text:
Talk:Auraria, Georgia

clarity
I've edited the article a bit for clarity, but it is still kind of choppy throughout and there are some points where the meaning is ambiguous:
 * "Settlers came in the Indian lands..." is vague. Were the settlers venturing into Cherokee Territory in general, or were they looking for gold just in the area around Findley Ridge?
 * "The indians were dismayed at the influx of unauthorized settlers." Were there any authorized settlers in Indian territory at that time?
 * "...and seceeded the land in Georgia for land in Oklahoma." "Seceeded" is perhaps a misspelling of "seceded", but does the article perhaps mean "annexed"? "Seceded" means "withdrawn (from an organization)"... but then "for land in Oklahoma" makes it sound like it was traded, in which case the word should be simply "traded".
 * "Due to politics and land ownership..." and "Due to location and political influence..." in consecutive sentences. The "location" part makes sense, but "political influence" is meaningless when we don't know whose influence is under discussion. "Due to political influence of nearby landowners, the town of Dahlonega was established and given a Federal Mint for gold coins", perhaps?
 * "About 1849, gold was discovered in California, then Colorado." On first reading, I thought this meant that gold was first discovered in California and then in Colorado, but it could also mean that what we now call California was at that time part of Colorado... which lends further confusion to the following item:
 * "Men from Auraria settled outside Denver, Colorado, and the city Aurora derives its name from here." There's Aurora in Colorado, but there's also Aurora, CA; neither of these seem likely. At the end of the article, however, is a sentence which says the name of the new town was Auroraria, in Kansas Territory, not Aurora. The wikipedia entry for Auraria, Kansas Territory, agrees about the history... so I've revised the earlier "Aurora" reference.
 * "Gold mining operations all but ceased" -- did they stop, or not? If the town is a ghost town, they must have stopped completely at some point, but did a small trickle of mining continue for awhile after this? If not, we should just say "Gold mining ceased", preferably with some idea of how long it took for them to stop; what year did the last mine shut down? It sounds like the last mine closed sometime during or shortly after the Civil War, but I'd like something a bit more definitive before I go rewriting anything.
 * "After the California gold rush in 1849, Auraria faded into history." This is almost redundant, unless it is meant to indicate that gold mining in Auraria declined or ended at about the same time as California gold mining.

There were two different paragraphs describing what remains of the town in the present day; I pulled them together, making some assumptions about which items referred to were the same things and which weren't (or might not be).

This is my first actual article edit on Wikipedia -- whee! Comments and suggestions appreciated. --Woozle 15:30, 17 Apr 2005 (UTC)

Auraria Historical Marker
According to the Auraria Historical Marker in Georgia; "From Auraria in 1858 the "Russell Boys", led by Green Russell, went west and established another Auraria near the mouth of the Cherry Creek that later became Denver, Colo." Quoted in verbatum. -taken from http://www.ghosttowns.com

Benjamin Parks

Benjamin parks was "the man who kicked a rock"

title: Talk:Auraria, Georgia


text:
User:Heurist

A computer contractor with a degree in Electronics and an interest in radio comunications.

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

title: User:Heurist


text:
File:Autocolante cdu pt 03.jpg

Fair use rationale

 * 1) The picture is only being used for informational purposes.
 * 2) It is of lower quality than the original.
 * 3) The sticker (a similar poster was also issued), is being used to illustrate the electoral propaganda of the Unitarian Democratic Coalition, therefore, it is a valuable inclusion in Electoral results of the Portuguese Communist Party and in Unitarian Democratic Coalition.

Summary
CDU sticker (a similar poster was also issued) reporting to the European Election of 2005.

title: File:Autocolante cdu pt 03.jpg


text:
Category:Adeona asteroids

See parent category for proper sortkey usage instructions.

title: Category:Adeona asteroids


text:
Nick Joaquin

Nicomedes "Nick" Marquez Joaquin (May 4, 1917 – April 29, 2004) was a Filipino writer and journalist best known for his short stories and novels in the English language. He also wrote using the pen name Quijano de Manila. Joaquin was conferred the rank and title of National Artist of the Philippines for Literature. He has been considered one of the most important Filipino writers, along with José Rizal and Claro M. Recto. Unlike Rizal and Recto, whose works were written in Spanish, Joaquin's major works were written in English despite being literate in Spanish.

Before becoming one of the leading practitioners of Philippine literature in English, he was a seminarian in Hong Kong – who later realized that he could better serve God and humanity by being a writer. This is reflected in the content and style of his works, as he emphasizes the need to restore national consciousness through important elements in Catholic Spanish Heritage. In his self-confessed mission as a writer, he is a sort of "cultural apostle", whose purpose is to revive interest in Philippine national life through literature – and provide the necessary drive and inspiration for a fuller comprehension of their cultural background. His awareness of the significance of the past to the present is part of a concerted effort to preserve the spiritual tradition and the orthodox faith of the Catholic past – which he perceives as the only solution to our modern ills.

Early life and family
Nicomedes “Nick” Joaquin y Marquez, fondly called “Onching” by close family and friends was born on May 4, 1917, in Paco, Manila. There are varying accounts on the date of his birth, some cite it as September 15, 1917. This could stem from how Joaquin himself refrained from revealing his date of birth because he disliked the fuss of people coming over and celebrating his birthday.

Joaquin was the fifth out of the ten children of Don Leocadio Joaquin and Salomé Marquez. Don Leocadio fought in the Philippine Revolution by the side of his friend General Emilio Aguinaldo, and reached the position of Colonel. He retired after he was wounded in action and moved on to a prolific career as a lawyer in Manila and the southern province of Laguna. Salomé Marquez was a well-educated woman who taught in a Manila public school. She was trained by Americans in English to teach at the public schools when the United States colonized the Philippines.

The Joaquin family lived in a two-story residential and commercial building, greatly uncommon at that time, on Herran Street (now Pedro Gil Street) in Paco, Manila. Joaquin was said to have had an extremely happy childhood. The Joaquin children were tutored in Spanish & piano, and the children were encouraged to have an interest in the arts. The Joaquin household communicated in Spanish and heard mass regularly. Joaquin is a notably devout Christian and continued being so his whole life.

The Joaquins had lived a handsome life until Don Leocadio lost the family fortune in a failed investment on an oil exploration project in the late 1920s. The family moved out of their Herran home and into a rented house in Pasay. Don Leocadio passed not long after. The young Joaquin was only twelve years old and this signalled a big change in their family.

Education
Nick Joaquin attended Paco Elementary School and went to Mapa High School for secondary education. However, in his third year informed his mother that he wanted to drop out because he felt that the classroom was too confined for him and that he learned more outside of it.[3] His mother Salomé, a former teacher, was devastated by the news, but still allowed him to do so.

After leaving school, Joaquin worked as an apprentice in a bakery in Pasay and later on in the publishing company TVT (Tribune-Vanguardia-Taliba.)[4] This allowed him a small taste of an industry he would spend most of his life in.

An avid reader, Joaquin, used this time to pursue his passion for it. He was described as having a “rabid and insane love for books” by his sister-in-law Sarah K. Joaquin. His parents had encouraged his interest in books early on. He already had a borrower's card at the National Library when he was ten. He purveyed his father's personal library and loved the bookstores in downtown Manila. He read voraciously and intently, he read everything that had caught his eye. He enjoyed the “poetry of Edna St. Vincent Millay and Vachel Lindsay to the stories of Anton Chekhov, to the novels of Dostoyevsky, D. H. Lawrence, and Willa Cather. He read American magazines (Saturday Evening Post, Cosmopolitan, Harper’s Magazine) and discovered the fiction of Booth Tarkington, Somerset Maugham, F. Scott Fitzgerald, and Ernest Hemingway.”[4]

Career beginnings
Very early on, Joaquin was already exploring his literary voice. At age 17, he published his first English poem about Don Quixote, in the literary section of the pre-World War II Tribune, where he worked as a proofreader. It was accepted by the writer and editor Serafin Lanot. Joaquin had felt a strong connection with the story of Don Quixote; he felt like he could identify with the character. Later in life, he used a similar iteration of Quixote in his various pen names, Quijano de Pacó and Quijano de Manila.

A little later, in 1937 he published his first short story in the Sunday Tribune Magazine, “The Sorrows of Vaudeville” telling the story of the vaudevilles in Manila—a city he was endlessly enamored by. It was accepted by the writer and editor Serafin Lanot.

After Joaquin won a nationwide essay competition to honor La Naval de Manila, sponsored by the Dominican Order, the University of Santo Tomas awarded him an honorary Associate in Arts (A.A.) and a scholarship to St. Albert's Convent, the Dominican monastery in Hong Kong. There he was once again close to his family's original goal for him to enter the seminary. Joaquin and his family were devoutly Christian. He notably heard mass daily and was fond of praying the Holy Rosary. He only stayed in Hong Kong for two years before returning to Manila.

Joaquin continued publishing stories and poems between 1934 and 1941 in the Herald Mid-Week Magazine and the Sunday Tribune Magazine. The Commonwealth years were a particularly vibrant era in Philippine literature. Later, the Japanese occupation closed down the Tribune and other publications. The young Joaquin had to look for ways to support his family.

Throughout the occupation, Joaquin had continued writing. “The Woman Who Felt Like Lazarus” and the essay “La Naval de Manila” were borne out of this war period Joaquin had detested. His work had appeared in the Philippine Review, an English-language journal, in 1943. His story, "It Was Later Than We Thought" and his translation of Rizal's Mi Ultimo Adios were also published. He was beginning to spark an interest from readers. However, the reticent Joaquin shied away from recognition. He had created this mysterious and distant author.

Career
After returning to the Philippines, Joaquin joined the Philippines Free Press, starting as a proofreader. He soon attracted notice for his poems, stories and plays, as well as his journalism under the pen name Quijano de Manila. His journalism was both intellectual and provocative, an unknown genre in the Philippines at that time, and raised the country's level of reportage.

Joaquin deeply admired José Rizal, the national hero of the Philippines, paying him tribute in such books as The Storyteller's New Medium – Rizal in Saga, The Complete Poems and Plays of Jose Rizal, and A Question of Heroes: Essays in Criticism on Ten Key Figures of Philippine History. He translated the hero's valedictory poem, in the original Spanish Mi Ultimo Adios, as "Land That I Love, Farewell!".[5]

Joaquin represented the Philippines at the International PEN Congress in Tokyo in 1957, and was appointed as a member of the Motion Pictures commission under presidents Diosdado Macapagal and Ferdinand E. Marcos.[5]

After being honored as National Artist, Joaquin used his position to work for intellectual freedom in society. He secured the release of imprisoned writer José F. Lacaba. At a ceremony on Mount Makiling attended by First Lady Imelda Marcos, Joaquin delivered an invocation to Maria Makiling a diwata and the mountain's mythical maiden. Joaquin touched on the importance of freedom and the artist. After that, Joaquin was excluded by the Marcos regime as a speaker at important cultural events.[5]

Joaquin died of cardiac arrest in the early morning of April 29, 2004, at his home in San Juan, Metro Manila. He was then editor of Philippine Graphic magazine, where he worked with Juan P. Dayang, the magazine's first publisher. Joaquin was also publisher of its sister publication, Mirror Weekly, a women's magazine, and wrote the column “Small Beer” for the Philippine Daily Inquirer and Isyu, an opinion tabloid.[5]

Recognition
Critics noted that Joaquin's literary prominence rests upon his book Prose and Poems. Published in 1952, it contains his most renowned short stories "Three Generations", “May Day Eve”, “After the Picnic”, “The Legend of the Dying Wanton”, “The Legend of the Virgin Jewel”, and “It Was Later than we Thought”. Editor Seymour Laurence and poet José García Villa lauded "Three Generations" as "a short story masterpiece" (1952). It was also selected as the best short story published in the Philippines Free Press between March 1943 and November 1944.

Joaquin received several honors and distinctions in the fields of literature and journalism. In 1973, his collection of poems and short stories won the SEATO Literary Award. In 1976, he was conferred the title of National Artist in Literature, the highest state honor given to individuals for their contributions to Philippine literature, and an award that Joaquin agreed to accept on the condition that the then  authoritarian leader Ferdinand Marcos release the writer and political prisoner Pete Lacaba. As a member of the Philippine Free Press staff, Joaquin published weekly articles under his journalistic pseudonym Quijano de Manila. In 1996, he was chosen Journalist of the Year at the 11th National Press Club-Esso Journalism Awards. His nominator, the Philippines Free Press editor Teodoro Locsin, remarked that Joaquin's work had raised journalism to the level of literature.

Themes & motifs
In a critical study of his prose and poems, the subjects depicted his nostalgia for the past, church rituals, legends, the mysterious, the different shades of evil, the power of the basic emotions over culture, the freedom of the will against fate, the mutability of the human body compared to the spirit, and the like. They are often set in old Manila, the walled city of Intramuros, and sometimes Paco – as a symbol of congruence, the glory and culture of the past, rather than a geographical concept. His characters are mostly cultured intellectuals of past generations, while the opposing characters are usually from the materialistic modern age. Unless they are portrayed to adjust better than old men, women seldom have significant roles in this cultured world of the past.

Theology of culture
Critics of Nick Joaquin's works mention the presence of theological dimensions in his writings. These critics, such as Lumbera, referred to Nick Joaquin as the most stimulating lay theologian, 1968. Such examples of works containing theological dimensions include “"Doña Jeronima”, “The Legend of the Dying Wanton” and “The Mass of St. Sylvestre” whose themes are said to be drawn from Spanish traditions. Stories from Tropical Goth, although not as obvious according to critics, possessed a Christian background but there were arguments made that what is Christian is not necessarily theological. Different analysis of Nick Joaquin's works on these stories found in Tropical Goth reveal the use of primordial and pagan symbols. There is a fixation towards brute and the cult. Critics mention that while there are theological levels present in these stories, these were more at the folk level than dogmatic and were more reflective rather than perspective. These were then referred to as reflections of the theology of culture.[9]

Ethical aspects
Different Analysis of Nick Joaquin's work, mainly “The Woman Who Had Two Navels” and stories from “Tropical Gothic”, have led critics to mention the theme of individual free will as seen in the emphasis of choice and free will in the mentioned stories. This is found, in what critics refer to, as Joaquin's level of morality which they mention as what makes his stories expressively theological.[9]

History or time
A theological theme revealed in the Early Joaquin works is the emphasis on history and time. These are evident, according to critics, in works such as “May Day Eve”. “Guardia de Honor”, and “The Order of Melchizedek” and while not as obvious, were present as thematic backgrounds in “Doña Jeronima”, “The Legend of the Dying Wanton”, “The Summer Solstice”, and “The Mass of St. Sylvestre”. This theme comes in the form of fixation with time and patterns of recurrence as described by critics as nostalgia, which is said to show emphasis on the past. Critics make a connection of this theological reality used by Nick Joaquin to reflect Philippine culture and the intermingling of Christian and pagan values.[9]

Rejection of colonial self
According to critics, Nick Joaquin is said to be a writer who sees the essence of being Filipino in the return to the Filipino's pre-Hispanic past. National identity is a very important topic for Nick Joaquin as evident in his works such as La Naval de Manila, After the Picnic and Summer Solstice. Noticeably in his works namely After the Picnic and Summer Solstice, the recurring theme of the rejection of the colonial self can be seen in the conflicts of the protagonist such as Chedeng, from After the Picnic, to reject Father Chavez's white-ego-ideals. In Chedeng's attempt to assert one's identity through rejection of the colonial self-imposed by society, she is confronted into choosing whether she would obliged with the white-ego ideal which asserts her security or rejection of the white-ego-ideal. Nick Joaquin also, every now and then, motleys this theme with other themes such as gender conflict, which can be evident in After the Picnic and Summer Solstice. A good example of Nick Joaquin's blending of themes is Summer Solstice, wherein he conflates gender conflict with colonial conflict, noticeable in the assertion of Doña Lupeng in the reclamation of the power of patriarchy by womanhood.

Recognition of Spanish contributions
Yet, Nick Joaquin also recognized the significance of Spanish contribution in the Philippines. Commenting on the Manila Galleon, Joaquin writes: "'It was the Manila Galleon that brought the guitar to the kanto-boy, the caserola to the housewife, hammer and saw to the carpenter, hoe and spade to the farmer, easel and brush to the artist, the compass to the seaman, the clock to the office worker, Virgil and Cervantes to the scholar, and shoes to the man on the street. Epochal enough was the transfer of Western flora and fauna to the Philippines. Even more epochal was the transfer here of Western technology, with the galleons serving, literally, as vessels and media. What Philippine culture owes the Manila Galleon is incalculable. Even that badge of nationalism, the barong tagalog, may have come over on those boats. Think of anything supremely Pinoy—guava or camote or sili or sibuyas verde—and you find they were given to us by the galleons.'"As is evident from these passages, Joaquin did not see the Spanish occupation to be completely malevolent in nature, but rather brought some beneficial things in the nation, such as the development of national culture. On those who say that the Philippines was already advanced in trading with other cultures, Joaquin writes:"'There are those that argue that, even before the Galleon Trade, Manila was already a busy trader with China, India, Japan and the Malay world. If that be true, then the folk of Soliman's Maynila should have impressed the Spanish with their knowledge of Confucianism, of Taoism, of Hinduism, or Buddhism, or Shintoism. All the early Kastila noticed was that those Manileños knew very little even about Islam.'"Nick Joaquin argues that, "It was on the Manila Galleon that we began to become the Philippines."

He, also writes about the war of Spain against the Dutch in the 17th century:"'In the 1890s we were fighting for nationhood. But during the first half of the 17th century we (Filipinos) were fighting for existence itself. We were fighting to stay an entity. We were fighting to keep an independent entity. That is something we dd not know then and it's something we still mostly ignore. Our historians now say that the foreign war that Filipinos were made to fight, and for which they hewed timber, built ships, and gathered provisions, were of no concern to us and therefore not Philippine history. But if, for the war against the Dutch, we had not hewed timber, built ships, gathered provisions and fought, there might have been no Philippine history at all. If Holland had won that war, we would have become part of the Dutch East Indies. And we might today be an Indonesian province.'"

Early Nick Joaquin
Tropical Gothic was reviewed in Philippine studies by H.B. Furay, Lourdes Busuego Pabo, and Emmanuel Lacaba. Critics describe this as the end of what they refer to as the Early Joaquin.

Attempting to characterize stories of Tropic Goth as what critics referred to as a product of the Early Nick Joaquin would be deceptive for it was written, along with majority of his works, during the thirties. Critics referred to the publication years of 1946 -1966 as most significant in terms of the works produced. They also referred to these years as the time wherein Nick Joaquin was recognized as a first rank writer in the Philippines. Works included in these years include “Prose and Poems” (1952), three stories in the “Free Press” (1965 - 1966) and The portrait of the Artist as a Filipino. Included in the first edition of Nick Joaquin's “Prose and Poems” were the titles “The Woman Who had Two Navels” (1961) and “La Naval de Manila” (1964).

Emmanuel Lacaba, member of Philippine Studies, argues that the three Free Press Stories known as “Candido’s Apocalypse”, “"Doña Jeronima”, and “The Order of Melchizedek”, were considered works under the older Nick Joaquin given the gap between these works and the earlier stories of “Prose and Poems”. Despite the gap, Lacaba argues that there is a recurring theme present in the later works of Nick Joaquin. In Emmanuel Lacaba's criticism, he mentions the radical change in language, mainly through the dialogue used. Early Nick Joaquin, as Lacaba described through the example of Tropical Goth, made use of “lush” language as well as “baroque” once the readers get past the words used. Similar cases for “Candido’s Apocalypse” and “The Order of Melchizedek” which show more similarities than differences in the way of sentence patterns used.[9]

Critics, such as Furay, define Early Nick Joaquin through his nine stories of Tropic Gothic which emphasizes his talents in Philippine writing in English. Additionally, through the mention of works such as “Prose and Poems” (1952) and the three additional “Free Press stories” (1972), critics argue that the greatness of his writing lies in his themes used as well as deep intellectual analysis of Philippine culture embedded in his writing style.[9]

Late Nick Joaquin
The Late Nick Joaquin is defined by critics as the time 10 years after his absence from the field of fiction. These years, as defined by Lacaba, were about Joaquin devoting himself entirely to Free Press and journalistic writing. This was defined by Joaquin the essayist. He wrote under the pseudonym of Quijano de Manila. The beginning of Late Joaquin was seen after he had published two significant essays and three plays after 1975. Publications of Late Joaquin still deal with similar themes of history, paganism and Christianity and morality. His published article, The Manila Review on “Culture of History” represent his philosophy of the past which underlies many of his early works. Critics emphasizes that in the later works, there is a sharper emphasis on freedom and choice as seen in his publication in December 1975 titled “Fathers and Sons: A Melodrama in Three Reels” which was a dramatization of his earlier story “Three Generations”.[9]

Filmography

 * Siglo Filipino : Odyssey of a Nation (2001)

Contribution to English Letters
Nick Joaquin's name as a literary artist is considered, by different university professors, as a key figure in Philippine literature in English due to the imparted truths of his writing. In his different works, Nick Joaquin has presented objective realities about different events and people capturing both their good and bad qualities[5]. In his essays, Nick Joaquin is said to employ real life situations through symbolic qualities reflecting certain social and cultural values. This is done through the subject selection and form of writing chosen which are considered by many different fellow artists as unique.[5] In terms of the development of the English language, Nick Joaquin was able to contribute to this by adding Filipino feelings, values, and nuances. Literary writers have mentioned how he was able to preserve the culture of the Filipinos through the use of a different tongue. The English language used by Nick Joaquin became a medium to express his literary artistry and Filipino Patriotism. Nick Joaquin was able to publish a large body of literary works during his time and through this, he has had great contribution to Philippine literature in English.[5]

Contribution to Literary Journalism
Nick Joaquin's foray into literary journalism involved bringing together his two careers. Joaquin argued that Philippine letters during the 1950s and 1960s were polarized into extremes: literature and journalism. Joaquin, under the name of Quijano de Manila during that time, belonged to both worlds as found in his works. According to different studies on literary journalism, works of Nick Joaquin serve as examples of social sciences applied to the arts[10]. This was further seen in his work “Philippine letters’ Dr Jekyll and Mr Hyde which, according to scholars, showed de Manila's career which oscillates between fiction and non-fiction[10]. It was during 1960 wherein Nick Joaquin entered journalism from being a fiction writer. It was under the name of de Manila wherein he began to publish reportage in a literary journalistic style. This was then referred to as, he claimed, “New Journalism” in the United States according to the Philippine Daily Inquirer.[11] Different literary scholars claim that the works of Nick Joaquin as de Manila exemplifies what he quotes as “good reportage with grace of style”. One of de Manila's publication, “The House on Zapote Street”, was termed journalism by the author but is read much like his fictional works under the name Nick Joaquin.[11]

Adaptations

 * Jaguar (1979), is a 1979 Film Noir directed by Lino Brocka with the screenplay written by Jose F. Lacaba and Ricardo Lee. The plot was inspired by Nick Joaquin's 1960 article "The Boy Who Wanted to Become Society" later republished in the non-fiction crime anthology, Reportage on Crime (1977).
 * Kisapmata (1981), is a 1981 psychological horror film directed by Mike De Leon, written for the screen by De Leon, Clodualdo del Mundo Jr., and Raquel Villavicencio. The plot was inspired by Nick Joaquin's 1961 article "The House on Zapote Street" later republished in the non-fiction crime anthology, Reportage on Crime (1977).
 * Tatarin (2001), a movie based on Joaquin's short story "The Summer Solstice", was directed by Amable “Tikoy” Aguiluz. The screenplay was written by Ricardo Lee. Joaquin was consulted on the film. The cast included notable Filipino actors Edu Manzano (as Paeng Moreta,) Dina Bonnevie (Lupe Moreta), Rica Peralejo (Amada), and Raymond B. Bagatsing.
 * Ang Larawan (2017), which won the best picture award in the 2017 Metro Manila Film Festival. It is a screen adaptation of Joaquin's A Portrait of the Artist as Filipino. It was translated to Filipino and written as a libretto by Rolando Tinio. The music was set by Ryan Cayabyab.
 * Filipina filmmaker Isabel Sandoval is currently working on the film inspired by the sensibilities of Nick Joaquin's 1972 short story collection, Tropical Gothic.

Awards

 * José Garcia Villa's Honor Roll (1940)
 * Philippines Free Press Short Story Contest (1949)
 * Ten Most Outstanding Young Men of the Philippines (TOYM), Awardee for Literature (1955)
 * Don Carlos Palanca Memorial Literary Awards (1957–1958; 1965; 1976)
 * Harper Publishing Company (New York, U.S.) writing fellowship
 * Stonehill Award for the Novel (1960)
 * Republic Cultural Heritage Award (1961)
 * Patnubay ng Sining at Kalinangan Award from the City of Manila (1964)
 * National Artist Award (1976).
 * S.E.A. Write Award (1980)
 * Ramon Magsaysay Award for Literature (1996)
 * Tanglaw ng Lahi Award from the Ateneo de Manila University (1997)
 * Several ESSO Journalism awards, including the highly covetedJournalist of the Year Award.
 * Several National Book Awards from the Manila Critics' Circle for The Aquinos of Tarlac: An Essay in History as Three Generations; The Quartet of the Tiger Moon: Scenes from the People Power Apocalypse; Culture and History: Occasional Notes on the Process of Philippine Becoming; The World of Damian Domingo: 19th Century Manila (co-authored with Luciano P.R. Santiago); and Jaime Ongpin: The Enigma: The Profile of a Filipino as Manager.
 * His work “Three Generations” was awarded Best Short Story published in the Philippine Review (March 1943-November 1944)
 * Journalist of the Year in the 11th National Press Club-Esso Journalism Awards (1966)
 * Won the Seato Literary Award Contest for his collection of short stories and poems (June 1, 1973)
 * Won the nation's most prestigious awards carrying material emoluments besides honor and privileges (March 27, 1976)
 * National Artist for Literature by President and Mrs. Marcos cited having “opened a new vision of Filipino Life” (1976)

title: Nick Joaquin


text:
Wikipedia:Featured article candidates/Red Arrows/archive1

Red Arrows
This is a self nomination, I think it is intersting and meets all criteria, I hope you agree! thanks - Bluemoose 15:33, 17 Apr 2005 (UTC)
 * Support:Perhaps a little short, but I can't think what other there is to say, great photography. Well written. Giano | Talk 18:38, 17 Apr 2005 (UTC)
 * Generally good article, object however, that a) their motto isn't covered although it's visible on the badge and b) it's difficult to work out which reference covers which part of the article, which makes it difficult to verify. Please improve the referencing system so that it's possible to know where different facts came from.  For example, you could use invisible references or footnotes to help with this .Mozzerati 20:55, 2005 Apr 17 (UTC)
 * Is it ok if i reference more main facts how i have already in the last 2 paragraphs of "The Red Arrows arrive"?, and badge covered now - thanks Bluemoose 22:39, 17 Apr 2005 (UTC)
 * direct numbered external links aren't my preference. They are recommended against in the style guides because they are difficult to correct later if the break.  I've tried to improve the references generally.  Could you continue like that? Mozzerati 07:08, 2005 Apr 18 (UTC)
 * Support good article covering all the key things I would want to know and easy to verify. Mozzerati 05:49, 2005 Apr 19 (UTC)
 * Sorry, object - the content is pretty good, but it doesn't seem to flow all that logically for me. Wouldn't it make sense to deal with the last section (history) first, and then deal with pilots, planes, etc?  Also, the left-right images at the top make the lead look a bit cluttered.  Some of the writing patchy - for example, "The Pilots" includes a single-sentence paragraph: "During a routine, Red Arrows pilots regularly experience forces up to five times that of gravity (see g-force), when performing the Vixen Break forces up to 7g can be reached, the limit of the aircraft is 8g." which could easily be broken up and explained properly - what is the Vixen Break, for example? You could also describe some of their formations/routines, perhaps with some diagrams.-- ALoan (Talk) 13:08, 19 Apr 2005 (UTC)

 * I dont think formation/routine descriptions would be a good addition, as it would require so much text as to dominate the article. This article is neither about flight routines or the physics of motion in a gravitational field, so doesnt need anymore explaining, not that I think it could not be improved (as i have just done). I can see the logic of putting history first, but it just doesnt look right, and I think flows better is the present order. Thanks for constructive criticism - Bluemoose 16:16, 19 Apr 2005 (UTC)
 * suggestion you might red-link the manoeuvers (maybe as sections of a not yet written article vixen break .) since they will be common for all aerobatics articles, but aren't yet written. Mozzerati 19:16, 2005 Apr 19 (UTC)
 * On your suggestion I linked to aerobatic maneuver, however i didnt red-link vixen break as a)it looks messy b)no guarrantee it will ever be created. Given enough time I will add more maneuvers to that page though, including vixen break. - thanks Bluemoose 20:58, 19 Apr 2005 (UTC)

 * Comment on objections (after closing of FAC - so too late) - a) red-links are pretty much standard; don't worry, policy is to leave them in if you think an article should be creaetd b) I think that the ordering should be most likely to be valuable to reader to least; in the case of the Red Arrows, their history is only important because they are famous. Saying why they are famous should come first.  Mozzerati 19:49, 2005 Apr 22 (UTC)


text:
File:Swgbbox.jpg

Summary

 * Description: This is the box art for the computer game Star Wars: Galactic Battlegrounds.
 * Ownership: The game was developed and published by LucasArts.

Fair Use Rationale
It is believed that the use of this image, Swgbbox.jpg, qualifies as fair use in the article Star Wars: Galactic Battlegrounds and Genie Engine because:

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Al Weiss

Allen R. "Al" Weiss (1954) is an American businessman who served as President of Worldwide Operations for Disney Parks, Experiences and Products, a division of The Walt Disney Company.

Career at The Walt Disney Company
Weiss began his Disney career as an 18-year-old Walt Disney World cast member in 1972. His first job was a "z-runner", a financial analyst who zeroed out cash registers at the end of shifts.

He received an associate degree from Valencia College, a bachelor's degree from the University of Central Florida in 1976, and an MBA from Rollins College in 1981.

After serving in multiple roles, Weiss was named president of the Walt Disney World Resort in Lake Buena Vista, Florida, starting in 1994 a role which he held until 2005. Meg Crofton succeeded Weiss as president of Walt Disney World Resort in 2006.

He was appointed President of Worldwide Operations, Disney Parks, Experiences and Products in November 2005. On June 22, 2011, Al Weiss announced his plans to retire from the Disney company effective November 1, 2011. This ended his 39-year career at The Walt Disney Company. In December 2011, he had a shop window dedicated with his name on Main Street U.S.A. in the Magic Kingdom at Walt Disney World.

Florida and Business Interests
Weiss served as the 2004–2005 chairman of the Metro Orlando Economic Development Commission, and served as a trustee at both University of Central Florida and Stetson University.

He served on the founding Board of Directors for the Corporation for Travel Promotion starting in 2010, after it was created by the Travel Promotion Act of 2009.

In 2018, as Chairman & General Partner of Global Blockchain Ventures, he launched a $100 million fund to invest in blockchain technology.

Personal
He is divorced from his ex-wife, Doreen, who lives in Kissimmee, Florida, and is now married to Brea Barnes Weiss. They live in Windermere, Florida. He is also a co-founder of Vision360, an Orlando organization that builds multidenominational Christian churches.

title: Al Weiss


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Keiichi Morisato

Keiichi Morisato (森里 螢一) is a major fictional character in the popular manga Oh My Goddess! and in the anime of the same name and is voiced by Masami Kikuchi. His name is often abbreviated as "K1" (1 in the Japanese language is "ichi").

Description
Keiichi was a 21-year-old student of the Nekomi Institute of Technology and a member of the NIT Motor Club. Keiichi is portrayed as a typical college student with a notable lack of experience with women. One day Keiichi accidentally dialed the Goddess Relief Office. Before he could begin to comprehend what on earth was going on, the beautiful Goddess Belldandy warped into Keiichi's dorm to grant him a wish. Convinced his older classmates are playing a prank on him as he has no luck with girls, Keiichi wishes for a girl like Belldandy to be by his side forever. Much to his surprise his wish is granted. Ever since, the two have been together. Belldandy's presence attracted a lot of attention not just in the mortal realm. Even though he may seem indecisive and very shy, when it comes to love he is very reliable.

He is a very skilled mechanic and an exceptional race driver. His abilities are somewhat glossed over in the OVA series, but are displayed to great effect in the movie. In the manga, he is bestowed the directorship of the Motor Club, which he subsequently passes on to Sora Hasegawa. At his supposed graduating from college (ch 78, he was one class shy), he started working at the repair shop Whirlwind owned by the founder of the NIT Motor Club: Chihiro Fujimi. He picked up the one class and actually graduated many chapters later.

Keiichi has a sister, Megumi Morisato. As revealed in vol. 23 of the manga, he and his family are originally from the Kushiro subprefecture in northeastern Hokkaidō (the northern island of Japan). His father Keima is a glassblower with a natural gift for motorcycle maintenance (as well as a fear of being touched by women). His mother Takano is an avid mah-jong player.

Personality
Simply put, Keiichi is a nice guy. He tries to be nice to everyone, and doesn't like to see anyone hurt, or hurt anyone himself. He even tries to reason with Welsper, even while the latter is trying to kill him.

However, Keiichi isn't stupid because he thinks about doing (though sometimes he can be quite gullible), and can (and will) speak out if the situation calls for it. He is also rather intelligent; for example, once he answered a test full of complex chemical and mechanical questions in two minutes flat while the other students were struggling with more conventional problems.

Keiichi's pure and innocent personality also puts him in the middle of an unusual love relationship. While he understands he loves Belldandy (and she loves him as well), he sometimes has a difficult time expressing his feelings. However, there is no mistaking the bond between them, as he and Belldandy had passed the ultimate test of true love in the Ah! My Goddess: The Movie. Finally, he also seems to exhibit unadulterated purity in his actions; he helps out others in need, he rarely complains about setbacks, and always attempts to be truthful about any situation. However, Keiichi's 'pure' personality has recently been explained in chapter 285 of the manga. According to Hild, when Keiichi made his first contract with Belldandy, heaven placed a powerful seal on him that completely suppressed all his desires and longings for Belldandy. Faced with a situation where a goddess was now bound to a mortal, heaven placed this seal in order to maintain the 'separation' between gods and men. Urd and Belldandy (and presumably Peorth and Lind, given their rank and knowledge of the Yggdrasil system) were both aware of the seal and its direct subversion of a Class 1 Unlimited Goddess's inability to lie, and were concerned of possible repercussions should Keiichi become aware of it.

Keiichi's sense of fun influences his life in many ways. He relishes creating unusual motor vehicles when presented with a challenge, usually by one of his seniors – Tamiya, Otaki or Chihiro – and laughs like crazy during a heated motorbike race against his father.

In the manga, he can play acoustic guitar, and is a fan of singer Matthew Sweet, possibly due to his quirky upbringing (in the original Japanese, it's The Carpenters). This is shown in the Traveler arc in 18, when he befriends a Schrödinger's Whale (a being that lives in a 5-dimensional quantum state) that is attracted to a storage room artificially expanded by Skuld to infinite capacity; he teaches the friendly whale some of his songs when he (for Belldandy notes it is male) shows curiosity in CD he's playing. When riding the whale through 3D space, it starts singing Millennium Blues, then whips into 5D spacetime with Keiichi still riding it; whereas this would make some freak out, he has a great time, and they chill in the middle of the room's infinite space singing I’ve Been Waiting. Overnight, the whale learns Sweet's Missing Time by itself before it disappears (in the original Japanese, the song is Only Yesterday), and when Keiichi realises this, he learns that by giving the endangered whales a call enabling them to locate each other (5D spacetime being even more than infinite than 3D, Schrödinger's Whales rarely meet by pure dumb luck), he's inadvertently saved the species.

In the manga, Keiichi's personality was illustrated when he was able to summon one of the Valkyrie Lind's own Angels, Cool Mint. According to Lind, he was able to host the angel with the "love of goddesses" which he received due to his innocent personality. Because of the love from the three goddesses for Keiichi, he was more than capable to handle controlling the angel.

Later on, Keiichi also temporarily and involuntarily hosted the familiar/angel hybrid Blue Lance (then unnamed). She chose Keiichi as her host because he was the only person who referred to her as an "angel" and not as a “former devil". Belldandy complimented him that it was natural for him to not even notice it.

The English child voices of Keiichi and Belldandy in the last OVA episode were created by the actors using helium.

title: Keiichi Morisato


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Category:Chloris asteroids

See parent category for proper sortkey usage instructions.

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Leigh Whannell

Leigh Whannell (born 17 January 1977) is an Australian filmmaker and actor. He is best known for writing films directed by his friend James Wan, including Saw (2004), Dead Silence (2007), Insidious (2010), and Insidious: Chapter 2 (2013). Whannell made his directorial debut with Insidious: Chapter 3 (2015), and has since directed two more films, Upgrade (2018) and The Invisible Man (2020).

Whannell and Wan are the creators of the Saw franchise. Whannell wrote the first installment, co-wrote the second and third installments, was producer or executive producer for all the films, and appeared as the Adam Stanheight character in three of the installments. He was also the writer of the Saw video game (2009), and co-writer of the 2014 film Cooties.

Television
Whannell was born 17 January 1977.

A writer since childhood, Whannell worked as a reporter and film critic for several Australian television shows, including ABC's Recovery, a Saturday morning youth-oriented program that was hosted by Dylan Lewis. Whannell has described the show in a 2011 blog post:

The result was that instead of following the usual MTV ideal of what teenagers want in a TV show—"Hey kids, coming up next we’ve got some seriously WICKED windsurfing moves!!”—Recovery managed to tap into the so-called "alternative" movement that was in full swing at the time by giving teenagers what they actually want: genuine, unpolished anarchy.

Whannell had originally auditioned for the host role, but was later employed as a reporter; Whannell's first interview was with Jackie Chan and he has stated that "Recovery is the best job I've ever had ...".

Whannell appeared in Episode 4, Season 1 of the RMITV production Under Melbourne Tonight presents What's Goin' On There? on 10 June 1998.

Film

In 2003, Whannell appeared in a minor role in The Matrix Reloaded, as well as in the video game Enter The Matrix as the character "Axel".

While in film school, Whannell met James Wan. Together, the two wrote a script for what would become Saw. After making a short film in 2003 to showcase the intensity of the Saw script, the feature film version, directed by Wan, was made in 2004 and became a low-budget sleeper hit. Whannell played Adam in the film, one of the main characters. The popularity of Saw led to a sequel, Saw II, which was directed and co-written by Darren Lynn Bousman, and on which Whannell co-wrote and revised Bousman's original script, titled The Desperate. Whannell also served as an executive producer.

Around the same time, Whannell returned to collaborate with Wan; they wrote a film called Dead Silence, which Wan directed. It was originally slated for a 2006 release, but small problems with the title pushed the release date back to March 2007. In 2006, the duo composed the story for Saw III; Whannell wrote the screenplay for the third time. It was again directed by Bousman and was released on 27 October 2006. Whannell has a featured cameo, reprising his role as Adam. Saw III grossed $33,610,391 on its opening weekend, making around $129,927,001 worldwide (after 38 days in cinemas) and is currently the most successful Saw film to date.

Whannell's writing partner, Wan, was chosen to direct the film Death Sentence, the first feature film with their participation that they did not write themselves. Whannell has a small role as Spink in Death Sentence. In 2008, Whannell took off his "writing hat" to perform alongside Nathan Phillips in Dying Breed, a low-budget Australian horror film about a team of zoologists exploring the Tasmanian wilderness to locate a creature thought extinct, the thylacine, or Tasmanian tiger. Instead, they wander into the domain of cannibals who retain their ancestor Alexander Pearce's taste for human flesh, and become prey.

Before and during the production of Saw, Whannell sought medical treatment. "I was going through a bit of a tough time healthwise and suffering anxiety," says Whannell. "The anxiety manifested itself in physical ways. I was suffering headaches everyday for nearly a year. It was serious stuff and really started affecting my life." Spending time in a hospital inspired him to endow the lead antagonist of the Saw series, John Kramer / Jigsaw, with cancer. "It was weird to be 25 and sitting in a neurological ward and I'm surrounded by people who actually had brain tumors. It was very scary and it was my first proper look at mortality. I really wanted to get my health back and it really hammered home how important good health is. If you've got that, you've got everything".

Whannell wrote the script for and acted in the 2011 paranormal thriller film, Insidious, which was directed by Wan and produced by Oren Peli.

In relation to the Saw franchise, Whannell stated, also in 2011:

It's hard to say definitively, because we don't own the copyright for it. The producers could make 10 more if they wanted to. But, if we're to take them at face value, they told us that they were definitely done with it. They're pretty exhausted. They've been making one a year every year for the past seven years, so I think they need some time off.

Media reports were published in mid-2013 in regard to Cooties, a film project that Whannell is an executive producer, actor and screenwriter for. The film's plot concerns an extreme virus that infects an isolated elementary school. Whannell made his directing debut on the sequel Insidious: Chapter 3 (2015), which he also wrote.

In 2014, Whannell expressed possible interest in returning to the Saw franchise; however, in a November 2013 post on his personal blog, Whannell described a new chapter beyond his partnership with Wan, as the director had finally reached his goal of making epic-style blockbuster productions. Whannel explained: "Now, he's off making the films he's always wanted to make – the big ones. I have no doubt that his name will be added to that special club of film directors that he's always admired very soon. I'm so happy for him, like a proud father. And that is why it is the end of an era." Whannell also added that he doesn't rule out collaborating with Wan again, but he felt like he needs to direct a film for the first time.

Whannell was writer-director of the science fiction body horror film Upgrade, which was released by Blumhouse Tilt and OTL Releasing in 2018 to positive reception. Whannell next wrote, directed, and co-executive produced a retooling of H. G. Wells' book The Invisible Man. The film starred Elisabeth Moss and Oliver Jackson-Cohen, and was released in 2020 to universal critical acclaim. In July 2020, it was announced that he is working on a sequel to The Invisible Man. Whannell is currently working on a reboot of Escape from New York. He is also producing and directing a sequel series to Upgrade. In June 2022, he was in talks to direct a reboot film based on the Green Hornet titled The Green Hornet and Kato from Amasia Entertainment and Universal Pictures

Feature film
Executive producer only
 * Saw IV (2007)
 * Saw V (2008)
 * Saw VI (2009)
 * Saw 3D (2010)
 * Jigsaw (2017)
 * Spiral (2021)
 * Saw X (2023)

title: Leigh Whannell