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Talk:Blooper

Human Error Factor in Bloopers
Quick question, would uncontrollable factors (ie, spasms of coughing, farting, etc), be considered a blooper. If yes, would it be a human error, or other? KB1KOI 19:16, 2006 Dec 29

I have merged the former article out-takes with this one as the out-takes piece was virtually identical. 23skidoo 07:58, 12 Dec 2004 (UTC)

 * While we're at it, how about creating a redirect for "gag reel"? I checked and there was no page for gag reel, but it really should redirect here. How is one supposed to explain that the Firefly boxset includs a "gag reel" as an extra, without being able to link to a page to explain it? Well, obviously, it's possible, but it's kind of annoying that there's no redirect to blooper. I have no idea how to set that up, though. 63.21.22.253 06:12, 18 April 2006 (UTC)

 * I have redirected "blooper reel" here, as I realized it probably didn't need its own article. Daniel Case 20:41, 16 December 2006 (UTC)

The British bloopers show It'll Be Alright on the Night has been running since 1977, so it certainly isn't an imitator of the 1982 NBC show - more likely the other way round. Bonalaw 08:51, 8 Feb 2005 (UTC)

 * I've added in the bloopers shows that appear or have appeared on British television. Robert Mc Cann

IMHO this page is insufficiently related to grenade launchers to justify the category. Wyrm 00:15, 26 Mar 2005 (UTC)

 * Eh?
 * Methinks they were using more than one window with Wikipedia in it. :P 63.21.22.253 06:12, 18 April 2006 (UTC)

"Blooper" can also be another word for flatulence. —Bill Conrad 16:21, 17 November 2006 (UTC)

The line referring to Gord Martineau contains a dead link to a video. MDonfield 14:15, 3 January 2007 (UTC)

I would like to add my 2¢ worth to the discussion on the difference between bloopers and out-takes. It is my opinion that "bloopers" and "out-takes" are entirely different entities.

A Blooper is, by nature, anything that would appear on film or other digital means that would intrinsically be funny or humorous and isn't necessarily tied to 'actors' or a 'movie', 'TV show' or any other 'organized' entertainment entity.

However, an 'Out-take' IS directly related to a misread or mistake made by an actor or TV personality which may or may not be funny or humorous.

Conclusion: A Blooper by design HAS to be funny. But an out-take may very well BE funny but can also be something different altogether. (Example: Anything that ends up on the cutting-room floor could be considered an "Out-take"; A person standing in a wrong position on stage, causing a re-take. Someone saying the wrong thing, forgetting lines...etc.)

Therefore, I would suggest that bloopers and out-takes remain two separate and individual entities on Wiki and should NOT be combined into one.

That's like saying that a car and a motorcycle should be categorized as the same thing since they both are modes of transportation and get you to the same place. It's HOW they convey you that matters, not that they MAY end up in the same place.

Ok, that was about 4¢ - but you get the point.

199.127.168.90 (talk) 22:28, 14 May 2013 (UTC)SHARK

Acceptance of out-takes
This sounds like it would be more appropriate on some Star Trek page. Mentioning Star Trek is fine, dedicating the entire section to it is a bit much.

Games with bloopers
No games with bloopers have been mentioned. I know Prince of Persia: The Two Thrones has one. Maybe there are other examples. —Preceding unsigned comment added by Ronnodas (talk • contribs) 17:25, 6 December 2007 (UTC)

Intro; Pixar
hi! the intro is quite long (I think there is even a guideline suggesting to have relative short intros) and the Pixar-section is .. well, I think it speaks for itself (the two internal links are broken and no text at all). of course I assume the broken links worked once but currently they are merged/moved/deleted with no redirect set and I don't know how to track down what exactly happened. — H Turtle ( talk2me •  sign ) 23:37, 6 December 2007 (UTC)

Blooper? Sort of...
The BBC quote about Don Quixote sitting on his ass may or may not be a blooper, depending on when it happened. The American use of "ass" for backside was not that familiar outside America until relatively recently – perhaps the late 60s or 70s. It would have been understood readily enough, because of its similarity to the British English "arse", with which it is probably connected, but the humour perceived by the American listener would not have been felt by a British listener forty or fifty years ago. The correspondence in sound of American "ass" to (r-dropping) British "arse" exactly parallels that between the American and British pronunciations of "glass". However, the a in British English "ass", meaning "donkey", represents a short vowel sound.

The converse situation is represented by the word "bum", which means "tramp, hobo" in the States, but means "buttocks" in Britain and the British Commonwealth. The use of the word in American film and TV was always amusing to our ears, and occasionally it occurred in a sentence where either meaning might conceivably have fitted. But the American would not feel this as an ambiguity he needed to avoid, and so it wouldn't really constitute a blooper, unless he was addressing a British audience and forgot, or didn't know, about the difference in usage.

I think it's still worth keeping on the page - perhaps with a short added comment? Or do we need to introduce a concept of "transdialectal blooper"? That might be classed as original research.

On the other hand, if it was a fairly recent broadcast, then it was probably deliberate—a double-entendre rather than a blooper. Koro Neil (talk) 14:27, 29 September 2008 (UTC)

Bloopers in animation?
"Some films that there were bloopers in include A Bug's Life, Toy Story 2, Monsters, Inc.,"

Assuming this refers to so-called "mistakes" shown during the credits, how exactly do you get a blooper in an animated product? It's not a mistake when the character does exactly what it's drawn to do. Calling it a "blooper" doesn't make it one. Go4thAndDie (talk) 19:30, 4 September 2010 (UTC)

Merge tag
I'm not wedded to one name or the other (or a third, neutral name which doesn't give rise to a British vs. American conflict). However, we do not need two different articles about different names for the same thing. Bearcat (talk) 05:02, 27 September 2010 (UTC)

Bloopers in books, magazines, and newspapers
I know, we live in the age of television and film. In former times, long long ago, people read books, magazines, and newspapers. In Yagoda's About Town (p. 15) I read this: "I was attracted to the magazine (The New Yorker, 13P.) by the wit of the comments that followed the bloopers in books, magazines, and newspapers..." --13Peewit (talk) 09:06, 16 May 2011 (UTC)
 * If someone wants to add a section, feel free. For the record, Schaefer published several books of newspaper bloopers so the originator of the term endorsed its use in this context. 70.72.215.252 (talk) 22:30, 19 July 2012 (UTC)

Incomplete definition
Since blooper was coined by Kermit Schaefer, I find it odd that the original definition is not included - bloopers are not outtakes alone, but also include errors made during live broadcasts. 68.146.71.145 (talk) 15:20, 5 July 2011 (UTC)

Travolta example
The "contemporary examples" section mostly dealt with film and TV bloopers released voluntarily. As bloopers also occur during live broadcasts, I felt it important to give a recent example. The John Travola "Adele Dazeem" incident from the 2014 Oscars, which was widely covered by notable media (the source I used was Time Magazine's website), I think is justified as an example. 68.146.52.234 (talk) 14:31, 9 July 2014 (UTC)

Link Christmas tape with Blooper#United Kingdom?
Christmas Tapes typically included Bloopers, such as the 1979 BBC Good King Memorex tape. Its a compliation of bloopers created by a department within the broadcasting company/corporation and it compiles skits and bloopers in one. Winhelper (talk) 04:52, 18 May 2020 (UTC)

"Christmas reel" listed at Redirects for discussion
A discussion is taking place to address the redirect Christmas reel. The discussion will occur at Redirects for discussion/Log/2021 January 28 until a consensus is reached, and readers of this page are welcome to contribute to the discussion. signed,Rosguill talk 17:15, 28 January 2021 (UTC)

What a mess this page is
Overly long, no references, muddled examples, meaningless examples, desperately needs sorting. 2A02:C7E:3AFE:E600:F09F:B300:3F7B:49AF (talk) 19:18, 21 August 2022 (UTC)

title: Talk:Blooper


text:
John K. Cooley

John Kent Cooley (November 25, 1927 – August 6, 2008) was an American journalist and author who specialized in islamist groups and the Middle East. Based in Athens, he worked as a radio and off-air television correspondent for ABC News and was a long-time contributing editor to the Christian Science Monitor.

Cooley was one of only a handful of Western journalists widely regarded and trusted in the Middle East as an expert on the area's history and politics. He interviewed several of the region's heads of state and was personally acquainted with the senior leadership of the PLO. His many awards include the Council on Foreign Relations' Fellowship for American Foreign Correspondents, and the coveted George Polk Award for distinguished career achievement in international reporting. He was a key part of the ABC News Prime Time Live team that won an Emmy in 1990 for its investigation into the December 21, 1988 bombing of Pan Am Flight 103.

Background
A graduate of Dartmouth College, Cooley served with the U.S. Army in postwar Austria from 1946 to 1947. Returning to America, he undertook his postgraduate studies at the New School University in New York City, then began his journalistic career at the New York Herald Tribune. He lived in North Africa from 1953 to 1964, covering the Algerian War for UPI, NBC News and The Observer, and in 1965 became Middle East correspondent for the Christian Science Monitor in Beirut.

Middle East
A personal friend of King Hussein of Jordan, Cooley interviewed most of the Middle East's heads of state, including Saddam Hussein, Muammar Gaddafi, Anwar al-Sadat, David Ben-Gurion, and the Shah of Iran. He interviewed Yasser Arafat many times and was acquainted with the senior leadership of Fatah and the other secular Palestinian groups.

A personal friend of Ardeshir Zahedi with whom he had a 50 years old friendship and kept corresponding till he died in 2008.

Cooley and his wife Vania were among 90 foreign residents of the InterContinental and Philadelphia hotels in Amman who were taken hostage in June 1970 by George Habash of the Popular Front for the Liberation of Palestine and released after the personal intervention of King Hussein.

Cooley worked with Pierre Salinger on the Investigation into the bombing of Pan Am Flight 103.

September 11, 2001 attacks
Cooley wrote in the Christian Science Monitor on May 23, 2002, that Jordan's General Intelligence Division (GID), which since the early 1990s has been tracking CIA and Pakistani-trained Arab guerrillas, intercepted an al-Qaeda communication between July 5 and August 6, 2001, deemed so important that it was relayed immediately by King Abdullah's men to Washington through the CIA station in the U.S. Embassy in Amman. It was also passed through an Arab intermediary to a German intelligence agent, allegedly to make sure it reached Washington.

The communication stated that a major attack was planned for inside the U.S. and that aircraft would be used. The code name of the operation, wrote Cooley, was Al Ourus al-Kabir — "The Big Wedding."

He wrote for the Monitor.

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

title: John K. Cooley


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File:Supertramp - Some Things Never Change.jpg

Licensing

Fair use rationale for

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Sula (novel)

Sula is a 1973 novel by American author Toni Morrison, her first novel to be published after The Bluest Eye (1970).

Plot summary
The Bottom was a Black neighborhood on a hill above the fictional town of Medallion, Ohio, set to be bulldozed at the beginning of the novel for the creation of a golf course. The Bottom originated as an agreement between a white farmer and his Black slave. The farmer had promised freedom and a piece of valley land to his slave should he complete some difficult chores. Upon the completion of the chores the farmer regrets his end of the bargain, no longer wanting to give up the land. In order to get out of the arrangement, the farmer feigns regret to the slave over having to give him valley land rather than "Bottom" land. The farmer claimed that "Bottom" land (actually located on top of a hill) would be better than valley land because it was closer to the bottom of heaven.

The story is organized by chronological chapters labeled with years. In "1919," the first named character, handsome Shadrack returns from World War I a shattered man, suffering from shell shock or PTSD and unable to accept the world he used to belong in. As a way to compartmentalize the unpredictable nature of death, Shadrack invents a National Suicide Day to be held annually on January 3. Shadrack proposed that Medallion citizens could kill themselves or each other on this day and be free from death for the rest of the year. The town begrudgingly accepts Shadrack as a part of their community despite his outbursts. In "1920" and "1921," the narrator contrasts the families of the children Nel Wright and Sula Peace, who both grow up with no father figure. Nel, the product of a mother knee deep in social conventions, grows up in a stable home. Nel is initially torn between the rigid conventionality of her mother Helene Wright, who dislikes Sula's family instantly, and her inherent curiosity with the world, which she discovers on a trip. Though she vows to explore more of the world, she ultimately never leaves The Bottom again. This experience ultimately prompts Nel to begin a friendship with Sula. The Peace family is the opposite: Sula lives with her grandmother Eva and her mother Hannah, both of whom are seen by the town as eccentric, loose, yet Hannah was genuinely loved by all men, and Eva was very respected by all women. Their house serves as a home for three informally adopted boys and a steady stream of boarders. The extremely strained relationship between Hannah and Eva is revealed. Despite their differences, Sula and Nel become fiercely attached to each other as adolescents. They share every part of their lives, including the shared memory of a traumatic event. One day, they playfully swing a neighborhood boy, Chicken Little, around by his hands. Sula loses her grip, and he falls into a nearby river and drowns. They do not tell anyone of their role in his death. Though Sula grieves with guilt, Nel feels relief after deciding that the event is primarily Sula's fault. Shadrack lives in a shack by the river's edge, and the girls are uncertain if he witnessed Chicken Little's death. To determine if he saw, Sula visits the shack alone and is surprised at its orderliness. Sula is unable to confront Shadrack through her tears. He comforts her and she runs away, accidentally leaving behind her belt. Shadrack hangs the belt on his wall in memory of his only visitor.

One day, Hannah tries to light a fire outside and her dress catches fire. Eva sees this happening from upstairs and jumps out the window in an attempt to save her daughter's life. Sula, who was sitting on the porch, simply watched her mother burn. An ambulance comes, but Hannah dies en route to the hospital, with Eva injured as well. Other residents of the Bottom believe Sula remained still because she was stunned by the incident. Eva believes that Sula stood and watched out of curiosity. As an adult, Nel chooses to get married, breaking the childhood promise of the girls to share everything. Sula lives a life of ardent independence and total disregard for social conventions. Shortly after Nel's wedding, Sula leaves the Bottom for 10 years. She has many affairs and attends college. When she returns to the Bottom and to Nel, who became a conventional wife and mother, they reconcile briefly.

The rest of the town grows to resent Sula, in part because of her many affairs with married men. The husbands start a rumor that Sula slept with white men, worsening the town's opinion of Sula. The town's hatred of Sula gives them the impetus to live harmoniously with one another, as well as treat each other better. Sula's affairs give the wives a reason to soothe the bruised egos of their husbands, while Sula's lack of family at her age is scorned by all the women and causes them to be better mothers. Though Shadrack is typically vulgar and shocking to other townspeople, he treats Sula with respect.

Nel and Sula end their friendship after Sula has an affair with Nel's husband Jude. Just before Sula dies in 1940, they reconcile half-heartedly. With Sula's death, the harmony that had reigned in the town quickly dissolves. Sula dies alone with no one to attend her funeral. Shadrack, whose PTSD has faded enough for loneliness to crawl back in, is the only one saddened by her death.

Nel never remarries and becomes an overbearing mother. The Bottom slowly dissolves after Sula's death, becoming a different place. Nel visits Eva in 1965 in an elderly care facility, where Eva tells her that she knew about the death of Chicken Little. Nel replies that the blame was just on Sula but remembers her old promise to Sula to share everything.

Nel says goodbye to Sula at her gravestone, realizing that her loneliness was not from missing her ex-husband but from missing Sula. She cries in grief as she recalls the years spent without her.

Characters

 * Sula Peace: the childhood best friend of Nel, whose return to the Bottom disrupts the whole community. The main reason for Sula's strangeness is her defiance of gender norms and traditional morality, symbolized by the birthmark "that spread from the middle of the lid toward the eyebrow, shaped something like a stemmed rose," which, according to some psychoanalytic readings, is a dual symbol with both phallic and vaginal resonance.
 * Eva Peace: Sula's grandmother, who is missing one leg. Though the circumstances are never fully explained, it is suggested that she purposely put it under a train in order to collect insurance money to support her three young children after her husband left her. She has a peculiar relation with her children. She passes on to Hannah and then Sula a need for male attention.
 * BoyBoy: Sula's grandfather, who leaves Eva for another woman.
 * Hannah Peace: Sula's mother; Eva's eldest daughter. She married Rekus, who died when Sula was three years old. Hannah is a promiscuous and care-free woman who later burns to death in front of her mother and daughter. Her daughter Sula witnessed the fire but did nothing, while her mother tried to save her by jumping on top of her from her bedroom window.
 * Eva (Pearl) Peace: Sula's aunt; Eva Sr.'s youngest daughter and middle child. She married at fourteen and moved to Michigan.
 * Ralph (Plum) Peace: Sula's uncle; Eva's son and youngest child. Plum was a WWI veteran and a heroin addict.  Eva burns him alive with kerosene because of his mental instability.
 * Helene Wright: Nel's strait-laced and clean mother. Though the daughter of a prostitute, she was raised by her devoutly religious grandmother, Cecile.
 * Nel Wright: Sula's best friend (can also be considered a main protagonist) who does not want to be like her mother because she will never be reduced to "custard" and she will not be humiliated by other people as her mother is. Nel is the opposite of Sula: she decided to marry, have children and stay in the Bottom when she became an adult. She is Sula's best friend as they are children and then their relation turned into something more complex when Jude left Nel for Sula.
 * Shadrack: A paranoid shell-shocked WWI veteran, who returns to Sula and Nel's hometown, Medallion. He invents National Suicide Day.
 * Jude Greene: Nel's husband, who leaves Nel due to a love affair with Sula.
 * Ajax (Albert Jacks): Sula's confidant and lover.
 * Tar Baby (Pretty Johnnie): A quiet, cowardly, and reserved partially or possibly fully white man who rents out one of the rooms in the Peace household. It is believed that Tar Baby has come up to the Bottom to drink himself to death.
 * The Deweys: three boys, each about one year apart from one another in age, who were each nicknamed "Dewey" by Eva. Their real names are never written in the novel, and after the introduction of these characters, the three were referred as one being, thus Morrison's use of a lowercase "d" in "dewey" for the rest of the novel.
 * Chicken Little: The little boy who drowns when Sula accidentally threw him into the river.

Major themes
Motherhood

Many of the novel's female characters behave outside of typical gender norms for the time period. It is Helene's grandmother, Cecile, who stands in as a mother figure and her primary caretaker. Eva, Sula's grandmother, operates a boarding house and is about the business of her own version of mothering, "directing the lives of her children, friends, strays, and constant stream of boarders" (30). In Sula, relationships between mothers and daughters do not seem to be predicated on shared affection and a duty to protect one's offspring. For example, Hannah, Sula's mother is overheard in conversation with her friends, "You love her, like I love Sula. I just don't like her. That's the difference." (57) Hannah's comment does gesture toward a sense of duty but differs from Jacobs' as it implies an absence of a desire to mother. When Hannah challenges her mother Eva about expressions of love toward her, Eva responds by reminding Hannah of the sacrifices that she has made for her.

Doubleness

Sula demonstrates numerous doubles or parallels between the novel's characters. For example, Sula and Eva both kill men (Sula kills Chicken Little; Eva kills Plum). The death of Chicken Little results in a closed casket funeral (64). Likewise, for Hannah, "the casket had to be kept closed at the funeral" (77). Chicken died by water; Hannah died by fire. Nel watches Chicken die by drowning, according to Eva at the later scene in the nursing home (168). Sula watches Hannah die in flames (78). Both Plum and Hannah —brother and sister— die by fire (Plum is burned to death by Eva, Hannah dies from her injuries after catching fire by accident).

Sula's Birthmark

Sula is described as having a birthmark over one eye that darkens over the years as she matures and defies social conventions. The appearance of the birthmark is utilized to reveal how each character perceived Sula. Sula's peers interpreted the appearance of the birthmark differently: Sula's close friend Nel thought it looked like a rose, Sula's affair partner Jude perceived it to be snake shaped, and Shadrack saw the birthmark as tadpole shaped.

Literary significance and criticism
Sula was integral to the formation of black feminist literary criticism. In 1977, black feminist literary critic Barbara Smith, in her essay "Toward a Black Feminist Criticism," advanced a definition of black feminist literary criticism and (in)famously performed a lesbian reading of Sula. In her 1980 essay "New Directions for Black Feminist Criticism," Black feminist literary critic Deborah McDowell responded to Smith's challenge by acknowledging the need for a black feminist criticism and calling for a firmer definition of black feminism.

In her essay "Boundaries: Or Distant Relations and Close Kin", McDowell draws on the critical practices of Hortense Spillers and Hazel Carby and reads Sula from a poststructuralist perspective, urging black women critics to "develop and practice […] critical approaches interactively, dialogically" instead of viewing "black female identity as unitary essence yielding an indigenous critical methodology." As McDowell points out, the ambiguity of Sula as a character subverts traditional binary oppositions, and "transcends the boundaries of social and linguistic convention." The decentering and temporal deferral of the character who lends the novel its title similarly "denies the whole notion of character as static essence, replacing it with the idea of character as process." This "complex set of dynamics" forces the reader to "fill in the gaps" as well as to "bridge the gaps separating [them] from the text" and therefore makes them active participants in the meaning-making process.

The beauty of Morrison's narrative is its complexity and its ability to illustrate the fluidity and valences of the black female subject as captured in the quotidian.

Roderick Ferguson elaborates on the potential of Sula as "an opportunity to formulate politics". Sula, Ferguson argues, gave black lesbian feminists "a model of alternative subjectivities". The novel became a useful tool to invent new ways of thinking. By illustrating alternative social relationships, it provided a way for women of color feminists to imagine new possibilities outside of the constraints of nationalism.

Television series
In May 2022, it was reported that HBO will adapt the novel into a television limited series. The project will be created and written by Shannon M. Houston.

title: Sula (novel)


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Coup d'état of December Twelfth

The Coup d'état of December Twelfth or the 12·12 Military Insurrection was a military mutiny which took place on December 12, 1979, in South Korea.

History
Republic of Korea Army Major General Chun Doo-hwan, commander of the Defence Security Command, acting without authorization from Acting President Choi Kyu-hah, ordered the arrest of General Jeong Seung-hwa, ROK Army Chief of Staff, on allegations of involvement in the assassination of former President Park Chung Hee.

After Jeong's capture, 29th Regiment of the 9th Division, along with the 1st Special Forces Brigade and 3rd Special Forces Brigade, invaded downtown Seoul to support the 30th and 33rd Capital Security Group loyal to Chun, then a series of conflicts broke out in the capital. Two of Jeong's allies, Major General Jang Tae-wan (Commander of Army Capital Security Command) and Major General Jeong Byeong-ju (Commander of Army Special Warfare Command), were also arrested by the rebel troops. Major Kim Oh-rang, aide-de-camp of Jeong Byeong-ju, was killed during the gunfight.

By the next morning, the Ministry of Defense and Army HQ were all occupied. Chun and his fellow 11th class of Korea Military Academy graduates, such as Major General Roh Tae-woo, commanding general of 9th Infantry Division, and Major General Jeong Ho-yong, were in charge of the Korean military. Chun was supported in the coup and the subsequent consolidation of power by the powerful private club of military officials called Hanahoe.

The Coup d'état of December Twelfth and the Coup d'état of May Seventeenth were the beginning of the end of the Fourth Republic of Korea. The coup, alongside the Gwangju Uprising, is the primary justification for Chun's 1995 arrest by the Kim Young-sam administration.

Film

 * 12.12: The Day (2023)

Television

 * 4th Republic (1995-96)
 * 5th Republic (2005)
 * Koreagate (1995)
 * Surprise Mystery TV - 12.12: The Day (2023)

title: Coup d'état of December Twelfth


text:
Some Things Never Change

Some Things Never Change is the tenth album by the English rock band Supertramp, released in March 1997.

Overview
Some Things Never Change represented a deliberate return to the band's earlier sound (before Free as a Bird), using more organic recording techniques than on their previous studio album. John Helliwell recounted that "we recorded the album in a way that Supertramp never had and that was by all going into the studio together and doing it as a much more live thing."

The album features the single "You Win, I Lose", which was a minor hit in Germany and also received considerable airplay in Canada. Two more singles were released commercially: "Listen To Me Please" and "Sooner or Later".

The song "Live to Love You" (which was also released as a promo single ) features both the 'tackled' sound from the Coleco Electronic Quarterback handheld electronic game, as well as the Trouble "Pop-o-matic bubble" sounds from their 1979 hit "The Logical Song".

Cover art
Rick Davies explained the concept behind the album cover: "It's something to tie in with the title. In England people have tea at four o'clock and it doesn't matter where they are or what sort of social plane they're on, they will have that tea."

Reception
AllMusic commented that the album retains the same style and strong instrumental interplay from the band's glory years, but lacks the "ingratiatingly catchy melodies" of that era, making it of strong interest to the band's fans but much less to casual listeners.

Track listing
All songs written and sung by Rick Davies except where noted.

"Give Me a Chance" was not included on all editions of the album.

Personnel

 * Supertramp
 * Rick Davies – keyboards, vocals
 * Mark Hart – guitars, keyboards, vocals
 * John Helliwell – saxophones, woodwinds
 * Cliff Hugo – bass
 * Bob Siebenberg – drums (except on "And The Light")
 * Lee Thornburg – trombones, trumpets, background vocals
 * Carl Verheyen – guitars
 * Tom Walsh – percussion (all tracks); drums on "And The Light"

Additional personnel
 * Bob Danziger – Kalimbas
 * Karen Lawrence – background vocals
 * Kim Nail – background vocals
 * Fred Mandel - guitars on "And The Light" (uncredited as a musician on the cover)

Production

 * Producers: Jack Douglas, Fred Mandel
 * Executive producer: Rick Davies
 * Engineers: Ian Gardiner, Jay Messina
 * Assistant engineers: Ian Gardiner, Mike Scotella
 * Mixing assistant: Roy Clark, Brian Hargrove
 * Mastering: Bob Ludwig
 * Creative director: Richard Frankel
 * Cover art: Dimo Safari
 * Portraits: Dennis Keeley

title: Some Things Never Change


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User talk:Wikimedia Foundation~enwiki

JoeM, you're doing a great job making Republicans look bad. Grow up. No editor is more radical than you are. You won't find anyone's rants on George Bush concerning his cocaine use like you have made concerning Clinton's pot use. Are you really too dense to realize that you were banned not because you are a conservative, but because you contribute absolutely no factual information to Wikipedia, but instead lecture readers about why people in countries other than America are inferior? There are many conservatives on Wikipedia, but unlike you they contribute facts to articles and let the readers make thier own judgements. That's the difference between a normal user and a mentally-defective individual such as yourself. Oh, one more thing: please don't upload any more pictures of you disgracing the American flag by putting your filthy hands on it. --NoPetrol 07:23, 6 Dec 2004 (UTC)

Judeo-Christian values my ass!
It seems, JoeM, that you are a fan of attacking politicians who you disagree with by saying that their policies are a "break from Judeo-Christian values".

"In another huge break with Judeo-Christian values (which allowed the West led by America to invent democracy, capitalism, freedom, industrial technology, information technology, defeat evil time and time again, while Muslims are inclined toward dictatorships and terrorism, the collectivist Chinese gravitate toward infanticide and Communist totalitarianism, the Indians swim in filthy rivers to get better and pray to elephant statues, and the African societies are ripe with tribalism and cannibalism)..."

Yeah. That's what you put on Jean Chrétien's article and on Howard Dean's article. Look, I hate to break it to you, because this is supposed to be the job of your teachers or history books, but since you are obviously lacking in education (probably because you refuse to attend school because you consider it a socialist institution), I'm going to spell it out for you: AMERICA WAS NOT FOUNDED BY CHRISTIANS, AND WAS NOT DEVELOPED BY CHRISTIANS! George Washington was a Diest, so was Thomas Jefferson (who said that "Christianity is the most perverted system that ever shone on man", and also that “Christianity neither is, nor ever was a part of the common law"), along with about half of the signers of the Declaration of Independence. You could learn something by studying America's founding fathers, and I think you would find that they wouldn't like you very much.

It wasn't just our founding fathers who weren't Christian; you also mention how Judeo-Christian values led to the invention of industrial technology and information technology? You've got a pretty impressive collection of bullshit there. Christianity has done nothing but hinder scientific advancement, from the outlawing of discussion about the possibility that the world was round during the time of Leonardo Da Vinci (who was, by the way, a Pagan), to the current hindrance of medical discovery for the sake of protecting microscopic goo. You know, JoeM, or Infinate justice, or whatever the hell your name is now, none of the great thinkers of this or any time was a Christian. Einstein, Heisenberg, Fermat, Hawking: they all think Christianity is crap. So why don't you think before criticizing Howard Dean or that Chrétien guy, whoever the hell he is, for not adhering to Judeo-Christian values, because according to the real inventors of Democracy, that's a good thing.

--NoPetrol 07:47, 12 Dec 2004 (UTC)

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title: User talk:Wikimedia Foundation~enwiki


text:
Standard Bank of Canada

The Standard Bank of Canada was a Canadian bank established in 1872 as the St. Lawrence Bank by a group of Toronto businessmen led by John Charles Fitch.

In 1876 it was renamed the Standard Bank of Canada following a reorganization, and under its new management it grew. By 1907 it had nearly 50 branches and added another 27 when Standard Bank acquired the Western Bank of Canada (1882-1909), a regional bank headquartered in Oshawa, Ontario. The bank began to expand into the western provinces, and later combined with the Sterling Bank in 1924. The combined entity had 243 branches, of which 176 were in Ontario. Increased competition and other strategic considerations led to the Standard Bank of Canada to merge with the Canadian Bank of Commerce in 1928.

The Standard Bank of Canada issued its own banknotes, as many of Canada's banks did in that era. Some examples of these notes can be seen at the Bank of Canada's Currency Museum.

title: Standard Bank of Canada


text:
Stephen Winsten

Stephen Winsten (1893–1991) was the name adopted by Samuel Weinstein, one of the 'Whitechapel Boys' group of young Jewish men and future writers in London's East End in the years before World War I (the others included Isaac Rosenberg, John Rodker and Joseph Leftwich). In the First World War he was a conscientious objector, and imprisoned in Bedford and Reading gaols. He is now known for his works about George Bernard Shaw, and his life of Henry Salt.

He married the artist Clara Birnberg (1894–1989); they both became Quakers. She as Clare Winsten is known for some sculptures, including one of St. Joan in the garden of Shaw’s house in Ayot St Lawrence in Hertfordshire, where Shaw and the Winstens were neighbours. Stephen's and Clara's daughter Ruth Harrison, a conscientious objector in WW2, was known as a campaigner for animal rights.

Works

 * G.B.S. 90: Aspects of Bernard Shaw's Life and Work (1946); editor
 * Days with Bernard Shaw (1948)
 * Salt and His Circle (1951); preface by Shaw
 * Shaw's Corner (1952)
 * Jesting Apostle: The Private Life of Bernard Shaw (1956)

title: Stephen Winsten


text:
User:Georgios

Useful Links
List of all uploaded pictures in Wikipedia

title: User:Georgios


text:
User talk:JOEM

JoeM, you're doing a great job making Republicans look bad. Grow up. No editor is more radical than you are. You won't find anyone's rants on George Bush concerning his cocaine use like you have made concerning Clinton's pot use. Are you really too dense to realize that you were banned not because you are a conservative, but because you contribute absolutely no factual information to Wikipedia, but instead lecture readers about why people in countries other than America are inferior? There are many conservatives on Wikipedia, but unlike you they contribute facts to articles and let the readers make thier own judgements. That's the difference between a normal user and a mentally-defective individual such as yourself. Oh, one more thing: please don't upload any more pictures of you disgracing the American flag by putting your filthy hands on it. --NoPetrol 07:23, 6 Dec 2004 (UTC)

Judeo-Christian values my ass!
It seems, JoeM, that you are a fan of attacking politicians who you disagree with by saying that their policies are a "break from Judeo-Christian values".

"In another huge break with Judeo-Christian values (which allowed the West led by America to invent democracy, capitalism, freedom, industrial technology, information technology, defeat evil time and time again, while Muslims are inclined toward dictatorships and terrorism, the collectivist Chinese gravitate toward infanticide and Communist totalitarianism, the Indians swim in filthy rivers to get better and pray to elephant statues, and the African societies are ripe with tribalism and cannibalism)..."

Yeah. That's what you put on Jean Chrétien's article and on Howard Dean's article. Look, I hate to break it to you, because this is supposed to be the job of your teachers or history books, but since you are obviously lacking in education (probably because you refuse to attend school because you consider it a socialist institution), I'm going to spell it out for you: AMERICA WAS NOT FOUNDED BY CHRISTIANS, AND WAS NOT DEVELOPED BY CHRISTIANS! George Washington was a Diest, so was Thomas Jefferson (who said that "Christianity is the most perverted system that ever shone on man", and also that “Christianity neither is, nor ever was a part of the common law"), along with about half of the signers of the Declaration of Independence. You could learn something by studying America's founding fathers, and I think you would find that they wouldn't like you very much.

It wasn't just our founding fathers who weren't Christian; you also mention how Judeo-Christian values led to the invention of industrial technology and information technology? You've got a pretty impressive collection of bullshit there. Christianity has done nothing but hinder scientific advancement, from the outlawing of discussion about the possibility that the world was round during the time of Leonardo Da Vinci (who was, by the way, a Pagan), to the current hindrance of medical discovery for the sake of protecting microscopic goo. You know, JoeM, or Infinate justice, or whatever the hell your name is now, none of the great thinkers of this or any time was a Christian. Einstein, Heisenberg, Fermat, Hawking: they all think Christianity is crap. So why don't you think before criticizing Howard Dean or that Chrétien guy, whoever the hell he is, for not adhering to Judeo-Christian values, because according to the real inventors of Democracy, that's a good thing.

--NoPetrol 07:47, 12 Dec 2004 (UTC)

title: User talk:JOEM


text:
Beloved (novel)

Beloved is a 1987 novel by American novelist Toni Morrison. Set in the period after the American Civil War, the novel tells the story of a dysfunctional family of formerly enslaved people whose Cincinnati home is haunted by a malevolent spirit. The narrative of Beloved derives from the life of Margaret Garner, a slave in the slave state of Kentucky who escaped and fled to the free state of Ohio in 1856.

Garner was subject to capture under the Fugitive Slave Act of 1850, and when U.S. marshals broke into the cabin where she and her children had barricaded themselves, she was attempting to kill her children—and had already killed her youngest daughter—in hopes of sparing them from being returned to slavery. Morrison's main inspiration for the novel was an account of the event titled "A Visit to the Slave Mother who Killed Her Child" in an 1856 newspaper article initially published in the American Baptist and reproduced in The Black Book, an anthology of texts of Black history and culture that Morrison had edited in 1974.

The novel won the Pulitzer Prize for Fiction a year after its publication, and was a finalist for the 1987 National Book Award. A survey of writers and literary critics compiled by The New York Times ranked it as the best work of American fiction from 1981 to 2006. It was adapted as a 1998 movie of the same name, starring Oprah Winfrey.

Background
The book's dedication reads "Sixty Million and more", referring to the Africans and their descendants who died as a result of the Atlantic slave trade. The book's epigraph is Romans 9:25.

Plot summary
Beloved begins in 1873 in Cincinnati, Ohio, with Sethe, a formerly enslaved woman, and her 18-year-old daughter, Denver, who live at 124 Bluestone Road. The site has been haunted for years by what they believe is the ghost of Sethe's eldest daughter. Denver is shy, friendless, and housebound. Sethe's sons, Howard and Buglar, ran away from home by the age of 13, which she believes was due to the ghost. Baby Suggs, the mother of Sethe's husband, Halle, died soon after the boys fled, eight years before the start of the novel.

One day, Paul D, one of the enslaved men from Sweet Home, the plantation where Sethe, Halle, Baby Suggs, and several others were once enslaved, arrives at Sethe's home. He forces out the spirit, receiving Denver's contempt for driving away her only companion, but persuades them to leave the house together for the first time in years for a carnival. Upon returning home, they find a young woman sitting in front of the house who calls herself Beloved. Paul D is suspicious and warns Sethe, but she is charmed by the young woman and ignores him. Denver is eager to care for the sickly Beloved, whom she begins to believe is her older sister come back.

Paul D begins to feel increasingly uncomfortable in the house and that he is being driven out. One night, Paul D is cornered by Beloved, who tells him to touch her on her "inside part." While they have sex, his mind is filled with horrific memories from his past, including the sexual violence inflicted upon him and the other men while in a chain gang. Paul D tries to tell Sethe about it, but cannot. Instead, he says that he wants her pregnant. Sethe is afraid to have to live for a baby. When Paul D tells friends at work about his plans to start a new family, they react fearfully. One, Stamp Paid, reveals the reason for the community's rejection of Sethe by showing Paul D a newspaper clipping of an article about a fugitive woman who killed her child.

Paul D confronts Sethe, who tells him that after escaping and joining her children at 124, four horsemen came to return her children and her to a life of slavery. Sethe, terrified of returning to Sweet Home and its vicious manager Schoolteacher, ran to the woodshed with her children to kill them, but only managed to kill her eldest daughter. Sethe says that she was "trying to put my babies where they would be safe". Paul D leaves, telling her her love is "too thick" and chastising that "you've got two feet, not four." Sethe retorts that "thin love is no love", adamant that she did the right thing.

Sethe comes to believe that Beloved is the daughter she had killed, as "BELOVED" was all she could afford to have engraved on her tombstone. She is overjoyed, holding onto a hope that Halle and her sons will come back and they will all be a family together. Out of guilt, she begins to spend all of her time and money on Beloved to please her and try to explain her actions, and loses her job. Beloved becomes angry and demanding, throwing tantrums when she does not get her way. Beloved's presence consumes Sethe's life. She hardly eats, while Beloved grows bigger and bigger, eventually taking the form of a pregnant woman. Denver reveals her fear of Sethe, having known that she killed Beloved, but not having understood why, and that her brothers shared this fear and ran away due to it. Sethe and Beloved's voices merge until indistinguishable, and Denver observes that Sethe becomes more like a child, while Beloved seems more like the mother.

Denver reaches out to the Black community for help, from whom they had been isolated because of envy of Baby Suggs' privilege and horror at Sethe killing her two-year-old daughter. Local women come to the house to exorcise Beloved. At the same time, their White landlord, Mr. Bodwin, arrives to offer a job to Denver, who had asked him for work. Not knowing this, Sethe attacks him with an ice pick, thinking he was Schoolteacher coming back for her daughter. The village women and Denver hold her back and Beloved disappears.

Denver becomes a working member of the community, and Paul D returns to a bed-ridden Sethe, who, devastated at Beloved's disappearance, remorsefully tells him that Beloved was her "best thing". He replies that Sethe is her own "best thing", leaving her questioning, "Me? Me?" As time goes on, those who knew Beloved gradually forget her until all traces of her are gone.

Mother-daughter relationships
The maternal bonds between Sethe and her children inhibit her own individuation and prevent the development of her self. Sethe develops a dangerous maternal passion that results in killing one daughter, her own "best self." Her surviving daughter becomes estranged from the Black community. Both outcomes result from Sethe trying to salvage her "fantasy of the future," her children, from a life in slavery.

In Ohio, Sethe fails to recognize her daughter Denver's need for interaction with the Black community to enter into womanhood. At the end of the novel, Denver succeeds in establishing her own self and embarking on her individuation with the help of Beloved. Sethe only becomes individuated after Beloved's exorcism. Then, she is free to fully accept the first relationship that is completely "for her," her relationship with Paul D. This relationship relieves her from the self-destruction she was causing based on her maternal bonds with her children.

Beloved and Sethe are both emotionally impaired, which comes from Sethe having been enslaved. Under slavery, mothers lost their children, with devastating consequences for both. Baby Suggs dealt with this by refusing to become close with her children and remembering what she could of them, but Sethe tried to hold onto them and fight for them, to the point of killing them so they could be free. Sethe was traumatized by having had her milk stolen, unable to form the symbolic bond between herself and her daughter by feeding her.

Psychological effects of slavery
Because of the suffering under slavery, most former slaves tried to repress these memories in an attempt to forget the past. This repression and dissociation from the past causes a fragmentation of the self and a loss of true identity. Sethe, Paul D., and Denver all suffered a loss of self, which could only be remedied when they were able to reconcile their pasts and memories of earlier identities. Beloved serves to remind these characters of their repressed memories, eventually leading to the reintegration of their selves.

Slavery splits a person into a fragmented figure. The identity, consisting of painful memories and unspeakable past, denied and kept at bay, becomes a "self that is no self". To heal and humanize, one must constitute it in a language, reorganize the painful events, and retell the painful memories. As a result of suffering, the "self" becomes subject to a violent practice of making and unmaking, once acknowledged by an audience becomes real. Sethe, Paul D, and Baby Suggs, who all fall short of such realization, are unable to remake themselves by trying to keep their pasts at bay. The "self" is located in a word, defined by others. The power lies in the audience, or more precisely, in the word—once the word changes, so does the identity. All of the characters in Beloved face the challenge of an unmade self, composed of their "rememories" and defined by perceptions and language. The barrier that keeps them from remaking of the self is the desire for an "uncomplicated past" and the fear that remembering will lead them to "a place they couldn't get back from".

Definition of manhood
The discussion of manhood and masculinity is foreshadowed by the dominant meaning of Sethe's story. Beloved depicts slavery in two main emotions: Love and Self-Preservation; however, Morrison does more than depict emotions.

The author accurately depicts the horrors of enslavement and its effects to communicate the morals of manhood. It also distorts a man from himself. Morrison revealed different pathways to the meaning of manhood by her stylistic devices. She established new information for understanding the legacy of slavery best depicted through stylistic devices. To understand Paul D's perception of manhood, Morrison deliberately inserts his half-formed words and thoughts, to provide the audience a taste of what is going on inside his mind. Yet, throughout the novel, Paul D's depiction of manhood was being constantly challenged by the norms and values of white culture. The author demonstrates the distinctions between Western and African values, and how the dialogue between the two values is heard through juxtaposition and allusions. Scholar Zakiyyah Iman Jackson has argued that Paul D's reduced manhood emerges in relation to a discourse of animality. Morrison maneuvered her message through the social atmosphere of her words, which was further highlighted by the character's motives and actions.

Paul D is a victim of racism in that his dreams and goals are so high that he will never be able to achieve them because of racism. He thought he earned his right to reach each of his goals because of his sacrifices and what he has been through, that society would pay him back and allow him to do what his heart desired.

After Reconstruction (1890–1910)

During the Reconstruction era, Jim Crow laws were put in place to limit the movement and involvement of African Americans in the White-dominant society. Black men during this time had to establish their own identity, which may seem impossible due to all the limitations put upon them. Many Black men, like Paul D, struggled to find their meaning in their society and achieving their goals because of the "disabilities" that constrained them to a certain part of the social hierarchy.

In Beloved, Stamp Paid observes Paul D sitting on the base of the church steps "… liquor bottle in hand, stripped of the very maleness that enables him to caress and love the wounded Sethe…" (132). Throughout the novel, Paul D is sitting on a base of some sort or a foundation like a tree stub or the steps, for instance. This exemplifies his place in society. Black men are the foundation of society because without their hard labor, the white men would not profit. They were coerced into the society where they were deemed "lower-status" because of the color of their skin.

Family relationships
Family relationships are an instrumental element of Beloved, which help visualize the stress and the dismantlement of African-American families in this era. The slavery system did not allow African Americans to have rights to themselves, their family, their belongings, or their children. So, Sethe killing Beloved was deemed a peaceful act because Sethe believed that killing her daughter was saving her. By doing this, their family is divided and fragmented, much like the time in which they were living. After the Emancipation Proclamation was signed, formerly enslaved families were broken and bruised because of the hardships they faced while they were enslaved.

Since enslaved people could not participate in societal events, they put their faith and trust in the supernatural. They performed rituals and prayed to their god or multiple gods.

In the novel, Beloved, who was murdered at the hands of her mother Sethe, haunts Sethe. For example, Sethe, Denver, and Paul D go to the neighborhood carnival, which happens to be Sethe's first social outing since killing her daughter. When they return home, Beloved appears at the house. Throughout the novel, Sethe believes that the person claiming to be Beloved is her daughter that she killed 18 years prior - a scenario that shows how [fractured] family relationships are used to display the mental strife the protagonist faces.

Pain
The pain throughout this novel is universal because everyone involved in slavery was heavily scarred, whether that be physically, mentally, sociologically, or psychologically. Some of the characters tend to "romanticize" their pain, in a way that each experience is a turning point in one's life. This concept is played throughout history in early Christian contemplative tradition and African-American blues tradition.

Beloved is a book of the systematic torture that people who had been enslaved had to deal with after the Emancipation Proclamation. Therefore, in this novel, the narrative is like a complex labyrinth because all the characters have been "stripped away" from their voices, their narratives, their language in a way that their sense of self is diminished. Also, all the characters have had different experiences with slavery, which is why their stories and their narratives are distinct from each other.

In addition to the pain, many major characters try to beautify pain in a way that diminishes what was done. For example, Sethe keeps repeating what a White girl said about her scars on her back, calling them "a Choke-cherry tree. Trunk, branches, and even leaves". She repeats this to everyone, suggesting she is trying to find the beauty in her scar, even when they caused her extreme pain. Paul D and Baby Suggs both look away in disgust and deny this description of Sethe's scars. Sethe does the same with Beloved. The memory of her ghost-like daughter plays a role of memory, grief, and spite that separates Sethe and her late daughter. For instance, Beloved stays in the house with Paul D and Sethe. A home is a place of vulnerability, where the heart lies. Paul D and Baby Suggs both suggest that Beloved is not invited into the home, but Sethe says otherwise because she sees Beloved, all grown and alive, instead of the pain of when Sethe murdered her. At the end of the book, Beloved is gone and Paul D encourages Sethe to love herself instead.

Heroism
Per her definition of heroism as the ability to do what one deems right in the face of opposition and to inspire others to escape the pain of their past, the book may be trying to convey that societally, heroism is not absolute but, rather, relative to past experience and the influence of the community; the literary characterization of Sethe and Denver are written in a way that further support this.

Developing Sethe not as a conventional hero but as an individual capable of allowing those she cares for to break from the shackles of the past, Morrison depicts Sethe as a certain definition of heroism. Sethe's decision to kill her own child, Beloved, is thoroughly scorned by the community, despite her fear that Schoolteacher is coming to take her family back into slavery. Yet Sethe herself never doubts her own veracity, justifying, “It ain’t my job to know what’s worse. It’s my job to know what is and to keep them away from what I know is terrible. I did that” (194). Sethe contrasts the role society proclaims for her, to refrain from murdering her children and try to deal with the problem of Schoolteacher's arrival peacefully, and the role she assumes for herself, to kill her children to ensure that they will not be forced to experience the same venomous anguish of life as a slave. From Sethe's point of view, the only method that would have resulted in the complete safety of her children was to kill her children and “keep them away from what [she] know[s] is terrible,” because death is far more preferable to life back in the confines of slavery. Beyond just having the courage to stand up for what she believes in, Sethe also demonstrates her heroism by helping Paul D deal with his own painful past. When he visits Sethe near the end of the novel, Paul D reminisces about “Her tenderness about his neck jewelry — its three wands, like attentive baby rattlers, curving two feet into the air. How she never mentioned or looked at it, so he did not have to feel the shame of being collared like a beast. Only this woman Sethe could have left him his manhood like that. He wants to put his story next to hers” (322). Paul D's intimate experiences with the iron bit have changed him forever, stripping him of his masculinity and contributing to a deep mental storm tormenting him from within. Morrison utilizes metaphor to compare the iron bit to “three wands, like attentive baby rattlers, curving two feet into the air,” underscoring that the venomous influence of the iron bit, much like the bite of a rattlesnake, strikes in three different ways, damaging physical, cognitive, and emotional abilities. Paul D draws support from Sethe “never mention[ing] or look[ing]” at his scars, but more so, this allows him to retain his own manhood, which to Paul D defines the very basis of his character.

Although Sethe defies opposition to her heroic acts of freeing others from their past, Denver defies the confinements of her past, allowing her to help Sethe escape Beloved's parasitism that keeps her from a livable life and foreseeable future. Feeling trapped by her isolation at 124 Bluestone Road, Denver is challenged by the concept of leaving Sethe and Beloved behind, needing the courage to set foot beyond the house to seek the aid of the community she was once a part of. As Sethe and Beloved remained trapped in the house, the tipping point of heroism for Denver comes when she realizes “neither Beloved nor Sethe seemed to care what the next day might bring. Denver knew it was on her. She would have to leave the yard; step off the edge of the world, leave the two behind and go ask somebody for help” (286). By using the metaphorical image of Denver “step[ing] off the edge of the world,” to describe Denver leaving “the yard” in an effort to rewrite society's conceptions of her isolation and Sethe's horrible past actions, Morrison elucidates her courage to leave the only world she knows to “ask somebody for help.” Also realizing that Sethe and Beloved did not “seem to care what the next day might bring,” Denver recognizes that she must free her mother from the past's reach to encourage her to plan for the “next day” and for a future beyond Beloved's grasp. Overcoming her preconceptions of the outside community allows Denver to surpass Morrison's threshold of heroism, rescuing Sethe from the suppressive grip of the past through Beloved. When Beloved's influence becomes more and more detrimental to the environment of 124 Bluestone Road and Sethe's outlook on life, Denver does not hesitate to thrust herself into a motherly role and care for her mother. Her actions inspire Ella to form a group of women to exorcise Beloved from the community, and she describes, “For Sethe it was as though the Clearing had come to her with all its heat and simmering leaves, where the voices of women searched for the right combination, the key the code, the sound that broke the back of words. Building voice upon voice until they found it, and when they did it was a wave of sound wide enough to sound deep water and knock the pods off chestnut trees. It broke over Sethe and she trembled like the baptized in its wash” (308). Morrison refers back to the image of the Clearing to highlight how Denver has assumed the positive role of Baby Suggs in the community, supporting and inspiring the people of the community to work towards the greater good. Morrison then compares the voices of the praying woman to a wave of sound that could even “knock the pods off chestnut trees,” highlighting the complete extent of power a united community truly holds. In the wake of this spiritually pure experience, Sethe “tremble[s] like the baptized,” showcasing how she has been, to some extent, cleansed of the taint of Beloved by Denver's courageous actions.

Through her characterization of both Sethe and Denver as unlikely heroes capable of surpassing adversities in order to help their loved ones escape the haunting of their past, Morrison may be emphasizing that heroism is defined not by supernatural powers or acts of unparalleled valor, but by the courageous intent to overcome the assertive preconceptions of society in order to ensure the greater good and positively influence on others in the process. As her experience in slavery came to define her life as a free woman, Sethe wallowed in her past, becoming a hero only when she allowed those she loved to escape their own burdens from the de-humanizing effects of slavery. Denver, on the other hand, breaks free of her past isolation in order to help Sethe seek a future beyond the constraints of her past. Morrison highlights that individuals have the ability to act with heroism, choosing to bring others out of the desolation of their past burden. Such a phenomenon can be enacted in current society by resisting the ideals of society, but rather, standing up for own beliefs to find heroism in the face of great opposition.

Sethe
Sethe is the protagonist of the novel. She escaped slavery from a plantation called Sweet Home. She lives in the house named 124 (a house on 124 Bluestone Rd., but referred to only as "124") which is believed to be haunted because she killed her infant child there. Her two sons have fled because of the haunting, and she resides in the house with her daughter Denver. She is motherly and will do anything to protect her children from suffering the same abuses she experienced when she was enslaved. She is greatly influenced by her repression of the trauma she endured. She lives with "a tree on her back", scars from being whipped. Her character is resilient, yet defined by her traumatic past. She was 19 years old when Denver was born, making her birth year to be 1836.

Beloved
The opaque understanding of Beloved is central to the novel. She is a young woman who mysteriously appears from a body of water near Sethe's house, and is discovered soaking wet on the doorstep by Sethe, Paul D, and Denver, on their return from visiting the fair; they take her in. She is widely believed to be the murdered baby who haunted 124, as the haunting ends when she arrives, and in many ways she behaves like a child. As also mentioned, a young woman enslaved by a White man nearby had escaped, and Beloved recounts stories of past slaves, including Sethe's mother. Morrison stated that the character Beloved is the daughter Sethe killed. The murdered baby was unnamed, so her name is derived from the engraving on Sethe's murdered baby's tombstone, which simply read "Beloved" because Sethe could not afford to engrave the word "Dearly" or anything else. Beloved becomes a catalyst to bring repressed trauma of the family to the surface, but also creates madness in the house and slowly depletes Sethe.

Paul D
Paul D retains his slave name; most of the enslaved men at Sweet Home were named Paul. He also retains many painful memories from enslavement and being forced to live in a chain gang; he had been moving around continuously before arriving at 124. He has a "tobacco tin" for a heart, in which he contains his painful memories, until Beloved opens it. Years after their time together at Sweet Home, Paul D and Sethe reunite and begin a romantic relationship. He acts fatherly towards Denver and is the first to be suspicious of Beloved. Despite their long past, he fails to understand Sethe fully because of her motherhood and because of the many years that had passed since.

Denver
Denver is Sethe's only child who remains at 124. Isolated from her community after Beloved's killing, Denver forms a close bond with her mother. Upon Beloved's arrival, Denver watches as her sister's ghost begins to exhibit demonic activity. Although introduced as a childish character, Denver develops into a protective woman throughout the novel. In the final chapters, Denver fights not only for her personal independence, but also for her mother's wellbeing, breaking the cycle of isolation at 124. She is 18 years old at the beginning of the novel.

Baby Suggs
Baby Suggs is Sethe's mother-in-law. Her son Halle worked to buy her freedom, after which she travels to Cincinnati and establishes herself as a respected leader in the community, preaching for the Black people to love themselves because other people will not. This respect turns sour after she turns some food into a feast, earning their envy, as well as Sethe's act of infanticide. Baby Suggs retires to her bed, where she thinks about pretty colors for the rest of her life. She dies at 70 in the beginning of the book, 8 years before the main events.

Halle
Halle is the son of Baby Suggs, the husband of Sethe and father of her children. Sethe and he were married in Sweet Home, yet they got separated during her escape. He is only mentioned in flashbacks. Paul D was the last to see Halle, churning butter at Sweet Home. He is presumed to have gone mad after seeing residents of Sweet Home violating Sethe. He is hardworking and good, qualities that Paul D sees in Denver at the end of the book, but ones that Baby Suggs fears make him a target.

Schoolteacher
Schoolteacher is the primary discipliner, violent, abusive, and cruel to the people he enslaved at Sweet Home, whom he views as animals. He comes for Sethe following her escape, but she kills her daughter and is arrested, instead.

Amy Denver
Amy Denver is a young white girl who finds Sethe desperately trying to make her way to safety after her escape from Sweet Home, trying to get to Boston herself. Sethe is extremely pregnant at the time, and her feet are bleeding badly from the travel. Amy helps nurture her and deliver Sethe's daughter on a small boat, and Sethe names the child Denver after her.

Adaptations
In 1998, the novel was made into a film directed by Jonathan Demme, and produced by and starring Oprah Winfrey.

In January 2016, Beloved was broadcast in 10 episodes by BBC Radio 4 as part of its 15 Minute Drama programme. The radio series was adapted by Patricia Cumper.

Legacy
Beloved received the Frederic G. Melcher Book Award, which is named for an editor of Publishers Weekly. In accepting the award on October 12, 1988, Morrison said that "[t]here is no suitable memorial or plaque or wreath or wall or park or skyscraper lobby" honoring the memory of the human beings forced into slavery and brought to the United States. "There's no small bench by the road," she continued. "And because such a place doesn't exist (that I know of), the book had to." Inspired by her remarks, the Toni Morrison Society began to install benches at significant sites in the history of slavery in America. The New York Times reported that the first 'bench by the road' was dedicated on July 26, 2008, on Sullivan's Island, South Carolina, the place of entry for some 40% of the enslaved Africans brought to the United States. Morrison said she was extremely moved by the memorial. In 2017, the 21st bench was placed at the Library of Congress. It is dedicated to Daniel Alexander Payne Murray (1852–1925), the first African-American assistant librarian of Congress.

The novel received the seventh annual Robert F. Kennedy Center for Justice and Human Rights Book Award in 1988, given to a novelist who "most faithfully and forcefully reflects Robert Kennedy's purposes—his concern for the poor and the powerless, his struggle for honest and even-handed justice, his conviction that a decent society must assure all young people a fair chance, and his faith that a free democracy can act to remedy disparities of power and opportunity."

Critical reception
The publication of Beloved in 1987 resulted in the greatest acclaim yet for Morrison. Although nominated for the National Book Award, it did not win, and 48 African-American writers and critics—including Maya Angelou, Amiri Baraka, Jayne Cortez, Angela Davis, Ernest J. Gaines, Henry Louis Gates Jr., Rosa Guy, June Jordan, Paule Marshall, Louise Meriwether, Eugene Redmond, Sonia Sanchez, Quincy Troupe, John Edgar Wideman, and John A. Williams—signed a letter of protest that was published in The New York Times Book Review on January 24, 1988. Yet later in 1988 Beloved did receive the Pulitzer Prize for Fiction, as well as the Robert F. Kennedy Memorial Book Award, the Melcher Book Award, the Lyndhurst Foundation Award, and the Elmer Holmes Bobst Award.

Commentators have described Beloved as an exploration of notions of family, trauma, the repression of memory, the restoration of the historical record and an attempt to give voice to the collective memory of African Americans. Indeed, critics and Morrison herself have indicated that the controversial epigraph to Beloved, "60 million and more", is drawn from a number of studies on the African slave trade, which estimate that approximately half of each ship's "cargo" perished in transit to America.

Scholars have additionally debated the nature of the character Beloved, arguing whether she is actually a ghost or a real person. Reviewers, assuming Beloved to be a supernatural incarnation of Sethe's daughter, have faulted Beloved as a confusing ghost story; Elizabeth B. House, however, has argued that Beloved is not a ghost, and the novel is actually a story of two probable instances of mistaken identity. Beloved is haunted by the loss of her African parents, and thus comes to believe that Sethe is her mother. Sethe longs for her dead daughter and is rather easily convinced that Beloved is the child she has lost. Such an interpretation, House contends, clears up many puzzling aspects of the novel and emphasizes Morrison's concern with familial ties.

Since the late 1970s, the focus on Morrison's representation of African-American experience and history has been strong. The idea that writing acts as a means of healing or recovery is a strain in many of these studies. Timothy Powell, for instance, argues that Morrison's recovery of a Black logos rewrites blackness as "affirmation, presence, and good", while Theodore O. Mason Jr. suggests that Morrison's stories unite communities.

Many critics explore memory, or what Beloved’s Sethe calls "rememory", in this light. Susan Bowers places Morrison in a "long tradition of African American apocalyptic writing" that looks back in time, "unveiling" the horrors of the past in order to "transform" them. Several critics have interpreted Morrison's representations of trauma and memory through a psychoanalytic framework. Ashraf H. A. Rushdy explores how primal scenes in Morrison's novels are "an opportunity and affective agency for self-discovery through memory" and "rememory". As Jill Matus argues, however, Morrison's representations of trauma are "never simply curative": in raising the ghosts of the past to banish or memorialize them, the texts potentially "provoke readers to the vicarious experience of trauma and act as a means of transmission". Ann Snitow's reaction to Beloved neatly illustrates how Morrison criticism began to evolve and move toward new modes of interpretation. In her 1987 review of Beloved, Snitow argues that Beloved, the ghost at the center of the narrative, is "too light" and "hollow", rendering the entire novel "airless". Snitow changed her position after reading criticism that interpreted Beloved in a different way, seeing something more complicated and burdened than a literal ghost, something requiring different forms of creative expression and critical interpretation. The conflicts at work here are ideological, as well as critical; they concern the definition and evaluation of American and African-American literature, the relationship between art and politics, and the tension between recognition and appropriation.

In defining Morrison's texts as African-American literature, critics have become more attentive to historical and social context and to the way Morrison's fiction engages with specific places and moments in time. As Jennings observes, many of Morrison's novels are set in isolated Black communities where African practices and belief systems are not marginalized by a dominant White culture, but rather remain active, if perhaps subconscious, forces shaping the community. Matus comments that Morrison's later novels "have been even more thoroughly focused on specific historical moments"; "through their engagement with the history of slavery and early twentieth-century Harlem, [they] have imagined and memorialized aspects of black history that have been forgotten or inadequately remembered".

On November 5, 2019, the BBC News listed Beloved on its list of the 100 most inspiring novels.

Banning and controversy
Beloved has been banned in many U.S. schools, including at least eleven during the 2021–2022 academic year. Common reasons for censorship include bestiality, infanticide, sex, and violence.

In 2007, twenty years after its 1987 publication, the novel was abruptly abandoned by an AP English class at Eastern High School in Louisville, Kentucky, at the order of the school's principal. The class had nearly reached the end of the book when a parent complained about language on page 13. Upon being informed that the book was being immediately banned, the English teacher who was teaching the book argued to the school's Site Based Decision Making Council that a college-level English literature course should be taught. With the help of like-minded teachers and an outpouring from Eastern's alumni, the ban was soon lifted, and the book continues to be taught at the high school today.

In Virginia, Beloved was considered for removal from the Fairfax County senior English reading list due to a parent's 2017 complaint that "the book includes scenes of violent sex, including a gang rape, and was too graphic and extreme for teenagers". Parental concern about Beloved's content inspired the Beloved Bill, legislation that would have required Virginia public schools to notify parents of any "sexually explicit content" and provide an alternative assignment if requested. The bill was vetoed by Governor Terry McAuliffe. When McAuliffe ran again for the governor's office in 2021, a major event in the election was his statement during a debate that, "Yeah, I stopped the bill that—I don't think parents should be telling schools what they should teach." His opponent, Glenn Youngkin, seized on the remark, and produced a television commercial in which a parent recounted her effort to get the book banned. The commercial did not mention the title, author, or subject of the book, but focused on the "explicit material" in the unnamed work.

Student activist group Voters of Tomorrow announced plans in February 2022 to distribute banned books to students in Texas and Virginia, including Beloved. Parents in the Katy Independent School District responded to the book distributions by filing a request to review Beloved, resulting in the book's removal from school libraries and restriction to 11th and 12th Grade students. Students and parents spoke against banning the book during the public forum segment of the district's board meetings. The ACLU of Texas delivered a letter to school board members and the superintendent in April 2022 claiming that the district's book removal of Beloved and other titles violated the First Amendment, the Texas Constitution, and the district's own policies.

Trilogy
Beloved is the first of three novels about love and African-American history, sometimes called the Beloved Trilogy. Morrison said they are intended to be read together, explaining: "The conceptual connection is the search for the beloved – the part of the self that is you, and loves you, and is always there for you."The second novel in the trilogy, Jazz, came out in 1992. The third novel Paradise, about citizens of an all-Black town, came out in 1997.

Awards

 * Pulitzer Prize for Fiction, 1988
 * Anisfield-Wolf Book Award, 1988
 * Robert F. Kennedy Memorial Book Award
 * Melcher Book Award
 * Lyndhurst Foundation Award
 * Elmer Holmes Bobst Award

title: Beloved (novel)


text:
Clara Birnberg

Clara Birnberg (1892 or 1894–1989) was a British artist, illustrator, portraitist and sculptor. After her marriage to the artist Stephen Weinstein, they changed their surname to Winsten (with her becoming Clare Winsten) and both became Quaker humanists.

Biography
Birnberg, whose father was born in Ternopil in modern Ukraine, moved to England with her family in 1902. Studying at the Slade School of Fine Art between 1910 and 1912 with Isaac Rosenberg and David Bomberg, Birnberg became the only female member of their 'Whitechapel Boys' circle of artists and poets, and was the only female exhibitor at the 1914 post-Impressionist exhibition "Twentieth Century Art: A Review of Modern Movements" at the Whitechapel Art Gallery in which this circle played a major part.

Among her sculptures are one in the Toynbee Hall in Whitechapel, and one of Joan of Arc in the garden of George Bernard Shaw’s house in Ayot St Lawrence in Hertfordshire, where Shaw and the Winstens were neighbours (Stephen already had connections with Shaw). Clare illustrated Shaw's Buoyant Billions: A Comedy of No Manners in Prose (1949), and the posthumously published My Dear Dorothea: A practical system of Moral education for females Embodied in a letter to a young person Of that sex (1956), written when he was 21. In addition to painting Shaw a number of times, Birnberg also produced a 1946 bronze sculpture of him, which passed on his death to the Shaw Theatre and then (on its closure) to the Mayor of Camden. The British Museum also has a bronze bust of Shaw by her. She also made drawings of Shaw, as well as of Dmitri Shostakovich, Benjamin Britten and Mahatma Gandhi.

Her daughter Ruth Harrison was known as a campaigner for animal welfare. Ruth married Dexter Harrison, a London architect.

title: Clara Birnberg


text: File:UnholyWars.jpg

title: File:UnholyWars.jpg