) as Steve Farraugh
 * No Leave, No Love (1946) as Slinky
 * The Cockeyed Miracle (1946) as Ben Griggs
 * The Hucksters (1947) as Buddy Hare
 * Song of the Thin Man (1947) as Clarence 'Clinker' Krause
 * B.F.'s Daughter (1948) as Martin Delwyn Ainsley
 * The Three Musketeers (1948) as Planchet
 * My Dear Secretary (1948) as Ronnie Hastings
 * Neptune's Daughter (1949) as Joe Backett
 * That Midnight Kiss (1949) as Artie Geoffrey Glenson
 * Annie Get Your Gun (1950) as Charlie Davenport
 * Love That Brute (1950) as Bugsy Welch
 * Three Little Words (1950) as Charlie Kope
 * Royal Wedding (1951) as Irving Klinger / Edgar Klinger
 * Kind Lady (1951) as Edwards' Butler
 * Texas Carnival (1951) as Dan Sabinas
 * Angels in the Outfield (1951) as Fred Bayles
 * It's a Big Country (1951) as Michael Fisher
 * Phone Call from a Stranger (1952) as Eddie Hoke
 * The Belle of New York (1952) as Max Ferris
 * Skirts Ahoy! (1952) as Himself (uncredited)
 * Holiday for Sinners (1952) as Joe Piavi
 * Fearless Fagan (1952) as Sergeant Kellwin – Company J
 * Desperate Search (1952) as Brandy
 * Sky Full of Moon (1952) as Al
 * Battle Circus (1953) as Sergeant Orvil Statt
 * Code Two (1953) as Police Sergeant Jumbo Culdane
 * Kiss Me Kate (1953) as Lippy
 * All the Brothers Were Valiant (1953) as Silva
 * The Long, Long Trailer (1954) as Policeman
 * Tennessee Champ (1954) as Willy Wurble
 * Men of the Fighting Lady (1954) as Lieutenant Commander Ted Dodson
 * The Glass Slipper (1955) as Kovin
 * The Marauders (1955) as Hook
 * Running Wild (1955) as Ken Osanger
 * Shack Out on 101 (1955) as George
 * The Man in the Gray Flannel Suit (1956) as Sergeant Caesar Gardella
 * The Naked Hills (1956) as Sam Wilkins
 * Johnny Concho (1956) as Barney Clark
 * The Great Man (1956) as Sid Moore
 * Joe Butterfly (1957) as Harold Hathaway
 * The Fuzzy Pink Nightgown (1957) as Dandy
 * Don't Go Near the Water (1957) as Gordon Ripwell
 * The Deep Six (1958) as Lieutenant Commander Mike Edge
 * Touch of Evil (1958) as Bartender (uncredited)
 * A Time to Love and a Time to Die (1958) as Reuter
 * The Perfect Furlough (1958) as Harvey Franklin
 * That Kind of Woman (1959) as Harry Corwin
 * A Hole in the Head (1959) as Jerry Marks
 * The Crowded Sky (1960) as Nick Hyland
 * The Absent-Minded Professor (1961) as Alonzo P. Hawk
 * The Joke and the Valley (1961, TV Movie) as Lambert Giles
 * The Big Bankroll (1961) as Tom Fowler
 * Il re di Poggioreale (Black City) (1961) as Di Gennaro
 * The Power and the Glory (1961, TV Movie) as Wine Merchant
 * Son of Flubber (1963) as Alonzo P. Hawk
 * The Bay of St Michel (1963) as Nick Rawlings
 * Man in the Middle (1964) as Lieutenant Charles Winston
 * Dr. Strangelove (1964) as Colonel Bat Guano
 * Honeymoon Hotel (1964) as Mr. Sampson
 * Stage to Thunder Rock (1964) as Ross Sawyer
 * The Patsy (1964) as Harry Silver
 * Bikini Beach (1964) as Harvey Huntington Honeywagon
 * The Americanization of Emily (1964) as Old Sailor
 * Nightmare in the Sun (1965) as Junk Dealer
 * The Great Race (1965) as Hezekiah Sturdy
 * Promise Her Anything (1966) as Angelo Carelli
 * The Night of the Grizzly (1966) as Jed Curry
 * Stagecoach (1966) as Luke Plummer
 * Around the World Under the Sea (1966) as Hank Stahl
 * Warning Shot (1967) as Sergeant Ed Musso
 * Welcome to Hard Times (1967) as Zar
 * The War Wagon (1967) as Wes Fletcher
 * Point Blank (1967) as Yost
 * Run Like a Thief (1967) as Willy Gore
 * Frame Up (1968) as Inspector Donald
 * The Longest Hunt (1968) as Major Charlie Doneghan
 * Finian's Rainbow (1968) as Senator Billboard Rawkins
 * Once Upon a Time in the West (1968) as Sheriff, Auctioneer
 * The Magic Pear Tree (1968, Short) as Marquis (voice)
 * Mackenna's Gold (1969) as Sanchez
 * Smith! (1969) as Vince Heber
 * The Monitors (1969) as The General
 * 80 Steps to Jonah (1969) as Barney Glover
 * Viva Max! (1969) as General Lacomber
 * House on Greenapple Road (1970, TV Movie) as Sergeant Charles Wilentz
 * Loving (1970) as Edward
 * Five Savage Men (1970) as Pudge Elliott
 * Santa Claus Is Comin' to Town (1970, TV Movie) as The Winter Warlock (voice)
 * Assault on the Wayne (1971, TV Movie) as Orville Kelly
 * Pretty Maids All in a Row (1971) as Poldaski
 * Cannon (1971) as Eddie
 * The Man with Icy Eyes (1971) as Harry Davis
 * Terror in the Sky (1971, TV Movie) as Milton
 * The Manipulator (1971) as Old Charlie
 * Panhandle 38 (1972) as Billy Bronson / Kile Richards
 * Wild in the Sky (1972) as General Harry Gobohare
 * Assignment: Munich (1972, TV Movie) as George
 * Cancel My Reservation (1972) as Sheriff 'Houndtooth' Riley
 * The Mechanic (1972) as Harry McKenna ['Big Harry']
 * Snowball Express (1972) as Martin Ridgeway
 * VD Attack Plan (1973, Short) as Contagion Corps Sergeant (narrator)
 * Hijack! (1973) as Donny McDonald
 * Herbie Rides Again (1974) as Alonzo A. Hawk
 * The Internecine Project (1974) as E.J. Farnsworth
 * The Legend of Earl Durand (1974) as Colonel Nightingale
 * Hit Lady (1974, TV Movie) as Buddy McCormack
 * Popcorn (1974, Short) (voice)
 * Target Risk (1975, TV Movie) as Simon Cusack
 * He Is My Brother (1975) as Brother Dalton
 * Nashville (1975) as Mr. Green
 * The Man Who Would Not Die (1975) as Victor Slidell
 * The Devil's Rain (1975) as Sheriff Owens
 * A Woman for All Men (1975) as Walter McCoy
 * The Lindbergh Kidnapping Case (1976, TV Movie) as Fred Huisache
 * 20 Shades of Pink (1976, TV Movie)
 * The Quest (1976, TV Movie) as H. H. Small
 * Jeremiah of Jacob's Neck (1976, TV Movie) as Jeremiah Starbuck
 * High Velocity (1976) as Mr. Andersen
 * The Killer Inside Me (1976) as Chester Conway
 * The Shaggy D.A. (1976) as John Slade
 * The Quest: The Longest Drive (1976, TV Movie) as Cooler
 * Mission to Glory: A True Story (1977)
 * Orca (1977) as Novak
 * Sex and the Married Woman (1977, TV Movie) as Uncle June
 * Laserblast (1978) as Colonel Farley
 * Coach (1978) as Fenton "F. R." Granger
 * The Bastard (1978) as Johnny Malcolm
 * Piranha (1978) as Jack
 * The Lucifer Complex (1978) as U.S. Secretary of Defense / Adolph Hitler?
 * The Billion Dollar Threat (1979 TV movie) as Ely
 * The Dark (1979) as Sherman "Sherm" Moss
 * Hollywood Knight (1979) as Jed
 * Sunburn (1979) as Mark Elmes
 * Parts: The Clonus Horror (1979) as Jake Noble
 * The Glove (1979) as Bill Schwartz
 * The Treasure Seekers (1979) as Meat Cleaver Stewart
 * A Touch of the Sun (1979) as General Spelvin
 * Just Tell Me What You Want (1980) as Seymour Berger
 * Mom, the Wolfman and Me (1980, TV Movie) as Grandpa Bergman
 * The Monkey Mission (1981, TV Movie) as Stump Harris
 * A Piano for Mrs. Cimino (1982, TV Movie) as Barney Fellman
 * The Capture of Grizzly Adams (1982, TV Movie) as Bert Woolman
 * The Last Unicorn (1982) as Captain Cully / Harpy (voice)
 * Best Friends (1982) as Tom Babson
 * Hysterical (1983) as Fisherman
 * Return of the Man from U.N.C.L.E. (1983, TV Movie) as Piers Castillian
 * Wavelength (1983) as Dan
 * Prime Risk (1985) as Dr. Lasser
 * The Goonies (1985, Movie) as Chester Copperpot
 * Code of Vengeance (1985, TV Movie) as Willis
 * Mirrors (1985, TV Movie) as Reverend Dahlstrom
 * Zoo Ship (1985) (voice)
 * Black Moon Rising (1986) as Iron John
 * Hyper Sapien: People from Another Star (1986) as Grandpa (final film role)

Television

 * Alfred Hitchcock Presents (TV series) (1958) (Season 3 Episode 35: "Dip in the Pool") as William Botibol
 * Wagon Train – Episode: "The Luke O'Malley Story" (1958) as Luke O'Malley
 * The Untouchables (1959–1961) as Augie 'The Banker' Ciamino / Joe Fuselli
 * The Twilight Zone – Episode: "A World of His Own" (1960) as Gregory West
 * The Troubleshooters (1959–1960) as Kodiak
 * Alfred Hitchcock Presents (TV series) (1961) (Season 6 Episode 17: "The Last Escape") as Joe Ferlini
 * Rawhide – Episode: "Incident at Cactus Wells" (1962) as Simon Royce
 * Combat! – Episode: "The Prisoner" (1962) as Colonel Clyde
 * Ben Casey – Episode: "Behold a Pale Horse" (1962) as O.J. Stanley
 * Death Valley Days – Episode: "Grass Man" (1962) as Josh Tavers
 * Bonanza – Episode: "Alias Joe Cartwright" (1964) as Sergeant O'Rourke
 * Combat! – Episode: "The Flying Machine" (1966) as Lt. Brannagan
 * The Wild Wild West – Episode: "The Night of the Freebooters" (1966) as Thorwald Wolfe
 * Gomer Pyle, U.S.M.C. – Episode: "Show Me the Way to Go Home" (1966) as Harry Purcell
 * Then Came Bronson – Episode: "The Old Motorcycle Fiasco" (1969) as Alex
 * Lancer – Episode: "Blue Skies for Willie Sharpe" (1970) as Kansas Bill Sharpe
 * Alias Smith and Jones (1971) as Artie Gorman / Horace Wingate / Charlie Utley
 * Mod Squad – Episode: "And a Little Child Shall Bleed Them" (1971) as Luther
 * Hawaii Five-O – Episode: "Journey Out of Limbo" (1972) as Hummel
 * Cannon – Episode: "The Island Caper" (1972) as Matt Dixon
 * Alias Smith and Jones – Episode: "What Happened at the XST?" (1972) as Artie Gorman
 * McMillan & Wife – Episode: "The Devil You Say" (1973) as Professor Zagmeyer
 * Hec Ramsey – Episode: "A Hard Road to Vengeance" (1973) as Bullard
 * The New Perry Mason – Episode: "The Case of the Telltale Trunk" (1973) as Victor Harding
 * The Girl With Something Extra – Episode: "Guess Who's Feeding the Pigeons" (1974) as Victor Lucas
 * Kolchak: The Night Stalker (1974–1975) as Captain Joe 'Mad Dog' Siska
 * Movin' On – Episode: "The Elephant Story" (1975) as Barnaby
 * Emergency! – Episode: "Back-Up" (1975) as Wild Bill
 * The Bob Newhart Show – Episode: "What's It All About, Albert?" (1975) as Dr. Albert
 * The Bionic Woman – Episode: "Rancho Outcast" (1978) as Gustave
 * Dallas – 10 episodes (1979–1980) as Digger Barnes
 * The Littlest Hobo - Episode: "The Balloonist" (1980) as Gus Appleton (uncredited)
 * Fantasy Island – Episode: "Mr. Nobody/La Liberatora" (1981) as Willie the promoter
 * One Day at a Time – Episode: "Small Wonder II (1981) as Randolph Ericson
 * The Greatest American Hero – Episode: "Good Samaritan" (1982) as Ira Hagert
 * Hardcastle and McCormick – Episode: "Just Another Round of That Old Song" (1983) as Henry Willard
 * Quincy, M.E. – Episode: "Whatever Happened to Morris Perlmutter?" (1983) as Morris Perlmutter
 * Manimal – Episode: "Scrimshaw" (1983) as Clancy Sea Dog Morgan
 * Taxi – Episode: "Tony's Baby" (1983) as Leo
 * Tales from the Darkside – Episode: "I'll Give You a Million" (1984) as Duncan
 * Highway to Heaven – Episode: "Popcorn, Peanuts and CrackerJacks" (1985) as Doc Brisby
 * Call to Glory (1984–1985) as Carl Sarnac

title: Keenan Wynn


text:
Icom Incorporated

Icom Inc. (アイコム株式会社) is a Japanese manufacturer of radio transmitting and receiving equipment, founded in 1954 by Tokuzo Inoue with the company's original name being "Inoue". Its products now include equipment for radio amateurs, pilots, maritime applications, land mobile professional applications and radio scanner enthusiasts.

Its headquarters are in Osaka, Japan, with branch offices in the United States (in Kirkland, Washington), Canada (in Delta, British Columbia), Australia (Melbourne, Victoria), New Zealand (Auckland), the United Kingdom (Kent, England), France (Toulouse), Germany (Bad Soden), Spain (Barcelona) and the People's Republic of China (Beijing).

IDAS
IDAS is Icom's implementation of the NXDN protocol for two-way digital radio products intended for commercial Private Land Mobile Radio (PLMR) and low-end public safety communications systems. NXDN is a Common Air Interface (CAI) technical standard for mobile communications. It was developed jointly by Icom and Kenwood Corporation.

D-STAR
The D-STAR open radio system was developed by Icom based on digital radio protocols developed by the Japan Amateur Radio League and funded by the Ministry of Posts and Telecommunications. This system is designed to provide advanced voice and data communications over amateur radio using open standards.

Products
Icom manufactures two way radios and receivers for use in marine applications, Airband, amateur radio applications, land mobile applications, and FRS / GMRS applications. Some radios made by ICOM are compatible with Motorola and SmarTrunk trunking systems.

title: Icom Incorporated


text:
Talk:Milwaukie, Oregon

Wiki Education Foundation-supported course assignment
This article was the subject of a Wiki Education Foundation-supported course assignment, between 1 October 2019 and 11 December 2019. Further details are available on the course page. Student editor(s): Maxlydon. Peer reviewers: DarienG2000, Trinityherndon.

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Living History Day
The virtual schoolhouse web site is "funded by the National School-To-Work Office, a joint initiative of the US Departments of Education and Labor." The Milwaukie High School Living History Day is a project on the site. This constitutes national recognition. ABLsaurusRex 22:22, 4 August 2007 (UTC) And, of course, there is the minor matter of the mention of the event by the President of the United States during the ground breaking for the WWII Memorial ABLsaurusRex 22:39, 4 August 2007 (UTC)

Origins of the name Milwaukie

 * I grew up in Milwaukie, and a name on the feed mill that once (still? haven't been in 15 years - don't recall) stood at what is now 21st Ave and Lake Rd against the railroad tracks was labeled "Milkawea Feed Mill". I was always told that the town was named Milwaukie after the Native American name Milkawea.  Unfortunately, I can find no Google reference to that name or the variant "Milkwea".  Regardless, I dispute the name origin as a variant of "Milwaukee" in Wisconsin.  Anyone have more info or can cite a credible reference to the Wisconsin origin?  Mmoyer 21:00, 15 May 2006 (UTC)
 * Well, there's the Harvey Starkweather interview in the Library of Congress http://lcweb2.loc.gov/ammem/wpa/30010924.html, done by a WPA worker in 1939. Harvey, born in 1868, spent all but three years of his life in Milwaukie and Portland. He didn't dispute the Wisconsin origin, although he alleged (with some justice) that the "-ie" spelling was just as good as the "-ee".  (In fact, Milwaukeeans in Wisconsin hadn't settled on a single spelling when Milwaukie was incorporated.)--Orange Mike 18:43, 17 May 2006 (UTC)

 * The USGS GNIS placenames database says "Milwaukee" is a variant spelling of "Milwaukie", Oregon:  ..for what it's worth.  I don't know if it is named after the Wisconsin city/river or not. Pfly 03:16, 17 November 2006 (UTC) ..oh and check out the variant names for Milwaukee, Wisconsin:   ..that's the longest list of variant names I've seen! Pfly 03:19, 17 November 2006 (UTC)

 * The City of Milwaukie cites the Wisconsin city as the source of the name, although they seem to be unaware that the city of Milwaukee was once spelled its name with an "ie." This material from the Milwaukee (WI) Historical Society also supports the source of the Oregon city's name (and includes rough scans of the then-"Milwaukie Sentinel").   I'm going to remove the "probably" from the article -  certainly the city itself is a reliable source.  SixFourThree (talk) 17:54, 22 February 2008 (UTC)SixFourThree
 * The source I used said "probably" so if you want to be definite, it would be best to add the additional citations you've listed. Katr67 (talk) 03:20, 23 February 2008 (UTC)

Notable folks
The below section was removed from the article and a quick check reveals that it isn't following our own rules (as seen in the edit note). I'm sure all these folks really did live in Milwaukie at some point, but we do need some sources. Katr67 (talk) 19:22, 11 September 2009 (UTC)
 * I've restored the list, but tagged it with a "cite needed" for each and every item. -- Orange Mike  |   Talk  18:02, 17 September 2009 (UTC) in Milwaukee, WI

I added Monroe Sweetland and William U'Ren, two political leaders who represented the City in the state legislature and resided in the city. Stauffers (talk) 23:23, 7 October 2013 (UTC)stauffers

Notable residents

 * Mike Bliss, NASCAR driver
 * Scott Brosius baseball player for the New York Yankees and won the World Series MVP Award in 1998
 * Kate Brown, Oregon Secretary of State.
 * Nicole Fugere, actress, Wednesday Addams on The New Addams Family
 * Tonya Harding, figure skater
 * Dave Husted, former professional ten-pin bowler; three-time winner of the PBA U.S. Open

Year Founded v Settled v Platted
I updated the year of the City's founding to 1847, the year the City officially acknowledges it was initially settled by families such as the Lewellings. According to the City's sources, which incldues "A History of Milwaukie" by Charles O. Oluf's dating from the 1930s and various articles from the Milwaukie Review newspaper, the town was settled by the Lewellings (of Iowa) in 1847. The memorial stone sitting in front of City Hall notes the arrival of the Lewellings (or Luellings) in 1847. Lot Whitcomb, famed town founder, formally laid the town plat in 1849. Various local groups - including at different times the City itself - have used 1848 and 1847 as the "founding" date. Currently, the City logo features 1847 as the founding year. Its fair to say the community was originally settled - by European Americans - in 1847 and formal organization of the town began in 1849 when Whitcomb laid out his grand vision of the future City. Stauffers (talk) 15:35, 10 October 2013 (UTC)

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Image for "Past" subsection of "Public transit"?
Anyone know of a good image to illustrate the "Past" subsection of the "Public transit" section? --- Another Believer ( Talk ) 03:22, 19 May 2019 (UTC)

title: Talk:Milwaukie, Oregon


text: Category:Alice's Adventures in Wonderland


text:
Talk:The Jazz Singer

Singing in the rain
Why no mention?

Ever going to be a DVD of this movie?
Anyone know? -Jcbarr 13:28, 10 January 2006 (UTC)
 * I don't know, but you must see this film. I screened it the first time in my home with a friend. After about 40 minutes of silence, when the first sound dialogue occurred, my friend and I were stunned. I believe that we experienced close to what the original audience did in 1929, the incredible experience of a film that talked. 66.108.144.49 03:13, 8 October 2006 (UTC) Allen Roth

Earlier sound features
The article already makes clear that The Jazz Singer was the first feature-length movie with talking sequences, but not the first sound feature.

For the curious, earlier feature-length movies with sound include:

— Walloon 03:13, 27 March 2006 (UTC)
 * Dream Street (1921). Two sound sequences, recorded on discs: one song sequence, and another sequence with crowd noises. Sound version shown only in New York City.
 * Siegfried (1924). Shown with a music score recorded with DeForest Phonofilm, only at the Century Theater in New York City in 1925.
 * Don Juan (1926). Music score and sound effects, on Vitaphone discs. Sound version distributed nationally.
 * The Better 'Ole (1926). Music score and sound effects, on Vitaphone discs. Sound version distributed nationally.
 * Why is this not in the article? I think it is relevant. I won't move it myself, because I hate doing something that is just reverted. Can a more senior editor confirm, add citations, and add to the article, please? David Spector (user/talk) 11:20, 27 April 2012 (UTC)

 * Have you read the article? Dream Street, Don Juan, and The Better 'Ole are all mentioned in it, as has long been the case.—DCGeist (talk) 15:29, 27 April 2012 (UTC)

In Spain
According to a documentary I saw, the film lost several scenes in its Spanish showing, because it was censored as pro-Jewish propaganda.

Also, there seemed to be a silent version (the same?) that was playe along (by Enrique Jardiel Poncela?) with records of Jewish and jazz music. --Error 22:29, 15 October 2006 (UTC)

Miscellaneous Pop Culture
The third season Simpsons episode “Like Father, Like Clown” is an obvious homage to this film. We have included this reference in the episode, but I thought a similar link should be posted on this site. (207.81.164.238 18:24, 7 February 2007 (UTC))

Probably should add to the AFI reference that in 2005 “Wait a minute, wait a minute. You ain't heard nothin' yet!” was #71 on the “100 YEARS...100 MOVIE QUOTES” list.

The film is used during 2004’s “The Aviator.” Howard Hughes (Leonardo DiCaprio) takes a business associate to an audience viewing the film as a means of convincing the associate that their recently completed silent motion picture epic, Hell’s Angles, needs to be entirely reshot for sound. (207.81.164.238 03:26, 11 February 2007 (UTC))

Captions
I put back the full stops because after complete sentences the period has to persist, no matter whether there is only one sentence or more. See Manual of Style. Sentence fragments like e. g. the description of theatrical posters in the infobox don't need periods. I already had the same discussion at Talk:Friday the 13th (film). Dutzi (talk) 18:39, 20 April 2008 (UTC)

Michigan J. Frog
Can please stuck a fork in this sh*t and be done with it? This cartoon character was inspired by Al Jolson's blackface character in The Jazz Singer. Case closed. Now....MENTIONED IN THE ARTICLE. --Ragemanchoo (talk) 08:53, 30 April 2008 (UTC)

Translation into Chinese Wikipedia
The 10:34, 24 December 2008 DCGeist version of this article is translated into Chinese Wikipedia.--Wing (talk) 21:35, 26 December 2008 (UTC)

Financial details - moved from article
The detail and complexity of this section, with its cites, might be a turn-off for many. A lot of it goes into minutiae about the contracts and dollar comparisons which I feel is best left for the books, should people want more details like that. It also overwhelmed the Reference section. --Wikiwatcher1 (talk) 02:39, 12 February 2009 (UTC)

Moved
For the following earnings of Don Juan, The Jazz Singer, and other early Vitaphone features, see Glancy (1995) [pp. 4–5 online] (and, for the domestic earnings of The Jazz Singer, Crafton [1999], p. 528): Scholar James Mark Purcell ranks the attendance of 1927's top three films in the following order: Wings, The Jazz Singer, The King of Kings (see Koszarski [1994], p. 33). For the earnings of The King of Kings, see also It is unclear if the $2.64 million figure gross income figure is total or only domestic. Note that the article correctly dates the film as 1927 in its main text and incorrectly as 1926 in the relevant table. Reported figures for Wings differ widely, but a survey of anecdotal accounts and a triangulation of box office claims combine to suggest—in accord with Purcell—that it was a slightly bigger smash than The Jazz Singer.
 * Don Juan (nontalking)/premiered August 6, 1926: $1.695 million total (domestic & foreign) [new Warner Bros. record]
 * Thomas Schatz (1998) claims that Don Juan "was much less successful than the previous Barrymore vehicle, The Sea Beast" (p. 63). This claim is belied by Glancy's figures, which show total earnings of $938,000 for The Sea Beast [p. 2 online].
 * The Better 'Ole (nontalking)/premiered October 7, 1926: just over $1 million total (dom. & for.)
 * When a Man Loves (nontalking)/premiered February 3, 1927: just over $1 million total (dom. & for.)
 * Old San Francisco (nontalking)/premiered June 21, 1927: $638,000 total (dom. & for.)
 * The Jazz Singer (part-talkie)/premiered October 6, 1927: $2.625 million total (dom. & for.) [new Warner Bros. record]/$1.97 million domestic
 * These figures apparently include earnings from the film's 1931 rerelease. While no authoritative source has broken out those numbers from those of the initial release, even if they constitute as much as 25 percent of the total (a generous assumption), The Jazz Singer still set a Warner Bros. record in its initial release and was one of the top films of the 1927–28 exhibition season.
 * Tenderloin (part-talkie)/premiered March 14, 1928: just under $1 million total (dom. & for.)
 * Glorious Betsy (part-talkie)/premiered April 26, 1928: just under $1 million total (dom. & for.)
 * The Lion and the Mouse (part-talkie)/premiered May 21, 1928: just under $1 million total (dom. & for.)
 * Lights of New York (all-talking)/premiered July 6, 1928: $1.252 million total (dom. & for.)
 * The Singing Fool (part-talkie)/premiered September 19, 1928: $5.916 million total (dom. & for.) [new Warner Bros. record]

One of the keys to the film's success was an innovative marketing scheme conceived by Sam Morris, Warner Bros.' sales manager. In Crafton's description: [A] special clause in Warners' Vitaphone exhibition contract virtually guaranteed long runs. Theaters had to book The Jazz Singer for full rather than split weeks. Instead of the traditional flat rental fee, Warners took a percentage of the gate. A sliding scale meant that the exhibitor's take increased the longer the film was held over. The signing of this contract by the greater New York Fox circuit was regarded as a headline-making precedent. Similar arrangements, based on a percentage of the gross rather than flat rental fees, would soon become standard for the U.S. film industry's high-end or "A" product.

Though in retrospect, the success of The Jazz Singer signaled the end of the silent motion picture era, this was not immediately apparent. Mordaunt Hall, for example, praised Warner Bros. for "astutely realiz[ing] that a film conception of The Jazz Singer was one of the few subjects that would lend itself to the use of the Vitaphone." In historian Richard Koszarski's words, "Silent films did not disappear overnight, nor did talking films immediately flood the theaters.... Nevertheless, 1927 remains the year that Warner Bros. moved to close the book on the history of silent pictures, even if their original goal had been somewhat more modest." Crafton points to the January 1928 national release of the sound version as the true turning point: two months later, Warners announced that The Jazz Singer was playing at a record 235 theaters (though many could still show it only silently). In May, a consortium including the leading Hollywood studios signed up with Western Electric's licensing division, ERPI, for sound conversion. In July, Warner Bros. released the first all-talking feature, Lights of New York, a musical crime melodrama. Within another year, Hollywood would be producing almost exclusively sound films. Jolson went on to make a series of movies for Warners, including The Singing Fool, a part-talkie, and the all-talking features Say It with Songs (1929), Mammy (1930), and Big Boy (1930).

 * No, that's getting restored. It's all essential to an understanding of the film's importance, and there's no reason to imagine it will be so "off-putting" to anyone that they'll be unable to gather from the article what they want.—DCGeist (talk) 00:15, 13 February 2009 (UTC)

 * The changes all look good and thanks for editing the long quotes. I like eyewitness testimony, but sometimes keep the witness on the stand too long;-)

Found an older film with sound by Lee DeForest featuring the Spanish singer Concha Piquer in 1923
http://www.elpais.com/articulo/cultura/primera/pelicula/sonora/era/espanola/elpepucul/20101103elpepucul_15/Tes

It's a film found in the Library of Congress featuring Concha Piquer in 1923. The film is directed by Lee DeForest.

In 1922, she debuted in New York City at the age of 14, and later appeared with Eddie Cantor, Al Jolson, and Fred and Adele Astaire. On 15 April 1923, she appeared in a short film, "From Far Seville", made by Lee de Forest in his Phonofilm sound-on-film process, and shown at the Rivoli Theater in New York City. This film is now in the Maurice Zouary collection at the Library of Congress.

As it says in wikipedia article about Concha Piquer.

—Preceding unsigned comment added by 95.17.135.66 (talk) 23:10, 3 November 2010 (UTC)

The Caption of The Jazz Singer poster
I think the caption of the poster in the section entitled, "Commercial impact and industrial influence" is incorrect. It states that "...the image of Jack, in a suggestive nightrobe, carrying Mary does not actually appear in the film." I believe the image IS in the film; it is the scene where Jack catches Mary as she dances backwards off stage right. He's not carrying her at all, and he's not in a suggestive nightrobe; he's in a bathrobe before (or after) he goes on stage. The scene occurs about 27 minutes into the film. — Preceding unsigned comment added by Jblykins (talk • contribs) 04:39, 26 February 2011 (UTC)

Box office data
I appreciate that the earnings for older films are patchy at best, but I think we should try and cover it in some form. If we can't pin down an exact amount I agree it shouldn't go in the infobox. The $3.5 million figure I added in this edit appears to be the US rentals from its first run according to Variety:. Variety seems to be pretty accurate for US theatrical rentals, so I think we should cover this data at some point in the "Reception" section. The bottom line is that was a pretty good take back in the 20s, and it provides a contempory context for the relative success of the film, even if we can't pin down an exact gross amount. Betty Logan (talk) 18:07, 14 July 2011 (UTC)

 * The well-researched figures we've had in a footnote—which, I agree, should be brought into the main text—are $2.625 million total earnings for Warner Bros. from both domestic and foreign markets ($1.97 million domestic earnings). Two of the primary complications in handling these figures: (1) As the main text already states, Warners worked out a then-novel deal with exhibitors to take a percentage of the gate (gross revenue) rather than a flat rental fee, but I've yet to see anywhere what that percentage was (which--further complication--was on a sliding scale dependent on the duration of the rental). (2) The film was successfully rereleased in 1931. In no source I've seen are the earnings from that rerelease distinguished from those of the original release.

 * Thanks for the Reid cite. While the man has seen a tremendous number of movies, he is not a scholar, his books are self-published (Lulu.com), and he cannot be considered a high-quality source for data like this. Specifically, the figures he presents for the rentals for the other 1927 films he lists diverge widely from the figures I've seen from more scholarly sources.—DCGeist (talk) 18:37, 14 July 2011 (UTC)

 * I didn't even notice the note, but I have no problem with how it's covered there. It just needs to be a bit more obvious to the reader, because the prose doesn't make it clear there is more exposition. If you want to keep it as a footnote, I suggest using a note label so it doesn't look like a reference. Betty Logan (talk) 20:05, 14 July 2011 (UTC)

Requested move

 * The following discussion is an archived discussion of a requested move. Please do not modify it. Subsequent comments should be made in a new section on the talk page. No further edits should be made to this section.

The result of the move request was: pages moved per notability, educational value, and usage of the film as the primary topic. -- JHunterJ (talk) 01:18, 16 May 2012 (UTC)

– The 1927 film by far is the most notable use of "The Jazz Singer". It was the first feature-length film with talking sequences. The other links at "The Jazz Singer" are just remakes of the 1927 film and a soundtrack from one of the remakes. JDDJS (talk) 18:11, 7 May 2012 (UTC)
 * The Jazz Singer (1927 film) → The Jazz Singer
 * The Jazz Singer → The Jazz Singer (disambiguation)

 * Oppose. The DAB page The Jazz Singer shows that there are four films bearing that name, before we even think about its other applications. The proposer has not demonstrated that the loss of that precision would be to the benefit of any readers, anywhere, in any way. NOTE: Surely that is the sort of question to consider, rather than striving to reduce as many titles as possible to a minimum length, regardless of consequences. That would be to follow rules of thumb as if they were perfect recipes for doing "the right thing". An encyclopedia exists to provide information accurately and efficiently to its users; not to serve as a model of conciseness isolated from its place in the actual economy of information provision and exchange. N oetica Tea? 00:55, 8 May 2012 (UTC)
 * Note All of those other films are just remakes of the original 1927 film. The original has extreme historic value. The remakes do not. Most readers who look up "The Jazz Singer" are looking for the film that actually matters. JDDJS (talk) 15:53, 8 May 2012 (UTC)
 * Support - Sorry, Noetica. I was going to oppose this proposal, but 800 or 900 views per day make this film popular, while the rest are under 100 or 50 per day (under 12.5% of the 1927 film), such as the soundtrack. I am uncertain about how "loss of that precision" is relevant to this discussion or may affect readers' benefit, but I always associate the "whole name" as of the 1927 film. "Usage" and "long-term significance" criteria for the 1927 film have been met. "Usage": it is popular; "long-term significance": it is the first film with sound by vitaphone. The other topics have not reached that level. Other criteria, such as "familiarity", have been met for this film; I have not been familiar with other derivatives until now, and I will not remember them, as time will pass.
 * However, one criterion is "interest"; while all topics with the same are on par with each other (it's an old film, and I'm not interested with that amateur film), "interest" is not met. Nevertheless, "interest" is not the big case here. --George Ho (talk) 15:54, 8 May 2012 (UTC)

 * Support. The 1927 film got 78,870 page views in the last 90 days, the 1952 film got 2,025, the 1959 film got 772, the 1980 film got 11,872, and the soundtrack got 6,445. So this subject got 79 percent of relevant traffic. In Britannica, the 1927 film gets a full-length entry, the 1980 film is mentioned in Neil Diamond's entry, and none of the other uses are even mentioned. Kauffner (talk) 17:02, 8 May 2012 (UTC)
 * Oppose per WP:NCF. The dab serves the correct purpose to prevent incoming links going to the wrong article.  Lugnuts  (talk) 19:12, 8 May 2012 (UTC)
 * Note There were only 2 article links to The Jazz Singer that didn't refer to the 1927 film, and I fixed both of them. JDDJS (talk) 16:46, 9 May 2012 (UTC)

 * Oppose the 1927 film is based on the 1925 play, so if your contention is that those later films are based on being remakes of 1927, then that applies even more to the 1925 play, so clearly the 1927 is not primary topic using the same argument presented. As for being the first feature talkie, that does have long term significance, but does not mean it is automatically primary, considering the 1925 play all the rest are based on, including 1927. 70.49.124.225 (talk) 04:59, 9 May 2012 (UTC)
 * The 1925 play does not have an article. And the fact that the others are remakes is not my primary argument. My primary argument is that the 1927 film has extreme historical value because it was the first film with talking sound and completely changed the whole film industry. The other films have no historical value at all. In fact, the 1952 and 1959 films might not even pass WP:GNG (but of course they pass WP:NF). JDDJS (talk) 16:39, 9 May 2012 (UTC)
 * Seeing as the 1952 film was nominated for an Oscar, I'm sure it would have no problem in passing WP:GNG. And isn't it a little bold to claim that they have "no historical value at all"?  --Rob Sinden (talk) 11:41, 10 May 2012 (UTC)

 * Changed my vote to Neutral after realizing that the 1925 play was adapted into a 1927 sound film. --George Ho (talk) 06:17, 9 May 2012 (UTC)
 * Support. The 1927 film is a landmark of Western culture. It also dwarfs the other "The Jazz Singer" articles by reader usage. As JDDJS notes, linking has not been an issue. This seems like the clear WP:PRIMARYTOPIC. Not to treat it as such makes life more difficult for readers and editors alike. Dohn joe (talk) 17:22, 9 May 2012 (UTC)
 * The 1927 film is pretty plainly the subject with the most critical commentary and general world impact, making it the primary topic here. Don't see much in the way of a rebuttal to this from those opposing. Doing a service to our readers means getting them to the page they want to go to as directly as possible. Chris Cunningham (user:thumperward) (talk) 14:49, 10 May 2012 (UTC)
 * Support. Pretty clearly the primary topic and posterchild for the application of "long-term significance", given its landmark role in film, though it seems it took some time for this discussion to get focused on relevant grounds. The nomination harks toward primacy, but couches the language in terms of "notability", which confuses the issue. The first oppose talks about precision; this also clouds the issue, since it does not play well with the concept of a primary topic—the whole point of primacy is that we are not parenthetically disambiguating nor having a dab page as the first hit on a search because we believe far more people will be looking for this topic when they click through or search the undisambiguated title the first time (that is the benefit to readers, among others). Anyway, incoming hits are not the only metric to look at. A search of reliable sources also shows a large disparity over other uses, e.g., A vs. B, C and D; an approximate 8:1 ratio in the aggregate.--Fuhghettaboutit (talk) 05:31, 15 May 2012 (UTC)
 * The above discussion is preserved as an archive of a requested move. Please do not modify it. Subsequent comments should be made in a new section on this talk page. No further edits should be made to this section.

Question concerning reverted edit
(I copied this from my talk page. BMK (talk) 15:48, 8 April 2016 (UTC))

Hi BMK,

Regarding your reversion of my recent IP edit adding a parenthetical to The Jazz Singer:

My WP editing philosophy is that I don't feel much obliged to cite a source when correcting an error in material that cites no sources, and the affected paragraph is entirely and perniciously unsourced. It includes the song fragments in question in a mini-catalog of "numerous synchronized singing sequences", which is misleading at best. My source, in fact, is the film itself -- in articles about films readily available on home video, perfectly acceptable per WP, the last I heard -- and a viewing will make the lack of lip-synchrony in those bits patently obvious to anyone. Folks seeing the film for the first time must have wondered if that was all the much-touted Vitaphone was going to add to the experience, until the first of the live-recorded sequences began and made matters clear. To anyone familiar with the contemporary recording technology and scoring procedure, it will also be clear that the vocal is of a piece with the background score and was therefore recorded at the time the finished footage was scored, i.e., the "wild" vocal was post-dubbed.

The parenthetical disclaimer was an antidote to the misleading inclusion of those bits. An alternative approach, more heavy-handed than my simple addition but probably preferable, would be to delete "Two popular tunes are performed by the young Jakie Rabinowitz, the future Jazz Singer;" and accordingly replace the following "his" with "Jakie's". 66.81.242.131 (talk) 09:37, 8 April 2016 (UTC)
 * You added to the article "(these song fragments are post-dubbed and not lip-synchronous)". That is a positive statement of fact, and as such should be verifiable, if true. If it is not verified by being sourced, it is editorial analysis, and thus runs afoul of WP:OR. The revert was good. BMK (talk) 10:55, 8 April 2016 (UTC)

 * OK, then I'll try following my own suggestion above and simply excise the misleading portion of the preexisting unsourced "positive statement of fact", which, like my condemned parenthetical, is best verified or debunked by referring to the same highly reliable source: the film itself. No technical expertise or "editorial analysis" is required to see that the juvenile vocalizing is not at all lip-synchronous -- it's about as blatantly obvious as a cut or a fade-out. No OR there, just plain old reporting. 66.249.172.18 (talk) 11:51, 8 April 2016 (UTC)
 * Nope, however blatant you think it is, it's analysis or interpretation, and that;s WP:OR. Whether "post-dubbed" or "lip-synched" or sung live to the camera, the song is still "performed" by the character, and therefore your removal - which I have reverted -- is incorrect, and entirely WP:POINTy. BMK (talk) 14:09, 8 April 2016 (UTC)

 * Following up in this new venue: The songs are indeed "performed" by the character, but they are not "synchronized" in the usual meaning of the word (i.e., lip-synchronous), which is what the paragraph claims. My second edit was absolutely NOT done to make a point, but to cure a bit of misleading information, if not by denaturing it with an added statement, as in my first attempt, then by simply deleting the problematic verbiage. It seems we must agree to disagree about the boundary line between OR and reporting in the case of a readily available film's contents -- fair enough -- but I am perplexed to encounter such brusque resistance to the good-faith simple excision of some unsourced "information". 66.249.173.182 (talk) 12:56, 10 April 2016 (UTC)
 * Your second edit removed a statement that song were "performed" by a character. This is still true regardless of the quality of the lip synch, which is why I reverted it.Essentially, your claim is that bad lip synching is not lip synching, and therefore must be something else.  That is clearly OR, and recentism for that matter.  Considering that the film was at the cutting edge of synchronizing pre-recorded sound with live (filmed by a camera) performance, it would be a miracle if some people didn't do it badly.  In any case, the claim that bad lip synching means something else clearly needs a source, so you should hardly be surprised to receive "brusqueness" when you continue to press an extremely obvious point. The Jazz Singer being the film it is, subject to volumes of writing and analysis, it's inconceivable that your point wouldn't be supportable by a citation from a reliable source were it actually the case: so go find it, or drop the issue, please. BMK (talk) 14:08, 10 April 2016 (UTC)

 * You're still missing the point. The sentence I tried to delete is perfectly accurate per se, but its existence after the colon at the end of "The Jazz Singer contains those, as well as numerous synchronized singing sequences and some synchronized speech:" transforms it into misinformation. If "wild" singing qualifies as "synchronized", then we will have to accept The Photo-Drama of Creation as a feature-length synchronized sound film after all. I'm all done here -- life is too short -- and I leave it to someone else to cure the problem. 66.249.175.93 (talk) 03:00, 11 April 2016 (UTC)
 * NO, you're missing the point, it's still "synchoronized" even if the synchronization is badly done. Bottom line: get a source. BMK (talk) 03:03, 11 April 2016 (UTC)

 * Back again, alas -- the bait is irresistible. I cited a source above: the film. Perfectly valid per WP as, e.g., a source for plot details, as you well know. Please consult it -- some things really are blue-sky obvious. This is not a matter of "badly done" lip-sync, but of no attempt at or pretense of lip-sync. The performer is not miming to a playback. The sound is not live-recorded. The post-dubbing plainly does not even try to match up with the performer's mouth or body movements. It is an example of what is known as "wild sound" -- essentially an overlaid sound effect, like a ringing doorbell or crowd noise, and not "synchronized singing", whether well or badly synchronized, as that phrase is normally understood. I just wish you would be one-tenth as tough on the unsourced paragraph I was trying to improve as you have been on my two efforts; it might disappear entirely, carrying my objection away with it. 66.81.242.69 (talk) 07:21, 11 April 2016 (UTC)
 * I cannot help but think that you're being deliberately disingenuous. Your clain is that the song is either post0dubbed or not lipsynched, and yet you have provided no source that says so.  Therefore, it's WP:OR, pure and simple. This is my my last comment, and any attempt to restore your personal comment without a source will be reverted, and brought to the attention of admins as disruptive behaviotr. BMK (talk) 10:12, 11 April 2016 (UTC)

 * " ... this scene, obviously, is not synchronized, it's ... recorded after the fact." Thus saith Ron Hutchinson of the Vitaphone Project on the commentary track of the 2007 DVD release (at 0:07:47, during the first of the two wild-vocal "Ragtime Jakie" beer hall scenes). I should have sought some backup from that handy source sooner than this, but, evidently like Mr. Hutchinson, I had supposed that the matter would be sufficiently obvious from a viewing of the scene itself.

 * Not to worry, @BMK: absent a consensus here, the only edit I will be making to the article is to tag the doesn't-belong item with a "dubious" so as to solicit others' input into this discussion, which has been so very unproductive of consensus as a duet. I have long been aware of your work in patrolling vintage film articles, heartily concur with most of your edits, and regret that what I thought was going to be a simple bit of housecleaning has led to the above head-butting with you, but IMO you are way out of line in threatening to sic an admin on me. When and where have I indicated any intention of "restoring [my] personal comment"? I abandoned that approach after one reversion and your objection that I was adding an unsourced "positive statement of fact" and have subsequently been lobbying solely for the simple removal of the existing bit of verbiage as the best remedy. "I cannot help but think that you're being deliberately disingenuous"? Sheesh! Whatever became of "assume good faith"? My purpose has been purely and simply the improvement of the article by either explaining or removing a bit of misleading text. 66.249.174.181 (talk) 02:42, 9 May 2016 (UTC)

You've still got this bug up your butt? Well, since you're so all-fire hot to "prove" this, I'm not going to accept your say-so on what the commentary says, so find an available reliable source that can be verified without having to take your word for it. A transcript of the commentary will do. BMK (talk) 03:23, 9 May 2016 (UTC)

 * The DVD is the best "available reliable source" for its own commentary track. Evidently you can't be bothered to consult it. It is not my obligation to google up a (presumably copyvio and non-time-coded) transcript of it for you. Are the arbitrary removal of an input-soliciting tag and a reply that leads off with grossly uncivil language not "disruptive behavior" by current Wikipedia standards? 66.81.240.240 (talk) 04:43, 9 May 2016 (UTC)
 * But I cannot verify it, because I don't have it, and I don't trust you, because you seem to have a vested interest in shoving that edit into the article. If another editor -- an editor with an account whose editing I am familiar with -- vouches for it, that's a different story, but I will not take your word on it and will revert any attempt on your part to add it to the article.  Is that clear enough? BMK (talk) 05:51, 10 May 2016 (UTC)

 * Yes, Sir, that is perfectly clear, Sir. And because Your Imperial Majesty has decreed that my "dubious-discuss" tag is "not warranted" and summarily shot it, reducing to nearly nil the probability of any input in support of my position appearing on this little-visited talk page, potential dissent to your pronouncements has been effectively suppressed and the triumph of your will is now virtually guaranteed. Congratulations on a successful bit of bullying.

 * If you reply again, perhaps you would deign to enlighten me about what "vested interest", other than making the article more accurate, you can imagine anyone would have in making such an edit. No "shoving" would be needed if it were not for an editor who is apparently not very (if at all) familiar with the film and does not have access to the DVD of it, but who nonetheless doggedly obstructs a relatively minor alteration to one description of the film's contents, an irrational and exasperating phenomenon which is indeed liable to induce a persistent pesky itch in one location or another. 66.81.242.201 (talk) 13:19, 11 May 2016 (UTC)

Cleanup and Expansion
This article is incomplete and requires cleanup of its information. The plot section is too long an contains an unnecessary amount of dialogue quotations which need to be consolidated and/or removed whenever necessary with some rewrites done to it in order to shorten it so that it meets wikipiedia's standards. The Production section is incomplete and also requires cleanup. This section contains pieces of information that aren't fully explained and varies in tone and style that would be considered not encyclopedic in tone and should be rewritten and reformatted so that it meet Wikipiedia's standards of writing style and tone. The Production section should be split into three subsections detailing information on the film's development, casting, and filming (Information on the film's casting and filming will need to be expanded since information currently in the article on these topics are very short and somewhat fragmented). The Realease and reception section should be split into two different sections, one detailing the films releases (with subsections detailing its theatrical and home media releases). The reception section should also include subsections that detail both the film's initial response and later response as well as awards/nominations. All of the above listed changes and additions should include properly formatted citations for all information given. This article can very easily become a Featured Article if enough attention is given to it.--Paleface Jack (talk) 00:28, 11 June 2017 (UTC)

Musicology needed
One disappointing aspect of the DVD release of The Jazz Singer is that its commentary track provides hardly any information about the score we are hearing, and which is the totality of most of the film's soundtrack. For example, there is what might be tagged as the "ghetto theme"—is it a traditional European Jewish melody? If so, does it, or its title, serve as an illuminating comment on the scenes it accompanies? Are the various ditties that accompany scenes of chorus rehearsals, etc., contributions by Irving Berlin, or originals by the score's composer, or ...? I recognize the tune that opens the Coffee Dan's sequence as "Hop, Skip", a circa 1926 song appropriate there because of its San Francisco origin (SF is where the sequence is set, despite misidentification as LA in the commentary: that's the SF Ferry Building in the subtitle card illustration, and "SF" in the "Coffee Dan's" logo, not "LA"), just the sort of musical comment that was often used in early film scores and is probably salted throughout this one. I was prompted to post this by just now coming across the claim in the article for the song "Beau Soir" that it was "used as a backdrop near the very end" of this film. In short, a musicological section, the more detailed the better, would, IMO, be a valuable contribution to this article. 66.81.245.3 (talk) 08:18, 5 July 2017 (UTC)

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What do you think?
Should we call The 1927 Jazz Singer a romantic musical drama or is that OK as is? --TMProofreader (talk) 18:37, 25 September 2020 (UTC)#
 * Sources overwhelmingly consider it a musical drama. That is the primary genre. Betty Logan (talk) 21:08, 27 September 2020 (UTC)

Whistling
Does anyone know how he does the whistling thing? As seen here:. Is he actually doing it all live or is it synced? I'm guessing the latter given the cuts? 104.232.119.107 (talk) 11:35, 2 May 2024 (UTC)

title: Talk:The Jazz Singer