text: Category:South Dakota culture

title: Category:South Dakota culture


text:
Abraham Goldfaden

Abraham Goldfaden (אַבֿרהם גאָלדפֿאַדען; born Avrum Goldnfoden; 24 July 1840 – 9 January 1908), also known as Avram Goldfaden, was a Russian-born Jewish poet, playwright, stage director and actor in Yiddish and Hebrew languages and author of some 40 plays. Goldfaden is considered the father of modern Jewish theatre.

In 1876 he founded in the United Principalities of Moldavia and Wallachia what is generally credited as the world's first professional Yiddish-language theatre troupe. He was also responsible for the first Hebrew-language play performed in the United States. The Avram Goldfaden Festival of Iaşi, Romania, is named after him and held in his honour.

Jacob Sternberg called him "the Prince Charming who woke up the lethargic Romanian Jewish culture". Israil Bercovici wrote of his works: "we find points in common with what we now call 'total theatre'. In many of his plays he alternates prose and verse, pantomime and dance, moments of acrobatics and some of jonglerie, and even of spiritualism..."

Early life
Goldfaden was born in Starokonstantinov (Russia; present day Ukraine). His birth date is sometimes given as 12 July, following the "Old Style" calendar in use at that time in the Russian Empire. He attended a Jewish religious school (a cheder), but his middle-class family was strongly associated with the Haskalah, or Jewish Enlightenment, and his father, a watchmaker, arranged that he receive private lessons in German and Russian. As a child, he is said to have appreciated and imitated the performances of wedding jesters and Brody singers to the degree that he acquired the nickname Avromele Badkhen, "Abie the Jester." In 1857 he began studies at the government-run rabbinical school at Zhytomyr, from which he emerged in 1866 as a teacher and a poet (with some experience in amateur theatre), but he never led a congregation.

Goldfaden's first published poem was called "Progress"; his The New York Times obituary described it as "a plea for Zionism years before that movement developed". In 1865 he published his first book of poetry, Tzitzim u-Ferahim (in Hebrew); The Jewish Encyclopaedia (1901–1906) says that "Goldfaden's Hebrew poetry ... possesses considerable merit, but it has been eclipsed by his Yiddish poetry, which, for strength of expression and for depth of true Jewish feeling, remains unrivalled". The first book of verse in Yiddish was published in 1866, and in 1867 he took a job teaching in Simferopol on the Crimean Peninsula.

A year later, he moved on to Odessa. He lived initially in his uncle's house, where a cousin who was a good pianist helped him set some of his poems to music. In Odessa, Goldfaden renewed his acquaintance with fellow Yiddish-language writer Yitzkhok Yoel Linetzky, whom he knew from Zhytomyr and met Hebrew-language poet Eliahu Mordechai Werbel (whose daughter Paulina would become Goldfaden's wife) and published poems in the newspaper Kol-Mevaser. He also wrote his first two plays, Die Tzwei Sheines (The Two Neighbours) and Die Murneh Sosfeh (Aunt Susie), included with some verses in a modestly successful 1869 book Die Yidene (The Jewish Woman), which went through three editions in three years. At this time, he and Paulina were living mainly on his meagre teacher's salary of 18 rubles a year, supplemented by his giving private lessons and taking a job as a cashier in a hat shop.

In 1875, Goldfaden headed for Munich, intending to study medicine. This did not work out, and he headed for Lvov/Lemberg in Habsburg-ruled Galicia, where he again met up with Linetsky, now editor of a weekly paper, Isrulik or Der Alter Yisrulik (which was well reputed, but was soon shut by the government). A year later, he moved on to Chernivtsi in Habsburg Bukovina, where he edited the Yiddish-language daily Dos Bukoviner Israelitishe Folksblatt. The limits of the economic sense of this enterprise can be gauged from his inability to pay a registration fee of 3000 ducats. He tried unsuccessfully to operate the paper under a different name, but soon moved on to Iaşi in Moldavia on the invitation of Isaac Librescu (1850–1930), a young wealthy community activist interested in theatre.

Iaşi
Arriving in Iaşi (Jassy) in 1876, Goldfaden was fortunate to be better known as a good poet — many of whose poems had been set to music and had become popular songs — than as a less-than-successful businessman. Nevertheless, when he sought funds from Isaac Librescu for another newspaper, Librescu was uninterested in that proposition. Librescu's wife remarked that Yiddish-language journalism was just a way to starve and suggested that there would be a lot more of a market for Yiddish-language theatre. Librescu offered Goldfaden 100 francs for a public recital of his songs in the garden of Shimen Mark, Grădina Pomul Verde ("the Green Fruit-Tree Garden").

Instead of a simple recital, Goldfaden expanded the program into something of a vaudeville performance; either this or an indoor performance he and his fellow performers gave later that year in Botoşani is generally counted as the first professional Yiddish theatre performance. However, in the circumstances, the designation of a single performance as "the first" may be nominal: Goldfaden's first actor, Israel Grodner, was already singing Goldfaden's songs (and others) in the salons of Iaşi. Also, in 1873, Grodner sang in a concert in Odessa (songs by Goldfaden, among others) that apparently included significant improvised material between songs, although no actual script.

Although Goldfaden, by his own account, was familiar at this time with "practically all of Russian literature", and also had plenty of exposure to Polish theatre, and had even seen an African American tragedian, Ira Aldridge, performing Shakespeare, the performance at Grădina Pomul Verde was only a bit more of a play than Grodner had participated in three years earlier. The songs were strung together with a bit of character and plot and a good bit of improvisation. The performance by Goldfaden, Grodner, Sokher Goldstein, and possibly as many as three other men went over well. The first performance was either Di bobe mitn einikl (Grandmother and Granddaughter) or Dos bintl holts (The Bundle of sticks); sources disagree. (Some reports suggest that Goldfaden himself was a poor singer, or even a non-singer and poor actor; according to Bercovici, these reports stem from Goldfaden's own self-disparaging remarks or from his countenance as an old man in New York, but contemporary reports show him to have been a decent, though not earth-shattering, actor and singer.)

After that time, Goldfaden continued miscellaneous newspaper work, but the stage became his main focus.

Later that summer, the famous Romanian poet Mihai Eminescu, then a journalist, saw one of the Pomul Verde performances. He recorded in his review that the company had six players. (A 1905 typographical error would turn this into a much-cited sixteen, suggesting a grander beginning for Yiddish theatre.) He was impressed by the quality of the singing and acting, but found the pieces "without much dramatic interest. His generally positive comments would seem to deserve to be taken seriously: Eminescu was known generally as "virulently antisemitic." Eminescu appears to have seen four of Goldfaden's early plays: a satiric musical revue Di velt a gan-edn (The World and Paradise), Der farlibter maskil un der oyfgeklerter hosid (a dialogue between "an infatuated philosopher" and "an enlightened Hasid"), another musical revue Der shver mitn eidem (Father-in-law and Son-in-Law), and a comedy, Fishl der balegole un zayn knecht Sider (Fishel the Carter and His Servant Sider).

Searching for a theatre
As the season for outdoor performances was coming to a close, Goldfaden tried and failed to rent an appropriate theatre in Iaşi. A theatre owner named Reicher, presumably Jewish himself, told him that "a troupe of Jewish singers" would be "too dirty." Goldfaden, Grodner, and Goldstein headed first to Botoşani, where they lived in a garret and Goldfaden continued to churn out songs and plays. An initial successful performance of Di Rekruten (The Recruits) in an indoor theatre ("with loges!" as Goldfaden wrote) was followed by days of rain so torrential that no one would come out to the theatre; they pawned some possessions and left for Galaţi, which was to prove a bit more auspicious, with a successful three-week run.

In Galaţi they acquired their first serious set designer, a housepainter known as Reb Moishe Bas. He had no formal artistic training, but he proved to be good at the job, and joined the troupe, as did Sara Segal, their first actress. She was not yet out of her teens. After seeing her perform in their Galaţi premiere, her mother objected to her unmarried daughter cavorting on a stage. Goldstein – who, unlike Goldfaden and Grodner, was single – promptly married her and she remained with the troupe. (Besides being known as Sara Segal and Sofia Goldstein, she became best known as Sofia Karp, after a second marriage to actor Max Karp.)

After the successful run in Galaţi came a less successful attempt in Brăila, but by now the company had honed its act and it was time to go to the capital, Bucharest.

Bucharest
As in Iași, Goldfaden arrived in Bucharest with his reputation already established. He and his players performed first in the early spring at the salon Lazăr Cafegiu on Calea Văcărești (Văcărești Avenue, in the heart of the Jewish quarter), then, once the weather turned warm, at the Jignița garden, a pleasant tree-shaded beer garden on Str. Negru Vodă that up until then had drawn only a neighbourhood crowd. He filled out his cast from the great pool of Jewish vocal talent: synagogue cantors. He also recruited two eminently respectable classically trained prima donnas, the sisters Margaretta and Annetta Schwartz.

Among the cantors in his casts that year were Lazăr Zuckermann (also known as Laiser Zuckerman; as a song-and-dance man, he would eventually follow Goldfaden to New York and have a long stage career), Moishe Zilberman (also known as Silberman), and Simhe Dinman, as well as the 18-year-old Zigmund Mogulescu (Sigmund Mogulesko), who soon became a stage star. Orphaned by the time he reached his teen years, Mogulescu had already made his way in the world as a singer – not only as a soloist in the Great Synagogue of Bucharest but also as a performer in cafes, at parties, with a visiting French operetta company, and even in a church choir. Before his voice changed, he had sung with Zuckerman, Dinman, and Moses Wald in the "Israelite Chorus", performing at important ceremonies in the Jewish community. Mogulescu's audition for Goldfaden was a scene from Vlăduţu Mamei (Mama's Boy), which formed the basis later that year for Goldfaden's light comedy Shmendrik, oder Die Komishe Chaseneh (Shmendrik or The Comical Wedding), starring Mogulescu as the almost painfully clueless and hapless young man (a role later famously played in New York and elsewhere by actress Molly Picon).

This recruiting of cantors was not without controversy: Cantor Cuper (also known as Kupfer), the head cantor of the Great Synagogue, considered it "impious" that cantors should perform in a secular setting, to crowds where both sexes mingled freely, keeping people up late so that they might not be on time for morning prayers.

While one may argue over which performance "started" Yiddish theatre, by the end of that summer in Bucharest Yiddish theatre was an established fact. The influx of Jewish merchants and middlemen to the city at the start of the Russo-Turkish War had greatly expanded the audience; among these new arrivals were Israel Rosenberg and Jacob Spivakovsky, the highly cultured scion of a wealthy Russian Jewish family, both of whom actually joined Goldfaden's troupe, but soon left to found the first Yiddish theatre troupe in Imperial Russia.

Goldfaden was churning out a repertoire – new songs, new plays and translations of plays from Romanian, French, and other languages (in the first two years, he wrote 22 plays, and would eventually write about 40) – and while he was not always able to retain the players in his company once they became stars in their own right, he continued for many years to recruit first-rate talent, and his company became a de facto training ground for Yiddish theatre. By the end of the year, others were writing Yiddish plays as well, such as Moses Horowitz with Der tiranisher bankir (The Tyrannical Banker), or Grodner with Curve un ganev (Prostitute and Thief), and Yiddish theatre had become big theatre, with elaborate sets, duelling choruses, and extras to fill out crowd scenes.

Goldfaden was helped by Ion Ghica, then head of the Romanian National Theatre to legally establish a "dramatic society" to handle administrative matters. From those papers, it is known that the troupe at the Jigniţa included Moris Teich, Michel Liechman (Glückman), Lazăr Zuckermann, Margareta Schwartz, Sofia Palandi, Aba Goldstein, and Clara Goldstein. We also know from similar papers that when Grodner and Mogulescu walked out on Goldfaden to start their own company, it included (besides themselves) Israel Rosenberg, Jacob Spivakovsky, P. Şapira, M. Banderevsky, Anetta Grodner, and Rosa Friedman.

Ion Ghica was a valuable ally for Yiddish theatre in Bucharest. On several occasions he expressed his favourable view of the quality of the acting, and even more of the technical aspects of the Yiddish theatre. In 1881, he obtained for the National Theatre the costumes that had been used for a Yiddish pageant on the coronation of King Solomon, which had been timed in tribute to the actual coronation of Carol I of Romania.

Turning serious
While light comedy and satire might have established Yiddish theatre as a commercially successful medium, it was Goldfaden's higher aspirations for it that eventually earned him recognition as "the Yiddish Shakespeare." As a man broadly read in several languages, he was acutely aware that there was no Eastern European Jewish tradition of dramatic literature – that his audience was used to seeking just "a good glass of Odobeşti and a song." Years later, he would paraphrase the typical Yiddish theatregoer of the time as saying to him: "We don't go to the theatre to make our head swim with sad things. We have enough troubles at home... we go to the theatre to cheer ourselves up. We pay up a coin and hope to be distracted, we want to laugh from the heart."

Goldfaden wrote that this attitude put him "pure and simply at war with the public." His stage was not to be merely "a masquerade"; he continued: "No, brothers. If I have arrived at having a stage, I want it to be a school for you. In youth you didn't have time to learn and cultivate yourself... Laugh heartily if I amuse you with my jokes, while I, watching you, feel my heart crying. Then, brothers, I'll give you a drama, a tragedy drawn from life, and you, too, shall cry – while my heart shall be glad." Nonetheless, his "war with the public" was based on understanding that public. He would also write, "I wrote Di kishefmakhern (The Witch) in Romania, where the populace – Jews as much as Romanians – believe strongly in witches." Local superstitions and concerns always made good subject matter, and, as Bercovici remarks, however strong his inspirational and didactic intent, his historical pieces were always connected to contemporary concerns.

Even in the first couple of years of his company, Goldfaden did not shy away from serious themes: his rained-out vaudeville in Botoşani had been Di Rekruten (The Recruits), playing with the theme of the press gangs working the streets of that town to conscript young men into the army. Before the end of 1876, Goldfaden had already translated Desolate Island by August von Kotzebue; thus, a play by a German aristocrat and Russian spy became the first non-comic play performed professionally in Yiddish. After his initial burst of mostly vaudevilles and light comedies (although Shmendrik and The Two Kuni-Lemls were reasonably sophisticated plays), Goldfaden would go on to write many serious Yiddish-language plays on Jewish themes, perhaps the most famous being Shulamith, also from 1880. Goldfaden himself suggested that this increasingly serious turn became possible because he had educated his audience. Nahma Sandrow suggests that it may have had equally as much to do with the arrival in Romania, at the time of the Russo-Turkish War, of Russian Jews who had been exposed to more sophisticated Russian language theatre. Goldfaden's strong turn toward almost uniformly serious subject matter roughly coincided with bringing his troupe to Odessa.

Goldfaden was both a theoretician and a practitioner of theatre. That he was in no small measure a theoretician – for example, he was interested almost from the start in having set design seriously support the themes of his plays – relates to a key property of Yiddish theatre at the time of its birth: in general, writes Bercovici, theory ran ahead of practice. Much of the Jewish community, Goldfaden included, were already familiar with contemporary theatre in other languages. The initial itinerary of Goldfaden's company – Iaşi, Botoşani, Galaţi, Brăila, Bucharest – could as easily have been the itinerary of a Romanian-language troupe. Yiddish theatre may have been seen from the outset as an expression of a Jewish national character, but the theatrical values of Goldfaden's company were in many ways those of a good Romanian theatre of the time. Also, Yiddish was a German dialect which became a well-known language even among non-Jews in Moldavia (and Transylvania), an important language of commerce; the fact that one of the first to write about Yiddish theatre was Romania's national poet, Mihai Eminescu, is testimony that interest in Yiddish theatre went beyond the Jewish community.

Almost from the first, Yiddish theatre drew a level of theatre criticism comparable to any other European theatre of its time. For example, Bercovici cites a "brochure" by one G. Abramski, published in 1877, that described and gave critiques of all of Goldfaden's plays of that year. Abramski speculated that the present day might be for Yiddish theatre a moment comparable to the Elizabethan era for English theatre. He discussed what a Yiddish theatre ought to be, noted its many sources (ranging from Purim plays to circus pantomime), and praised its incorporation of strong female roles. He also criticized where he saw weaknesses, noting how unconvincingly a male actor played the mother in Shmendrik, or remarking of the play Di shtume kale (The Mute Bride) — a work that Goldfaden apparently wrote to accommodate a pretty, young actress who in the performance was too nervous to deliver her lines — that the only evidence of Goldfaden's authorship was his name.

Russia
Goldfaden's father wrote him to solicit the troupe to come to Odessa in Ukraine, which was then part of Imperial Russia. The timing was opportune: the end of the war meant that much of his best audience were now in Odessa rather than Bucharest; Rosenberg had already quit Goldfaden's troupe and was performing the Goldfadenian repertoire in Odessa.

With a loan from Librescu, Goldfaden headed east with a group of 42 people, including performers, musicians, and their families. After the end of the Russo-Turkish War he and his troupe travelled extensively through Imperial Russia, notably to Kharkov (also in Ukraine), Moscow, and Saint Petersburg. Jacob Adler later described him at this time as "a bon vivant," "a cavalier," "as difficult to approach as an emperor." He continued to turn out plays at a prolific pace, now mostly serious pieces such as Doctor Almasada, oder Die Yiden in Palermo (Doctor Almasada, or The Jews of Palermo), Shulamith, and Bar Kokhba, the last being a rather dark operetta about Bar Kokhba's revolt, written after the pogroms in Russia following the 1881 assassination of Czar Alexander II.

A Frenchman named Victor Tissot happened to be in Berdichev when Goldfaden's company was there. He saw two plays – Di Rekruten, first premiered in Botoşani, and the later Di Shvebleh (Matches), a play of intrigue. Tissot's account of what he saw gives an interesting picture of the theatres and audiences Goldfaden's troupe encountered outside of the big cities. "Berdichev," he begins, "has not one cafe, not one restaurant. Berdichev, which is a boring and sad city, nonetheless has a theatrical hall, a big building made of rough boards, where theatre troupes passing through now and then put on a play." Although there was a proper stage with a curtain, the cheap seats were bare benches, the more expensive ones were benches covered in red percale. Although there were many full beards, "there were no long caftans, no skullcaps." Some of the audience were quite poor, but these were assimilated Jews, basically secular. The audience also included Russian officers with their wives or girlfriends.

In Russia, Goldfaden and his troupe drew large audiences and were generally popular with progressive Jewish intellectuals, but slowly ran afoul of both the Czarist government and conservative elements in the Jewish community. Goldfaden was calling for change in the Jewish world:

 * Wake up my people
 * From your sleep, wake up
 * And believe no more in foolishness.

A call like this might be a bit ambiguous, but it was unsettling to those who were on the side of the status quo. Yiddish theatre was banned in Russia starting September 14, 1883, as part of the anti-Jewish reaction following the assassination of Czar Alexander II. Goldfaden and his troupe were left adrift in Saint Petersburg. They headed various directions, some to England, some to New York City, some to Poland, some to Romania.

The prophet adrift
While Yiddish theatre continued successfully in various places, Goldfaden was not on the best terms at this time with Mogulescu. They had quarrelled (and settled) several times over rights to plays, and Mogulescu and his partner Moishe "Maurice" Finkel now dominated Yiddish theatre in Romania, with about ten lesser companies competing as well. Mogulescu was a towering figure in Bucharest theatre at this point, lauded on a level comparable to the actors of the National theatre, performing at times in Romanian as well as Yiddish, drawing an audience that went well beyond the Jewish community.

Goldfaden seems, in Bercovici's words, to have lost "his theatrical elan" in this period. He briefly put together a theatre company in 1886 in Warsaw, with no notable success. In 1887 he went to New York (as did Mogulescu, independently). After extensive negotiations and great anticipation in the Yiddish-language press in New York ("Goldfaden in America," read the headline in the 11 January 1888 edition of the New Yorker Yiddishe Ilustrirte Zaitung), he briefly took on the job of director of Mogulescu's new "Rumanian Opera House"; they parted ways again after the failure of their first play, whose production values were apparently not up to New York standards. Goldfaden attempted (unsuccessfully) to found a theatre school, then headed in 1889 for Paris, rather low on funds. There he wrote some poetry, worked on a play that he didn't finish at that time, and put together a theatre company that never got to the point of putting on a play (because the cashier made off with all of their funds). In October 1889 he scraped together the money to get to Lvov, where his reputation as a poet again came to his rescue.

Lviv
Lviv was not exactly a dramatist's dream. Leon Dreykurs described audiences bringing meals into the theatre, rustling paper, treating the theatre like a beer garden. He also quotes Jacob Schatzky: "All in all, the Galician milieu was not favourable to Yiddish theatre. The intellectuals were assimilated, but the masses were fanatically religious and they viewed Jewish 'comedians' with disdain."

Nonetheless, Iacob Ber Ghimpel, who owned a Yiddish theatre there, was glad to have a figure of Goldfaden's stature. Goldfaden completed the play he'd started in Paris, Rabi Yoselman, oder Die Gzerot fun Alsas ("Rabbi Yoselman, or The Alsatian Decree"), in five acts and 23 scenes, based on the life of Josel of Rosheim. At this time he also wrote an operetta Rothschild and a semi-autobiographical play called Mashiach Tzeiten (Messiah Times) that gave a less-than-optimistic view of America.

Kalman Juvelier, an actor in Ber Ghimpel's company, credited Goldfaden with greatly strengthening the calibre of performance in Lviv during his brief time there, reporting that Goldfaden worked with every actor on understanding his or her character, so as to ensure that the play was more than just a series of songs and effects, and was respected by all.

Bucharest
Buoyed by his success in Lvov, he returned to Bucharest in 1892, as director of the Jigniţa theatre. His new company again included Lazăr Zuckermann; other players were Marcu (Mordechai) Segalescu, and later Iacob Kalich, Carol Schramek, Malvina Treitler-Löbel and her father H. Goldenbers. Among his notable plays from this period were Dos zenteh Gebot, oder Lo tachmod (The Tenth Commandment, or Thou Shalt Not Covet), Judas Maccabaeus, and Judith and Holofernes and a translation of Johann Strauss's Gypsy Baron.

However, it was not a propitious time to return to Romania. Yiddish theatre had become a business there, with slickly written advertisements, coordinated performances in multiple cities using the same publicity materials, and cut-throat competition: on one occasion in 1895, a young man named Bernfeld attended multiple performances of Goldfaden's Story of Isaac, memorised it all (including the songs), and took the whole package to Kalman Juvilier, who put on an unauthorised production in Iaşi. Such outright theft was possible because once Ion Ghica headed off on a diplomatic career, the National theatre, which was supposed to adjudicate issues like unauthorised performances of plays, was no longer paying much attention to Yiddish theatre. (Juvilier and Goldfaden finally reached an out-of-court settlement.)

Cutthroat competition was nothing to what was to follow. The 1890s were a tough time for the Romanian economy, and a rising tide of anti-Semitism made it an even tougher time for the Jews. One quarter of the Jewish population emigrated, with intellectuals particularly likely to leave, and those intellectuals who remained were more interested in politics than in theatre: this was a period of social ferment, with Jewish socialists in Iaşi starting Der Veker (The Awakener).

Goldfaden left Romania in 1896; soon Juvilier's was the only active Yiddish theatre troupe in the country, and foreign troupes had almost entirely ceased coming to the country. Although Lateiner, Horowitz, and Shumer kept writing, and occasionally managed to put on a play, it was not a good time for Yiddish theatre – or any theatre – in Romania, and would only become worse as the economy continued to decline.

Goldfaden wandered Europe as a poet and journalist. His plays continued to be performed in Europe and America, but rarely, if ever, did anyone send him royalties. His health deteriorated – a 1903 letter refers to asthma and spitting up blood – and he was running out of money. In 1903, he wrote Jacob Dinesohn from Paris, authorising him to sell his remaining possessions in Romania, clothes and all. This gave him the money to head once more to New York in 1904.

New York City
In America, he again tried his hand at journalism, but a brief stint as editor of the New Yorker Yiddishe Ilustrirte Zaitung resulted only in getting the paper suspended and landing himself a rather large fine. On March 31, 1905, he recited poetry at a benefit performance at Cooper Union to raise a pension for Yiddish poet Eliakum Zunser, even worse off than himself because he had found himself unable to write since coming to America in 1889. Shortly afterwards, he met a group of young people who had a Hebrew language association at the Dr. Herzl Zion Club, and wrote a Hebrew-language play David ba-Milchama (David in the War), which they performed in March 1906, the first Hebrew-language play to be performed in America. Repeat performances in March 1907 and April 1908 drew successively larger crowds.

He also wrote the spoken portions of Ben Ami, loosely based on George Eliot's Daniel Deronda. After Goldfaden's former bit player Jacob Adler—by now the owner of a prominent New York Yiddish theatre—optioned and ignored it, even accusing Goldfaden of being "senile", it premiered successfully at rival Boris Thomashefsky's People's theatre December 25, 1907, with music by H. Friedzel and lyrics by Mogulescu, who was by this time an international star.

Goldfaden died in New York City in 1908. A contemporary account in The New York Times estimated that 75,000 people turned out for his funeral, joining the procession from the People's theatre on Bowery to Washington Cemetery in Brooklyn; in recent scholarship the number of mourners has been given as 30,000. In a follow-up article The New York Times called him "both a poet and a prophet", and noted that "there was more evidence of genuine sympathy with and admiration for the man and his work than is likely to be manifested at the funeral of any poet now writing in the English language in this country."

In November 2009, Goldfaden was the subject of postage stamps issued jointly by Israel and Romania.

Zionism
Goldfaden had an on-again off-again relationship with Zionism. Some of his earliest poetry was Zionist avant la lettre and one of his last plays was written in Hebrew; several of his plays were implicitly or explicitly Zionist (Shulamith set in Jerusalem, Mashiach Tzeiten?! ending with its protagonists abandoning New York for Palestine); he served as a delegate from Paris to the World Zionist Congress in 1900. Still, he spent most of his life (and set slightly more than half of his plays) in the Pale of Settlement and in the adjoining Jewish areas in Romania, and when he left it was never to go to Palestine, but to cities such as New York, London or Paris. This might be understandable when the number of his potential Jewish spectators in Palestine in his time was very small.

Plays
Sources disagree about the dates (and even the names) of some of Goldfaden's plays. The titles here represent YIVO Yiddish>English transliteration, though other variants exist.
 * Di Mumeh Soseh (Aunt Susie) wr. 1869
 * Di Tzvey Sheynes (The Two Neighbours) wr. 1869 (possibly the same as Di Sheynes 1877
 * Polyeh Shikor (Polyeh, the Drunkard) 1871
 * Anonimeh Komedyeh (Anonymous Comedy) 1876
 * Di Rekruten (The Recruits) 1876, 1877
 * Dos Bintl Holtz (The Bundle of Sticks) 1876
 * Fishl der balegole un zayn knecht Sider (Fishel the Carter and His Servant Sider) 1876
 * Di Velt a Gan-Edn (The World and Paradise) 1876
 * Der Farlibter Maskil un der Oifgeklerter Hosid (The Infatuated Philosopher and the Enlightened Hasid) 1876
 * Der Shver mitn eydem (Father-in-Law and Son-in-Law) 1876
 * Di Bobeh mit dem Eynikel (The Grandmother and the Granddaughter) 1876, 1879
 * The Desolate Isle, Yiddish translation of a play by August von Kotzebue, 1876
 * Di Intrigeh oder Dvosye di pliotkemahern (The Intrigue or Dvoisie Intrigued) 1876, 1877
 * A Gloz Vaser (A Glass of Water) 1877
 * Hotye-mir un Zaytye-mir (Leftovers) 1877
 * Shmendrik, oder Di komishe Chaseneh (Schmendrik or The Comical Wedding) 1877,  1879
 * Shuster un Shnayder (Shoemaker and Tailor) 1877
 * Di Kaprizneh Kaleh, oder Kaptsnzon un Hungerman (The Capricious Bride or Pauper-son and Hunger-man) 1877 presumably the same play as Di kaprizneh Kaleh-Moyd (The Capricious Bridemaid) 1887
 * Yontl Shnayder (Yontl the Tailor) 1877
 * Vos tut men? (What Did He Do?) 1877
 * Di Shtumeh Kaleh (The Mute Bride) 1877, 1887
 * Di Tsvey Toybe (The Two Deaf Men) 1877
 * Der Gekoyfter Shlof (The Purchased Sleep) 1877
 * Di Sheynes (The Neighbors) 1877
 * Yukel un Yekel (Yukel and Yekel) 1877
 * Der Katar (Catarrh) 1877
 * Iks-Miks-Driks, 1877
 * Di Mumeh Sose (Aunty Susie) 1877
 * Brayndele Kozak (Breindele Cossack), 1877
 * Der Podriatshik (The Purveyor), 1877
 * Di Alte Moyd (The Old Maid) 1877
 * Di Tsvey fardulte (The Two Scatter-Brains) 1877
 * Di Shvebeleh (Matches) 1877
 * Fir Portselayene Teler (Four Porcelain Plates) 1877
 * Der Shpigl (The Mirror) 1877
 * Toib, Shtum un Blind (Deaf, Dumb and Blind) 1878
 *  Der Ligner, oder Todres Bloz (The Liar, or, Todres, Blow) (or Todres the Trombonist) 1878
 * Ni-be-ni-me-ni-cucurigu (Not Me, Not You, Not Cock-a-Doodle-Doo or Neither This, Nor That, nor Kukerikoo; Lulla Rosenfeld also gives the alternate title The Struggle of Culture with Fanaticism) 1878
 * Der Heker un der Bleher-yung (The Butcher and the Tinker) 1878
 * Di Kishefmakhern (The Sorceress, also known as The Witch of Botoşani) 1878, 1887
 * Soufflé, 1878
 * Doy Intriganten (Two Intriguers) 1878
 * Di tsvey Kuni-lemels (The Fanatic, or The Two Kuni-Lemls) 1880
 * Tchiyat Hametim (The Winter of Death) 1881
 * Shulamith (Shulamith or The Daughter of Jerusalem) wr. 1880, 1881
 * Dos Zenteh Gebot, oder Lo Tachmod (The Tenth Commandment, or Thou Shalt Not Covet) 1882, 1887
 * Der Sambatyen (Sambation) 1882
 * Doktor Almasada, oder Di Yiden in Palermo (Doctor Almasada, or The Jews of Palermo also known as Doctor Almasado, Doctor Almaraso, Doctor Almasaro) 1880, 1883
 * Bar Kokhba, 1883, 1885
 * Akeydos Yitschok (The Sacrifice of Isaac), 1891
 * Dos Finfteh Gebot, oder Kibed Ov (The Fifth Commandment, or Honor Thy Father), 1892
 * Rabi Yoselman, oder Di Gzerot fun Alsas (Rabbi Yoselman, or The Alsatian Decree) 1877, 1892
 * Judas Maccabeus, 1892
 * Judith and Holofernes, 1892
 * Mashiach Tzeiten?! (The Messianic Era?!) 1891  1893
 * Yiddish translation of Johann Strauss's Gypsy Baron 1894
 * Sdom Veamora (Sodom and Gomorrah) 1895
 * Di Katastrofe fun Brayla (The Catastrophe in Brăila) 1895
 * Meylits Yoysher (The Messenger of Justice) 1897
 * David ba-Milchama (David in the War) 1906, in Hebrew
 * Ben Ami (Son of My People) 1907, 1908

Songs and poetry
Goldfaden wrote hundreds of songs and poems. Among his most famous are:
 * "Der Malekh" ("The Angel")
 * "Royzhinkes mit mandlen" (Raisins and Almonds)
 * "Shabes, Yontev, un Rosh Khoydesh" ("Sabbath, Festival, and New Moon")
 * "Tsu Dayn Geburtstag!" ("To Your Birthday!")

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

title: Abraham Goldfaden


text:
.lb

.lb is the Internet country code top-level domain (ccTLD) for Lebanon.

History
The Lebanese Domain Registry (LBDR) was established in 1993. It offered domains free of charge directly to registrants, without the use of a registrar model. Since February 1, 2021, they introduced a registrar model and registrants can't directly register their domains at the registry anymore. At the same time the registry also introduced a yearly fee for domains and removed the trademark requirement for registrants. On July 13, 2023, ICANN took over the registry management of .lb in a caretaker role due to the death of the registry manager. On January 21, 2024, ICANN approved the transfer of .lb to the new registry Internet Society Lebanon.

Second-level domains

 * com.lb – commercial
 * edu.lb – educational
 * gov.lb – government
 * net.lb – network infrastructure
 * org.lb – organizations

title: .lb


text: Category:South Dakota state senators

title: Category:South Dakota state senators


text: Category:South Dakota Legislature

title: Category:South Dakota Legislature


text:
.lc

.lc is the Internet country code top-level domain (ccTLD) for Saint Lucia, sponsored by the University of Puerto Rico and created on September 3, 1991. The registry is operated by Afilias and markets towards companies structured as LCs, LLCs or PLCs due to the possibility of a domain hack, such as CompanyName.L.LC (companyname.l.lc uses the open SLD l.lc) and supposedly better names.

Second and third level domains
Registrations take place directly at the second level or at one of the following third level domains. There are a number of registrars, but .gov.lc and .edu.lc can only be registered at the NIC.
 * .co.lc
 * .com.lc
 * .org.lc (local non-profit organizations get this domain free of charge)
 * .net.lc
 * .l.lc (domain hack for LLCs)
 * .p.lc (domain hack for PLCs)
 * .gov.lc (restricted to government departments, agencies, ministries, etc.)
 * .edu.lc (restricted to educational institutions)

Rules
All domains must be between 1 and 63 characters long, excluding the TLD. In addition, domains may not contain anything other than letters, numbers, and a hyphen. .lc does not support internationalized domain names, and domain names may not start or end with a hyphen. Domain names considered offensive by the registry may not be registered.

title: .lc


text: User talk:216.183.37.1

title: User talk:216.183.37.1


text:
Talk:Heavy metal dance

All the information here is contained within Heavy metal music, and it's not significant enough (I don't think it will ever be longer than the current text under the "Heavy metal dance styles" header) to warrant its own page. It's mainly just a bunch of links anyway. -leigh 09:52, Dec 3, 2004 (UTC)

title: Talk:Heavy metal dance


text:
Category:Crime books

Books about crime or criminals should be sorted into the following sub-categories:
 * For crime fiction, see Category:Crime novels.
 * For books about actual crime, see.

title: Category:Crime books


text: Category:Feminism books

title: Category:Feminism books


text:
.lk

.lk is the Internet country code top-level domain (ccTLD) for Sri Lanka. Foreign companies who do not have a local presence can only reserve their top-level and corresponding open second-level domains (either through the LK Domain Registry or agents). In order to register and use a name they must have a contact address in Sri Lanka (which may be obtained through an agent or law firm).

Second-level domains
Registrations are taken at the second level and also at the third level beneath various categorized second level names. A second-level registration automatically blocks the name from registration by anybody else under any of the third-level names.

These second-level names are available for registrations within them:

Restricted registration:
 * .gov.lk: Governmental departments of Sri Lanka (automatically reserves name at second level and under all other second level names)
 * .ac.lk: Research and higher education institutions in Sri Lanka
 * .sch.lk: Registered schools in Sri Lanka
 * .net.lk: Licensed internet service providers in Sri Lanka
 * .int.lk: International treaty organizations

Open registration:
 * .com.lk: Commercial entities
 * .org.lk: Noncommercial organizations
 * .edu.lk: Educational sites
 * .ngo.lk: Non-governmental organizations
 * .soc.lk: Registered societies
 * .web.lk: Web sites
 * .ltd.lk: Limited liability companies
 * .assn.lk: Associations
 * .grp.lk: Groups of companies
 * .hotel.lk: Hotels

Internationalized top-level domains
In September 2010 two new internationalized top-level domains were registered for Sri Lanka. They became active during 2011.
 * .ලංකා (for domain names in the Sinhala language)
 * .இலங்கை (for domain names in the Tamil language)

title: .lk


text:
.lr

.lr is the Internet country code top-level domain (ccTLD) for Liberia. The registration is limited to those with a local presence and intent to use the domain.

Registration under the domain requires specific second-level domains (COM.LR, ORG.LR, NET.LR, etc.).

Second level domains

 * com.lr: Commercial
 * edu.lr: Schools granting baccalaureate degrees
 * gov.lr: Governmental entities
 * org.lr: Not-for-profit organizations
 * net.lr: Network infrastructure (i.e.routers) only

title: .lr


text:
John Taylor (racing driver)

John Malcolm Taylor (23 March 1933 – 8 September 1966) was a racing driver from England. He participated in five World Championship Formula One Grands Prix, and also participated in several non-championship Formula One races. His Formula One debut was on 11 July 1964, at the British Grand Prix at Brands Hatch driving the Formula One/Formula Two hybrid Cooper–Ford T71/T73. He finished fourteenth, 24 laps down, after an extended pit–stop due to a gearbox problem. Taylor did not compete in the Formula One World Championship in 1965, but continued to drive in non–championship races. He returned to Grand Prix racing in 1966, driving a two-litre Brabham–BRM for privateer David Bridges. His first race that season was the French Grand Prix at Reims, where he scored his one championship point. There followed eighth places at both the British Grand Prix at Brands Hatch and the Dutch Grand Prix at Zandvoort.

Taylor died following a crash during the 1966 German Grand Prix at the Nürburgring, when his Brabham collided with Jacky Ickx's F2 Matra on the first lap of the race. He emerged from the wreckage badly burned, and died from his injuries four weeks later.

Complete Formula One World Championship results
(key)

Complete Formula One Non-Championship results
(key)

title: John Taylor (racing driver)


text: Category:Television stations in Tennessee


text: Category:Mass media in Tennessee

title: Category:Mass media in Tennessee


text:
Arab Socialist Action Party – Arabian Peninsula

The Arab Socialist Action Party – Arabian Peninsula (حزب العمل الاشتراكي العربي ـ الجزيرة العربية Ḥizb al`Amal al Ishtirākiy al-`Arabiy-Al-Jazīra al`Arabiyyah), was an underground oppositional political party in Saudi Arabia. It was founded in 1972 by elements of the erstwhile Arab Nationalist Movement.

Profile of the party
The party was able to attract a following amongst intellectuals and middle class elements, and became a prominent force of the secular opposition. Ideologically it adhered to Marxism and Arab nationalism. It considered armed struggle as the only option to overthrow the ruling system of Saudi Arabia. The membership was predominantly Shi'ite.

The party was able to attract former members from the People's Democratic Party, which ceased to function in the mid-1970s.

The party raised three main demands, introduction of political liberties, nationalization of oil resources, and the end to foreign military presence in Saudi Arabia. It also opposed discrimination against Shi'ites.

Press
The party published al-Masira as its central organ. It was printed inside Saudi Arabia clandestinely on an irregular basis. Moreover, until the 1982 crackdown, the cadres of the party were well represented amongst the staff of the legal newspaper al-Yaum (اليوم).

Relations with PFLP
The party was a section of the Arab Socialist Action Party, a Pan-Arab party led by the PFLP general secretary Dr George Habash. But unlike other sections of the Arab Socialist Action Party, the linkage to PFLP was weaker due to the lack of a strong PFLP presence in Saudi Arabia. By 1975, the linkage between the Saudi party and PFLP began to decline and in 1978 the Saudi party broke its affiliation with PFLP. Instead the party began orientating itself towards cooperation with other groups in the region. In 1981, the party established relations with the Communist Party in Saudi Arabia and the Popular Front for the Liberation of Bahrain in exile.

Mecca Siege of 1979
Five days after Islamic insurgents had seized the Grand Mosque in Mecca on 20 November 1979, the party issued a statement in Beirut, clarifying the demands of the insurgents. The party, however, denied any involvement in the act.

1982 crackdown
In April 1982 the party was dealt a severe blow, as Saudi state forces arrested hundreds of its members. Many of the arrested were journalists connected to the al-Yaum newspaper. In the end of 1982 an amnesty was declared for the arrested. However, several of the released had problems returning to government services or were denied travel abroad. Al-Yaum was closed down. Following the 1982 crackdown, the party critically reviewed its past performance. In January 1984 a provisional leadership was reconstituted.

By 1987 there were reports that the party had begun to reconstruct its organizational structure.

Amnesty and dismantling
In the 1990s, the party agreed with the government to disband, in exchange for amnesty of political prisoners. Five jailed party members were pardoned in April 1990. A group of militants of the party were pardoned on Eid-ul-Adha 1991.


text:
.ls

.ls is the Internet country code top-level domain (ccTLD) for Lesotho.

Second-level domains
Registration to .ls domains are provided through accredited registrars.

There are also registrations on third level as shown below.

History
The .ls domain was established and first delegated on 13 January 1993, with the National University of Lesotho as the sponsoring authority. Initially, Rhodes University acted as the registry and hosted the primary name server, a situation that continued until September 2012.

In April 2012, the sponsoring authority changed from the National University of Lesotho to the Lesotho Communications Authority, the national communications regulator, in line with the newly promulgated Communications Act (No. 4 of 2012). In January 2016, a non-profit company, the Lesotho Network Information Centre (LsNIC) was established to take over registry operations. Re-delegation of the zone was completed by IANA in March 2017.

title: .ls


text:
Wikipedia:WikiProject China/ZHCOTM/Removed

Sun Ke (Sun Fo)
Nominated November 14, needs three votes by November 21

Support
 * 1) Jiang 11:12, 14 Nov 2004 (UTC)
 * 2)  —Lowellian (talk)   01:22, Nov 19, 2004 (UTC)

Comments
 * Sun Yat-sen's son was a major figure in the early Republic. We don't have much on him. --Jiang 11:12, 14 Nov 2004 (UTC)
 * I personally don't know much about him, but it's unfortunate that he only has this stub right now.  —Lowellian (talk)   01:22, Nov 19, 2004 (UTC)

Taiwan Strait
Nominated November 14, needs three votes by November 21

Support
 * 1) [[User:Neutrality|Neutrality (hopefully!)]] 19:07, Nov 14, 2004 (UTC)
 * 2) [[User:OldakQuill|Oldak Quill]] 23:59, 14 Nov 2004 (UTC)
 * 3) Yu Ninjie 07:41, 15 Nov 2004 (UTC)

Comments
 * Less than three paragraphs on one of the most tense regions of the world. [[User:Neutrality|Neutrality (hopefully!)]] 19:07, Nov 14, 2004 (UTC)
 * But what is there to expand on? The conflict should be explained at political status of Taiwan. First Taiwan Strait Crisis and Second Taiwan Strait Crisis are stubs (those should be nominated). --Jiang 03:56, 15 Nov 2004 (UTC)

Kang Youwei
Nominated November 15, needs three votes by November 22

Support
 * 1) Yu Ninjie 07:50, 15 Nov 2004 (UTC)

Comments
 * Kang Youwei was one of the most important thinkers and reformers of modern China. I'm surprised there's so little about him or his ideas. --Yu Ninjie 07:50, 15 Nov 2004 (UTC)

Yuan Dynasty (Mongol Dynasty)
Nominated November 15, needs three votes by November 22

Support
 * 1) [[User:Colipon|Colipon+(T)]]
 * 2) [[User:OldakQuill|Oldak Quill]] 18:09, 15 Nov 2004 (UTC)
 * 3) [[User:Neutrality|Neutrality (hopefully!)]] 05:54, Nov 16, 2004 (UTC)

Comments
 * One of the most important historical periods in China and undoubtedly in the world is currently missing the whole of Yuan Dynasty history from Kublai Khan's reign to the end of the dynasty. I do thank Oldakquill greatly for improving this article from its old state. It is imperative that we continue the improvement of this article.
 * It's missing some stuff, but it's far from stubbish. The real stubs/nonexistent articles should be given priority.--Jiang 11:39, 16 Nov 2004 (UTC)
 * Agreed; other articles need much more immediate work.  —Lowellian (talk)   04:13, Nov 19, 2004 (UTC)

Sino-Korean relations
Nominated November 14, needs three votes by November 21

Support Comments
 * 1) [[User:Neutrality|Neutrality (hopefully!)]] 19:12, Nov 14, 2004 (UTC)
 * 2) Jiang 19:26, 14 Nov 2004 (UTC)
 * 3) Yuje 23:21, 14 Nov 2004 (UTC)
 * 4) [[User:OldakQuill|Oldak Quill]] 23:59, 14 Nov 2004 (UTC)

Sino-Indian relations
Nominated November 14, needs three votes by November 21

Support
 * 1) [[User:Neutrality|Neutrality (hopefully!)]] 19:12, Nov 14, 2004 (UTC)
 * 2) Jiang 19:24, 14 Nov 2004 (UTC)
 * 3) [[User:OldakQuill|Oldak Quill]] 23:59, 14 Nov 2004 (UTC)
 * 4) olivier 09:42, Nov 15, 2004 (UTC)
 * 5) [[User:Colipon|Colipon+(T)]] 05:11, 16 Nov 2004 (UTC)
 * 6) J3ff 00:55, 19 Nov 2004 (UTC)
 * 7) Nichalp
 * 8) Xingdong

Comments

 * There is a very well written, very informative Public Domain text at Library of Congress Country Studies dealing with Sino-Indian relations... I am going to wikify this text and include it under this name. Even though this may be percieved as going against COTW I feel it'd be stupid to not do so. We may decide to not have this topic as the COTW (remove your vote); or it maybe nice to have our first COTW developing an already-existing article. --[[User:OldakQuill|Oldak Quill]] 16:26, 20 Nov 2004 (UTC)
 * There is a current NPOV dispute at the related Sino-Indian War, which is now protected. You are invited to have a look and contribute on the relevant talk page. Thanks. olivier 08:57, Dec 3, 2004 (UTC)
 * Xingdong is interested in Sino-India relations. Areas of interest include, but not limited to, Sino-Indian War, McMahon Line, Simla Convention, etc.

Chinese architecture
Nominated November 15, needs three votes by November 22

Support
 * 1) olivier 09:42, Nov 15, 2004 (UTC)
 * 2) Yu Ninjie 10:04, 15 Nov 2004 (UTC)
 * 3) J OHN C OLLISON  [ Ludraman] 15:48, 15 Nov 2004 (UTC)
 * 4) [[User:OldakQuill|Oldak Quill]] 18:09, 15 Nov 2004 (UTC)
 * 5) J3ff 06:09, 25 Nov 2004 (UTC)
 * 6) --Malbear 12:00, 19 Dec 2004 (UTC)

Comments
 * A massive topic, currently a subsutb. olivier 09:42, Nov 15, 2004 (UTC)

Sino-Afghan relations
Nominated November 18, needs three votes by November 25

Support
 * 1) [[User:Neutrality|Neutrality (hopefully!)]] 03:00, Nov 19, 2004 (UTC)
 * 2) Jiang 03:06, 19 Nov 2004 (UTC)
 * 3) [[User:OldakQuill|Oldak Quill]] 15:57, 19 Nov 2004 (UTC)

Comments
 * 1) I'm a little skeptical about this, for the reason that I am concerned about us getting to the point that we have a Sino-xx articles for every country in the world. I am 100% behind articles like Sino-Indian, Sino-Korean, Sino-Japanese, Sino-Vietnamese, Sino-American, and Sino-Pakistani relations: these articles make sense because China has had a very long history of dealing with these nations and there's lots to say. With Sino-Afghan relations though, I'm skeptical: the two countries barely even share a border and I'm not sure there's enough of a historical relationship to justify an article. This is kind of a borderline case (sorry, couldn't resist making that bad pun, but I am serious about what I said above).  —Lowellian (talk)   04:12, Nov 19, 2004 (UTC)
 * I disagree. Take a look at . [[User:Neutrality|Neutrality/talk]] 06:41, Nov 29, 2004 (UTC)

Sino-Roman relations
Nominated 22 November, needs three votes by 29 November

Support
 * [[User:OldakQuill|Oldak Quill]] 21:34, 22 Nov 2004 (UTC)
 * —Lowellian (talk)  01:57, Dec 3, 2004 (UTC)
 * olivier 08:52, Dec 3, 2004 (UTC)

Comments
 * 1) See some details at . olivier 08:52, Dec 3, 2004 (UTC)

Chinese social relations
Nominated 25 November, needs three votes by 29 November

Support
 * 1) [[User:Neutrality|Neutrality/talk]] 03:40, Nov 26, 2004 (UTC)
 * 2) Jiang 07:07, 26 Nov 2004 (UTC)

Comments

Sino-Tibetan relations
Nominated December 2, needs three votes by December 6

Support Comments
 * 1) [[User:Neutrality|Neutrality/talk]] 05:52, Dec 2, 2004 (UTC)
 * I really think what looks like to be an article dealing with Tibet and CPC relations should be better termed, one suggestion would be the Political status of Tibet. If an article is to be created about Sino-Tibetan relations, it should be in a strict historical sense before it became part of the PRC. [[User:Colipon|Colipon+(T)]] 23:27, 2 Dec 2004 (UTC)
 * Excellent suggestion. [[User:Neutrality|Neutrality/talk]] 01:29, Dec 3, 2004 (UTC)
 * Should the article title be changed then? [[User:Colipon|Colipon+(T)]] 04:13, 3 Dec 2004 (UTC)
 * we need to coordinate what's at the Tibet resistance movement, Tibet independence movement, and Free Tibet movement articles. --Jiang 09:55, 3 Dec 2004 (UTC)

Nien Rebellion
Nominated December 13, needs three votes by December 21

Support
 * 1)   —Lowellian (talk)   07:10, Dec 13, 2004 (UTC)

Comments

Great Wall of China
Nominated December 22, needs three votes by December 29

Support

Comments

Yangtze River
Nominated July 12 2011; remains for 3 months

Support:

 * Casliber (talk · contribs) 05:16, 11 July 2011 (UTC)
 * It's just so very needy. Also, for the sake of discussion, Featured picture candidates/Ten Thousand Miles of the Yangtze River failed becuase of a lack of placement, which came from the general disarry of the article. I'm not saying that I'm in this to get an FP star, although I would relist the image if the placement gets fixed, rather I'm saying that this is just so bad that it can't support images properly. That's pretty bad. I think this is an area I can do good work in.  S ven M anguard   Wha?  07:35, 26 July 2011 (UTC)
 * Could use a big group effort, as the topic is quite broad and the quality of the article could be improved. Metal lunchbox (talk) 06:02, 12 August 2011 (UTC)

Comments:
 * Here is one that is rougher round the edges. A mini-task is to do enough to remove the tag....Casliber (talk · contribs) 05:16, 11 July 2011 (UTC)
 * I'd vote this one for the second collaboration, since it's both very needy and pretty important.  S ven M anguard   Wha?  17:51, 11 July 2011 (UTC)

Cantonese
Nominated July 12 2011;

Support:
 * Casliber (talk · contribs) 05:22, 11 July 2011 (UTC)

Comments:
 * Smaller article than Mandarin language one, and it has one-sentence sections. Looks like it needs a bit of content work so might be a good one as well with lots to appeal to editors. Casliber (talk · contribs) 05:22, 11 July 2011 (UTC)

List of earthquakes in China
Nominated September 10, 2012;

Cinema of China
Nominated 9 August 2012;

Support
 * 1) Northamerica1000(talk) 13:18, 9 August 2012 (UTC)

Comments
 * This article has a well-developed structure, and with work could reach Good article status. Northamerica1000(talk) 13:18, 9 August 2012 (UTC)

animal rights
Nominated 29 July 2012 I am wondering if someone here would be interested in adding Chinese perspectives into the article of animal rights. I think current under representation of Chinese perspective in the article is unacceptable because vegetarianism, Buddhism, Taoism had long history in China. SSZvH7N5n8 (talk) 08:46, 29 July 2012 (UTC)

People's Republic of China – Colombia relations
Nominated June 6, 2012, remains for three months

Support

Comments
 * This article does not exist. Northamerica1000(talk) 13:19, 9 August 2012 (UTC)


text: User talk:194.72.50.155

title: User talk:194.72.50.155


text:
Polymer substrate

Polymers and plastics known as polymer substrates are used for banknotes and other everyday products. The banknote is more durable than paper, won't become soaked in liquids and is harder to counterfeit, though not impossible. Countries whose whole banknote production is in polymer are: Australia, Romania, Vietnam, United Kingdom and New Zealand. Other countries that have partial polymer and paper issue include Papua New Guinea, Samoa, Solomon Islands, Mexico, Zambia, Brunei, Malaysia, Singapore, Nigeria, Chile, and Nepal. The material is also used in commemorative notes in some other countries. The process of polymer substrate creation was developed by the Australia CSIRO. Countries like Bulgaria have issued a combination of paper and polymer as the 200 Lev banknote.

title: Polymer substrate


text:
.lt

.lt is the Internet country code top-level domain (ccTLD) for Lithuania.

Following the University of Oslo's request to the Norwegian government that a Lithuanian Internet ccTLD be established, .lt was launched on June 3 1992. Domain name registration was initially limited to the academic community, state institutions and companies, with the first second-level domains—mii.lt, ktu.lt, and vu.lt—being registered in 1993. In 1994 administration of the .lt ccTLD was transferred from Oslo University to the Kaunas University of Technology.

title: .lt


text:
King Street, Newtown, Sydney

King Street is the central thoroughfare of the suburb of Newtown in Sydney, Australia. The residents of the area, including a higher-than-average concentration of students, LGBT people and artists, are most visible on this street, sealing Newtown's reputation as Sydney's premier hub of subcultures. The street can be divided geographically into two sections, North and South. King Street is particularly notable for the many picturesque Victorian era and Edwardian era commercial buildings that line the street.

King Street forms part of the Princes Highway officially and is allocated route A36.

History
Like Parramatta Road, King Street is believed to follow the line of ancient Aboriginal track that led from the Sydney Cove area south-west across to Botany Bay. Prior to European settlement, the local Aboriginal population kept the Sydney area well cleared with regular low-level fires. Colonial officer Watkin Tench recorded that during the early years of the colony, the area beyond the settlement was, in effect, open parkland, and that it was possible to walk easily across country from Sydney Cove to Botany Bay.

From the late 19th century onwards, King Street developed into a thriving retail precinct. After its initial prosperity, it became run down for much of the 20th century, when Newtown was a low-income blue-collar suburb, often denigrated as a slum; at the crucial time when Victorian era buildings were being demolished elsewhere, Newtown was too unfashionable to make development profitable. By this sheer luck, King Street, as a whole, is the best-preserved Victorian era high street in Sydney, and despite gentrification since the late 20th century, development controls ensure that this will not change.

King Street was served by a busy tramway until the system's closure in 1957. The buildings are still predominantly late Victorian, to early Federation, although there are some art deco buildings as well.

North King Street
North King Street, running east-north-east to west-south-west from the University of Sydney (where it joins with City Road) to Newtown railway station at the junction with Enmore Road, is a very busy thoroughfare, with heavy vehicular and pedestrian traffic the rule rather than the exception. This is the stretch that most people associate with King Street, featuring a profusion of restaurants, cafés and pubs, alongside bookshops, fashion stores and homeware retailers.

South King Street
South King Street, often known as "the Paris end", running southwards from Newtown railway station to St Peters railway station, is by contrast the down-market section, with slightly less traffic. Businesses that have been established in this stretch of King Street include cafés, antique shops and assorted small businesses. The southern end of South King Street, between Alice Street and St Peters railway station, features three theatres (New Theatre, King Street Theatre and Sydney Independent Theatre Company) and three pubs (Union Hotel, Botany View Hotel and Sydney Park Hotel).

In popular culture

 * The 1985 song "King St" by John Kennedy's Love Gone Wrong references the street and name-checks various local landmarks and characters of the time including the Coles' New World supermarket (which occupied the building which is now the Dendy Cinemas), "The Wire Man" (a local eccentric who collected wire coat hangers and scrap metal), Maurice's Lebanese restaurant (still extant) and The Hub cinema (which was operating as a pornographic cinema at the time). The music video features extensive footage of King St as it looked in 1985.
 * The 1999 Australian drama film Erskineville Kings starring Marty Denniss and Hugh Jackman features King Street in its opening sequence.
 * The 2006 Australian drama film Candy starring Heath Ledger and Abbie Cornish features Advance Loan Office on King Street, in the scene where the female lead prostitutes herself for money to fund her and her boyfriend's drug addiction.
 * The Whitlams band became popular for its performances at The Sandringham Hotel on King Street
 * King Street is referenced in The Lemonheads song My Drug Buddy
 * In 2013, Sydney band Sticky Fingers filmed a music video for their song Australia Street on King Street between Church and Brown Streets
 * In June 2014, English band Coldplay filmed a music video for their song A Sky Full of Stars on King Street between Mary and Australia Streets

title: King Street, Newtown, Sydney


text: Category:Museums in Tennessee

title: Category:Museums in Tennessee


text:
Nanyang Girls' High School

Nanyang Girls' High School (NYGH) is an independent girls' secondary school in Bukit Timah, Singapore. Founded in 1917, it is one of the oldest schools in the country. NYGH offers a six-year Integrated Programme, which allows students to skip the Singapore-Cambridge GCE Ordinary Level examinations and proceed to take the Singapore-Cambridge GCE Advanced Level examinations at the end of Year 6. Students would study in NYGH from Years 1 through 4, before proceeding to the College section of Hwa Chong Institution in Years 5 and 6.

Founding
NYGH was founded in 1917 as the Singapore Nanyang Girls' School by Tan Chu Nan and Teo Eng Hock. The first principal was Yu Pei Gao, and its first premises was a shophouse at 7 Dhoby Ghaut.

In 1921, Yu Pei Gao resigned as principal and six principals took occupancy of the post over a short period of time.

Lee Chin Tien, the chairman of the school's board of directors, and Liew Yuen Sien, the principal, developed the school further in 1927. The school was renamed Nanyang Girls' High School in 1930 and began operations at its new premises at King's Road in Bukit Timah the next year. The school system was altered to provide three-year Junior Middle and Senior Middle School courses.

During World War II, the school premises were taken over by the British military and became a field office. The Japanese military took control of the school premises during the Battle of Singapore in 1942 and caused great damage to its facilities.

Post-war development
After the war ended in 1945, the school's board of management, teachers, students and alumni worked together to rebuild the school and resume operations at the YMCA Building on Selegie Road.

In 1957, NYGH was chosen for the NJH Face Aided School Scheme. Subsequently, Nanyang Kindergarten began operating independently in 1960 as the Government-Aided School Scheme excluded the school's kindergarten section.

In 1978, the primary section of the school gained autonomy and became a separate but affiliated school, Nanyang Primary School.

Attainment of SAP status
In 1979, NYGH was designated as a Special Assistance Plan school, in which English and Chinese were offered as first-language subjects. The school was the first to implement the Art Elective Programme for artistically proficient students in 1984. NYGH became an independent school in 1993 and started offering the Gifted Education Programme in 1999. It moved to a new campus at Linden Drive on 6 June 1999. The school's chairperson, Ling Siew May, officiated the ceremony. Nanyang Girls' Boarding School on Linden Drive began operating in December 1999.

Launch of Integrated Programme
In 2005, the school began the six-year Integrated Programme in partnership with Hwa Chong Institution to enable academically able students to skip the Singapore-Cambridge GCE Ordinary Level examinations and proceed to take the Singapore-Cambridge GCE Advanced Level examinations at the end of Year 6.

In 2013, NYGH became the first girls' school in Singapore to be conferred the Singapore Quality Award (SQA). It was also named an Apple Distinguished School in 2015.

Nanyang Girls' High School introduced the Humanities Programme (HP) in 2008, training students who are identified to be talented in the humanities. HP students are offered Philosophy, Advanced Literature, Advanced Geography and Advanced History as well as the opportunity to participate in national and international humanities-based competitions and projects. Such competitions include the Humanities and Social Science Research Programme (HSSRP), Moot Parliament Programme (MPP), Leadership Development Programme (LDP) and various Model United Nations conferences (MUN).

The Science and Math Talent Program (SMTP) was introduced in 2009, for students who are gifted in Sciences and Mathematics. They are offered the Stanford EPGY Mathematics Course as part of the program.

In 2012, Nanyang Girls' High School initiated the formation of the Strategic Alliance of Global Educators (SAGE) with nine other schools from Singapore, the United States, Australia, China and the United Kingdom, and organised the inaugural SAGE conference for educators from all parts of the world in August 2012. In 2014, it initiated the Strategic Educational Alliance of Southeast Asia (SEA2) with nine other founding schools from Singapore, Malaysia, Indonesia, the Philippines, Brunei, Vietnam, Thailand and Brunei, and hosted the inaugural three-day regional conference learning journey at NYGH. The National University of Singapore's Department of Southeast Asian Studies was the conference partner of the event.

School culture and identity
The first school logo of NYGH was a diamond-shaped motif with the school's name in Chinese printed in white against a light blue background. It was designed by Chen Jun Wen, an art teacher at the school.

In 1968, the diamond-shaped motif was superimposed on top of a yellow ring emblem with the words "Nanyang Girls' High" printed on it. The ring emblem was positioned above a yellow banner printed with the school motto, in Chinese. The school motto Qín Shèn Duān Pŭ (勤·慎·端·朴) means "Diligence, Prudence, Respectability and Simplicity".

Affiliation
NYGH is a partner school of Hwa Chong Institution, which was formed in 2005 by the merger of the former Hwa Chong Junior College and The Chinese High School. The two schools frequently conduct joint programmes and activities, such as the annual Combined Sports Meet. NYGH is also affiliated with Nanyang Primary School and Nanyang Kindergarten, which are part of the Nanyang family of schools. Despite its name, Nanyang Junior College is not affiliated with NYGH or NYPS.

Campus
The campus at 2 Linden Drive (off Dunearn Road) has an area of 36,400 square metres and can accommodate about 1,700 students. It is divided into nine blocks.

Nanyang Girls' Boarding School
Nanyang Girls' Boarding School provides activities such as formal dinners, enrichment, performances and sports. They also benefit from cultural exchange with boarders from Malaysia, Indonesia, Thailand, Vietnam and China.

The school is able to house a maximum of 500 boarders in 190 rooms comprising 2-4 bedded units, air-conditioned and non-air-conditioned.

Bi-cultural Studies Programme (BSP)
The Bicultural Studies Programme (BSP) is taken by students under the Special Assistance Plan Scholarship, which is offered by the Ministry of Education to encourage outstanding students who have the interest and capacity to engage both western and eastern cultures and contemporary society.

Co-curricular activities
NYGH has around 39 co-curricular activities (CCAs) for the students. The activities consist of sports, performing arts, clubs and societies and uniformed groups. Students undergo rigorous training and practices in preparation for any competitions or performances depending on the CCA.

The school has done well in the past years, repeatedly clinching titles in sports championships in inter-school competitions. The school also excels in the performing arts. In the 2011 Singapore Youth Festival, NYGH clinched eight Gold With Honours and one Silver for its nine performing arts CCA in total (Gold with Honours: Choir, Chinese Dance, Chinese Orchestra, Guzheng, Modern Dance, Chinese Drama, String Ensemble, Theatre; Silver: Band). Students of the school's Infocomm Club often take part in infocomm-related competitions, winning prizes in various competitions such as RoboFest, Robocup Singapore Open, Code Xtreme, National Software Competition and the School Digital Media Awards.

NYGH's Uniformed Groups CCAs, namely Girl Guides, National Police Cadet Corps and St. John Ambulance Brigade are also available.

The Nanyang Debate Club won runner-up at The Arena, a televised national debate competition as well as in 2008's Julia Gabriel's Debate Competition. Also, they have emerged as Champions in Hwa Chong Debate Invitationals and done reasonably well at the recent NUS Challenge Shield 2009. Three speakers from the team in the Victoria Junior College Invitationals have been ranked in the Top 5 Best Individual Speakers, with one clinching the Overall Individual Best Speaker award.

The Nanyang Chinese Debate Club has also done well since the club started operation in 2006. NYGH is the two-time champion of the annual Chinese Debating Championships, first in 2007 and in 2012. It is also the only school in Singapore to have obtained the Chinese Debate Championship title twice.

Nanyang is also home to Nanyang Dragon and Lion Dance Troupe cum 24 Drums Ensemble. The troupe started operation as a CCA when it left the National Police Cadet Corps in 2007. They hold annual caiqings during the Chinese New Year where they go around Singapore performing, and also take part in lion dance competitions.

Awards and Accolades
A group of five 17-year-old students topped the secondary school category of the National Science Experiment Big Data Challenge 2017.

Sandra Teng Chin Yang received a Teaching Award in 2016, which honours outstanding teachers of English language, English literature and General Paper in Singapore.

The school clinched the Singapore Quality Award for Business Excellence award in 2013.

Notable alumni

 * Grace Fu, Cabinet minister
 * Yu-Foo Yee Shoon, former minister of state and member of parliament
 * Cynthia Chua, founder and CEO of Spa Esprit Group
 * Tang Pui Wah, 1952 track and field Olympian
 * Elizabeth Yin, 2012 sailing Olympian
 * Goh Soo Khim, co-founder and artistic director of the Singapore Dance Theatre and Cultural Medallion winner
 * Susan Long, The Straits Times senior correspondent
 * Tung Soo Hua, Mediacorp news presenter
 * Jamie Yeo, television presenter and actress
 * Kaira Gong, Mandopop singer

title: Nanyang Girls' High School


text:
Whig government, 1830–1834

The Whig government of the United Kingdom of Great Britain and Ireland that began in November 1830 and ended in November 1834 consisted of two ministries: the Grey ministry (from 1830 to July 1834) and then the first Melbourne ministry.

History
The first wholly Whig government since 1783 came to power after the Duke of Wellington's Tory government lost a vote of no confidence on 15 November 1830. The government, led by the Earl Grey, passed the Great Reform Act in 1832, which brought about parliamentary reform, and enacted the Slavery Abolition Act 1833, bringing about the abolition of slavery in most of the British Empire.

However, King William IV dismissed Grey's successor Lord Melbourne in 1834 and asked Sir Robert Peel to form a government. Peel was out of the country at the time, so the Duke of Wellington formed a caretaker government.

List of ministers
Members of the Cabinet are indicated by bold face.

 * Notes

title: Whig government, 1830–1834


text:
Newtown railway station, Sydney

Newtown railway station is a heritage-listed railway station located on the Main Suburban line, serving the Sydney suburb of Newtown, in New South Wales, Australia. It is served by Sydney Trains T2 Inner West & Leppington line services. The railway station and the Newtown Tram Depot were jointly added to the New South Wales State Heritage Register on 2 April 1999.

History
The original Newtown station opened on 26 September 1855 with the opening of the Main Suburban line. It was located to the west of King Street, about where the former Crago's Flour Mills now stand. Mortuary facilities were provided from 1875.

The line through Newtown was quadruplicated in 1892, and a new station was built at the present location. This station consisted of two side platforms and an island platform in the centre. The site of the original station became a goods yard.

In 1927 the line was further expanded to six tracks (four with electrification) and Newtown Station was demolished and replaced by the present station which served only the up and down local tracks. The new station was opened on 29 May 1927. The original overhead booking office was retained and its platform access was modified to serve only this new platform. The bookstall for NSW Bookstall was constructed in 1937. In c. 1975 the original roof of the platform building was removed and replaced with a lower profile roof. In 1989 the station was refurbished.

On 29 October 2012, a new entrance to the station was opened, constructed as part of a major upgrade to the station and surrounding precinct. The upgrade work included demolition of the existing platform building, replacing the platform surface and canopies, and the construction of a new concourse featuring lifts and enhanced stair access to the platform.

The existing access to the platform, via a single narrow flight of stairs connected to a heritage entrance building on King Street, was closed but retained as an emergency exit. Several buildings were refurbished and converted to retail use, including the former entrance building.

Configuration
The station features a single island platform located in a shallow cutting, served by one pair of tracks. The entrance is adjacent to a small public plaza located just off King Street. The area used to be the forecourt of the former Newtown Tram Depot, the tram shed lies disused to the east of the station entrance.

Transport links
Transdev John Holland operates three bus routes via Newtown station, under contract to Transport for NSW:
 * 352: Bondi Junction station to Marrickville Metro via Taylor Square
 * 355: Bondi Junction station to Marrickville Metro via Waterloo
 * 370: Coogee to Glebe Point

Transit Systems operates seven bus routes via Newtown station, under contract to Transport for NSW:
 * 422: Railway Square to Kogarah
 * 423: Martin Place to Kingsgrove
 * 423X: Martin Place to Kingsgrove limited stops
 * 426: Martin Place to Dulwich Hill
 * 428: Martin Place to Canterbury
 * 428X: Martin Place to Canterbury limited stops
 * 430: Sydenham station to Martin Place

Newtown station is also served by three NightRide routes:
 * N10: Sutherland station to Town Hall station
 * N30: Macarthur station to Town Hall station
 * N40: East Hills station to Town Hall station

Overhead booking office and station concourse (1892)
The overhead booking office is constructed in English bond brickwork. On the King Street elevation, the brick walls are painted and have a cement rendered coating about 1500mm high along the footpath. Decorative engaged pilasters remain on either side of the original opening. The south and east elevations have been completely rendered. The hipped roof is covered in shingle terracotta tiles and surmounted at the centre by a square louvre-vented bellcote, which is clad with ribbed lead, and capped by a helmet dome. The finial from the top of the dome is missing. The eastern side of the hip (where the building meets Bridge House) is clad in corrugated steel roofing. A chimney is built at both ends and at the north this abuts the adjoining 'Bridge House.'

The timber-framed windows are Edwardian double hung sash windows with large glass panes to lower sashes and multi-panel sashes with coloured glass. The semicircular window to King Street has anti vandalism reinforced fibreglass fitted to most of the panes and security bars to the inside. The northern window retains original glazing as well as hardware.

To King Street is a timber framed veranda, supported on six cast iron columns, with a skillion roof with corrugated steel sheeting. The columns have the name "G.Fletcher and Son, Waverley" cast into the bases. The King Street veranda was built in 1902 as an early station building addition. It appears in its original configuration. Still present are early 20th century glass sphere incandescent pendant footpath lights as well as later fluorescent fittings. Early photos show a tram lookout on this elevation which no longer exists. To the railway side (east) is a small concourse, partly sheltered by a cantilevered awning with standard double bowed steel brackets supported on decorative cement haunches. The soffit lining of this awning is corrugated steel fixed to intermediate exposed purlins. Vertical timber boards form a valance at each end of the awning and a timber fascia runs along the front. There is also a simpler corrugated steel skillion roof awning, supported on steel posts, projecting out from the entrance to the Station Manager's office adjacent to Bridge House.

The remainder of the area is covered by a flat roofed awning of ribbed steel decking supported on steel frames and circular steel posts. There is also a fire escape stair leading to the first floor of the adjacent building. The stair has a painted brick enclosure under the landing which is the toilet facilities for the shop (on the northern side of the booking office). It has aluminium framed windows and a flat steel roof. The concourse once contained the 1891 iron passenger footbridge leading to the platforms (which have now been removed) and it was replaced in 1927 by the present concrete deck on steel girders and a face brick balustrade. The edge of the concourse to the railway side is screened near the entrance with glazed aluminium framed panels and patent steel fencing (typical arched design) which extends along the edge of the concourse and out onto King Street to the south of the booking office. On the southern elevation, to the rear of the building, is an entrance directly onto the concourse. This elevation has a mass of poorly executed service runs and conduits which have an extremely negative impact on the building.

Internally, the building generally has painted brick walls laid in English bond, a concrete floor covered with a variety of contemporary finishes and painted timber boarded ceilings with stepped cornices between arched timber roof trusses (which appear to remain for the full length of the building). In the centre of each main ceiling space are original circular filigree-vented ceiling roses. Lighting generally is provided by either circular or strip tube type fluorescent fittings.

Formerly the parcels and ticket office, and converted in 1927 into its present configuration with widened doorways each side which are now fitted with modern heavy hinged and fixed steel grilles. The north boarded wall has been fitted with two modern security ticket windows with 19th century inspired architraves to the public side. Services and conduits are fixed to the walls. The floor is covered in tiles and a large bookstall installation with shutters on the south side. An early 20th century indicator board is placed near the doorway
 * Booking hall

Originally part of the main public booking hall, this space was converted in 1927 into the ticket office. Generally is a contemporary fitout. Carpets have been laid on the floor.
 * Ticket office

it was originally part of the booking hall. Converted in 1927 into part of the parcels office and in recent years the staff office and kitchenette with contemporary fittings dating from c. 1990. Partitioning for new adjoining spaces and the false ceiling is formed by plasterboard sheeted timber studs. Above the staff office is a small mezzanine area for staff toilets and the housing of the computer rack. The plasterboard false ceiling to the mezzanine rooms allegedly conceals the higher original ceiling. The floor is finished with vinyl tiles. The toilet facilities have compressed fibre cement sheeting on timber framed walls and ceilings. The floor and skirtings are finished with ceramic tiles. The fittings are contemporary. The stair was built c. 1990 as a timber two-flight stair with a steel pipe handrail.
 * Staff office and kitchenette

 * Shop to the north

This was originally part of the booking hall and converted in 1927 into the parcels office, this space was converted (pre-1990) into a shop with modern sliding aluminum framed doors for the full width to the street. The brick walled addition to the east (under the fire stair) provides toilet facilities for this shop.

Platform building (1927)
This is a rectangular (painted) face brick building, originally with a gabled roof and integral shallower sloped single cantilevered awning. The roof was replaced c. 1975 with the present ribbed steel roof which follows the low-pitched line of the platform awnings. The building is seven bays in length, with the bays defined by engaged brick piers which coincide with the awning supports. The original chimneys have been removed (presumably when the roof was replaced). The awnings have standard double bowed steel brackets supported on decorative cement haunches and bolt fixings to the station building brick walls. The soffit lining is corrugated steel fixed to intermediate exposed purlins and follows the roof slope. The building has simple bargeboards and fascias which have replaced the original vertical timber boards which formed a valance at each end of the awning. The awning roof is continuous from the main roof, and is corrugated steel.

The external walls rise from a projecting brick plinth three/four courses high with simple detailing, such as arched brick heads and brick on edge sills, to the doors and window openings. The original timber windows were double hung with a single paned lower sash and a six paned upper sash featuring coloured glass. A large number of the doors and windows have now been partially or completely bricked up, with some new windows and doors in existing, modified, openings. Most of these new windows have been painted out. Security grilles and flyscreen doors have been installed on the north elevation. Original door openings featured fanlights matching the upper window sashes. All the original timber panelled doors have been either removed or modified, and some original slate thresholds remain. The brick privacy screen to the eastern end of the building has been removed. The platform building was one of the earliest to have the face brickwork painted due to vandalism.

Internally, the original building consisted of an "out of" room, a station master's office; general waiting room; ladies room and ladies toilets, a store and men's toilets. The internal usage has now changed and is predominantly storage. The toilets have a modern fitout and finishes. All of the ceilings and cornices were replaced when the roof was rebuilt. Original plaster wall finishes remain, with evidence of dado moulding in some instances, and with some original vents. The former Station Manager's office has the original staff moulding to the chimney breast. The floor finish to the toilets is vinyl and is painted concrete in the other rooms.

Platforms (1927)
Platform 1 (Up) and Platform 2 (Down) is an island platform arrangement. The platforms are brick faced with a concrete surface. There is painted signs on the platform surface (mostly directional).

Canopies and stair (1990s)
Connecting the platform to the rear concourse is a steel framed stair with pre-cast concrete steps. The stair is contained within brick walls with a bull-nosed capping and has modern tubular steel handrails, which continue on to the platform.

The stair is covered by a 1990s steel framed flat roofed awning. This awning continues along the platform, to meet the platform building, and is supported by a series of steel post and beams. The roof of the canopy is designed to line up with the building's roof profile.

King Street Overbridge (1892/1927)
This large overbridge, constructed in 1892 and modified in 1927, carries in part the overhead booking office, King Street and part of the Enmore Road intersection over five railway lines. It is constructed of reinforced concrete decking supported on a combination of wrought iron and steel girders and at the western end pre-cast concrete beams. The beams and girders are supported in turn by a series of massive load bearing brick structures containing rooms now unused. These rooms would have been accessed from the previous platforms (now demolished). At street level the roads at the western end are screened by brick balustrades with sandstone cappings.

Heritage listing
Newtown Railway Station is of state significance, representing three significant historical phases in the development of the NSW railways. The original Newtown Station to the west of the existing site was one of only five original intermediate stations on the first railway line in NSW between Sydney and Parramatta Junction. The subsequent two stations built on the existing station site date from the 1891 quadruplication and 1927 sextuplication of the line representing the expansion of the railways in the late 19th and early 20th Century to accommodate increasing rail services.

The station is significant in terms of its 1892 overhead booking office which is an important and recognisable element in the streetscape, and is a rare structure being one of only three similar structures in the state representing the earliest use of above-platform buildings. The building along with the King Street overbridge collectively demonstrates a former era of travel.

Newtown railway station was listed on the New South Wales State Heritage Register on 2 April 1999 having satisfied the following criteria.

The place is important in demonstrating the course, or pattern, of cultural or natural history in New South Wales.

Newtown Railway Station is historically significant as the existing station along with the former station which existed on site and the original one which occupied a site to its west, represent three significant historical phases in the development of the NSW railways. Established during the first phase of NSW railway construction in the 1850s the original Newtown Station is significant as it was one of only five original intermediate stations on the first railway line in NSW between Sydney and Parramatta. The subsequent (second) building of the station on the present station site was a result of the 1891 quadruplication of the line and the extant overhead booking office and King Street overbridge dating from this time period represent the expansion of the railways in the late 19th century to accommodate increasing rail services. The existing (third) station arrangement with its extant platforms, platform buildings and extensions to the overbridge dates from the 1927 sextuplication of the line and with the extant 1890s structures it collectively demonstrates a former era of travel, communication and trade.

The place has a strong or special association with a person, or group of persons, of importance of cultural or natural history of New South Wales's history.

Newtown Railway Station is significant for its association with railway contractor James Angus who was responsible for the design of the overhead booking office at the station. Angus set up the company Angus & Co. which played a major role in railway construction in New South Wales and Victoria notably the duplication of the Granville-Picton line in 1888–92.

The place is important in demonstrating aesthetic characteristics and/or a high degree of creative or technical achievement in New South Wales.

Newtown Railway Station has aesthetic significance with its 1890s overhead booking office which has characteristic features of this type of station building namely the use of brick for construction, the smaller size of the building and its location above the platforms on the King Street overbridge. The overhead booking office is an important and recognisable element in the streetscape. The 1920s "initial island" platform building is a typical but altered example of this type of station building, as the replacement of its original roof with a new roof with a gentler pitch has resulted in a single gable roof without the typical integrated awnings.

The place has a strong or special association with a particular community or cultural group in New South Wales for social, cultural or spiritual reasons.

The place has the potential to contribute to the local community's sense of place and can provide a connection to the local community's history.

The place possesses uncommon, rare or endangered aspects of the cultural or natural history of New South Wales.

Newtown Railway Station has rarity in terms of its 1892 overhead booking office which is one of only three known examples of similar pre1910 overhead booking offices in the state, the others being at Homebush and Redfern Railway Stations.

The place is important in demonstrating the principal characteristics of a class of cultural or natural places/environments in New South Wales.

While the platform building is representative example of a common railway standard design, the building has been altered with the replacement of its original roof with a new roof and the partial bricking in of its windows and doors, reducing its ability to represent this type of building.

The King Street overbridge with most of its original fabric intact is a good representative of deck-style plate girder bridge construction.

title: Newtown railway station, Sydney


text:
Mag Ruffman

Margaret "Mag" Ruffman (born February 28, 1957) is a Canadian comedian, actress and television host.

She has played roles in films such as Anne of Green Gables and Anne of Avonlea and TV series Road to Avonlea. She was reunited with Sarah Polley on the set of the Netflix show Alias Grace in 2017 when she played Diane.

Mag also creates and performs in the theatre. She created and performed as Ms. Eleanor Crumpacker in Dufferin Museum's 1919 Prohibition Halloween Dinner Theatre in 2019. Mag also wrote and performed in a one-woman show entitled Self-Help Cabaret on January 19, 2020.

In addition to her acting, Ruffman works on home improvement, hosting shows for W Network, Canada's women's network. She hosted A Repair to Remember in 1999 and 2000. In 2000, she launched a second series, Anything I Can Do, a workshop show. Ruffman writes a weekly home improvement column, ToolGirl, for the Toronto Star. She published a collection of her ToolGirl columns as a book, How Hard Can It Be?, in 2003.

title: Mag Ruffman


text:
Parengarenga Harbour

 { "type": "ExternalData", "service": "geoshape", "ids": "Q1375426", "properties": { "fill": "#73a3f0"}}

Parengarenga Harbour is a natural harbour close to the northernmost point on the North Island of New Zealand. Located at the northern end of the Aupōuri Peninsula, it extends inland for over 10 kilometres, almost severing the northern tip of the island from the rest of the peninsula. The harbour's mouth is towards the northern end of Great Exhibition Bay. The island's northernmost point, at the Hikurua / de Surville Cliffs is only about 10 kilometres north of the harbour. Te Hāpua is a settlement at the western side of the harbour.

History
The harbour was an important location for the kauri gum digging trade in the latter 19th and early 20th centuries, as some of the highest quality kauri gum could be found around the harbour. The Parenga Gumfield Company was formed to harvest this resource.

The white sand of Kokota Sandspit, at the southern head of Parengarenga Harbour, has provided a source of high purity silica sand for glassmaking. Dredging continued here until 1997. While smaller or lower purity deposits are found elsewhere in Northland, the Parengarenga area holds the region's largest silica sand resource by far.

Samuel Yates and his wife, Ngāwini Yates, were prominent landowners in the area in the later part of the 19th century and had a homestead on the southern side of the harbour, at Paua.

Ecology
The water is a habitat for Green sea turtles and dolphins, while Orca, and Pilot whales visit the adjacent areas.

Gallery
 File:The Yates property at Parengarenga Harbour, 1910.webp|The Yates property at Parengarenga Harbour, 1910 File:Parengarenga_Harbour.jpg|Panorama of the Parengarenga Harbour File:Parengarenga Harbour New Zealand Aotearoa.jpg|Parengaranga from Great Exhibition Bay

title: Parengarenga Harbour


text:
Aldington

Aldington may refer to:

 * Aldington, Kent, a village SE of Ashford, England
 * Aldington, Worcestershire, a village east of Evesham, England

People with the surname

 * Richard Aldington (1892–1962), English writer and poet
 * Toby Low, 1st Baron Aldington (1914–2000), British soldier, politician and businessman
 * Charles Low, 2nd Baron Aldington (born 1948), British banker

title: Aldington