text:
Mallard BASIC

Mallard BASIC is a BASIC interpreter for CP/M produced by Locomotive Software and supplied with the Amstrad PCW range of small business computers, the ZX Spectrum +3 version of CP/M Plus, and the Acorn BBC Micro's Zilog Z80 second processor.

In the 1980s, it was standard industry practice to bundle a BASIC interpreter with microcomputers, and the PCW followed this practice. While the PCW was primarily a dedicated word processor for business use running LocoScript, it was running on top of the CP/M operating system.

There were many existing implementations of BASIC for CP/M, such as Digital Research's CBASIC and the third-party ZBasic, but they followed the earlier 1970s model of compilers that were fed source code prepared in a separate text editor. BASIC was not built-in in these cases, the user would prepare a program and then invoke BASIC to run it.

In contrast, home computers of the era had moved to using BASIC as the primary interface for the machine. Instead of booting into CP/M or a similar OS, these machines booted directly into a BASIC normally stored on ROM. These also included a built-in screen editor. Mallard was based on this model, with an integrated editor that was tailored for the PCW's non-standard 90-column screen.

Although the PCW actually had excellent monochrome graphics support for its time and specification, closely comparable to the Hercules Graphics Card for IBM PC compatible computers, Mallard BASIC had no graphics support whatsoever. Instead, Locomotive Software optimised it for business use, with, for instance, full ISAM random-access file support, making it easier to write database applications.

It was also optimised for speed — it is named after the LNER Class A4 4468 Mallard locomotive, the fastest steam locomotive in the world, once again displaying the company's fondness for railway-oriented nomenclature. In fact, the Locomotive Software name came from the phrase "to run like a train" and it was this theme that was used to name Mallard BASIC — no other Locomotive Software product was named after anything railway-oriented.

The Acorn version was designed simply to run the Compact Software small business accounting products Acorn was including to target its Z80 second processor at small businesses. Mallard's major innovation designed specifically for Acorn was the addition of the Jetsam B*-tree keyed access filing system to give similar (but superior) features to the Miksam product Compact had originally designed around.

Graphics could be implemented by loading the GSX extension to CP/M, but this was cumbersome for BASIC programmers.

The lack of graphics support was rectified by several BASIC toolkits, of which the most popular was Lightning Extended BASIC (LEB — see external links). This patched Mallard BASIC, replacing the redundant LET keyword with LEB, which could be followed by a wide variety of parameters to allow sophisticated graphics (for the time) to be drawn on screen, saved to disc, printed, and so on.

Probably the most widespread Mallard application ever was RPED, the text editor supplied with the PCW. The name was short for Roland Perry's EDitor, the program having been quickly written by Roland Perry, the Amstrad executive running the computer product development, when it was realised that CP/M-80 came with no usable full-screen editor, but users had a requirement to edit configuration files. The same problem was apparent with DOS Plus and MS-DOS supplied with IBM-compatible Amstrad computers, but the RPED for those machines was written in Intel 8086 assembler, and not Mallard BASIC.

The IBM PC version of Mallard Basic is still available from LocoScript Software as an MS-DOS program, which will run under Windows as a disc-only version with licence or with the full Introduction & Reference manual.

title: Mallard BASIC


text:
Atlantic voyage of the predecessor of Mansa Musa

In 1324, while staying in Cairo during his hajj, Mansa Musa, the ruler of the Mali Empire, told an Egyptian official whom he had befriended that he had come to rule when his predecessor led a large fleet in an attempt to cross the Atlantic Ocean and never returned. This account, recorded by the Arab historian al-Umari, has attracted considerable interest and speculation as a possible instance of pre-Columbian trans-oceanic contact. The voyage is popularly attributed to a Mansa Abu Bakr II, but no such mansa ever reigned. Rather, the voyage is inferred to have been undertaken by Mansa Muhammad ibn Qu.

A precise date for the suggested voyage is not known, though it is interpreted as having occurred in or shortly before 1312, the year Musa is inferred to have become mansa. No clear evidence of the fate of the voyage has been found.

Musa's account
Mansa Musa stayed in Cairo for three months in 1324 while en route to Mecca for the hajj. While there, he befriended an emir named Abu al-Hasan Ali ibn Amir Hajib, who was the governor of the district of Cairo Musa was staying in. Ibn Amir Hajib later recounted to the scholar al-Umari what he had learned of Mali from his conversations with Musa. In one such conversation, Ibn Amir Hajib had asked Musa how he had become king, and Musa responded:

"We belong to a house which hands on the kingship by inheritance. The king who was my predecessor did not believe that it was impossible to discover the furthest limit of the Atlantic Ocean and wished vehemently to do so. So he equipped 200 ships filled with men and the same number equipped with gold, water, and provisions enough to last them for years, and said to the man deputed to lead them: "Do not return until you reach the end of it or your provisions and water give out." They departed and a long time passed before anyone came back. Then one ship returned and we asked the captain what news they brought. He said: "Yes, O Sultan, we traveled for a long time until there appeared in the open sea [as it were] a river with a powerful current. Mine was the last of those ships. The [other] ships went on ahead but when they reached that place they did not return and no more was seen of them and we do not know what became of them. As for me, I went about at once and did not enter that river." But the sultan disbelieved him. Then that sultan got ready 2,000 ships, 1,000 for himself and the men whom he took with him and 1,000 for water and provisions. He left me to deputize for him and embarked on the Atlantic Ocean with his men. That was the last we saw of him and all those who were with him, and so I became king in my own right."

Al-Umari’s record of this conversation is the only account of this voyage, as it is not mentioned by other medieval Arab historians or West African oral tradition. Nonetheless, the possibility of such a voyage has been taken seriously by several historians.

Identity of Musa's predecessor
The identity of the mansa responsible for the voyage has been subject to some confusion. Al-Umari’s record of Musa’s account does not mention mansa’s name, giving no indication of his identity other than that he was Musa’s predecessor. According to the Arab historian Ibn Khaldun, writing several decades later, Musa’s predecessor as mansa was Muhammad ibn Qu. As such, several historians have attributed the voyage to Mansa Muhammad.

Many sources call the mansa in question Abu Bakr II. However, the inclusion of a Mansa Abu Bakr II in the list of Malian rulers is an error that originated in a mistranslation of Ibn Khaldun’s text by the 19th-century European historian Baron de Slane. De Slane translated Ibn Khaldun as saying that the kingship passed from Muhammad to Abu Bakr, then to Musa. However, in the original Arabic text, Abu Bakr is only mentioned in his role as the progenitor of Musa's lineage, not as a ruler. The Abu Bakr in question was a brother of Sunjata, the founder of the Mali Empire, and apparently never himself ruled. Another figure named Abu Bakr did rule as mansa, but he was the predecessor of Sakura, not Musa.

Additionally, some historians have suggested without elaboration that the voyage should be attributed to Mansa Qu, who was the father and predecessor of Muhammad ibn Qu according to Ibn Khaldun.

Interpretation
No uncontroversial evidence of pre-Columbian contact between Africa and the Americas has ever been found. Regardless of whether any of the Malian ships ever reached the Americas, they apparently never returned to Africa and there were not any long-term economic consequences of the voyage.

The river on the sea described by the survivor of the first expedition is presumably the Canary Current. The inclusion of this fact in Musa's account indicates that Musa had some awareness of the oceanographic conditions of the open Atlantic. The Canary Current flows from West Africa to the Americas, which would have facilitated travel from Africa to the Americas but prevented it in the opposite direction.

Ivan van Sertima and Malian researcher Gaoussou Diawara proposed that the voyage reached the New World. Van Sertima cites the abstract of Columbus's log made by Bartolomé de las Casas, according to which the purpose of Columbus's third voyage was to test both the claims of King John II of Portugal that "canoes had been found which set out from the coast of Guinea [West Africa] and sailed to the west with merchandise" as well as the claims of the native inhabitants of the Caribbean island of Hispaniola that "from the south and the southeast had come black people whose spears were made of a metal called guanín ... from which it was found that of 32 parts: 18 were gold, 6 were silver, and 8 copper."

However, scholars dispute evidence of any such voyage reaching the Americas, and that there are insufficient evidentiary grounds to suppose there has been contact between Africa and the New World at any point in the pre-Columbian era. Haslip-Viera et al. noted in particular that "no genuine African artifact has ever been found in a controlled archaeological excavation in the New World". Karl Taube, a professor at UC Riverside specializing in pre-Columbian Mesoamerican history writes there "simply is no material evidence of any Pre-Hispanic contact between the Old World and Mesoamerica before the arrival of the Spanish in the sixteenth century".

Legacy
Mansa Musa himself appears to have considered his predecessor's plan to be impractical. The main point he appears to have been trying to make to Ibn Amir Hajib is that his predecessor's failed voyage paved the way to his becoming king. Likewise, it has been speculated that the lack of information in oral tradition about the voyage reflects a view that the mansa's voyage was a shameful abdication of duty.

In modern times, the voyage has become more celebrated. The Malian historian Gaoussou Diawara has remarked that the mansa should be looked up to by modern politicians as an example of a ruler who valued science and discovery over holding onto power.

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


text:
Marius Goring

Marius Re Goring (23 May 1912 – 30 September 1998) was an English stage and screen actor. He is best remembered for the four films he made with Powell & Pressburger, particularly as Conductor 71 in A Matter of Life and Death and as Julian Craster in The Red Shoes. He is also known for playing the title role in the long-running TV drama series, The Expert. He regularly performed French and German roles, and was frequently cast in the latter because of his name, coupled with his red-gold hair and blue eyes. However, in a 1965 interview, he explained that he was not of German descent, stating that "Goring is a completely English name."

Life and career
Goring was born in Newport, Isle of Wight, the son of the eminent physician and researcher Dr Charles Buckman Goring (1870-1919), the author of The English Convict, and Kate Winifred (née Macdonald, 1874–1964), a professional pianist of Scottish descent who was also a suffragette. He had an older brother, Donald, who died in Yemen, in 1936, from injuries sustained in a motor vehicle accident. After attending The Perse School in Cambridge, where he became a friend of an older boy, the future documentary film maker Humphrey Jennings, Goring studied modern languages at the universities of Frankfurt, Munich, Vienna and Paris. Encouraged by both of his parents to pursue his acting ambitions, he made his professional debut in 1927 playing Harlequin. He studied under Harcourt Williams at the Old Vic dramatic school from 1929 to 1932. In 1931, he toured Germany and France with the English Classical Players performing in Shakespearean and classic English plays. Having become fluent in French and German, he joined La Compagnie des Quinze, under the directorship of Michel Saint-Denis, in 1934. He would later encourage Saint-Denis to come to England and work as a director. His early stage career in England included appearances at the Old Vic, Sadler's Wells and in the West End from 1932 through to 1940. During that period, he played a variety of Shakespearean roles at the Old Vic, including the title role in Macbeth and Romeo in Romeo and Juliet (1933), Feste in Twelfth Night (1937), in addition to Trip in Sheridan's The School for Scandal. He first worked in the West End in a 1934 revival of Granville-Barker's The Voysey Inheritance at the Shaftesbury Theatre.

In 1929, he became a founding member of British Equity, the actors' union, served on its council from 1949 and was three times its vice-president from 1963 to 1965, 1975 to 1977 and again from 1980 to 1982. Goring's relationship with his union was fraught with conflict: he took it to litigation on three occasions. In 1978, regarding the issue of the supremacy of a referendum to decide Equity rules, he took it as far as the House of Lords and won his case. In 1992, he unsuccessfully sought to end the restriction on the sale of radio and television programmes to apartheid South Africa. Stressing that he opposed apartheid and would not perform for segregated audiences, he argued that the ban was depriving actors of work, and stated that he wished to stage a production of the play She Stoops to Conquer with an all-black cast. This particular litigation nearly bankrupted him, due to heavy court costs.

In November 1931, at the age of nineteen, he married twenty-nine year old Mary Westwood Steel (1902-1994) at Gretna Green, Scotland (they had a second marriage ceremony in a London register office in February 1932) and their only child, a daughter Phyllida Mariette Goring, was born in March 1932 and died in 2018. The marriage did not succeed and he became engaged in 1935 to ballet choreographer and designer, Susan 'Susy' Salaman, older sister of Merula Salaman, wife of Alec Guinness. Susy contracted acute encephalitis in late 1935 and was left brain-damaged. Goring wanted to go ahead with the wedding but Susy's father, Michel Salaman, would not allow it.

In 1935, he co-founded the London Theatre Studio with Michel Saint-Denis, George Devine and Glen Byam Shaw. It trained actors, directors and designers and was a precursor of the Old Vic Theatre School; Goring taught Shakespeare there. It had to close in late 1939 due to the outbreak of war.

Goring's film career began with an uncredited role in The Amateur Gentleman (1936) with Douglas Fairbanks Jr and a small speaking role in Rembrandt (also 1936). He shared his one scene in this film with the star Charles Laughton, with whom he had previously worked on stage at the Old Vic. He made two further films released in 1939: Flying Fifty-Five with Derrick de Marney where he showed off his comedic skills playing an amusing drunkard and co-starred with Conrad Veidt in his first Powell and Pressburger film, The Spy in Black, an intriguing spy thriller set during World War One, where he played a German officer for the first of many times in his film career.

When war was declared in September 1939, he was back in the West End as Pip in a production of Great Expectations, adapted for the stage by Alec Guinness. Along with all other plays, it was closed down temporarily by the war but was the first to resume when theatres were reopened in early 1940. He joined the British Army in June 1940, and was seconded in 1941 to the BBC as supervisor of radio productions broadcasting to Germany as part of the BBC German Service (Londoner Rundfunk). He made broadcasts under the name Charles Richardson (using his father's first name and maternal grandmother's maiden name), because of the association of his name with Hermann Göring. In 1944 he became a member of the intelligence staff of SHAEF (Supreme Headquarters Allied Expeditionary Force) where he attained the rank of colonel. Because of the broadcasts he had been making to Germany, set up by the Foreign Office as a counter to William Joyce (Lord Haw-Haw), he was put on a Nazi hit-list.

In 1941, he married his second wife, the German actress Lucie Mannheim (1899-1976). Mannheim, who was Jewish, had been a principal actress in the Berlin Theatre but had to leave Germany when the Nazis came to power. She worked with Goring in many stage productions from the 1930s onwards and in seven episodes of The Adventures of the Scarlet Pimpernel, one of which he wrote especially for her, as well as in several films. Mannheim died in 1976, and the next year Goring married television director/producer Prudence Fitzgerald (1930-2018), who had directed him in many episodes of The Expert.

In the film A Matter of Life and Death (1946) Goring played Conductor 71, whose role is to 'conduct' Peter Carter (David Niven) to the afterlife. In The Red Shoes, he played Julian Craster, a young composer who wins the heart of ballerina Vicky Page (Moira Shearer) and clashes with the imperious ballet impresario, Boris Lermontov (Anton Walbrook). In the film Odette released in the UK in 1950, Goring played the role of Colonel Henri, a German Abwehr (Military Intelligence) officer who deceived and captured Odette. The film is based on the true story of Odette Sansom, the first living woman to be awarded the George Cross. The real Odette Sansom was later a witness at his marriage to Prudence Fitzgerald in 1977. He played Colonel Günther von Hohensee in So Little Time (1952), which also featured Maria Schell, one of his rare romantic leads and frequent roles playing a German officer. He considered the film one of his favourites, alongside the four films he made with Powell and Pressburger.

His TV work included starring as Sir Percy Blakeney in The Adventures of the Scarlet Pimpernel (ITV, 1955) (a role which he also performed in a 1952-53 radio show), a series which he also co-wrote and produced; Theodore Maxtible in the Doctor Who story The Evil of the Daleks (BBC, 1967); Professor John Hardy in The Expert (BBC, 1968–1976); Paul von Hindenburg in Fall of Eagles (BBC, 1974); King George V in Edward & Mrs. Simpson (Thames, 1980) and Emile Englander in The Old Men at the Zoo (BBC, 1983).

Goring's voice provides the narration of the sound and light show performed regularly in the evening at the Blue Mosque in Istanbul, Turkey.

He was made a Fellow of the Royal Society of Literature in 1979 and appointed Commander of the Order of the British Empire (CBE) in 1991. He died from stomach cancer in 1998 aged 86 at his home in Rushlake Green, East Sussex, survived by his third wife, Prudence and daughter, Phyllida. He is buried in the churchyard of St Mary the Virgin, Warbleton, East Sussex near Rushlake Green with his wife, Prudence, who died in 2018.

Portrayal in fiction
Goring appears as a character in the 2023 BBC radio play, A Wireless War, in which he is recruited by the Radio Drama Company to voice Adolph Hitler in a serial about the rise of Nazi Germany. He is played by Josh Bryant-Jones.

Complete filmography

 * The Amateur Gentleman (1936) - Minor Role (uncredited)
 * Rembrandt (1936) - Baron Leivens (uncredited)
 * Dead Men Tell No Tales (1938) - Greening
 * Consider Your Verdict (1938 short) - The Novelist
 * Flying Fifty-Five (1939) - Charles Barrington
 * The Spy in Black * (1939) - Lt. Felix Schuster
 * Pastor Hall (1940) - Fritz Gerte
 * The Case of the Frightened Lady (1940) - Lord Lebanon
 * The Big Blockade (1942) - German Propaganda Officer
 * The Night Invader (1943) - Oberleutnant
 * The True Story of Lili Marlene (1944) - Narrator
 * Night Boat to Dublin (1946) - Frederick Jannings
 * A Matter of Life and Death * (1946) - Conductor 71
 * Take My Life (1947) - Sidney Fleming
 * The Red Shoes * (1948) - Julian Craster
 * Mr. Perrin and Mr. Traill (1948) - Vincent Perrin
 * Odette (1950) - Colonel Henri
 * Highly Dangerous (1950) - Commandant Anton Razinski
 * Pandora and the Flying Dutchman (1951) - Reggie Demarest
 * Circle of Danger (1951) - Sholto Lewis
 * The Magic Box (1951) - House Agent
 * Nights on the Road (1952) - Kurt Willbrandt
 * So Little Time (1952) - Colonel Günther von Hohensee
 * The Man Who Watched Trains Go By (1952) - Inspector Lucas
 * Rough Shoot (1953) - Hiart
 * The Mirror and Markheim (1954, short) - Narrator
 * The Barefoot Contessa (1954) - Alberto Bravano
 * Break in the Circle (1955) - Baron Keller
 * The Adventures of Quentin Durward (1955) - Count Philip de Creville
 * Gaslicht (1956, TV movie) - Jack Manningham
 * The Magic Carpet (1956, Short)
 * Ill Met by Moonlight * (1957) - Major General Kreipe
 * The Truth About Women (1957) - Otto Kerstein
 * Rx Murder (1958) - Doctor Henry Dysert
 * The Moonraker (1958) - Colonel Beaumont
 * An Ideal Husband (1958, TV Movie) - Lord Goring
 * I Was Monty's Double (1958) - Karl Nielson
 * The Son of Robin Hood (1958) - Chester
 * The Angry Hills (1959) - Col. Elrick Oberg
 * Whirlpool (1959) - Georg
 * Asmodée (1959, TV Movie) - Blaise Lebel
 * The Treasure of San Teresa (1959) - Rudi Siebert
 * Desert Mice (1959) - German Major
 * Beyond the Curtain (1960) - Hans Körtner
 * Exodus (1960) - Von Storch
 * The Unstoppable Man (1961) - Inspector Hazelrigg
 * The Devil's Daffodil (1961) - Oliver Milburgh
 * The Secret Thread (1962, TV Movie) - Arnold Reed
 * The Inspector (1962) - Thorens
 * The Devil's Agent (1962) - Gen. Greenhahn
 * The Crooked Road (1965) - Harlequin
 * Up from the Beach (1965) - German Commandant
 * The 25th Hour (1967) - Col. Muller
 * Der Monat der fallenden Blätter (1968, TV Movie) - Erster Geheimagent
 * The Girl on a Motorcycle (1968) - Rebecca's Father
 * Subterfuge (1968) - Shevik
 * First Love (1970) - Dr. Lushin
 * Zeppelin (1971) - Prof. Altschul
 * La petite fille en velours bleu (1978) - Raimondo Casarès
 * Meetings with Remarkable Men (1979)
 * Cymbeline (1982, TV Movie) - Sicilius Leonatus
 * Strike It Rich (1990) - Blixon (final film role)

* Powell and Pressburger productions

Television appearances

 * The Bear (1938 short film): Grigory Stepanovitch Smirnov, a landowner with Lucie Mannheim
 * Box for One (1949 short film): The Caller
 * On the Harmful Effects of Tobacco (1952 BBC TV): Ivan Ivanovich Nyukhin
 * You Are There (1953–1972 CBS TV series): Oliver Cromwell in ‘The Trial of Charles the First’ (1954)
 * Douglas Fairbanks Presents (1953–57 NBC TV series): Nicol Pascal in ‘The Rehearsal’ (1954)
 * Lilli Palmer Theatre (1955–56 ITC/NBC TV series): Reinhardt in ‘Mossbach Collection’ (1955) and Major Edward Carter in ‘Episode in Paris’ (1956)
 * The Adventures of the Scarlet Pimpernel (1955–56 ITC TV series): Sir Percy Blakeney/The Scarlet Pimpernel in eighteen episodes with Lucie Mannheim in seven episodes
 * Many Mansions (1957 BBC TV short): Lester Hockley
 * BBC Sunday Night Theatre (1950–59 BBC TV series): Tommy Savidge in ‘Promise of Tomorrow’ (1950); Chorus in ‘The Life of Henry V’ (1951); Hjalmar Ekdal in ‘The Wild Duck’ (1952); General Harras in ‘The Devil’s General’ (1955); Dr Cranmer in ‘The White Falcon’ (1956); Crystof Walters in ‘The Cold Light’ (1956); Robert Clive in ‘Clive of India’ (1956) and Richard Brinsley Sheridan in ‘The Lass of Richmond Hill’ (1957)
 * International Detective (1959–61 ABPC TV series): Ferdie Steibel in ‘The Steibel Case’ (1960)
 * BBC Sunday-Night Play (1960–63 BBC TV series): Alexis Turbin in ‘The White Guard’ (1960); General Harras in ‘The Devil’s General’ (1960); Laye-Parker in ‘A Call on Kuprin (1961) and John Lock in ‘The Money Machine’ (1962)
 * Drama 61-67 (1961–67 ATV TV series): Captain in ‘The Cruel Day’ (1961) and Mervyn in ‘Room for Justice’ (1962)
 * 24-Hour Call (1963 ATV TV series): Sam Bullivant in ‘Love for Caroline’
 * First Night (1963–64 BBC TV series): Grieve Wishart in ‘The Youngest Profession’ (1963)
 * Maigret (1960–63 BBC TV series): Peter the Lett in ‘Peter the Lett’ (1963)
 * The Third Man (1959–65 BBC TV series): Colonel Dimonella in ‘A Question in Ice’ (1964)
 * Love Story (1963–74 ATV TV series): Robert Langley in ‘In Loving Memory’ (1964)
 * The Great War (1964 BBC/ABC/CBC TV documentary series): Various voices in twenty-six episodes
 * The Mask of Janus (1965 BBC TV series): Dr Kapaka in ‘Why Not Call Me Kruschev?’
 * Thirteen Against Fate (1966 BBC TV series): Monsieur Hire in ‘The Suspect’
 * Out of the Unknown (1966–71 BBC TV series): Wattari in ‘Too Many Cooks’ (1966)
 * ITV Play of the Week (1955–74 ITV TV series): John Hagerman in ‘The Breath of Fools’ (1957); Purcell in ‘The Darkness Outside’ (1960); Charles Norbury in ‘The Sound of Murder’ (1964), Lewis Eliot in ‘The New Men’ (1966) and Robert Cosgrove in ‘On the Island’ (1967)
 * The Revenue Men (1967–68 BBC TV series): Kersten in ‘The Traders’ (1967)
 * Sir Arthur Conan Doyle (1967 BBC TV series): Lord Linchmere in ‘The Beetle Hunter’
 * Doctor Who (1963–? BBC TV Series): Theodore Maxtible in The Evil of the Daleks (six episodes in 1967)
 * The Wednesday Play (1964–1970 BBC TV series): Reverend Harrup in ‘A Walk in the Sea’ (1966) and Sir Hubert in ‘Sleeping Dogs’ (1967)
 * Man in a Suitcase (1967–68 ITC TV series): Henri Thibaud in ‘Blind Spot’ (1968)
 * Le dossiers de l’agence O (1968 COFERC/ORTF TV Series): Madame Sacramento in ‘Le club des vieilles dames’ (French TV series)
 * Thirty-Minute Theatre (1965–73 BBC TV series): Mr Ponge in ‘Mr Ponge’ (1965) and The Interrogator in ‘The Year of the Crow’ (1970)
 * The Expert (1968–76 BBC TV series): Professor John Hardy in sixty-two episodes
 * Fall of Eagles (1974 BBC TV mini-series): Von Hindenburg in ‘The Secret War’ and ‘End Game’
 * 2nd House (1973–76 BBC TV series): Humboldt in ‘Saul Bellow’ (1975)
 * Wilde Alliance (1978 ITV TV Series): Rex in ‘Things That Go Bump’
 * Holocaust (1978 CBS TV mini-series): Heinrich Palitz in Part One
 * Edward & Mrs. Simpson (1979 ITV TV mini-series): King George V in ‘Venus at the Prow’ and ‘The Little Prince’
 * House of Caradus (1979 Granada TV series): Bronksy in ‘The Girl in the Blue Dress’
 * Tales of the Unexpected (1979–88 Anglia TV series): Dr John Landy in ‘William and Mary’ (1979)
 * Hammer House of Horror (1980 ITC TV series): Heinz in ‘Charlie Boy’
 * Levkas Man (1981 ABC Australia TV series): Dr Pieter Gerrard in six episodes
 * The Year of the French (1982 RTE/Channel 4/FR3 France 6 part series): Lord Glenthorne in Episode One
 * The Old Men at the Zoo (1983 BBC TV series): Emile Englander in five episodes
 * Hammer House of Mystery and Suspense (1984–85 ITV TV series): Angus Aragon in ‘The Late Nancy Irving’ (1984)
 *  Highway (1983 - 1993 ITV Religious Documentary TV series): Guest interviewed by host Sir Harry Secombe in episode 'Festivals' (1986)
 * Gnostics (1987 Channel 4 TV series): Episode 3: Divinity of Man: Hermes Trismegistus & Prospero (1987)
 * Woburn at War (1987 Anglia TV Documentary): Presenter

Stage appearances

 * Crossings: A Fairy Play (1925) as a Fairy with Angela Baddeley at the ADC Theatre, Cambridge. This was his amateur theatrical debut
 * Jean Stirling Mackinlay Children's Matinee: Dr Doolittle's Play (1927) as Harlequin at The Rudolf Steiner Hall, London. This was his professional theatrical debut
 * Jean Stirling Mackinlay Children's Matinee: Dr Doolittle's Play & King John's Christmas (1928) as Harlequin at The Rudolf Steiner Hall, London
 * Les Femmes Savantes (1930) as Trissotin at the ADC Theatre, Cambridge
 * Macbeth, The Merchant of Venice, She Stoops to Conquer & The School for Scandal with the English Classical Players (1931) touring Germany and France
 * Julius Caesar (1932) as a Spear Carrier at The Old Vic, London
 * Caesar and Cleopatra (1932) as Persian at The Old Vic, London and Sadler's Wells Theatre, London
 * As You Like It (1932) as Le Beau at The Old Vic, London
 * Macbeth (1932) as Macbeth at The Old Vic, London and Sadler's Wells Theatre, London. He undertook 3 performances as Macbeth when Malcolm Keen (Macbeth) and understudy Alastair Sim (Malcolm) were too incapacitated to perform
 * The Merchant of Venice  (1932) as Salanio at The Old Vic, London. Directed by John Gielgud
 * She Stoops to Conquer (1933) as Aminadab at The Old Vic, London
 * The Winter's Tale (1933) as Cleomenes at The Old Vic, London
 * Cymbeline (1932) as Second Lord at The Old Vic, London
 * The Admirable Bashville (1933) as First Policeman with Anthony Quayle, Alastair Sim and Roger Livesey at The Old Vic, London
 * Romeo and Juliet (1933) as Romeo with Peggy Ashcroft as Juliet at The Old Vic, London and Sadler's Wells Theatre, London
 * The School for Scandal (1933) as Trip with Alastair Sim, Peggy Ashcroft, Roger Livesey and Anthony Quayle at The Old Vic, London
 * Shakespeare Birthday Festival (1933) at The Old Vic, London
 * The Tempest (1933) as Adrian at The Old Vic, London and Sadler's Wells Theatre, London
 * A Midsummer Night's Dream (1933) as a Faerie with the Oxford University Dramatic Society at Headington Hill Park, Oxford (outdoor performance). Produced & directed by Max Reinhardt
 * Twelfth Night (1933) as Sebastian at The Old Vic, London
 * The Cherry Orchard (1933) as Yepikhodov with Charles Laughton, Elsa Lanchester, Flora Robson and James Mason at The Old Vic, London. Directed by Michel Saint-Denis
 * Henry VIII (1933) as Cardinal Campeius/Garter King of Arms with Charles Laughton, Roger Livesey and Flora Robson at Sadler's Wells Theatre, London
 * Measure for Measure (1933) as Friar Peter/Abhorson with Charles Laughton, Roger Livesey and Flora Robson at The Old Vic, London
 * The Tempest (1934) as Alonso at Sadler's Wells Theatre, London
 * Love for Love (1934) as Buckram with Charles Laughton, Flora Robson, Roger Livesey and James Mason at Sadler's Wells Theatre, London
 * Shakespeare Birthday Festival (1934) at The Old Vic, London
 * Macbeth (1934) as Malcolm with Charles Laughton as Macbeth at The Old Vic, London
 * The Voysey Inheritance (1934) as Hugh Voysey at Sadler's Wells Theatre, London and Shaftesbury Theatre, London. The Shaftesbury Theatre was his first appearance in the West End
 * Hamlet, The Rape of Lucrèce as Tarquin & Riders to the Sea as Bartley with La Compagnie des Quinze (1934) in France, Belgium & The Netherlands
 * Shakespeare Birthday Festival (1935) at The Old Vic, London
 * Hamlet (1935) as Hamlet (short version) and Fortinbras (long version) at The Old Vic, London. Malcolm Keen played Hamlet in the full version performances
 * Noah (1935) as Japheth with John Gielgud as Noah at the New Theatre, London. Directed by Michel Saint-Denis
 * The Hangman (1935) as Gallows Lasse at the Duke of York's Theatre, London
 * Sowers of the Hills (1935) as Aubert at the Westminster Theatre, London. Directed by Michel Saint-Denis
 * Mary Tudor (1935–1936) as Philip of Spain with Flora Robson as Mary Tudor at Streatham Hill Theatre, Golders Green Hippodrome, Playhouse Theatre, London and Sadler's Wells Theatre, London
 * Repayment (1936) as Paul Novak with Margaret Lockwood at the Arts Theatre, London
 * The Happy Hypocrite (1936) as Amor with Ivor Novello and Vivien Leigh at His Majesty's Theatre, London
 * The Ante-Room (1936) as Vincent de Courcy O'Regan with Diana Wynyard and Jessica Tandy at the King's Theatre, Edinburgh and the Manchester Opera House
 * Girl Unknown (1936) as Max with Lucie Mannheim at the New Theatre, London and the Golders Green Hippodrome. Produced by Lucie Mannheim
 * The Wild Duck (1936) as Gregors Werle at the Westminster Theatre, London
 * The Witch of Edmonton (1936) as Frank Thorney with Edith Evans, Alec Guinness and Michael Redgrave at The Old Vic, London. Directed by Michel Saint-Denis
 * Hamlet (1936-1937) as First Player and Fortinbras with Laurence Olivier as Hamlet, Michael Redgrave and Alec Guinness at The Old Vic, London
 * Twelfth Night (1937) as Feste with Laurence Olivier and Alec Guinness at The Old Vic, London
 * Shakespeare Birthday Festival (1937) at The Old Vic, London
 * Henry V (1937) as Chorus with Laurence Olivier as Henry V at The Old Vic, London
 * Satyr (1937) as Peter de Meyer with A. E. Matthews and Flora Robson at King's Theatre, Edinburgh and Shaftesbury Theatre, London
 * A Woman Killed with Kindness (1937) 5 scenes at the London Theatre Studio. He produced and directed this performance but did not appear in it
 * The Last Straw (1937) as Wolfe Guldeford with Lucie Mannheim at the Comedy Theatre, London. Produced & directed by Lucie Mannheim
 * Surprise Item (1938) as Arthur Primmer at the Ambassadors Theatre, London
 * Henry Irving Centenary Matinee - Scene from Louis XI (1938) at the Lyceum Theatre, London
 * The White Guard (1938) as Leonid Shervinsky at the Phoenix Theatre, London. Directed by Michel Saint-Denis
 * Nora (1939) with Lucie Mannheim at the Duke of York's Theatre, London. Goring produced this play but did not appear in it
 * Lady Fanny (1939) as Lord Bantock with Lucie Mannheim at the Duke of York's Theatre, London. He also directed this production
 * Nina (1939) as Schimmelmann with Lucie Mannheim as Nina at Gaiety Theatre, Dublin and Duke of York's Theatre, London. He also directed this production
 * Hamlet (1939) as First Player and Osric with John Gielgud as Hamlet performed at the Lyceum Theatre, London and at Kronborg, Helsingør, Denmark. He co-directed this production with John Gielgud
 * Great Expectations (1939–1940) as Pip with Alec Guinness as Herbert Pocket and Martita Hunt as Miss Havisham at The Rudolf Steiner Hall, London. Play adapted by Alec Guinness from the novel by Charles Dickens
 * The Tempest (1940) as Ariel with John Gielgud as Prospero and Alec Guinness as Ferdinand at The Old Vic, London. He co-directed this production with George Devine
 * Monsieur Lamberthier (1947) as Maurice with Lucie Mannheim in English and German on tour in Germany (British Zone)
 * Rosmersholm (1948) as Johannes Rosmer with his wife Lucie Mannheim as Rebecca West at the Arts Theatre, London. Directed by Alec Clunes
 * Too True To Be Good (1948) as Aubrey Bagot with Lucie Mannheim at the Arts Theatre, London. Directed by Alec Clunes
 * The Cherry Orchard (1948) as Peter Trofimov at the Arts Theatre, London. Directed by Alec Clunes
 * Marriage (1948) as Ivan Kuzmich Podkolyosin with Lucie Mannheim at the Arts Theatre, London. Directed by Alec Clunes
 * The Bear (1948) as Grigory Stepanovitch Smirnov with Lucie Mannheim at the Arts Theatre, London. Directed by Alec Clunes
 * The Third Man/Jealousy/Monsieur Lamberthier (1948-1949) as Maurice with Lucie Mannheim at the Arts Theatre, London, Oldham Repertory Theatre Club, Manchester and on tour in Germany. Directed by Alec Clunes
 * Daphne Laureola (1949) as Ernest Piaste with Lucie Mannheim as Lady Pitts on tour in Germany
 * The Madwoman of Chaillot (1951) as The Rag Picker with Martita Hunt at the St James's Theatre, London
 * Richard III (1953) as Richard III at the Shakespeare Memorial Theatre, Stratford. Directed by Glen Byam Shaw
 * Antony and Cleopatra (1953) as Octavius Caesar with Michael Redgrave as Antony and Peggy Ashcroft as Cleopatra at the Shakespeare Memorial Theatre, Stratford and the Princes Theatre, London. Directed by Glen Byam Shaw
 * The Taming of the Shrew (1953) as Petruchio with Yvonne Mitchell as Katherina at the Shakespeare Memorial Theatre, Stratford. Directed by George Devine
 * King Lear (1953) as The Fool with Michael Redgrave as Lear at the Shakespeare Memorial Theatre, Stratford. Directed by George Devine
 * Antony and Cleopatra (1954) as Octavius Caesar with Michael Redgrave as Antony and Peggy Ashcroft as Cleopatra at the Koninklijke Schouwburg, The Hague & Royal Theatre Carré, Amsterdam, the Netherlands, Koninklijke Nederlandse Schouwburg, Antwerp & Theatre Royal de la Monnaie, Brussels, Belgium and Théâtre des Champs-Élysées, Paris, France. Directed by Glen Byam Shaw
 * Scenes from Shakespeare (1957) leading a company to France at the Théâtre National Populaire, Paris and Annecy, Lyons, Lille, Amiens and Douai
 * Scenes from Shakespeare (1957) leading a company to Helsinki, Finland including Rachel Gurney, Yvonne Furneaux, Roger Gage, Jennifer Wilson and John Laurie
 * Scenes from Shakespeare and Classical English Theatre (1958) leading a company to India and Ceylon including Rachel Gurney, Yvonne Furneaux, Roger Gage, Jennifer Wilson and John Laurie
 * Savonarola Brown (1960) as Savonarola Brown at the Royal Festival Hall, South Bank, London
 * Measure for Measure (1962) as Angelo with Judi Dench as Isabella (Royal Shakespeare Company production) at the Royal Shakespeare Theatre, Stratford
 * A Penny for a Song (1962) as Sir Timothy Bellboys with Judi Dench as Dorcas Bellboys (Royal Shakespeare Company production) at the Aldwych Theatre, London
 * Menage à Trois (1963) as Charles with Phyllis Calvert at the Lyric Theatre, London
 * King Arthur (1963) as the Narrator at the Victoria and Albert Museum, London
 * The Poker Session (1963–1964) as Teddy at the Gate Theatre, Dublin in the Dublin Theatre Festival (1963) and the Globe Theatre, London (1964). Goring played Teddy in the premiere production in Dublin
 * Oedipus rex (1963) as the Narrator at the Royal Festival Hall, South Bank, London
 * King Arthur (1964) as the Narrator at the Royal Albert Hall, London
 * The Apple Cart (1965) as King Magnus with Barbara Murray at the Cambridge Arts Theatre, Manchester Opera House, New Wimbledon Theatre, Theatre Royal, Brighton and Golders Green Hippodrome, London
 * The Devil's Disciple (1965) as General Burgoyne with Ian Bannen at the Yvonne Arnaud Theatre, Guildford
 * The Bells (1967–1968) as Mathias at the Derby Playhouse, The Alexandra, Birmingham, the Grand Theatre, Leeds and the Vaudeville Theatre, London. He also directed it in its Birmingham, Leeds and London productions
 * Married Bliss (1968) at The Alexandra, Birmingham and Grand Theatre, Leeds. He directed this play only and did not act in it. It was curtain raiser to The Bells
 * Lend Me Five Shillings (1968) as Mr Golighty. He also directed it in its production at the Vaudeville Theatre, London. It was curtain raiser to The Bells
 * The Demonstration (1969) as Professor Bright at the Nottingham Playhouse
 * Sleuth (1971–1973) as Andrew Wyke at the St Martin's Theatre, London
 * If Music and Sweet Poetry Agree (1972) with the Royal Shakespeare Company at the Royal Shakespeare Theatre, Stratford
 * Tribute to the Lady (1974) at The Old Vic, London
 * The Wisest Fool (1974) as James I at Yvonne Arnaud Theatre, Guildford, The Alexandra, Birmingham, Grand Theatre, Wolverhampton, Civic Theatre, Darlington, Ashcroft Theatre, Croydon, Richmond Theatre, London, Theatre Royal, Bath, Grand Theatre, Leeds and Hull New Theatre
 * The Concert (1975) as Gustav Hein with Barbara Murray at the York Theatre Royal and the Forum Theatre, Billingham
 * This Wooden O (1975) at the Bankside Globe Playhouse, London
 * Habeas Corpus (1975) as Arthur Wicksteed at the Liverpool Playhouse
 * The Sun King (1976) at the Tatton Park, Cheshire and Royal Festival Hall, London
 * Sleuth (1976) as Andrew Wyke at the Liverpool Playhouse
 * Jubilee Gaieties (1977) at the Marlowe Theatre, Canterbury, Ashcroft Theatre, Croydon, New Wimbledon Theatre, London, Devonshire Park Theatre, Eastbourne, Theatre Royal, Windsor and Wyvern Theatre, Swindon
 * Royal Thames (1977) at the Theatre Royal Haymarket with Judi Dench
 * Exit: Pursued by a Bear (1977) at the Pitlochry Festival Theatre
 * The Sun King (1978) at the Old Town Hall, Hemel Hempstead
 * Woe to the Sparrows (1980) as Emperor Franz Josef at Northcott Theatre, Exeter
 * Lloyd George Knew My Father (1980) as General Sir William Boothroyd with Dulcie Gray at the Theatre Royal, Norwich, Theatre Royal, Bath, King's Theatre, Glasgow, Richmond Theatre, London, Pavilion Theatre, Bournemouth, Cambridge Arts Theatre, Key Theatre, Peterborough, Theatre Royal, Brighton, Nell Gwynne Theatre, Hereford, The Alexandra, Birmingham, Sunderland Empire Theatre, Brewhouse Theatre, Taunton, Beck Theatre, Hayes and Theatr y Werin, Aberystwyth Arts Centre
 * Habeas Corpus (1981) as Arthur Wicksteed at the Royal Lyceum Theatre, Edinburgh
 * The Sun King (1981) at the Theatre Royal, Windsor
 * Zaide (1982) as the Narrator at The Old Vic, London
 * The Sun King (1982) at the Fermoy Centre, King's Lynn (King's Lynn Festival)
 * Peer Gynt (1982) as the Button Moulder at the Nottingham Playhouse, Nottingham
 * The Sun King (1983) at the Queen Elizabeth Hall, South Bank, London
 * Metamorphoses (Opera) (1983) as Ovid at the Parry Theatre, Royal College of Music, London
 * The Dame of Sark (1984) as Colonel Count von Schmettau at the Lyceum Theatre, Crewe, Playhouse Theatre, Harlow and Key Theatre, Peterborough
 * The Winslow Boy (1984) as Arthur Winslow at the Forum Theatre, Wythenshawe, Grand Opera House, Belfast, Theatre Royal, Norwich, Beck Theatre, Hayes, Towngate Theatre, Poole, Kings Theatre, Southsea, Richmond Theatre, London, Civic Theatre, Darlington, Babbacombe Theatre, Torquay, Theatre Royal, Plymouth, New Theatre Royal Lincoln, Liverpool Empire Theatre, Swan Theatre, Worcester, His Majesty's Theatre, Aberdeen, Orchard Theatre, Dartford and Ashcroft Theatre, Croydon
 * I Have Been Here Before (1985) as Dr Görtler at the Cambridge Arts Theatre, Marlowe Theatre, Canterbury, King's Theatre, Glasgow, Eden Court Theatre, Inverness, Kings Theatre, Southsea, Towngate Theatre, Poole, Ashcroft Theatre, Croydon, The Capitol Theatre, Horsham, Grand Theatre, Wolverhampton, Forum Theatre, Billingham, Oxford Playhouse, His Majesty's Theatre, Aberdeen, Key Theatre, Peterborough and New Theatre, Cardiff
 * The Apple Cart (1985–86) as Nicobar with Peter O'Toole and Michael Denison at the Theatre Royal, Bath and the Theatre Royal Haymarket, London
 * Mystery Plays (1986) as God at Canterbury Cathedral
 * Beyond Reasonable Doubt (1988-89) as Lionel Hamilton at the Queens Theatre, London
 * Towards Zero (1989) as Matthew Treves at the Churchill Theatre, Bromley, Theatre Royal, Brighton, Cambridge Arts Theatre, The Hexagon, Reading, The Alexandra, Birmingham, Theatre Royal, Nottingham, Hull New Theatre, Derngate Theatre, Northampton, Grand Theatre, Blackpool, Grand Theatre, Wolverhampton, Theatre Royal, Margate, Liverpool Empire Theatre, New Theatre Royal Lincoln, Ashcroft Theatre, Croydon, Wyvern Theatre, Swindon, Theatre Royal, Windsor, Theatre Royal, Newcastle, Manchester Opera House, Forum Theatre, Billingham, His Majesty's Theatre, Aberdeen and Eden Court Theatre, Inverness
 * Sunsets and Glories (1990) as Cardinal Latino Malabranca Orsini at the West Yorkshire Leeds Playhouse, Leeds with Freddie Jones as Pope Celestine V. Directed by Stuart Burge
 * Cerceau (1992) as Nikolai Lvovitch (Koka) at the Orange Tree Theatre, Richmond

title: Marius Goring


text:
Gabrielle Pizzi

Gabrielle Pizzi (1940 – 5 December 2004), born Gabrielle Wren, was an Australian art dealer who promoted Aboriginal art from the Western Desert from the early 1980s. She created the Gallery Gabrielle Pizzi in Melbourne in 1987.

In 1990, Gabrielle Pizzi took contemporary Aboriginal art, including that of Anatjari Tjakamarra, to the Venice Biennale and to Madrid. Pizzi curated 11 Contemporary Aboriginal Artists for the 1990 Australian Pavilion.

Early life
Born Gabrielle Wren in Sydney, she moved to Hobart when she was five years old. Later she moved to Melbourne as a teenager. She was the daughter of Norah and Anthony Wren; her father was one of the eight children of John Wren.

Career
Pizzi created Gallery Gabrielle Pizzi in 1987 in Flinders Lane, Melbourne, showing Western Desert art from Papunya Tula and Yuendumu. She held exhibitions there every three weeks for around 20 years.

She worked with art advisers from community art centres, ensuring that artists were paid correctly and new artists supported. Pizzi was known as a woman with great integrity who treated the artists with enormous respect.

Pizzi was a pioneer in the Aboriginal art world and made it her life's mission to have Aboriginal art accepted as powerful contemporary art, and since 1990, regularly curated exhibitions of Australian Aboriginal art internationally. Australian Art Collector wrote “Pizzi stands alone among commercial dealers in her longstanding efforts to take Aboriginal art to the world", and described her as being "instrumental in securing its international profile". She brought the work of artists such as Ronnie Tjampitjinpa, Mick Namarari Tjapaltjarri and Emily Kame Kngwarreye to the world, showing Aboriginal art in exhibitions in Venice, Bangalore, Moscow, and Jerusalem. She also showed artists from Maningrida, including John Mawurndjul, James Iyuna and Jimmy An.gunguna.

Pizzi donated 21 works of Aboriginal art and fashion to the National Gallery of Victoria.

In addition to her career as an art dealer, Pizzi was an activist for animal rights and Palestinian rights in Israel.

Death
Pizzi died of cancer after eighteen months' illness. She was survived by her daughter, Samantha.

title: Gabrielle Pizzi


text:
List of jockeys

This is a list of notable jockeys, both male and female, covering jockeys who have competed worldwide in all forms of horse racing.

A

 * Eddie Ahern
 * Robby Albarado
 * Anna Lee Aldred
 * Tony Allan
 * Lisa Allpress
 * Goncalino Almeida
 * Junior Alvarado
 * Kim Andersen
 * Jack Anthony
 * Chris Antley
 * Eddie Arcaro
 * Fred Archer
 * John Arnull
 * Sam Arnull
 * Cash Asmussen
 * Andrea Atzeni

B

 * Mary Bacon
 * Jerry Bailey
 * Lester Balaski
 * Ron Barry
 * Donna Barton Brothers
 * Michael Baze
 * Russell Baze
 * Tyler Baze
 * Bobby Beasley
 * William Beasley
 * Martin Becher
 * Kaye Bell
 * Terry Biddlecombe
 * Dominique Boeuf
 * Calvin Borel
 * Glen Boss
 * Opie Bosson
 * Joe Bravo
 * Scobie Breasley
 * Paddy Brennan
 * Charlotte Brew
 * Shaun Bridgmohan
 * Bill Broughton
 * Corey Brown
 * William Buick

C

 * David Campbell
 * Nina Carberry
 * Paul Carberry
 * Tommy Carberry
 * Eliza Carpenter
 * Willie Carson
 * G. R. Carter
 * Jim Cassidy
 * Larry Cassidy
 * Jesús Castañón
 * Javier Castellano
 * Eddie Castro
 * Steve Cauthen
 * Bob Champion
 * Jorge Chavez
 * Joe Childs
 * Eibar Coa
 * Ray Cochrane
 * Davy Condon
 * Patricia Cooksey
 * Bryan Cooper
 * Ángel Cordero Jr.
 * Jean Cruguet
 * Diane Crump
 * Anthony S. Cruz
 * Jim Culloty
 * Charlie Cunningham
 * Luke Currie

D

 * Henry Davies
 * Robbie Davis
 * Wantha Davis
 * Pat Day
 * Michael Dee
 * Eddie Delahoussaye
 * Cristian Demuro
 * Mirco Demuro
 * Kent Desormeaux
 * Frankie Dettori
 * Mick Dittman
 * Guy Disney
 * Ramon Domínguez
 * Steve Donoghue
 * Brett Doyle
 * Hollie Doyle
 * James Doyle
 * Jimmy Duggan
 * Richard Dunwoody
 * Mark Du Plessis
 * Martin Dwyer
 * Shane Dye

E

 * Penny Ann Early
 * Masayoshi Ebina
 * Pat Eddery
 * Stewart Elliott
 * Victor Espinoza

F

 * Kieren Fallon
 * Mick Fitzgerald
 * Brian Fletcher
 * David Romero Flores
 * Jose Flores
 * Jimmy Fortune
 * Freddie Fox
 * Richard Fox
 * Dick Francis
 * Manuel Franco
 * John Francome
 * Yuichi Fukunaga

G

 * Tyler Gaffalione
 * Cathy Gannon
 * Alan Garcia
 * Martin Garcia
 * Barry Geraghty
 * Florent Geroux
 * Josh Gifford
 * Campbell Gillies
 * Avelino Gomez
 * Garrett K. Gomez
 * Dick Goodisson
 * Tom Goodisson
 * Josephine Gordon
 * Jemmy Grimshaw
 * Aaron Gryder
 * Mario Gutierrez

H

 * Ira Hanford
 * Noel Harris
 * David Harrison
 * Bill Hartack
 * Sandy Hawley
 * Chris Hayes
 * Seamie Heffernan
 * Brian Hernandez Jr.
 * Roy Higgins
 * Michael Hills
 * Richard Hills
 * Darryll Holland
 * Norm Holland
 * Rosemary Homeister Jr.
 * Richard Hughes
 * Patrick Husbands
 * Simon Husbands
 * Adam Hyeronimus

I

 * Kenichi Ikezoe
 * Yasunari Iwata

J

 * John Jackson
 * Daryl Jacob
 * Billy Jacobson
 * Chris Johnson
 * Richard Johnson
 * Malcolm Johnston
 * Linda Jones

K

 * Willy Kan
 * Stathi Katsidis
 * Yuga Kawada
 * Colin Keane
 * Lizzie Kelly
 * Pandu Khade
 * Michael Kinane
 * Rachel King
 * Richard Kingscote
 * Julie Krone

L

 * Damian Lane
 * Lucien Laurin
 * Graham Lee
 * Christophe Lemaire
 * Aurélien Lemaitre
 * Julien Leparoux
 * Geoff Lewis
 * Jose Lezcano
 * Carl Llewellyn
 * Tommy Loates
 * Johnny Loftus
 * Johnny Longden
 * Paco Lopez
 * Tommy Lowrey
 * Len Lungo
 * Mike Luzzi

M

 * Harold Russell Maddock
 * Jason Maguire
 * Manfred K. L. Man
 * John Mangle
 * Ryan Mania
 * Eddie Maple
 * Rajiv Maragh
 * Tom Marquand
 * Chris McCarron
 * Tony McCoy
 * Kerrin McEvoy
 * James McDonald
 * Miguel Mena
 * Joe Mercer
 * Richard Migliore
 * Kirsty Milczarek
 * Walter Miller
 * Kousei Miura
 * Martin Molony
 * George Moore
 * Jamie Moore
 * Ryan Moore
 * Luke Morris
 * David Mullins
 * Isaac Murphy
 * Bauyrzhan Murzabayev
 * Johnny Murtagh

N

 * Corey Nakatani
 * Rosie Napravnik
 * Suraj Narredu
 * Peter Niven

O

 * Joseph O'Brien
 * Yukio Okabe
 * Damien Oliver
 * Henry Oliver
 * Jonjo O'Neill
 * Irad Ortiz Jr.
 * José Ortiz
 * Lance O'Sullivan

P

 * Freddie Palmer
 * Stéphane Pasquier
 * Billy Pearson
 * Martin Pedroza
 * Dave Penna
 * T. J. Pereira
 * Olivier Peslier
 * Rene Piechulek
 * Lester Piggott
 * Yasin Pilavcılar
 * Laffit Pincay Jr.
 * Red Pollard
 * Robbie Power
 * Edgar Prado
 * David Probert

Q

 * Tom Queally
 * Jimmy Quinn
 * Richard Quinn

R

 * Nash Rawiller
 * Sam Renick
 * Jorge Ricardo
 * Sir Gordon Richards
 * Michael Roberts
 * Philip Robinson
 * Willie Robinson
 * Randy Romero
 * Joel Rosario
 * Jeremy Rose
 * Katri Rosendahl
 * Chris Russell
 * Davy Russell

S

 * Gabriel Saez
 * Yves Saint-Martin
 * Jean-Luc Samyn
 * Emanuel Jose Sanchez
 * Ricardo Santana Jr.
 * José Santos
 * Peter Schiergen
 * Michael Scudamore
 * Peter Scudamore
 * Art Sherman
 * Yoshitomi Shibata
 * Blake Shinn
 * Bill Shoemaker
 * Pesi Shroff
 * Eurico Rosa da Silva
 * Bill Skelton
 * Bob Skelton
 * Doug Smith
 * Eph Smith
 * Mike Smith
 * Virginia Pinky Smith
 * Pat Smullen
 * Alex Solis
 * Christophe Soumillon
 * Cédric Ségeon
 * Jamie Spencer
 * Y. S. Srinath
 * Tommy Stack
 * Andrasch Starke
 * Greville Starkey
 * Silvestre de Sousa
 * Georges Stern
 * Gary Stevens
 * George Stevens
 * Kayla Stra
 * Andreas Suborics
 * Chantal Sutherland
 * Charlie Swan
 * Wally Swinburn
 * Walter Swinburn

T

 * Pat Taaffe
 * Joe Talamo
 * Koshiro Take
 * Yutaka Take
 * Brian Taylor
 * Fred Templeman
 * Sim Templeman
 * Brent Thomson
 * Terry J. Thompson
 * Alicia Thornton
 * Andrew Thornton
 * Liam Treadwell
 * Daniel Tudhope
 * Ron Turcotte
 * Hayley Turner

U

 * Bobby Ussery

V

 * Pat Valenzuela
 * Alice Van-Springsteen
 * Josef Váňa
 * Jacinto Vásquez
 * Cornelio Velásquez
 * John Velazquez
 * Francine Villeneuve

W

 * Ryuji Wada
 * Michael Walker
 * David Walsh
 * Ruby Walsh
 * Fulke Walwyn
 * Tommy Weston
 * Jack Westrope
 * Elijah Wheatley
 * Evan Williams
 * Emma-Jayne Wilson
 * Rick Wilson
 * Fred Winter
 * Otto Wonderly
 * Hedley Woodhouse
 * George Woolf
 * Harry Wragg
 * Wayne D. Wright

Y

 * Manuel Ycaza
 * Kazuo Yokoyama
 * Norihiro Yokoyama
 * Takeshi Yokoyama
 * Raymond York

title: List of jockeys


text:
Talk:University of Tennessee

Notable people images
Hey @Drmies! While you may think these images were "judiciously" removed. You provided no clear rationale besides your personal feeling that there were "too many" and it was "sports heavy". Any guidelines or policies would help make your case as we seek consensus. glman (talk) 18:47, 9 April 2024 (UTC)
 * glman, hey, thanks for the note--of the 17, 9 were sports-related. That seems excessive to me. I mean, Arian Foster was a great running back, but was he that great that, out of all those hundreds of TN alumni, he should be represented here? Where are the US presidents and the Supreme Court judges? Conversely, you're also not giving a rationale for restoring a status quo that had no rationale for it either, so it kind of cuts both ways. But it's often that way with these galleries: people put in their favorites, and that also means that the selection is heavily skewed towards today, towards the last three decades or so. I will say that, unlike in the general population of the campus (which I remember well, since I taught there for a cuple of years), African Americans are not underrepresented in the gallery, so that's good news. Thanks, Drmies (talk) 20:17, 9 April 2024 (UTC)

title: Talk:University of Tennessee


text: User talk:193.61.255.85

title: User talk:193.61.255.85


text:
Grenland

Grenland is a traditional district in Telemark county, in the south-east of Norway. "Grenland" has referred to varying locations throughout history. In modern times, Grenland refers to the areas of the municipalities of Skien, Porsgrunn, Bamble, and Siljan. Sometimes the municipalities Kragerø and Drangedal are also considered to be part of the area. The region encompasses 1794 km2 and has 122,978 inhabitants (2004), which translates as 12% of the area and 64% of the population of Telemark.

Grenland is the core area of a slightly larger traditional district known as Nedre Telemark ("Lower Telemark") which includes all of Grenland plus Midt-Telemark Municipality and the Heddal area of Notodden Municipality.

Grenland is also used as the name of an urban agglomeration consisting of the cities of Skien and Porsgrunn.

History
In the early Viking Age, before Harald Fairhair, Grenland was a petty kingdom. Originally Grenland was probably the name of the region surrounding the lake Norsjø in Nedre Telemark. Grenland was located within the old Grænafylket (or Grenafylket) county which contained all of Grenland plus the coastal region known as Vestmar.

Vestmar is assumed to signify the land to the west of the sea (mar), however sea in this case should be interpreted as fjord, i.e. Langesundsfjorden. Vestmar was described as a county already in the 8th century AD.

The name Grenland is derived from a people, the Grener, i.e. "the land of the Grener". It is mentioned as a Gothic nation by Jordanes in his work Getica from about 551 AD: "Sunt quamquam et horum positura Granii, Agadii, Eunixi, Thelae, Rugi, Harothi, Ranii." (Getica, III:24)

20th century
During the period of the municipality mergers in Norway, the chief administrative officer (fylkesmann) in Telemark proposed that the municipalities Skien, Solum, Gjerpen, Porsgrunn, Eidanger and Brevik be merged to form a large urban municipality centered on Skien. The municipalities had been closely integrated since the establishment of the Hydro factory at Herøya, and conurbation between the settlements was also significant.

However, the idea was opposed by Solum as well as Porsgrunn, Eidanger and Brevik and soon fell out of grace. Eidanger proposed a merger with Brevik and Porsgrunn, and the enlarged Porsgrunn municipality was finally created on 1 January 1964. Brevik lost its city status in the process. In light of this merger, the central authorities saw only one possible solution; a similar merger between Solum, Gjerpen and Skien. Unlike the first proposal, this was met by protests from Gjerpen - to no avail, as the case went to the Norwegian Parliament. The result was a significantly enlarged Skien municipality. On 1 January 1968 an area from the old Gjerpen and Solum municipalities with 3,554 inhabitants was moved to Porsgrunn.

In addition, the urban municipalities of Langesund and Stathelle were incorporated into the rural municipality of Bamble. Like Brevik, both Langesund and Stathelle lost their city status. Siljan municipality remained unaffected by the mergers, contrary to the initial expectations.

title: Grenland


text:
Robert Horry

Robert Keith Horry (born August 25, 1970) is an American former professional basketball player and current sports commentator. He earned the nickname "Big Shot Rob", because of his clutch shooting in important games. A seven-time NBA champion, he is widely considered to be one of the greatest clutch performers and winners in NBA history.

He played 16 seasons in the National Basketball Association (NBA), winning seven championships, the most of any player not to have played for the Boston Celtics of the 1950s and 1960s. He is one of only four players to have won NBA championships with three teams; he won two with the Houston Rockets, three with the Los Angeles Lakers and two with the San Antonio Spurs with no defeats in NBA Finals. He holds the NBA record for most three-point shots made in an NBA playoff game without a miss and the record for most steals in an NBA Finals game. Horry now works as a commentator on Spectrum SportsNet for the Lakers.

Early life
Robert Keith Horry was born on August 25, 1970, in Harford County, Maryland. Soon afterwards his father, Staff Sergeant Robert Horry Sr., divorced his mother, Leila, and moved to South Carolina. Horry grew up in Andalusia, Alabama. Later, when Robert Sr. was stationed at Fort Benning, Georgia, the father and son met weekly.

As a senior at Andalusia High School, Horry won the Naismith Alabama High School Player of the Year Award.

College career
Horry attended the University of Alabama, where he played college basketball for Coach Wimp Sanderson, and he was a teammate of fellow future NBA player Latrell Sprewell.

At Alabama, Horry played from 1988 to 1992. He started 108 of the 133 games he played and helped the Tide win three Southeastern Conference (SEC) tournament titles and twice reached the NCAA's Sweet 16 round. Alabama compiled a 98–36 record during his four seasons. He set a school record for career blocked shots (282). He was selected to the All-Southeastern Conference, the SEC All-Defensive and the SEC All-Academic teams. Years later Horry returned to the university to finish his degree and graduated in spring 2021.

Houston Rockets (1992–1996)
Horry was selected 11th overall in the 1992 NBA draft in the first round by the Houston Rockets as a small forward. He spent his first four seasons with the Rockets, helping them win the NBA Championship in 1994 and 1995. While in the Finals, he set an individual NBA Finals record with seven steals in a game. During his years with the Rockets, Horry wore number 25.

Horry's clutch tendencies were apparent as early as his rookie year. In Game 7 of the 1993 Western Conference Semifinals against the Seattle SuperSonics, he nailed a clutch jumper with the shot clock expiring and 33 seconds left in regulation to put the Rockets up 93–91. The Rockets, however, lost in overtime. In February 1994, he and Matt Bullard were traded to the Detroit Pistons for Sean Elliott, but Elliott failed a physical because of kidney problems, so the trade was rescinded. Horry said that the trade falling through probably saved his career. Horry went on to be a key member of the Rockets' title teams and began to build his "Big Shot" reputation with a game-winning jumper with 6.5 seconds left in Game 1 of the 1995 Western Conference Finals versus the San Antonio Spurs and hitting a three to put Houston up 104–100 with 14.1 seconds left in a 106–103 win in Game 3 of the NBA Finals against the Orlando Magic. Following the victory at the 1995 NBA Finals, Horry and the Rockets won their second NBA Championship. Horry said that out of his seven championship victories, this was the one he was the most proud of because the Rockets were the sixth seed in the Western Conference.

Phoenix Suns (1996–1997)
On August 19, 1996, Horry was traded to the Phoenix Suns along with Sam Cassell, Chucky Brown and Mark Bryant for former NBA Most Valuable Player Charles Barkley. Horry had been criticized in Houston for not taking enough shots and felt that was what prompted the Rockets to trade him. After joining the Suns, he had an on-court altercation with coach Danny Ainge, during which Horry threw a towel at Ainge.

Los Angeles Lakers (1997–2003)
The incident with Ainge led to Horry's suspension and trade to the Los Angeles Lakers on January 10, 1997, for Cedric Ceballos. Because the Lakers had retired jersey number 25 to honor Gail Goodrich, He wore the number 5 instead. On May 6, 1997, he set the NBA record for most three-point shots made in an NBA playoff game without a miss (7).

During the 1999–2000 season, Horry played behind A.C. Green, but frequently garnered more minutes off the bench than the starters, especially during the playoffs. In the 2000 Finals against the Indiana Pacers, the Lakers took a 2–1 lead into Game 4 in Indiana. The game went into overtime. Shaquille O'Neal fouled out, but Kobe Bryant led a run to seal the Laker victory. Horry finished with 17 points in 37 minutes, his high for the Finals, and won his third championship as the Lakers defeated the Pacers four games to two. He averaged 7.6 points and 5.4 rebounds in 27 minutes per game throughout the 2000 playoffs.

In the 2000–01 season, Horry played behind Horace Grant, but once again played big minutes in the playoffs. He played in 16 Lakers 2001 playoffs games, averaging 5.9 points per game. In the Finals against the Philadelphia 76ers, the Lakers dropped Game 1 before winning Game 2. In Game 3 in Philadelphia, he scored 12 of his 15 points in the fourth quarter, including a critical three-pointer with 47.1 seconds left in the fourth quarter to make it 92–88, followed by four consecutive free throws in the last 21 seconds to help seal a 96–91 Laker victory. In Game 4, Horry made three of the Lakers' 10 total three-pointers as the Lakers rolled to a 100–86 victory. The Lakers won Game 5, 108–96, to clinch their second straight championship. He has stated this victory to be the second-proudest of his career, following the 1995 NBA Finals.

In the 2001–02 season, he was the backup power forward to Samaki Walker, although he started in 23 games. In the playoffs, Horry started 14 of the Lakers' 19 games, playing an average of 37 minutes, a game with averages of 9.3 points and 8.1 rebounds a game. Horry's reputation for clutch play was elevated in Game 4 of the 2002 Western Conference Finals against the Sacramento Kings. Trailing two games to one in the series and facing Game 5 in Sacramento, the Lakers were down by as many as 24 points in the first half. Eventually, the Lakers cut the lead to 99–97 with 11.8 seconds to play. On the final possession, after Kobe and Shaq missed consecutive layups, Sacramento center Vlade Divac knocked the ball away from the basket in an attempt to run out the clock. However, the ball bounced right to Horry, who hit a three-pointer as time expired to win Game 4 100–99. A day later, Magic Johnson said Horry was "one of the 10 best clutch players in league history". The Lakers would eventually win the series in 7 games and swept the New Jersey Nets 4–0 in the NBA Finals to complete a three-peat. He started all four games in the Finals.

A situation similar to Game 4 happened on March 5, 2003, in a game against the Indiana Pacers when, while the game was tied at 95, Pacers center Jermaine O'Neal swatted the inside pass for Shaquille O'Neal right into the hands of a wide-open Horry, who calmly hit the game-winning shot.

In the 2003 playoffs, the Lakers were attempting to win their fourth straight NBA championship. But in Game 5 in the Western Conference Semifinals against the Spurs, Horry's chance for another game-winner rattled in and out with five seconds left, wiping out the Lakers' rally from a 25-point deficit. He went 0–18 on three-pointers in the series and the Lakers were eliminated in six games.

San Antonio Spurs (2003–2008)

Following the 2002–03 season, Horry became a free agent. Citing concerns over family, all of whom live in Houston, he signed with the San Antonio Spurs. During the 2002–03 season, the Lakers had leaned heavily on Horry. With the Spurs, coach Gregg Popovich cut his minutes significantly, resulting in renewed success. In the 2003–04 season, the Spurs won 57 games and reached the 2004 playoffs where they swept the Memphis Grizzlies in four games, before losing in six games to the Los Angeles Lakers.

During the following season, the Spurs reached the playoffs and went on to win the 2005 NBA Finals. Horry played a significant part in the team's success, going 38 of 85 behind the three-point line in the 2005 playoffs. In Game 5 of the 2005 NBA Finals against the Detroit Pistons, he provided more heroics in the fourth quarter to boost San Antonio to a win and 3–2 series lead over Detroit. After only scoring three points in the first three quarters, he scored 21 of the Spurs' points in the fourth quarter and overtime. The Spurs went on to win Game 5, 96–95 after Horry hit a game-winning three-point shot with 5.9 seconds left. His late-game heroics at age 34 were so astounding that prominent ESPN columnist Bill Simmons said of the performance, "Horry's Game 5 ranks alongside MJ's Game 6 in 1998, Worthy's Game 7 in 1988, Frazier's Game 7 in 1970 and every other clutch Finals performance over the years". After winning the series in seven games, the Spurs won their third NBA Championship in seven seasons and Horry received his sixth championship ring.

During the 2007 playoffs, Horry hip-checked Phoenix Suns' point guard Steve Nash, which resulted in a flagrant foul on Horry. During the ensuing commotion, Raja Bell was assessed a technical foul for charging at him. Horry was ejected from the game and suspended for Games 5 and 6. Amar'e Stoudemire and Boris Diaw, who left the vicinity of the bench, were issued suspensions for Game 5. The Spurs won the two ensuing games and subsequently moved on to the 2007 NBA Finals, where they swept the Cleveland Cavaliers, winning their fourth NBA title and Horry's seventh individual ring.

He began wearing the number 25 again after the 2006–07 season. After the 2007–08 season, Horry became a free agent but went unsigned, marking his last professional season.

Records and honors
Horry collected his seventh championship as a member of the Spurs in 2007. He is one of only nine players to have won seven or more NBA championships, and the only one who did not play on the 1960s Celtics. He was one of only four players to have won back-to-back NBA championships with two teams as of 2007. In 2005, he became the second player, after John Salley, to win the NBA championship with three teams. At the time of his retirement, Horry was the all-time leader in playoff games played with 244 games through the 2008 playoffs, having surpassed Kareem Abdul-Jabbar.

When he retired, Horry held the record for three-pointers all-time in the NBA Finals with 56, having eclipsed Michael Jordan's previous record of 42, but prior to the 2023 NBA finals he had been passed by 5 players. He set, and still holds, the NBA playoffs record for most three-point field goals made in a game without a miss (seven) against the Utah Jazz in Game 2 of the 1997 Western Conference Semifinals. He also still holds the NBA record for most steals in an NBA finals game. He has regular-season career averages of 7.0 points, 4.8 rebounds, 2.1 assists, 1.0 steals, and 0.9 block per game. But he was always better in the playoffs, where he averaged 7.9 points, 5.6 rebounds, 2.4 assists, 1.1 steals, and 0.9 block per game, and even better in the Finals, where he averaged 9.7 points, 5.9 rebounds, 2.9 assists, 1.3 steals, and 1.2 blocks per game. He shot 39.2% from three-point range in his Finals career.

Horry and Steve Kerr, another famous reserve player and clutch shooter, alternated NBA Championships for a decade, and combined to win 12 championships over a 14-year period. Either Kerr or Horry was on the roster of an NBA Finals team from the 1993–94 season through the 2002–03 season, with every one resulting in a victory. Horry's teams were victorious in the NBA Finals in 1994, 1995, 2000, 2001, 2002, 2005 and 2007, while Kerr's teams were winners in the NBA Finals in 1996, 1997, 1998, 1999 and 2003. Each won three titles playing for Phil Jackson-coached teams (Kerr with the Chicago Bulls, Horry with the Los Angeles Lakers), and two with the Gregg Popovich-coached San Antonio Spurs.

In 2009, Horry was one of the "NBA Legends" to play in the 2009 NBA Asia Challenge against the Philippine Basketball Association All-Stars at Araneta Coliseum in Manila.

Horry was the first player to accumulate 100 steals, 100 blocked shots and 100 threes in one season. In 2010, he was inducted into the Alabama Sports Hall of Fame.

Horry has played in three game sevens which went to an overtime period; the 1993 Western Conference Semifinals as a member of the Houston Rockets, the 2002 Western Conference Finals with the Los Angeles Lakers, and the 2006 Western Conference Semifinals with the San Antonio Spurs.

Notable playoff clutch plays

 * May 22, 1993, Western Conference Semifinals, Game 7, Houston Rockets at Seattle SuperSonics. With the score tied at 91 late in the fourth quarter and the shot clock winding down, the rookie Horry took a pass from teammate Hakeem Olajuwon and knocked down a midrange jumper to give the Rockets a two-point lead with 32.7 seconds remaining in regulation. However, Horry's heroics were not enough to secure the victory for the Rockets, who succumbed to the Sonics 100–103 in overtime.
 * May 22, 1995, Western Conference Finals, Game 1, Houston Rockets at San Antonio Spurs. Horry hit a jumper with 6.5 seconds left to give Houston a 94–93 win over San Antonio.
 * June 11, 1995, NBA Finals, Game 3, Orlando Magic at Houston Rockets. With the Rockets up 101–100 with 20 seconds left and the shot clock winding down, Hakeem Olajuwon kicked it out to Horry, who hit a 3 over Orlando's Horace Grant to give Houston a 104–100 lead with 14.1 seconds left. It led them to a 106–103 win and a 3–0 series lead. Houston also won Game 4, 113–101, to complete the sweep and win back-to-back NBA titles.
 * June 10, 2001, NBA Finals, Game 3, Los Angeles Lakers at Philadelphia 76ers. With the series tied at 1, the Sixers were down 89–88 with under a minute left after a three-point play by Kevin Ollie. Brian Shaw found Horry wide open in the corner; he then hit a three-pointer with 47.1 seconds left to give the Lakers a 92–88 lead. Horry, who had been a 44% free throw shooter in the playoffs to that point, also made 4 free throws in the final minute to seal a 96–91 victory. The Sixers never recovered.
 * April 28, 2002, Western Conference First Round, Game 3, Los Angeles Lakers at Portland Trail Blazers. Down 91–89 with 10.2 seconds remaining, Kobe Bryant drove on Ruben Patterson and kicked it out to Horry, who hit the game-winning 3 with 2.1 seconds left.
 * May 26, 2002, Western Conference Finals, Game 4, Sacramento Kings at Los Angeles Lakers. The Kings led 99–97 with 11.8 seconds left. After Kobe Bryant attempted a game-tying shot and missed, Shaquille O'Neal attempted a putback. When that missed, Vlade Divac knocked the ball away to try to run out the clock. However, it went right to Horry, who hit the game-winning three-pointer at the buzzer to give the Lakers a 100–99 victory and tie the series at 2 going back to Sacramento for Game 5. L.A. eventually beat the Kings in 7 and went on to win their third straight NBA championship.
 * June 19, 2005, NBA Finals, Game 5, San Antonio Spurs at Detroit Pistons. Horry inbounded to Manu Ginóbili, who was cornered by two Pistons defenders. Ginóbili passed it back to Horry on the left wing, who then hit a three-pointer with 5.9 seconds left to give the Spurs a 96–95 victory and a 3–2 series lead heading into Game 6. Horry scored 21 points in the fourth quarter and OT combined to carry the Spurs.
 * April 30, 2007, Western Conference First Round, Game 4, San Antonio Spurs at Denver Nuggets. With the Spurs up 90–89 with 35 seconds left, Tony Parker drove into the paint drawing his defender and Horry's defender Marcus Camby away. Parker then passed to an open Horry on the right wing, who hit the three-pointer to give the Spurs a 93–89 advantage. The Spurs won 96–89.

Personal life
Horry lives with his family. His first child, and daughter, Ashlyn, was diagnosed with a rare genetic disorder called 1p36 deletion syndrome, an affliction that develops when part of the first chromosome is missing. She died on June 14, 2011, at the age of 17. His older son Camron Horry plays football at Texas A&M. His younger daughter Jade Horry lives in Los Angeles, California. His younger son Christian Horry is following in his footsteps as a basketball player. Horry coaches his AAU Big Shot basketball team in Los Angeles. On September 29, 2019, he married his long-time girlfriend Candice Madrid. Horry appeared as himself in a 2023 episode of the television series The Lincoln Lawyer.

title: Robert Horry


text:
MoSCoW method

The MoSCoW method is a prioritization technique used in management, business analysis, project management, and software development to reach a common understanding with stakeholders on the importance they place on the delivery of each requirement; it is also known as MoSCoW prioritization or MoSCoW analysis.

The term MOSCOW itself is an acronym derived from the first letter of each of four prioritization categories: M - Must have, S - Should have, C - Could have, W - Won’t have.

The interstitial Os are added to make the word pronounceable. While the Os are usually in lower-case to indicate that they do not stand for anything, the all-capitals MOSCOW is also used.

Background
This prioritization method was developed by Dai Clegg in 1994 for use in rapid application development (RAD). It was first used extensively with the dynamic systems development method (DSDM) from 2002.

MoSCoW is often used with timeboxing, where a deadline is fixed so that the focus must be on the most important requirements, and is commonly used in agile software development approaches such as Scrum, rapid application development (RAD), and DSDM.

Prioritization of requirements
All requirements are important, however to deliver the greatest and most immediate business benefits early the requirements must be prioritized. Developers will initially try to deliver all the Must have, Should have and Could have requirements but the Should and Could requirements will be the first to be removed if the delivery timescale looks threatened.

The plain English meaning of the prioritization categories has value in getting customers to better understand the impact of setting a priority, compared to alternatives like High, Medium and Low.

The categories are typically understood as:

 * Must have
 * Requirements labelled as Must have are critical to the current delivery timebox in order for it to be a success. If even one Must have requirement is not included, the project delivery should be considered a failure (note: requirements can be downgraded from Must have, by agreement with all relevant stakeholders; for example, when new requirements are deemed more important). MUST can also be considered an acronym for the Minimum Usable Subset.

 * Should have
 * Requirements labelled as Should have are important but not necessary for delivery in the current delivery timebox. While Should have requirements can be as important as Must have, they are often not as time-critical or there may be another way to satisfy the requirement so that it can be held back until a future delivery timebox.

 * Could have
 * Requirements labelled as Could have are desirable but not necessary and could improve the user experience or customer satisfaction for a little development cost. These will typically be included if time and resources permit.

 * Won't have (this time)
 * Requirements labelled as Won't have, have been agreed by stakeholders as the least-critical, lowest-payback items, or not appropriate at that time. As a result, Won't have requirements are not planned into the schedule for the next delivery timebox. Won't have requirements are either dropped or reconsidered for inclusion in a later timebox. (Note: occasionally the term Would like to have is used; however, that usage is incorrect, as this last priority is clearly stating something is outside the scope of delivery). (The BCS in edition 3 & 4 of the Business Analysis Book describe 'W' as 'Want to have but not this time around')

Variants
Sometimes W is used to mean wish (or would), i.e. still possible but unlikely to be included (and less likely than could). This is then distinguished from X for excluded for items which are explicitly not included. Would is used to indicate features that are not required now, but should be considered in architectural terms during the design as future expansion opportunities - this avoids the risk of dead-end designs that would inhibit a particular feature being offered in the future.

Use in new product development
In new product development, particularly those following agile software development approaches, there is always more to do than there is time or funding to permit (hence the need for prioritization).

For example, should a team have too many potential epics (i.e., high-level stories) for the next release of their product, they could use the MoSCoW method to select which epics are Must have, which Should have, and so on; the minimum viable product (or MVP) would be all those epics marked as Must have. Oftentimes, a team will find that, even after identifying their MVP, they have too much work for their expected capacity. In such cases, the team could then use the MoSCoW method to select which features (or stories, if that is the subset of epics in their organisation) are Must have, Should have, and so on; the minimum marketable features (or MMF) would be all those marked as Must have. If there is sufficient capacity after selecting the MVP or MMF, the team could then plan to include Should have and even Could have items too.

Criticism
Criticism of the MoSCoW method includes:
 * Does not help decide between multiple requirements within the same priority.
 * Lack of rationale around how to rank competing requirements: why something is must rather than should.
 * Ambiguity over timing, especially on the Won't have category: whether it is not in this release or not ever.
 * Potential for political focus on building new features over technical improvements (such as refactoring).

Other methods
Other methods used for product prioritization include:

 * Kano model prioritization method

title: MoSCoW method


text:
Talk:Albert Pike

Posthumous?
"Several volumes of his works were self-published posthumously by his daughter." Huh? If he was already dead when his works were published, then by definition they were not self-published.

 * I suspect this simply means his daughter self-published them rather than submiting them to an established publishing house.

Post War Career
I realize that this is the controversial part of Pike's life, but the article needs a section with basic biographical facts on his life after the war, what he did and where he lived. --AusJeb January 22, 2008

Sanitised article (racism)
It appears this biography no longer contains a single mention of Pike's racist views, nor of the controversy surrounding his alleged role in the Ku Klux Klan. This is a topic covered on pages 439 to 442 of Brown's biography, cited multiple times in this article, which quotes Pike himself as follows:

"We mean that the white race, and that race alone, shall govern this country. It is the only one that is fit to govern, and it is the only one that shall."

Brown also quotes an article Pike wrote for the Memphis Daily Appeal:

"The disfranchised people of the South, robbed of all the guarantees of the Constitution—aye, hell-kite! all, 'at one fell swoop,'—can find no protection for property, liberty or life, except in secret association. Not in such association to commit follies and outrages; but for mutual, peaceful, lawful, self-defence. If it were in our power, if it could be effected, we would unite every white man in the South, who is opposed to negro suffrage, into one great Order of Southern Brotherhood, with an organization complete, active, vigorous, in which a few should execute the concentrated will of all, and whose very existence should be concealed from all but its members. ..."

Brown concludes that Pike "definitely saw possibilities for ex-Confederates in an 'efficient' Klan".

Could this omission be remedied? Thanks. --Andreas JN 466 11:27, 21 June 2020 (UTC)
 * For the Memphis Daily Appeal would need a more complete reference to use it. RJFJR (talk) 03:28, 25 June 2020 (UTC)
 * It's quoted on page 439–440 of Brown. The complete article is available here (Google Books link). Citation template: --Andreas JN 466 19:26, 26 June 2020 (UTC)

Removed quote
I removed this quote because it was solely referenced to Canadian freemasons. I think a section on Pike's later views might be interesting, but from scholars, not a random Freemason website that could well be quoting wildly out of context. See this diff for the material if anyone wants to take a go at salvaging it. SnowFire (talk) 07:38, 13 November 2021 (UTC)

title: Talk:Albert Pike


text:
Victor Keegan

Victor Keegan (born 1940) is a British journalist and author focusing on economics and technology issues. Born in London, he attended Wimbledon College and Brasenose College, Oxford. After which, he spent most of his working life at The Guardian as reporter, financial correspondent, deputy financial editor, economics editor, business editor, duty editor, Chief Leader Writer, Assistant Editor and Online Editor.

Career
For 11 years Keegan was a member of the Scott Trust, owner of the Guardian Media Group. He formerly wrote a weekly column about the internet and personal technology (see link below), and contributed to both The Guardian's website and its blog Comment is Free. He was curator of the "SLart Gallery" in the virtual world Second Life from 2008 to 2012. With his colleague Neil McIntosh he introduced The Guardian's first blogs (Technology and Games).

In 2001 he started the first-ever text message poetry competition for The Guardian and in August 2003 he started kickAAS one of the first dedicated political blogs, campaigning to help developing countries by abolishing agriculture subsidies. He wrote a fortnightly column on economics and industry for more than 20 years, followed by a weekly column about consumer technology until his retirement, aged 70. From 2008 to 2012 he was chair of a not-for-profit start-up, World Film Collective (WFC), which encourages young people in very poor countries to make and edit films on their mobile phones. Since 2017 Keegan has been Chair of the Safer Parks Panel for St James's Park and the Green Park.

Keegan blogs extensively about London on LondonMyLondon.co.uk + OnLondon.co.uk, and on English and Welsh vineyards at victorkeegan.com and victorkeegan.wordpress.com

Keegan has written six books of poems: Crossing the Why, Big Bang, Remember to Forget, Alchemy of Age, London My London and Restrictive Memories. They are available on Kindle. {https://www.amazon.co.uk/s?k=Victor+keegan&ref=nb_sb_noss_2} In January 2021 he published "Vic Keegan's Lost London" https://www.bookdepository.com/Lost-London-Vic-Keegan/9780954076276

Family
He is married to Rosie Keegan and has two sons, Dan and Chris. His older brother, William Keegan, used to be economics editor of The Observer and is still a columnist on that paper.

title: Victor Keegan


text:
Talk:MoSCoW method

Folks - MoSCoW is not a prioritization technique, it is a ranking technique that enables prioritization. Ranking goes to Importance; Prioritization goes to Urgency. These are separate concepts. MoSCoW goes to importance which makes it a Ranking Technique NOT a prioritization technique. It is perfectly acceptable for example to prioritize lower ranking items (e.g. Should-Haves) for a faster delivery than higher ranking item (Must-haves) if that suits some other constraint of your project; but doing so would not magically add business benefit to the Should-Have and somehow transform it into a Must-Have, it just gets prioritized earlier. Hope this is clear. — Preceding unsigned comment added by 122.57.34.63 (talk) 03:54, 19 February 2016 (UTC)

This process is named "MuSCoW." (Must -> Mu) I propose the alternate spelling be described at the least, change references from MoSCoW to MuSCoW at the most. I believe mentioning the alternate spelling is the way to go because I think many people have accidentally fallen into spelling Moscow the city and so this situation is common enough that we live with two spellings.

I'm just putting the stub in during class. I don't have time during class to expand on it, but I will later. Feel free to add to it. Also, this should be added to the Moscow disambiguation page once it's been expanded on a little bit -- CloudedIce 23:02, 2004 Dec 14 (UTC)

Merge MoSCoW List
Agree Merge MoSCoW List here. This should be the main article. Keep redirect at MoSCoW List. Never heard it called by that name. Lumos3 21:09, 2 December 2005 (UTC)

Agree They are obviously the same thing, a redirect should suffice. Adam Forster 18:25, 9 January 2006 (UTC)

Criticism
Now that W is no longer described as nice to have, and there are so many responses, I have moved the criticism and responses to this discussion area. Greyskinnedboy (talk) 12:03, 10 February 2009 (UTC)

 * Some feel that by classifying a requirement as "nice to have" it make it no longer a requirement, but more of a nicety. Therefore it no longer fits the scope of the requirements document.
 * Ice-Soft-Eng 05:40, 7 December 2004 (added a criticism section)

 * Since the priority of requirements is fuzzy (and even varies over time) it is quite appropriate to consider "nice to have" items to still be "requirements". A "nice to have" item is generally one that has some return/payback but isn't part of the "minimum useable subset" required to deliver the product.
 * 68.250.187.112 (Eric Kramer)  02:10, 13 October 2005  (added Response #1)

 * Stakeholders in a new computer system will often come up with a wish list of every thing they can think might possibly be of use. To implement the whole wishlist would be wasteful in time and money. MoSCoW is a way to work with that list so that a compromise is reached between what is most useful and can be built in a short timescale of 3 to 6 months and what can be put off to a future development cycle.
 * Lumos3 18:54, 9 January 2006  (added Response #2)

 * Iterative development can also lead to re-prioritisation which can sometimes convert nice-to-have-s into could-haves.
 * 194.72.110.12 15:19, 27 March 2006  (added Response #3)

 * Iterative development can also lead to re-prioritisation which can sometimes convert nice-to-have-s into should-haves.
 * 62.189.135.170 10:05, 3 November 2006  (update to Response #3)

 * The only way to determine whether "nice to have" items have a place in a requirements document is to define the purpose of that document, and not be fooled by the common English definition of a requirement as "something required or obligatory".
 * Chard 17:55, 20 February 2007  (added Response #4)

 * In defence of the W: many stakeholders contribute requirements that exceed the scope of a project; cannot be delivered in the initial implementation; or that the project board consider frivolous in budgetary terms. It is the Business Analyst's role to analyse these and work with the project's sponsor to determine what can be funded. It can damage stakeholder engagement if such requirements are subsequently excluded from published documents, as it can appear as if they have just not been captured, so it is better to retain them and classify them as 'W'.
 * Greyskinnedboy 09:40, 13 December 2007  (added Response #5)

 * MoSCoW prioritisation seems to force some customers to be defensive about their requirements, with the result that the use of this methodology can encourage a disproportionate number of requirements to be classified as "Must". This potentially places the customer in a stronger negotiating position if the supplier has to 'persuade' them to reduce the priority of some of their requirements.
 * 82.33.227.210 08:38, 19 August 2008  (added further comment under criticism)

 * The description of Must have is correct, however, the description of Should have is inconsistent, Could have is misguided and Won't have is duplicit. We have to look at MoSCoW in terms of requirements management in project management terms. This is my read on MoSCoW: M is Must, Project is failure if one misses any, as article correctly states. S is Should, meaning NOT essential in terms of Must, so what is the operational meaning of this? It means Shoulds are subject to time-box prioritization. You make an estimate in hours for all items on the Should-pool and let the client-team prioritize to an enumerated list that will be worked top-down. When the time is up all Shoulds above the cut make it in to the system and all others not, until a new timebox is funded. There will be Shoulds that won't make it into the first release. Estimation-weighted prioritization maximizes built value. Musts by definition all have to be built-in and therefore canot take part in prioritization. Could is exactly Nice-to-Have, minor effort items that create goodwill. No impact on project success if they are skipped, otherwise they would be Shoulds. Would have is BS. No clear status on work list, obfuscating. No, W is Won't have, it is OUT for all to see and to be reminded of during the project. Obviously a Won't is interesting functionality, or it wouldn't be mentioned. Rationeles why Specs were ruled Won'ts have to be documented, lest we forget or need to reconsider later on (why did we say that?). —Preceding unsigned comment added by 62.58.16.59 (talk) 08:46, 22 October 2010 (UTC)

 * Another problem with defining W as Won't is that often the solution that fulfils the requirements is based on COTS software. If this product already meets the Ws out of the box, then they will no doubt be implemented.  Hence W=won't can mislead. - Adrian Putley, 15/12/2010.  — Preceding unsigned comment added by Roscalen (talk • contribs) 10:19, 15 December 2010 (UTC)

 * In this usage "won't" is more like "must not." A "won't" requirement is one that the system must not do in the future state. In the case presented above, if a piece of software purchased does something that is on the "won't" list, then either the software is unacceptable or further development is required to disable / toggle off the necessary features. Anything on the "won't" list should have well documented reasons for being there. If an item is just not practical for the time / budget then it should be considered "could have" just in case there serendipitously becomes a way to do it. Most typically a "won't" is there for some hard reason e.g., legality, compatibility with existing systems, etc. — Preceding unsigned comment added by 67.198.15.27 (talk) 22:47, 6 February 2019 (UTC)

"MOSCOW"
The article states:

MOSCOW is an acceptable variant, with the 'o's in upper case (see CamelCase for discussion)''

This is vague: Rp (talk) 12:35, 28 March 2011 (UTC)
 * What constitutes "acceptable"? Better replace it with examples of uses in prominent literature.
 * What does this have to do with CamelCase?

This article completely confuses the difference between ranking and priority. I do not have the time or interest to correct it myself and you may criticise me for that but the fact remains that the conflation of rank and priority is not accurate and just muddies the water and confuses the issue. — Preceding unsigned comment added by 122.56.23.164 (talk) 19:13, 2 May 2013 (UTC)

What's Special?
Isn't this just a linear (and much less useful) version of the much more useful two-axis important-unimportant urgent-not urgent diagram?109.156.184.202 (talk) 13:30, 27 June 2015 (UTC)

'disagree'The usefulness of this comes from the simplicity. It is easy to grasp and implement. MoSCoW is often used to rank a list (backlog) of features. In this context a linear method is easier to apply than a 2-axis model. — Preceding unsigned comment added by Mcintyrj (talk • contribs) 07:51, 22 October 2016 (UTC)

Background section needs review
MoSCoW requirements rating system predates Agile methods by many years. If my memory serves me, the system was developed by the US DoD in 60s or 70s and written into their MIL STAN or DEF STAN documentation standards. Many countries simply used the MIL STANs and DEF STANs, others like the UK had their own and added a similar definition to replace other rating systems.

I don't know whether the US DoD invented it or had a contractor develop the concepts as part of a pilot project. Around that time, IBM had some huge mainframe computer projects at the time and were innovative in software development management techniques. The DoD would have been a customer. The struggle to get a decent set of requirements and control better the cost of developing IT systems has been a long one. Loudraspberry (talk) 10:16, 26 January 2020 (UTC)

Correct: MuSCoW
Correct should be MuSCoW, it is a wordgame and contains the right letters: Mu(st)S(hould)Co(uld)W(ould). 2A02:908:4C24:93C0:30BD:53D3:D9A0:8E4F (talk) 22:20, 16 October 2022 (UTC)

title: Talk:MoSCoW method


text:
Treaty of Finckenstein

The Treaty of Finckenstein (Persian: عهدنامه فین‌کنشتاین), often spelled Finkenstein, was a treaty concluded between France and Persia (Iran) in the Finckenstein Palace (now Kamieniec, Poland) on 4 May 1807 and formalised the Franco-Persian alliance.

Napoleon I guaranteed the integrity of Persia, recognized part of Georgia and the other parts of Transcaucasia and a part of the North Caucasus (Dagestan) as Fath Ali Shah's possession, and was to make all possible efforts for restoring those territories to him. Napoleon also promised to furnish the Shah with arms, officers and workmen. France on its side required the Shah to declare war against the United Kingdom, to expel all British people from Persia, and to maintain an open way if France wanted to attack British possessions in the far east. Despite the Treaty of Finckenstein, France failed to win a diplomatic war around Persia and none of the terms of the treaty were realized. On 12 March 1809, the United Kingdom signed a treaty with Persia forcing the French out of that country.

title: Treaty of Finckenstein


text:
Talk:Tandy Corporation

Company name change etc. in 1960 or 1961??
According to this website (please see "LeadingArticles" => "Reading Room" => "The CEO as Entrepreneur by Charles D. Tandy"), Charles D. Tandy states that i"n 1961, the company name was changed to Tandy Corporation; the corporate headquarters were moved to Fort Worth; I became president and chairman of the board; and our company name was listed on the New York Stock Exchange".

However, according to the "official" corporate website (please see "HISTORY" => "A BRIEF HISTORY"), it seems that all 3 or 4 events occurred in 1960.

Which is correct?? Which source is more reliable?? --Banana dojo (talk) 08:01, 11 November 2021 (UTC)

A Commons file used on this page or its Wikidata item has been nominated for deletion
The following Wikimedia Commons file used on this page or its Wikidata item has been nominated for deletion: Participate in the deletion discussion at the. —Community Tech bot (talk) 07:07, 2 March 2022 (UTC)
 * Tandy.svg

title: Talk:Tandy Corporation


text:
File:Zapruder-150.jpg

Frame 150 from the Zapruder film (November 22, 1963, Elm Street, Dealey Plaza, Dallas, Texas)

Fair use rationale for Zapruder film

 * It is believed that the use of this image on the English-language Wikipedia to illustrate a section of the article on the person depicted falls under the "Non-profit educational" clause of the Fair Use doctrine currently upheld by United States law. (17 U.S.C. § 107)
 * It is unlikely that a freely-licensed image suitable for illustrating the section of the article describing the subject's arrest and incarceration will be found, owing to the nature of the section (unlikely that there are any freely-licensed images taken during this period). In addition, the subject is long since deceased. As such, the photograph can be reasonably described as "irreplaceable".
 * Owing to the limited web-resolution of the image, only a small portion of a copyrighted work is used.
 * For the same reasons, the portion of the copyrighted work used is of inherently lower quality than the original, reducing the risk of competitiveness and therefore the effects of this copy on the market for or value of versions held by the owner of the copyright.

title: File:Zapruder-150.jpg


text:
User:Homestar14

Homestar14, the user with the most. (Well, not really...)

Useful Information

 * Name: Jason
 * Age: 17
 * Location: Maryland, USA

Contact Info

 * Email: CoachZ@Gmail.com
 * AIM: Homestar14
 * ICQ: 147468715
 * YIM: Homestar14
 * MSN: Homestar14@aol.com

title: User:Homestar14


text:
John Mirak

John Mirak (Հովհաննես Միրագ; March 11, 1907 – January 31, 2000) was an Armenian-American businessman who owned several car dealerships and automotive businesses in Massachusetts. He and his family are widely known for their contributions to Armenian society in both the diaspora and the republic.

He was born on March 11, 1907, in the city of Arapgir in the Ottoman Empire. He immigrated to the United States in 1920 after becoming an orphan after the Armenian genocide and married Artemis Mirak, also a genocide survivor from Arapgir.

In 1932 he established The Arlington Center Garage and Service Corporation and with the help of his sons. Then, he started Mirak Chevrolet in Arlington, Massachusetts, in 1936. His dealerships later also included Hyundai. Mirak also had a Lincoln-Mercury-Nissan dealership which closed in the 1990s. The Mirak Chevrolet-Hyundai dealership is located at 1125 Massachusetts Ave. in Arlington, Massachusetts. The Mirak Lincoln-Mercury-Nissan dealership was located at 956 Massachusetts Ave. in Arlington, Massachusetts. In the place where Mirak Lincoln-Mercury-Nissan used to be, a business called RCN is in its place.

He died on January 31, 2000, at Lahey Hitchcock Clinic in Burlington, Massachusetts, at the age of 92 of complications from a stroke.

title: John Mirak