text:
List of Ottawa municipal elections

This is a list of elections held in Ottawa, Ontario. Direct elections for mayor have been held continuously since 1873.

1887

 * 1) McLeod Stewart, 2,169
 * 2) W. E. Brown, 1,790

1888

 * 1) McLeod Stewart, 1,957
 * 2) W. E. Brown, 1,643
 * 3) W. H. Lewis, 360

1889

 * 1) Jacob Erratt, 2,823
 * 2) Dr. Valade, 2,345

1890

 * 1) Jacob Erratt, 2,620
 * 2) W. H. Lewis, 1,419

1891

 * 1) Thomas Birkett, 2,396
 * 2) Dr. St. Jean, 1,459
 * 3) John Heney, 1,095
 * 4) Alex MacLean, 385

1892

 * 1) Olivier Durocher, 2,280
 * 2) George Cox, 2,199

1893

 * 1) Olivier Durocher, acclaimed

1894

 * 1) George Cox, 2,289
 * 2) C. R. Cunningham, 1,663
 * 3) William R. Stroud, 1,549

1895

 * 1) William Borthwick, 3,277
 * 2) William Cluff, 3,188

1896

 * 1) William Borthwick, acclaimed

1897

 * 1) Samuel Bingham, 2,712
 * 2) Levi Crannell, 2,558
 * 3) William Cluff, 1,869

1898

 * 1) Samuel Bingham, acclaimed

1899

 * 1) Thomas Payment, 3,067
 * 2) Robert Stewart, 2,424
 * 3) William Cluff, 2,301

1900

 * 1) Thomas Payment, 3,626
 * 2) William Campbell, 3,240

1901

 * 1) William Dowler Morris, 3,436
 * 2) Fred Cook, 1,590
 * 3) Thomas Raphael, 1,534
 * 4) Thomas Butler, 266
 * 5) Samuel J. Davis, 194
 * 6) William Campbell, 175

1902

 * 1) Fred Cook, acclaimed

1903

 * 1) Fred Cook, acclaimed

1904

 * 1) James A. Ellis, 3,992
 * 2) D'Arcy Scott, 3,333
 * 3) J. C. Enright, 777

1905

 * 1) James A. Ellis, 4,623
 * 2) William Dowler Morris, 4,146

1906

 * 1) James A. Ellis, 4,773
 * 2) A. A. Taillon, 4,523
 * 3) William G. Black, 59

1907

 * 1) D'Arcy Scott, 3,988
 * 2) Charles Hopewell, 3,800
 * 3) William Dowler Morris, 1,570
 * 4) William G. Black, 171

1908

 * 1) D'Arcy Scott, acclaimed

1909

 * 1) Charles Hopewell, acclaimed

1910

 * 1) Charles Hopewell, acclaimed

1911

 * 1) Charles Hopewell, 4,968
 * 2) A. E. Caron, 4,411
 * 3) Roberts, 331

1912

 * 1) Charles Hopewell, 4,146
 * 2) E. J. Laverdure, 3,892
 * 3) P. D. Ross, 3,323

1913

 * 1) James A. Ellis, 5,816
 * 2) E. J. Laverdure, 5,038
 * 3) George Wilson, 1,572

1914

 * 1) Taylor McVeity, 7,184
 * 2) James A. Ellis, 6,883

1915

 * 1) Nelson D. Porter, 7,539
 * 2) Taylor McVeity, 7,124

1916

 * 1) Nelson D. Porter, acclaimed

1917

 * 1) Harold Fisher, 6,122
 * 2) Nelson D. Porter, 4,392
 * 3) Taylor McVeity, 2,391

1918

 * 1) Harold Fisher, acclaimed

1919

 * 1) Harold Fisher 7,624
 * 2) Rufus H. Parent 4,642

1920

 * 1) Harold Fisher 7,962
 * 2) G. C. Hurdman 5,608

1921
(results after recount)
 * 1) Frank H. Plant 7,826
 * 2) Joseph Kent 7,804

1922

 * 1) Frank H. Plant 10,923
 * 2) Joseph Kent 4,698
 * 3) W. K. McManus 241

1923

 * 1) Frank H. Plant, acclaimed

1924 (January)

 * 1) Henry Watters 14,641
 * 2) Frank H. Plant 9,969
 * 3) Taylor McVeity 736

1924 (December)

 * 1) John P. Balharrie 15,159
 * 2) Arthur Ellis 8,405
 * 3) W. E. Brown  1,546

1925

 * 1) John P. Balharrie, acclaimed

1926

 * 1) John P. Balharrie 12,336
 * 2) Patrick Nolan 6,354
 * 3) Frank H. Plant 6,273

1927

 * 1) Arthur Ellis 11,183
 * 2) John P. Balharrie 8,415
 * 3) Patrick Nolan 7,805

1928

 * 1) Arthur Ellis, acclaimed

1929

 * 1) Frank H. Plant, acclaimed

1930

 * 1) John J. Allen, acclaimed

1931

 * 1) John J. Allen, acclaimed

1932

 * 1) John J. Allen 16,295
 * 2) Andrew F. Macallum 8,898
 * 3) Charles J. Tulley 6,543

1933

 * 1) Patrick Nolan 19,634
 * 2) John J. Allen 13,577
 * 3) Peter Alex Cray 387
 * 4) Dudley Booth 356

1934

 * 1) Patrick Nolan 27,064
 * 2) Albert H. Cole 2,394
 * 3) William P. Clermont 1,380
 * 4) James Connah 327
 * 5) Edward E. Kesteron 266

1935

 * 1) J. E. Stanley Lewis 17,810
 * 2) Fulgence Charpentier 9,755
 * 3) Patrick Nolan 6,414
 * 4) Edward H. Hinchey 2,164

1936

 * 1) J. E. Stanley Lewis 22,065
 * 2) Albert H. Cole 3,025
 * 3) William Watson 1,008

1937

 * 1) J. E. Stanley Lewis 18,186
 * 2) William H. Marsden 12,255
 * 3) Caleb Green 324
 * 4) William Watson 284

1938

 * 1) J. E. Stanley Lewis 17,958
 * 2) William H. Marsden 11,457
 * 3) George H. Dunbar 6,788
 * 4) Caleb Green 201
 * 5) William Watson 133

1939

 * 1) J. E. Stanley Lewis 15,685
 * 2) Finley McRae 11,941
 * 3) S. Leonard Belaire 5,260

1940

 * 1) J. E. Stanley Lewis 19,729
 * 2) S. Leonard Belaire 11,692

1942

 * 1) J. E. Stanley Lewis 18,279
 * 2) S. Leonard Belaire 7,496
 * 3) C. E. Pickering 5,408
 * 4) Lorenzo Lafleur 3,584

1944

 * 1) J. E. Stanley Lewis 17,814
 * 2) C. E. Pickering 7,602
 * 3) V. Cyril Phelan 5,997

1946

 * 1) J. E. Stanley Lewis 22,650
 * 2) Sydney T. Checkland 3,160

1948

 * 1) E. A. Bourque 16,150
 * 2) Grenville Goodwin 15,229
 * 3) G. M. Geldert 14,547

1950

 * 1) Grenville Goodwin 28,698
 * 2) E. A. Bourque 18,668
 * 3) G. M. Geldert 12,928

1952

 * 1) Charlotte Whitton 37,373
 * 2) Len Coulter 33,498

1954

 * 1) Charlotte Whitton 33,078
 * 2) David Luther Burgess 22,757
 * 3) E. A. Bourque 13,469

1956

 * 1) George H. Nelms acclaimed

1958

 * 1) George H. Nelms 28,346
 * 2) William J. LeClair 13,572
 * 3) Roy Donaldson 8,774

1960

 * 1) Charlotte Whitton 35,532
 * 2) Sam Berger 33,825
 * 3) Ernie W. Jones 9,317
 * 4) Lucien A. Dube 2,675

1962

 * 1) Charlotte Whitton 40,062
 * 2) Sam Berger 34,044
 * 3) R.J. Groves 18,245

1964

 * 1) Don B. Reid 43,991
 * 2) Frank Ryan 26,996
 * 3) Charlotte Whitton 25,608
 * 4) Joseph Louis Paradis 706
 * 5) Alfred Lapointe 395

1966

 * 1) Don B. Reid 59,082
 * 2) Donald V. Sterling 15,445
 * 3) John Kroeker 2,273
 * 4) Lucien A. Dube 947
 * 5) Alfred Lapointe (withdrew)

1969

 * 1) Ken H. Fogarty 57,890
 * 2) John Kroeker 5,182
 * 3) Joseph Louis Paradis 3,781
 * 4) David E. Porter 2,304
 * 5) Lucien A. Dube 2,083

1972

 * 1) Pierre Benoit 57,634
 * 2) Alphonse Frederick Lapointe 2,520
 * 3) Oscar Orenstein 2,095
 * 4) Jack Ridout 1,602

1974

 * 1) Lorry Greenberg 33,679
 * 2) Tom McDougall 29,316
 * 3) Stuart Langford 2,867
 * 4) Alphonse Frederick Lapointe 1,584

1976

 * 1) Lorry Greenberg 48,048
 * 2) Alphonse Frederick Lapointe 3,377
 * 3) Bill Foster 3,076
 * 4) Mike Sammon 2,489

1978

 * 1) Marion Dewar 51,791
 * 2) Pat Nicol 32,033
 * 3) Bernard Pelot 8,439
 * 4) Alphonse Frederick Lapointe 1,858
 * 5) Eddie Turgeon 730
 * 6) Ian Orenstein 597

1980

 * 1) Marion Dewar 49,687
 * 2) Pat Nicol 33,151
 * 3) Alphonse Frederick Lapointe 2,357
 * 4) John Turmel 1,928

1982

 * 1) Marion Dewar 57,168
 * 2) Darrel Kent 48,461
 * 3) T. Joseph McCarthy 2,060
 * 4) Marc Gauvin 1,725
 * 5) Arnold Guetta 487

1985

 * 1) Jim Durrell 56,988
 * 2) Marlene Catterall 35,711
 * 3) R. Allan Jones 942
 * 4) Walter J. McPhee 886
 * 5) Nabil Fawzry 529

1988

 * 1) Jim Durrell 69,813
 * 2) Michael Bartholomew 4,800
 * 3) John Turmel 3,123
 * 4) John Kroeker 1,704
 * 5) Nabil Fawzry 1,022

1991

 * 1) Jacquelin Holzman 38,725
 * 2) Nancy Smith 35,525
 * 3) Marc Laviolette 21,101
 * 4) Michael Bartholomew 2,417

1994

 * 1) Jacquelin Holzman 34,082
 * 2) Joan O'Neill 28,748
 * 3) Tim Kehoe 24,773
 * 4) Diane McIntyre 2,921
 * 5) Alexander Saikaley 1,677

1997

 * 1) Jim Watson 54,148
 * 2) Robert G. Gauthier 8,037
 * 3) Alexander Saikaley 4,209

2000

 * 1) Bob Chiarelli 142,972
 * 2) Claudette Cain 102,940
 * 3) Georges Saadé 2,597
 * 4) Marc-André Bélair 1,846
 * 5) James A. Hall 843
 * 6) Ken Mills 773
 * 7) Paula Nemchin 702
 * 8) John Turmel 677
 * 9) Morteza Naini 516

2003

 * 1) Bob Chiarelli 104,595
 * 2) Terry Kilrea 66,634
 * 3) Ike Awgu 5,394
 * 4) Ron Burke 2,698
 * 5) John A. Bell 2,027
 * 6) Donna Upson 1,312
 * 7) Paula Nemchin 1,191
 * 8) John Turmel 1,166

2006

 * 1) Larry O'Brien 141,262
 * 2) Alex Munter 108,572
 * 3) Bob Chiarelli 46,697
 * 4) Jane Scharf 1,467
 * 5) Piotr Anweiler 762
 * 6) Robert Larter 667
 * 7) Barkley Pollock 432

title: List of Ottawa municipal elections


text:
Raoul Jobin

Raoul Jobin, (April 8, 1906 – January 13, 1974) was a French-Canadian operatic tenor, particularly associated with the French repertory.

Life and career
Born Joseph Roméo Jobin in Quebec City, Quebec, where he first took private voice lessons before studying with Emile Larochelle at the Laval University. He then went to Paris to continue his studies with Mme d'Estainville-Rousset (singing) and Abby Chéreau (stage skills), his exceptional voice quickly captured attention and he made his debut at the Paris Opéra on July 3, 1930, as Tybalt in Roméo et Juliette.

From then on, his career made rapid progress. He quickly sang principal tenor roles at both the Opéra and the Opéra-Comique, as well as in many cities throughout France, Lyons, Toulouse, Bordeaux, Marseilles, etc. He sang mainly the French repertoire, with occasional incursions into the Italian repertoire. In 1939 he created the role of Fabrice Del Dongo in La Chartreuse de Parme by Henri Sauguet. With the outbreak of the war, he returned to North America.

He made his debut at the Metropolitan Opera on February 19, 1940, as des Grieux in Manon. He remained with the company until 1950, where he sang many roles alongside such singers as Lily Pons, Bidu Sayão, Licia Albanese, Rise Stevens, under conductors such as Wilfrid Pelletier and Thomas Beecham, among many others. He made regular appearances in San Francisco, Chicago, Boston, New Orleans, etc., also appearing in Mexico City, Rio de Janeiro, and Buenos Aires.

The war over, he returned to Paris in 1947, where he successfully sang his first major Wagnerian role, Lohengrin, earning him the nickname "Monsieur Lohengrin". He later sang the role of Walther in Die Meistersinger von Nürnberg with equal success.

Subsequently, Jobin divided his time largely between Europe and America, maintaining his high standard in his accustomed roles while adding new ones, until his retirement from the stage in 1958.

He began teaching at the Conservatoire de musique du Québec à Montréal, and later at the Conservatoire de musique du Québec à Québec where he notably served as director from 1961–1970. He trained many young Canadian singers, notably Colette Boky and Huguette Tourangeau.

He had been created Chevalier de la Légion d'honneur in 1951, and he was made a Companion of the Order of Canada in 1967.

His son, André Jobin (1933-2023), was also an opera singer, first as a baritone, and later as a tenor. He enjoyed a successful career in both Europe and North America.

Selected recordings

 * Airs from Tosca, Carmen, Werther - orchestra of the Opéra-Comique - André Cluytens, and from Lohengrin and Siegfried - orchestra of the Opéra - Louis Forrestier (recorded at the Théâtre des Champs-Elysées in 1947 and 1948 for Columbia)
 * Offenbach - Les contes d'Hoffmann - Raoul Jobin, Renée Doria, Vina Bovy, Géori Boué, Louis Musy, André Pernet, Charles Soix, Roger Bourdin - Choeurs et orchestre de l'Opéra-Comique - André Cluytens - 1948
 * Bizet - Carmen - Solange Michel, Raoul Jobin, Martha Angelici, Michel Dens - Choeurs et orchestre de l'Opéra-Comique - André Cluytens - 1950
 * Gounod - Roméo et Juliette - Janine Micheau, Raoul Jobin, Heinz Rehfuss - Choeurs et orchestre de l'Opéra de Paris - Alberto Erede - 1953
 * Excerpts from La Damnation de Faust and from Werther, with Irma Kolassi - London Symphony Orchestra - Anatole Fistoulari (recorded Kingsway Hall, 4 October 1954, issue Decca LXT5034)
 * Fauré - Pénélope - Régine Crespin, Raoul Jobin, Robert Massard, Christiane Gayraud - Choeurs et orchestre de RTF - Désiré-Émile Inghelbrecht - live recording 1956

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

title: Raoul Jobin


text: User talk:69.196.48.81

title: User talk:69.196.48.81


text:
1939 papal conclave

The papal conclave held on 1 and 2 March 1939 saw Cardinal Eugenio Pacelli elected on the third ballot to succeed Pius XI, who had died on 10 February, as pope. All 62 cardinals took part. Pacelli, who had been camerlengo and secretary of state, took the name Pius XII. The day was his 63rd birthday.

The conclave of 1939 was the shortest of the 20th century. It was also the last to include all living cardinals.

Pacelli was the first Pope born in Rome since Innocent XIII, in 1721, and the first member of the Roman Curia to become Pontiff since Gregory XVI (1831). Another Curial cardinal would not be elected Pope until the 2005 papal conclave, who chose the name Benedict XVI.

Papabili
Time magazine announced that likely contenders for the papacy included August Hlond of Gniezno-Poznań, Karl Joseph Schulte of Cologne, the Curia veteran Eugène-Gabriel-Gervais-Laurent Tisserant, Ildefonso Schuster of Milan, Adeodato Giovanni Piazza of Venice, Maurilio Fossati of Turin, and Eugenio Pacelli, a longtime diplomat in the service of the Holy See. The prospect of a non-Italian pope for the first time since Adrian VI in 1522 was considered more likely than in previous conclaves. On 13 February, The New York Times dismissed the idea of a non-Italian given the current state of international hostilities, though it thought Jean-Marie-Rodrigue Villeneuve of Quebec the least objectionable to the contending powers. It discounted Pacelli since there was no precedent for the election of the secretary of state, and precedent argued against the election of any member of the Curia as well as three key Italians who were members of religious orders. The five Italians remaining were Alessio Ascalesi of Naples, Giovanni Nasalli Rocca di Corneliano of Bologna, Luigi Lavitrano of Palermo, Maurilio Fossati of Turin, and Elia dalla Costa of Florence. By 20 February the paper found greater interest in the curial cardinals, Francesco Marmaggi, Massimo Massimi, and Luigi Maglione.

Pacelli was heavily favored among the cardinals to win. Pius XI had hinted that he favored Pacelli as his successor. On 15 December 1937, during his last consistory, Pius XI strongly hinted to the cardinals that he expected Pacelli to be his successor, saying "He is in your midst." He had previously been quoted as saying: "When today the Pope dies, you'll get another one tomorrow, because the Church continues. It would be a much bigger tragedy, if Cardinal Pacelli dies, because there is only one. I pray every day, God may send another one into one of our seminaries, but as of today, there is only one in this world."

Like Pius X, Pius XI had been a blunt-spoken, no-nonsense pontiff. Assembling in 1939 as the outbreak of hostilities that became the Second World War was widely anticipated, the cardinals turned to a soft-spoken diplomat.

Balloting
Pacelli, in his role as Camerlengo, announced on 10 February that the College would wait the maximum time allowed, eighteen days from the death of the pope, to start the conclave. The time period before starting had been lengthened following the previous conclave, for which three North American cardinals had arrived too late to participate. When the 31 cardinals available discussed the question on 11 February, they amended his plan only to provide that they would start earlier if all those who planned to attend had arrived in Rome. The cardinals arrived slowly in Rome, with just 37 attending the papal funeral on 14 February and 46 at a funeral Mass on 18 February. By 20 February, starting the conclave on 28 February appeared to be a possibility, as only three non-Italians had yet to arrive: William Henry O'Connell of Boston, Sebastião da Silveira Cintra of Rio de Janeiro, and Santiago Copello of Buenos Aires. On 22 February the cardinals sitting in general congregation settled on 1 March, expecting the three to arrive at Naples on the S.S. Neptunia on that morning.

The conclave was held in the Apostolic Palace. All the cardinals attended, 35 Italians and 27 from other countries. The doors closed at 6:17 pm.

Pacelli won a narrow victory on the second ballot with the lowest possible two-thirds majority, 42 out of 62. He then asked for an additional ballot to confirm his election by a larger margin. To the question "Acceptasne electionem de te canonice factam in Summum Pontificem?", Pacelli replied "Accepto in crucem" (I accept it as a cross). He explained his choice of Pius by saying, "I call myself Pius; my whole life was under Popes with this name, but especially as a sign of gratitude towards Pius XI."

The white smoke signifying a successful election appeared at 5:30 pm, but began to turn black. Vincenzo Santoro, the conclave secretary, then sent a note to Vatican Radio to confirm that the smoke was white and Pacelli had been elected. At 6:06 pm, the Protodeacon, Cardinal Camillo Caccia-Dominioni, made the Habemus Papam announcement in Latin from the balcony of St. Peter's Basilica. He said that the new pope had chosen the name Pius and did not mention the ordinal "the twelfth". The crowd below in St. Peter's Square began to sing the hymn Christus Vincit.

Change in conclave procedure
Pius had been narrowly elected before seeking an additional ballot to demonstrate wider support, and he knew that a very close ballot in the 1914 conclave had raised the question of the impact of a cardinal's vote for himself. Pius promulgated the apostolic constitution Vacantis Apostolicae Sedis on 8 December 1945, more than six years after his election. He made only two significant changes in conclave procedures, otherwise following those established by Pope Pius X on 25 December 1904 with the constitution Vacante Sede Apostolica. (1) He increased the majority required for election from two-thirds of those voting to two-thirds plus one, so that an elector's vote for himself would be insufficient to produce a two-thirds majority. He also eliminated the rule against voting for oneself, which the two-thirds-plus-one rule obviated. It holds, though, that if one had an exact two-thirds majority, not counting one's own vote, a cardinal could cast the deciding vote for himself. (2) From 1621 to 1945, the ballots were signed with folded over flaps to conceal the signatures of the electors. Pius XII removed the signature portion of the new form of ballot, so that a completely secret ballot is now cast by each elector with the oath taken at the same moment, now being anonymous. All this is clearly stated in the Apostolic Constitution "Vancantis Apostolicae Sedis" promulgated by Pius XII on 8 December 1945.

title: 1939 papal conclave


text:
Wikipedia:Articles for deletion/Soviet behavior toward its ethnic Poles

 This page is an archive of the discussion about the proposed deletion of the article below. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was merge and delete. Mackensen (talk) 04:30, 30 Apr 2005 (UTC)

Soviet behavior toward its ethnic Poles
KNewman marked this vfd on January 25, but never made a subpage or listed it on vfd. I'm just bringing it here for resolution; do not consider this a vote. —Korath (Talk) 00:50, Apr 15, 2005 (UTC)
 * Merge to History of Poland Mwanner 02:18, Apr 15, 2005 (UTC)
 * Merge to History of Poland History of the Soviet Union. Megan1967 08:39, 15 Apr 2005 (UTC)
 * Merge content into History of Poland, History of the Soviet Union, History of Ukraine and History of Belarus. Martg76 13:51, 15 Apr 2005 (UTC)
 * A redirect to History of Poland is inappropriate, since the article is about Poles living in the Soviet Union, not Poles in Poland. Merge to History of the Soviet Union and History of Kazakhstan.  RickK 23:12, Apr 15, 2005 (UTC)
 * Rick is correct on this. I've altered my vote accordingly (Although many parts of the western Soviet Union were once Polish territory it is irrelevant here). Megan1967 01:12, 16 Apr 2005 (UTC)
 * This page is now preserved as an archive of the debate and, like some other VfD subpages, is no longer 'live'. Subsequent comments on the issue, the deletion, or the decision-making process should be placed on the relevant 'live' pages. Please do not edit this page.


text: User talk:69.250.160.245

title: User talk:69.250.160.245


text:
Storm Stories

Storm Stories is an American non-fiction television series that airs on The Weather Channel (TWC) and Zone Reality. It is hosted and narrated by meteorologist and storm tracker Jim Cantore. Storm Stories showcases various types of severe weather, such as tornadoes, hurricanes, and blizzards. Each episode features a famous severe storm, and survivors of it sharing their experiences. The program also features footage of the storm if it is available, but typically a re-enactment is used instead. The video of the storm is often shown while the survivors offer their accounts of it. Often, TWC would air a special week dedicated to one specific type of storm.

Storm Stories is produced by Towers Productions. A syndicated version of Storm Stories is distributed by Litton Entertainment to television stations around the country. The syndicated version includes co-branding opportunities for stations to place, within the program, their local weather anchors, who are usually shown discussing the topic of the episode, and current news. Some syndicated episodes never aired on TWC. In 2009, NBCUniversal (which previously owned TWC until 2018) announced that it would begin handling sales of all of the national ads on Litton's syndicated shows, including Storm Stories. After the show's cancellation in 2010, reruns continued to air until late 2015. On May 21, 2019, The Weather Channel announced a revival of the series as Storm Stories: The Next Chapter which debuted on August 18, 2019.

Spinoffs

 * Animal Storm Stories: features storms affecting animals.
 * Coast Guard Storm Stories: details the United States Coast Guard and their work during natural disasters, including Hurricane Katrina. Premiered on January 15, 2006.

Program history
Storm Stories launched on January 6, 2003, as the first true serial long-form program on The Weather Channel. The groundwork for Storm Stories was laid by Atmospheres, a weekly long-form program that aired from 2000 to 2003, and signaled the beginning of a change in paradigm at The Weather Channel. Storm Stories, in turn, was the predecessor to a variety of other long-form programs on The Weather Channel, including It Could Happen Tomorrow (2006), Epic Conditions (2007), and When Weather Changed History (2008).

The idea of creating a signature series was proposed to the executive team in 1990 by Jim Alexander (The Weather Channel VP Consumer & Strategic Research). Viewer reactions (development research) to Atmospheres, along with existing weather documentaries, influenced the concepts considered. Content development research with viewers demonstrated the potential for a successful series combining visual evidence of nature's destructive power and first-hand accounts of the experience and its impact on individual lives. Market segmentation research was used to judge the potential audience for the programs, along with the impact on viewers who counted on TWC for information about weather across the United States. Formerly, Storm Stories featured commercial breaks with the channel's signature Local on the 8s localized forecast. After December 15, 2005, an L-bar/corner forecast appeared for those with the IntelliStar, and a satellite L-bar forecast aired for those with Weather Stars that did not support the L-bar (the Weather Star XL and older models) and those without Weather Stars.

In some episodes, the old TWC logo (1996–2005) was used during the question at the end, which is most difficult to stretch the current TWC logo on the lower display line of the Weather Star XL and IntelliStar. After the credits in the episodes, the 2003 graphic of The Weather Channel logo was used, before a one-minute local forecast. This graphic was removed late in the series's run. For episodes currently on The Weather Channel On-Demand, the current TWC logo surrounded by black is shown during these question segments, to cover the old logo.

Some of the episodes feature aircraft crashes caused by weather, including Air France Flight 358, American Airlines Flight 1420, and USAir Flight 1016 and non-meteorological phenomena such as earthquakes.

In mid-2007, the appearance of Storm Stories' introduction was changed. The new episodes include computer-animated graphics showing the weather situation, and the ending question has a different format. In October 2007, the channel moved the show to 2–3 p.m. Eastern Time. TWC stopped airing the series when the channel began its transition to HD programming on June 2, 2008, but the show returned on February 22, 2009, with 26 new episodes.

Some episodes of the series have been released on DVD.

In Norway, all episodes of Storm Stories: The Next Chapter is made available for streaming online on Viaplay.

Special weeks

 * Tornado Week: tornado stories, such as the 1999 Oklahoma tornado outbreak and the 1998 Nashville tornado outbreak.
 * Heroes of the Storm: everyday people, and how they saved lives when nature was at its worst.
 * Hurricane Week: dangerous or deadly hurricanes, from Andrew to Ivan, as well as typhoons and a tropical storm.
 * The Christmas Tree Ship: a holiday storm story for all ages—how people survived a November blizzard on Lake Michigan, and kept the spirit of Christmas.
 * Tornado Week: State of Chaos: similar to the original Tornado Week, but about tornadoes in chaos, with coverage of Vortex 2: The great tornado hunt
 * Survival Week: tips for surviving the worst types of weather, stories of people in life-threatening situations, shows such as Vortex 2: Target tornado, and more.

title: Storm Stories


text:
Bill Hoffman (baseball)

William Joseph Hoffman (March 3, 1918 – May 14, 2004) was a professional baseball player. He pitched in three games for the Philadelphia Phillies in August 1939.

title: Bill Hoffman (baseball)


text:
Brown Sahib

Brown Sahib is a term used to refer to natives of South Asia who imitate Western—typically English—lifestyle. It is also used to refer to those have been heavily influenced by Western—usually British—culture and thinking. It is mostly used as a derogatory term. By implication, a Brown Sahib goes beyond simply mimicking the Western lifestyle. A Brown sahib will usually have an unfair bias towards West vis-à-vis East. Now, down the years sometimes—albeit rarely—it is used just as an affectionate term for an anglicised south Asian, without any colonial critique.

Details
Brown Sahibs invariably dressed in Western clothes, loved Western food, music and the arts and professed a particular affinity for the English language. Though not geographically discrete, they were and are most often found in the three British presidency towns of Calcutta, Bombay and Madras, now the cities of Kolkata, Mumbai and Chennai, respectively. They also usually hailed from a higher social stratum than the mixed race Anglo-Indians. Today they are also often jokingly referred to as 'coconuts' – brown on the outside, white on the inside or more recently Oreos.

Examples of usage

 * "Founder and prophet of the Spadecarriers is 60-year-old Inayatullah Khan. A brilliant student at Cambridge, Inayatullah talked Urdu* with an Oxford accent, became known as "the brown sahib (white man)" in India." —Time (1941)
 * "Nor does he want to become one what in Asia is called a 'brown sahib', a person who apes the mannerisms of the British." —William Ivor Jennings, The Approach to Self-government (1958)
 * The writer Tarzie Vittachi (a political exile from Ceylon) subdivided the category into "Brown Sahibs", "Black Knights" and "Off-White Blimps" in his 1962 book.

title: Brown Sahib


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Helen King (actress)

Helen King (born 1 March 1972) is a Scottish-born Canadian actress and puppeteer.

Biography
King graduated from Queen's University Department of Drama in 1994, moving to Montreal, Quebec in 1995. As well as acting for independent local companies, King worked for Centaur Theatre, Geordie Productions, Just for Laughs Theatre and Theatre Lac Brome. For a-year-and-a-half, King played the cotton ball-like lead role in Me Too! on CBC Television. She starred as the voices of Fumiko & Lisa in Discovery Kids' Jacques Cousteau's Ocean Tales, was narrator for the acclaimed documentary "Black Coffee" and the travel series Rails of Adventure and was a guest voice on several other voice series including Totally Spies, Arthur, Creepschool, Mona the Vampire, and Potatoes & Dragons. She relocated to Toronto in early 2006, continuing her voice-over career in various animation and commercial projects. She has received widespread attention for taking over the role of Farah in The Two Thrones, an installment in Ubisoft's popular Prince of Persia video game series. She has acted in the movies Still Life, Wedding Night, and The Ghosts of Dickens' Past.

Film

 * The Ghosts of Dickens' Past (1998, as Servant Rebecca)
 * Nuit de noces (2001, as Petite femme de chambre)
 * Amnesia: The James Brighton Enigma (2005, as Journalist)
 * Still Life (2007, as Tax Clerk)
 * Angora Napkin (2009, as Molly)

Television

 * Misguided Angels (1999, one episode, as Clare)
 * Arthur (2000, 1 episode, as Suzette)
 * Mona the Vampire (2003, 1 episode, as Roberta Gotto / Robot)
 * Kaput and Zösky: The Ultimate Obliterators (2002 – 2003, 6 episodes, as various)
 * Potatoes and Dragons (2004, 78 episodes, as Big Mama / Miss Leafy)
 * Creepschool (2004, 2 episodes, as Enchanted Mirror / Video Game)
 * Canadian Case Files (2005, 1 episode, as Kittye Schmidt)
 * Runaway (2006, 1 episode, as Family Member)
 * Odd Job Jack (2007, 2 episodes, as Lawyer / Trish)
 * Magi-Nation (2007 – 2008, 6 episodes, as Shimmer / Baby Orathan / Swip/ Weave hyren)
 * Toot & Puddle (2008, 1 episode, as Arara)
 * Dex Hamilton: Alien Entomologist (2009, 1 episode, as Black Widow)
 * The Amazing Spiez! (2009, 2 episodes, as Melinda / Boss)
 * Cyberchase (2009, 1 episode, as Razzle; 2022, 1 episode, as Crustacea)
 * Being Erica (2009, 2 episodes, as Woman #1 / Co-worker #2)
 * Pearlie (2009, 1 episode, as Astrid / Lady Person)
 * Caillou (2010, 1 episode, as Eye Doctor)
 * The Dating Guy (2010, 2 episodes, as Fiona / Jeanie)
 * Redakai: Conquer the Kairu (2012, 1 episode, as Slanva)
 * Murdoch Mysteries (2012, 1 episode, as Mrs. Wilson)
 * Fugget About It (2012, 7 episodes, as Dancer / Field Girls Leader / Rita)
 * Ella the Elephant (2012, 1 episode, as Ms. Everheart)
 * Hemlock Grove (2013, 1 episode, as Librarian)
 * Reign (2015, 1 episode, as Deputy's Wife)
 * The ZhuZhus (2016, 1 episode, as Teacher)
 * Ranger Rob (as Rob's Mom)
 * Dot. (2016, as Rangeroo Leader)
 * Rusty Rivets Ranger Anna, recurring role
 * Corn & Peg
 * Glowbies (2021, 26 episodes, as Alby)

Video games

 * Prince of Persia: The Two Thrones (2005, as Farah)

title: Helen King (actress)


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Société des Artistes Indépendants

The Société des Artistes Indépendants (, Society of Independent Artists) or Salon des Indépendants was formed in Paris on 29 July 1884. The association began with the organization of massive exhibitions in Paris, choosing the slogan "sans jury ni récompense" ("without jury nor reward"). Albert Dubois-Pillet, Odilon Redon, Georges Seurat and Paul Signac were among its founders. For the following three decades their annual exhibitions set the trends in art of the early 20th century, along with the Salon d'Automne. This is where artworks were often first displayed and widely discussed. World War I brought a closure to the salon, though the Artistes Indépendants remained active. Since 1920, the headquarters has been located in the vast basements of the Grand Palais (next door to the Société des Artistes Français, the Société Nationale des Beaux-Arts, the Société du Salon d'Automne, and others).

History
The Salon des Indépendants (Salon des Artistes Indépendants) is an annual independent art exhibition aimed at a large audience that takes place in Paris. It was established in response to the rigid traditionalism of the official government-sponsored Salon. Since the first exhibition of 1884, at the Pavilion de la ville de Paris (Champs-Élysées), the organizing Société des Artistes Indépendants has vowed to bring together the works of artists claiming a certain independence in their art. The event is characterized by the absence of both awards and a selection jury. There are however placement or hanging committees. In contrast to the Salon d'Automne, which takes place in Paris during autumn months, the Indépendants is held during the springtime, inspiring artistic production during winter months, as artists prepare for the show. Several important dates have marked the history of the salon.

During the Second Empire, artists not backed by the official Académie de peinture et de sculpture in charge of the exhibits at the annual Salon or without support supplied by actual political constellations had little chance to advance. From year to year the number of artists working in Paris, the number of artists submitting works to the official Salon and the number of works refused by the jury increased, but neither the Second Empire nor the Third Republic found an answer to this situation.

For years, the artists had counted on official support. In 1884, finally, the artists began to organise themselves, and a "Group of independent artists" was authorised by the Ministry of Fine Arts to arrange an exhibition, while the City of Paris agreed to supply rooms for the presentation. So, from May 15 through July 15, the first "free" exhibition of contemporary art showed more than 5000 works by more than 400 artists.

Although sustained by Mesureur, deputy chairman of the Council of Paris and Grand Master of the Grand Lodge of France, by Frédéric Hattat, chairman of the Fine Art commission in the same council, by Albert Dubois-Pillet, commanding the Republican Guard, member of the Grand Orient de France, the beginning of the Company, considered as a nest of revolutionaries, were difficult.

Establishment
June 11, 1884, Maître Coursault, notary at Montmorency, Val-d'Oise, officially confirmed the establishment of the Société

Article 1 of the organization's statutes reads,
 * ...the purpose of Société des Artistes Indépendants – based on the principle of abolishing admission jury – is to allow the artists to present their works to public judgement with complete freedom.

Groupe vs. Société
Members of the Groupe challenged this foundation and succeeded to have an exhibition arranged "for the victims of the recent cholera epidemic", inaugurated December 1, 1884, by Lucien Boué, President of the Paris City Council. But financially the result was a catastrophe. Nevertheless, in spring 1885, the "Groupe" organised its next exhibition, this time with some success.

Early exhibitions
The Salon des Indépendants arose through the need by artists to present their works to the general public independently, rather than through the official selective method of the "Salon" (created by Louis XIV). A small collective of innovative artists—Paul Cézanne, Paul Gauguin, Henri de Toulouse-Lautrec, Camille Pissarro along with Albert Dubois-Pillet, Odilon Redon, Georges Seurat, Paul Signac—created the Salon des Indépendants. The right to present their works to the public with no restrictions was their only condition. Article no. 1 of the By-laws of the organization: "The purpose of Société des Artistes Indépendants—based on the principle of abolishing admission jury—is to allow the artists to present their works to public judgement with complete freedom".

On 1 December 1884, Lucien Boué, President of the Paris City Council, opened the first Salon des Artistes Indépendants at the Palais Polychrome (near the Palais de l'Industrie). The Salon became the refuge for artworks deemed unacceptable by the traditional Salon. Among the works exhibited were Seurat's "La baignade à Asnières" Signac's "Le Pont d'Austerlitz", and works of Henri-Edmond Cross, Odilon Redon, Albert Dubois-Pillet, Louis Valtat, Armand Guillaumin, Charles Angrand, Paul Cézanne, Paul Gauguin, Henri de Toulouse-Lautrec, and Vincent van Gogh.

The proceeds of the first show were earmarked for the victims of cholera. The second exhibition was held in 1886 in a temporary building in the Tuileries Garden with 200 paintings exhibited, including the first showing by Henri Rousseau. By 1905 Pierre Bonnard, Jean Metzinger and Henri Matisse had exhibited there. During the period between 1890 and 1914 known as La Belle Époque practically all of the artists associated with modernism and the avant-garde exhibited at the Indépendants. The works exhibited ranged in style from Realist to post-Impressionist, Nabis, Symbolist, Neo-impressionist/Divisionist, Fauve, Expressionist, Cubist and Abstract art.

The submission payment was 10 francs for four works. In 1906 ten works could be submitted for 25 francs and from 1909 only two.

In 1895 and 1897 the Salon des Indépendants was held at the Palais des Beaux-Arts et des Arts libéraux (Champ de Mars). Between 1901 and 1907, the exhibition was held in the Grandes Serres de la Ville de Paris (Cours-la-Reine, Paris), also called Grande Serre de l'Alma, built for the Exposition Universelle of 1900. From 1920 the exhibitions were held at the Grand Palais des Champs-Elysées in Paris. After some initial successes in the 1880s, response to the Indépendants waned in the 1890s. By 1897 art critic Andre Fontainas would complain "The Salon of the Independants reveals itself to be more and more sterile every year. Nothing, nothing and nothing! ... Why M. Signac? Why M. Luce?" Many avant-garde artists, including those associated with the Société des Artistes Indépendants shifted towards commercial venues in the 1890s.

Due to space constraints stemming from preparations for the 1900 Exposition Universelle, the 1899 exhibition had only 187 artists, down from more than 1000 in 1897. In 1900, the Indépendants reached its lowpoint, with only 55 exhibitors and few serious or substantial critical reviews.

1901 Turning Point
In 1901, however, the society rebounded with more than 1000 paintings exhibited, and critics paying it serious attention again. Reviews of that years show were decidedly positive, even calling it "one of the most brilliant exhibitions" in the group's 17-year history. Fontainas, who had cried "Why M. Signac?" in 1897, and in 1899 declared the society "almost dead" did an abrupt about-face in 1901, highly praising the Salon. Art critic Roger Marx highly praised that year's exhibition and importantly, he continued to link its success to the ideals of freedom on which the society had been founded. "Overall, the exhibition of the Independents is more and better than the protesting Salon des Refusés; it gives the example of an open society where the rights of all are equal, where everyone is answerable only to himself and remains individually responsible. The artist admits and shows himself as he is, openly without pretense; the viewer, meanwhile, receives no watchword from the jury, follows the inclination of his preferences and decides, in his own way, from beginning to end. Fortunate training for the will, is it not true, that which accustoms man to use his independence to act, to think by himself and for himself, consulting no-one, in the blissfulness of free will!"

In the following years the exhibition continued to grow in both numbers and importance. 2,395 works were exhibited in 1904, and in 1905, the Salon showed 4,269 works by 669 artists. By 1908 six thousand works were displayed at the Indépendants. In 1910 the number of artists increased to 1,182, rising progressively to 2,175 by 1930. But the Société's inclusive principles meant it would always be subject to the criticism that it valued quantity over quality: in 1926 the critic Louis Vauxcelles estimated that only 100 of the 3,726 artworks were of any value.

1902-1904: Towards a New Classical Canon
1902-04 continued the success seen in the 1901 Salon. Critics increasingly praised the harmony and beauty of Neo-Impressionist paintings of the Mediterranean coast. The art critic Fagus wrote in La Revue Blanche that Henri-Edmond Cross's works that year showed "the quivering of these Provencal pines, the beautiful rise towards the arabesque, towards the beautiful line, towards a new classical canon!". This year also featured a retrospective of works by Toulouse-Lautrec.

For the first time, the establishment journal Gazette des Beaux-Arts reviewed the annual Salon in 1903, marking the coming of age of the Indépendants. In 1903, Jean Metzinger sent three paintings to the Salon des Indépendants, and subsequently moved to Paris with the proceeds from their sale. He again exhibiting several paintings, this time along with Robert Delaunay, at the Indépendants of 1904, where Cross presented his Venice series. In 1905 the salon featured retrospectives of works by Seurat and Vincent van Gogh. Throughout this time, the Société des Artistes Indépendants was strongly associated with the Neo-Impressionists.

1905 Fauvism
From 24 March to 30 April, the burgeoning of Fauvism was visible at the Indépendants, prior to the infamous Salon d'Automne exhibition of 1905 which historically marks the birth of the term Fauvism, after critic Louis Vauxcelles described their show of work with the phrase "Donatello chez les fauves" ("Donatello among the wild beasts"), contrasting the paintings with a Renaissance-style sculpture that shared the room with them.

At the 1905 Indépendants Henri Matisse exhibited with Albert Marquet, Jean Puy, Henri Manguin, Othon Friesz, Raoul Dufy, Kees van Dongen, André Derain, Maurice de Vlaminck, Charles Camoin and Jean Metzinger. This exhibition was reviewed by Vauxcelles in Gil Blas on 4, 18 and 23 March 1905.

Matisse exhibited the proto-Fauve painting Luxe, Calme et Volupté. In the Divisionist technique and brightly colored, it was painted in 1904, after a summer spent working in St. Tropez on the French Riviera alongside the neo-Impressionist painters Paul Signac and Henri-Edmond Cross. The painting is Matisse's most important work in which he used the Divisionist technique advocated by Signac, which Matisse had first adopted after reading Signac's essay, "D'Eugène Delacroix au Néo-impressionisme" in 1898. Signac purchased the work after the 1905 Salon des Indépendants.

Matisse is in charge of the hanging committee, assisted by Metzinger, Bonnard, Camoin, Laprade Luce, Manguin, Marquet, Puy and Vallotton.

1906, all the Fauves
At the Salon des Indépendants of 1906 the elected members of the hanging committee included Matisse, Signac and Metzinger. Following the Salon d'Automne of 1905 which marked the beginning of Fauvism, the Salon des Indépendants of 1906 marked the first time all the Fauves would exhibit together. The centerpiece of the exhibition was Matisse's monumental Le Bonheur de Vivre (The Joy of Life). The triangular composition is closely related to Cézanne's Bathers; a series that would soon become a source of inspiration for Picasso's Les Demoiselles d'Avignon. Critics were horrified by the flatness, bright colors, eclectic style and mixed technique of Le Bonheur de Vivre.

According to Metzinger's memoirs, it was at the 1906 Salon des Indépendants that he met Albert Gleizes and visited his studio in Courbevoie several days later. In 1907, at Max Jacob's place, Metzinger met Guillaume Krotowsky, who already signed his works Guillaume Apollinaire.

In 1906 Metzinger had acquired enough prestige to be elected to the hanging committee of the Salon des Indépendants, in addition to his entry of eight works. He formed a close friendship at this time with Robert Delaunay, with whom he would share an exhibition at Berthe Weill's gallery early in 1907. The two of them were singled out by one critic (Louis Vauxcelles) in 1907 as Divisionists who used large, mosaic-like 'cubes' to construct small but highly symbolic compositions.

1907, the wholesale transformation
In the spring of 1906 Georges Braque exhibited his works for the first time at the Salon des Indépendants. At the exhibition of 1907, held from 20 March to 30 April, six paintings by Braque were exhibited. Five were purchased directly at the Salon des Indépendants by the art dealer Wilhelm Uhde for a total price of 505 FF. The sixth work was presumably bought by the art dealer Kahnweiler. It was around this time that Braque first met Kahnweiler and was introduced to Picasso by Guillaume Apollinaire. Braque's works were still Fauve in nature. It wasn't until the autumn of 1907 at L’Estaque that Braque began his transition away from bright hues to more subdued colors, possibly as a result of the memorial exhibition of Cézanne's work at the Salon d'Automne of 1907. André Derain exhibited his Dancer at Le Rat Mort, painted during the winter of 1906, and his large Bathers (Museum of Modern Art, New York) of early 1907. No longer truly Fauve, this work is close to Cézanne in its angular form and tonal modeling.

Matisse's Blue Nude (Souvenir de Biskra) also appeared at the 1907 Indépendants, entitled Tableau no. III. Vauxcelles writes on the topic of Nu bleu:

"I admit to not understanding. An ugly nude woman is stretched out upon grass of an opaque blue under the palm trees... This is an artistic effect tending toward the abstract that escapes me completely. (Vauxcelles, Gil Blas, 20 March 1907)"

Blue Nude would later create a sensation at the Armory Show of 1913 in New York City. The painting, already a certain distance from Fauvism, was deemed so ugly students burned it in effigy at the 1913 Armory Show in Chicago, where it had toured from New York.

In addition to the works of Matisse, Derain and Braque, the Indépendants of 1907 included six works (each) by Vlaminck, Dufy, Metzinger, Delaunay, Camoin, Herbin, Puy, and Valtat, and three by Marquet.

Vauxcelles described this group of 'Fauves':

"A movement I consider dangerous (despite the great sympathy I have for its perpetrators) is taking shape among a small clan of youngsters. A chapel has been established, two haughty priests officiating. MM Derain and Matisse; a few dozen innocent catechumens have received their baptism. Their dogma amounts to a wavering schematicism that proscribes modeling and volumes in the name of I-don't-know-what pictorial abstraction. This new religion hardly appeals to me. I don't believe in this Renaissance... M. Matisse, fauve-in-chief; M. Derain, fauve deputy; MM. Othon Friesz and Dufy, fauves in attendance... and M. Delaunay (a fourteen-year-old-pupil of M. Metzinger...), infantile fauvelet. (Vauxcelles, Gil Blas, 20 March 1907)"

The Fauvism of Matisse and Derain was virtually over by the spring of the 1907 Indépendants. And by the Salon d'Automne of 1907 it had ended for many others as well. The shift from bright pure colors loosely applied to the canvas gave way to a more calculated geometric approach. The priority of simplified form began to overtake the representational aspect of the works. The simplification of representational form gave way to a new complexity; the subject matter of the paintings progressively became dominated by a network of interconnected geometric planes, the distinction between foreground and background no longer sharply delineated, and the depth of field limited.

Many of Cézanne's paintings had been exhibited at the Salon d'Automne of 1904, 1905 and 1906. After Cézanne died in 1906, his paintings were exhibited in Paris in the form of a retrospective at the Salon d'Automne of 1907, greatly attracting interest and affecting the direction taken by the avant-garde artists in Paris prior to the advent of Cubism. Cézanne's explorations of geometric simplification and optical phenomena inspired not just Matisse, Derain, Braque and Metzinger, but the other artists who exhibited earlier with the Fauves. Those who had not transited through a Fauve stage, such as Picasso, experimented, too, with the complex fracturing of form. Cézanne had thus sparked a wholesale transformation in the area of artistic investigation that would profoundly affect the development modern art of the 20th century.

1908, barbarous schematizers
Signac becomes president of the 24th Salon des Indépendants. At the exhibition of 1908, held 20 March through 2 May, a painting by Braque strikes Apollinaire by its originality. Though not listed in the catalog, it was described in L'Intransigeant. In his review published in La Revue des lettres et des arts (1 May 1908) Apollinaire claims that Braque's work is the most original effort presented at the salon. Even in the absence of Matisse and Picasso, Vauxcelles, in Gil Blas (20 March 1908) refers to the most innovative artists of the exposition as 'barbarous schematizers'... who want to create an 'abstract art'.

This exhibition was reviewed in the New York Herald 20 March 1908; by Vauxcelles in Gil Blas 20 March 1908; by C. Le Senne in Le Courrier du Soir, 22 March 1908; and by Maurice Denis, in La Grande revue, 10 April 1908.

In excess of 1,314 artists exhibit 6,701 works. Matisse does not submit any works.

After this salon, the writer Gelett Burgess begins a series of interviews with the avant-garde working currently in Paris and surrounding banlieues. These interviews and Burgess' impressions of the works produced are published in Architectural Record, May 1910, at the heart of the proto-Cubist period.

Gelett Burgess writes in The Wild Men of Paris:

"Though the school was new to me, it was already an old story in Paris. It had been a nine-days’ wonder. Violent discussions had raged over it; it had taken its place as a revolt and held it, despite the fulmination of critics and the contempt of academicians. The school was increasing in numbers, in importance. By many it was taken seriously. At first, the beginners had been called "The Invertebrates." In the Salon of 1905 they were named "The Incoherents." But by 1906, when they grew more perfervid, more audacious, more crazed with theories, they received their present appellation of "Les Fauves"—the Wild Beasts. And so, and so, a-hunting I would go!"

"It was Matisse who took the first step into the undiscovered land of the ugly. Matisse himself, serious, plaintive, a conscientious experimenter, whose works are but studies in expression, who is concerned at present with but the working out of the theory of simplicity, denies all responsibility for the excesses of his unwelcome disciples."

"Picasso, keen as a whip, spirited as a devil, mad as a hatter, runs to his studio and contrives a huge nude woman composed entirely of triangles, and presents it in triumph. What wonder Matisse shakes his head and does not smile! He chats thoughtfully of the "Harmony and volume" and "architectural values," and wild Braque climbs to his attic and builds an architectural monster which he names Woman, with balanced masses and parts, with openings and columnar legs and cornices. Matisse praises the direct appeal to instinct of the African wood images, and even a sober Dérain, a co-experimenter, loses his head, moulds a neolithic man into a solid cube, creates a woman of spheres, stretches a cat out into a cylinder, and paints it red and yellow!"

"Metzinger once did gorgeous mosaics of pure pigment, each little square of color not quite touching the next, so that an effect of vibrant light should result. He painted exquisite compositions of cloud and cliff and sea; he painted women and made them fair, even as the women upon the boulevards fair. But now, translated into the idiom of subjective beauty, into this strange Neo-Classic language, those same women, redrawn, appear in stiff, crude, nervous lines in patches of fierce color."

1909, simplified forms
According to John Golding's influential history of Cubism published in 1959, it was at the Salon des Indépendants of 1909, held 25 March through 2 May, that one of the first Cubist painting was exhibited to the public: Little Harbor in Normandy (Petit port en Normandie), no. 215, entitled Paysage, by Georges Braque (Art Institute of Chicago). On 25 March 1909, Louis Vauxcelles qualifies the works of Braque (Bracke, sic) exhibited at the Salon des Indépendants as "bizarreries cubiques" (cubic oddities). In Room 16 hung works by Derain, Dufy, Friesz, Laprade, Matisse, Jean Puy, Rouault and Vlaminck.

The evolution towards a more linear style with simplified forms continues with greater emphasis on clear geometric principles (derived from Cézanne) not solely visible in the works of Braque, but too in the works of Metzinger, Gleizes, Le Fauconnier and Delaunay (Picasso being absent from the salons).

1910, ignorant geometers
Gleizes exhibits in the Salon des Indépendants for the first time: Portrait de René Arcos and L'Arbre, two paintings in which the emphasis on simplified geometric form overwhelms to a large extent the representational interest of the painting. The same tendency is evident in Metzinger's Portrait of Apollinaire exhibited in the same salon. According to Apollinaire this was the 'first Cubist portrait'. Apollinaire himself has pointed out in his book The Cubist Painters (1913), that Metzinger, following Picasso and Braque, was chronologically the third Cubist artist. According to Gleizes's memoirs, Alexandre Mercereau introduces him to Metzinger, but only after the Salon d'Automne do they become seriously interested in each other's work.

Louis Vauxcelles, in his review of the 26th Salon des Indépendants (1910), made a passing and imprecise reference to Metzinger, Gleizes, Delaunay, Léger and Le Fauconnier, as "ignorant geometers, reducing the human body, the site, to pallid cubes."

The work of Metzinger, Le Fauconnier and Robert Delaunay were exhibited together. Le Fauconnier showed the geometrically simplified Ploumanac'h landscapes: Le Ravin and Village dans les Montagne, along with Femme à l'éventail and Portrait of Maroussia. In the same hall hung the works of Matisse, Vlaminck, Dufy, Laurencin, van Dongen and Henri Rousseau.

Apollinaire wrote in the daily newspaper L'Intransigeant, which had a circulation of about 50,000, about the exhibition that consisted of close to 6000 paintings.

1910, Lolo the donkey
Remarkably, the presence of a painting made by a donkey named Lolo passed by practically unnoticed. The painting was entitled Et le soleil s'endormit sur l'Adriatique presented by the fictitious artist Joachim-Raphaël Boronali, the 'excessivist' from Genoa was exhibited at the 1910 Salon des Indépendants. Boronali was in fact a Parisian donkey (Lolo), who made the painting with his tail. It is suspected that Lolo belonged to Frédéric Gérard (Le Père Frédé), owner of the cabaret Lapin Agile in Montmartre. Roland Dorgelès and two friends, André Warnod et Jules Depaquit, attached a paint brush to the tail of the animal. The donkey did the rest. The painting sold for 400FF (equal to 1,257 Euros today ) and was donated by Dorgelès to the Orphelinat des Arts. The painting forms part of the permanent collection at l'Espace culturel Paul Bédu (Milly-la-Forêt).

1911, the major scandal of Cubism
The newly formed Montparnasse group (who held meetings not just at Le Fauconnier's studio, but at the cafés Le Dôme, La Coupole, La Closerie des Lilas, Le Select, and Café de la Rotonde) together with other young painters who also want to emphasise a research into form (as opposed to color) take over the hanging committee of the Salon des Indépendants ensuring that the works of painters now dubbed 'Cubists' would be shown together. Gleizes, Metzinger, Le Fauconnier, Delaunay, Léger and Marie Laurencin (at the request of Apollinaire) are shown together in Room 41.

The result of the group show is a major scandal. Even though the pictures shown are still conventional representations that generally observe the rules of classical perspective (according to Gleizes), the public is outraged by the representation of subject matter as cones, cubes and spheres, resulting in the obscurity of the subject matter. The predominance of sharp geometrical faceting and the fact that a group of artists are all working in similar directions, gives rise to the term 'Cubism'. Although this and similar terms have been used before in artistic circles (usually in relation to the works of Metzinger, Delaunay and Braque), this is the first time the use of the term becomes widespread.

The term 'Cubism' is employed in June 1911 by Apollinaire, speaking in the context of 'Les Indépendants', Musée Moderne de Bruxelles in Brussels, which includes works by Gleizes, Delaunay, Léger, and Le Fauconnier. During the summer, Gleizes is in close contact with Metzinger, who has recently moved to Meudon. Both are discontent with the conventional perspective mechanism. They have long conversations about the nature of form and perception. They agree that traditional painting gives a static and incomplete idea of the subject as experienced in life. Things, they conclude, are in fact dynamic, observed to move, are seen from different angles and can be captured at successive moments in time.

Another Cubist scandal is produced several months later at the Salon d'Automne, where the Indépendants exhibitors develop relations with the Duchamp brothers, Jacques Villon, Raymond Duchamp-Villon and Marcel Duchamp. The studios of Jacques Villon and Raymond Duchamp-Villon at 7, rue Lemaître, become, together with Gleizes' studio at Courbevoie, regular meeting places for the newly formed Groupe de Puteaux (soon to exhibit under the name Section d'Or). František Kupka, the Czech painter interested in non-representational painting based on analogies with music and the progressive abstraction of a subject in motion, joins the discussions.

In the spring of 1911 the cubists made sure they were shown together, infiltrating the placement committee. That Le Fauconnier was the secretary of the salon facilitated the goal of hanging their works together. Until then, works in alphabetical order of the artists names. In room 41 hung works by Metzinger, Gleizes, Léger, Delaunay, Le Fauconnier and Archipenko. In room 43 hung works by André Lhote, Roger de La Fresnaye, André Dunoyer de Segonzac, Luc-Albert Moreau and André Mare.

This exhibition involved more than 6,400 paintings. In room 42 was a retrospective exhibition of Henri (Le Douanier) Rousseau, who died 2 September 1910. Articles and reviews were numerous and extensive in sheer words employed; including in Gil Blas, Comoedia, Excelsior, Action, L'Oeuvre, and Cri de Paris. Apollinaire wrote a long review in the 20 April 1911 issue of L'Intransigeant.

Henri Le Fauconnier's Abundance, 1910-11 (Haags Gemeentemuseum, Den Haag), partly due to its large size and partly to the treatment of its subject matter, was an eye-catcher, causing a sensation. This painting was soon bought by the Dutchman art critic and painter Conrad Kickert (1882-1965), who was secretary of the Contemporary Art Society (Moderne Kunstkring). In 1934 he donated the painting to the Gemeentemuseum, Den Haag.

1912, the scandal continues

The Salon des Indépendants transpired in Paris from 20 March to 16 May 1912. This massive exhibition occurred exactly one year after Metzinger, Gleizes, Le Fauconnier, Delaunay, Léger and Laurencin were shown together in Room 41 of the 1911 Salon des Indépendants, which provoked the scandal out of which Cubism emerged and spread throughout Paris. Its wide-ranging repercussions were felt in Germany, Holland, Italy, Russia, Spain and elsewhere (influencing Futurism, Suprematism, Constructivism, De Stijl and so on). Just five months prior to this show another polemic developed at the Salon d'Automne of 1912. Originating in Salle XI where the Cubists exhibited their works, this quarrel involved both the French and non-French avant-garde artists. On 3 December 1912 the polemic reached the Chambre des députés and was debated at the Assemblée Nationale. At stake was more than just the future of public funding for exhibitions that included Cubist art. Le Fauconnier, Gleizes, Léger, Metzinger and Archipenko formed the core of the hanging committee at the 1912 Indépendants. The common hall, room 20, in which the Cubists placed themselves became the nucleus of the exhibition.

At the 1912 Salon des Indépendants Albert Gleizes exhibited Les Baigneuses (The Bathers) (no. 1347) — Marcel Duchamp's Nude Descending a Staircase, No. 2 was listed in the catalogue (n. 1001) but was withdrawn prior to the exhibition — Roger de La Fresnaye exhibited Artillerie (no. 1235) — Robert Delaunay showed his monumental Ville de Paris (no. 868) — Jean Metzinger exhibited La Femme au Cheval (Woman with a horse) and Le Port — Fernand Léger showed La Noce — Henri Le Fauconnier, Le Chasseur (The Huntsman) — and the newcomer Juan Gris exhibited his Portrait of Picasso.

The art critic Olivier-Hourcade writes of this exhibition in 1912 and its relation to the creation of a new French school: "Metzinger with his Port, Delaunay with Paris, Gleizes with his Baigneuses, are close to this real and magnificent result, this victory comes from several centuries: the creation of a school of painting, 'French' and absolutely independent."

Roger Allard's reviewed the 1912 Salon des Indépendants in the March–April 1912 issue of La Revue de France et des Pays, noting Metzinger's 'refined choice of colors' and the 'precious rarity' of the painting's 'matière'. André Salmon too, in his review, noted Metzinger's 'refined use of color' in La Femme au Cheval and praised its 'French grace', while noting Metzinger 'illuminated a cubist figure with the virtues of a smile'.

Gleizes, on the other hand, would write in 1913 of the Cubist movements continual evolution: "The changes it had already undergone since the Indépendants of 1911 could leave people in no doubt as to its nature. Cubism was not a school, distinguished by some superficial variation on a generally accepted norm. It was a total regeneration, indicating the emergence of a wholly new cast of mind. Every season it appeared renewed, growing like a living body. Its enemies could, eventually, have forgiven it if only it had passed away, like a fashion; but they became even more violent when they realised that it was destined to live a life that would be longer than that of those painters who had been the first to assume the responsibility for it."

And regarding the reception received by the Cubists at the Salon des Indépendants and Salon d'Automne Gleizes writes:

"Never had a crowd been seen thrown into such a turmoil by works of the spirit, and especially over esemplastic works, paintings, whose nature it is to be silent', writes Albert Gleizes, 'Never had the critics been so violent as they were at that time. From which it became clear that these paintings—and I specify the names of the painters who were, alone, the reluctant causes of all this frenzy: Jean Metzinger, Henri Le Fauconnier, Fernand Léger, Robert Delaunay and myself—appeared as a threat to an order that everyone thought had been established forever."

1913, the peak of Cubism
The Salon des Indépendants was held March 9 through 18 May, the Cubist works were shown in room 46. Jean Metzinger exhibited his large L'Oiseau bleu — Albert Gleizes, Albert Gleizes. Les Joueurs de football (Football Players) 1912-13, National Gallery of Art, Washington D.C — Robert Delaunay The Cardiff Team (L'équipe de Cardiff ) 1913, Van Abbemuseum, Eindhoven — Fernand Léger, Le modèle nu dans l'atelier (Nude Model In The Studio) 1912-13, Solomon R. Guggenheim Museum, New York — Juan Gris, L'Homme dans le Café (Man in Café) 1912, Philadelphia Museum of Art.

In room 45 hung the works of Robert Delaunay, Sonia Delaunay, František Kupka, Morgan Russell and Macdonald-Wright. This was the first exhibition where Orphism and Synchromism were emphatically present. Apollinaire in L'Intransigeant mentioned la Salle hollandaise (room 43), which included Jacoba van Heemskerck, Piet Mondrian, Otto van Rees, Jan Sluyters en Leo Gestel and Lodewijk Schelfhout.

1914, Orphism
The 1914 exhibition, held from 1 March to 30 April, was composed of many Orphist works of large dimension and took place in one of the largest rooms on the ground floor: Robert and Sonia Delaunay, Patrick Henry Bruce and Arthur Burdett Frost were largely represented.

1915-1919
During the First World War there were no exhibitions. After the war, however, there was a revival of Cubism, led by Gleizes and others, which included exhibitions at Léonce Rosenberg's Galerie l'Effort Moderne and a revival of the Salon de la Section d'Or.

1920, the emergence of Dada
In an attempt to regain their pre-war status at the forefront of the avant-garde, and faced with the possibility of being overthrown by Dada, the cubists regrouped. Their first chance to exhibit together presented itself at the Salon des Indépendants of 1920. But the fight wasn't going to be easy. Opening on 28 January, over three thousand works were display, a large number of which were Cubist paintings. For the first time the exhibition took place at the Grand Palais des Champs-Elysées. Picasso was nowhere to be seen, but others were, such as Archipenko, Braque, Csaky, Gleizes, Gris, Hayden, Herbin, Léger, Lhote, Lipchitz, Metzinger, Severini and Survage.

The most outrageous Dada eruption to date transpired at the Salon des Indépendants of 1920. The Dadaist saw the Indépendants as decisive in the push to the top of the avant-garde food chain of the Parisian art scene. The plan was as cunning as it was devious: Tristan Tzara and André Breton rented an auditorium at the Grand Palais. A group guided by Tzara distributed flyers and posters saying that Charlie Chaplin would appear "in the flesh" on February 5. The crowd heckled when Chaplin (not even aware of the event) never showed up, and Tzara was ready: his group hurled insults back at the crowd from the stage.

The renown literary figure André Gide present in the audience, fooled as the others, described the happening: "Some young people, solemn, stilted, tied up in knots, got up on the platform and as a chorus declaimed insincere inanities".

The offensive event witnessed by the more respectable Cubists solicited a vehement denunciation, declaring Dada an abomination.

1921, a new epoch
The Salon des Indépendants of 1921, which opened in January, had less Cubist paintings than the previous year. Braque and Metzinger were not represented. The artists that did exhibit included Gleizes, Ferat, Hayden, Marcoussis, Hellesen and Survage. With the Cubists were also Hélène Pordriat, Marthe Laurens, Irène Lagut, Alice Halicka and Sonia Lewitska. At the exhibition were also the works of Bissière, Blanchard, Dufy, Lhote, Tirman, Zadkine and Lipchitz.

The hanging commission was conducted in opposition to Signac, who was in favor of the alphabetical order system. Léger left the placement committee in 1923. In 1924 placement was classified by nationality and alphabetically. Lhote left the placement committee, which consisted of 20 people, along with eight other members in 1925. Lhote was of the opinion that the change was mainly intended for the "Sunday painters". Signac and his supporters defended the alphabetical order stressing 'equal attention to all participants' and that there was no place for 'les petites chapelles' (the little chapels). The latter was especially directed against the neo-cubists, who after the First World wished to be associated with well-known artists.

From 1920 the Société des Artistes Indépendants obtained the Grand Palais for its salon exhibitions. After World War II, the Salon des Indépendants was renewed with the artist group Jeune création, with the assistance of Dunoyer de Segonzac, Bernard Buffet, Jean Carzou, Maurice Boitel, Yves Brayer, Aristide Caillaud, Daniel du Janerand, amongst others.

Notable exhibitors

 * Alexander Archipenko
 * Georges Braque
 * Bernard Buffet
 * Jeanne-Marie Barbey
 * Charles Camoin
 * Marc Chagall
 * Georgette Chen
 * Giorgio de Chirico
 * Luigi Corbellini
 * Henri-Edmond Cross
 * Joseph Csaky
 * Robert Delaunay
 * Sonia Delaunay
 * Jean Dries
 * Albert Dubois-Pillet
 * Marcel Duchamp
 * Georges Dufrénoy
 * Raoul Dufy
 * Alexandra Exter
 * Henri Le Fauconnier
 * Alberto Giacometti
 * Albert Gleizes
 * Henryk Gotlib
 * Juan Gris
 * Louise Janin
 * Wassily Kandinsky
 * František Kupka
 * Kiki of Paris
 * Roger de La Fresnaye
 * Henri Lebasque
 * Fernand Léger
 * André Lhote
 * Maximilien Luce
 * Kazimir Malevich
 * André Mare
 * Albert Marque
 * Henri Matisse
 * Vadim Meller
 * Jean Metzinger
 * Joan Miró
 * Amedeo Modigliani
 * Piet Mondrian
 * Edvard Munch
 * Henry Ottmann
 * Hippolyte Petitjean
 * Francis Picabia
 * Robert Antoine Pinchon
 * Odilon Redon
 * Jelka Rosen
 * Henri Rousseau
 * Olga Sacharoff
 * René Schützenberger
 * André Dunoyer de Segonzac
 * Georges Seurat
 * Paul Signac
 * Alfred Sisley
 * Léopold Survage
 * Amadeo de Souza Cardoso
 * Sonia Terk
 * Henri de Toulouse-Lautrec
 * Henriette Tirman
 * Vincent van Gogh
 * Louis Valtat
 * Félix Vallotton
 * Jacques Villon
 * Édouard Vuillard
 * Maurice de Vlaminck
 * Othon Friesz

title: Société des Artistes Indépendants


text:
Talk:John Horton Conway

Death
According to this Twitter thread by Colm Mulcahy, John Horton Conway has died. Does anyone have a better source? 70.172.136.61 (talk) 19:03, 11 April 2020 (UTC) Mathematical Association's reply says "Just word of mouth. Haven’t seen any news articles yet." — Preceding unsigned comment added by 77.116.14.252 (talk) 21:26, 11 April 2020 (UTC)
 * From the mathematical association: tweet. Apparently it was COVID-19 related. 24.60.203.99 (talk) 19:53, 11 April 2020 (UTC)
 * I am somewhat uncomfortable with sourcing his death to tweets exclusively, but if the Mathematical Association would've done their own fact-checking, that plus another organization might work. Enterprisey (talk!) 20:43, 11 April 2020 (UTC)
 * Please watch also the disambiguation page John Conway. I've just reverted an edit. Litlok (talk) 21:49, 11 April 2020 (UTC)

1, 2, 3 close associates. Ivanishkin (talk) 21:48, 11 April 2020 (UTC)

I know his wife on social media, and she has confirmed his death. She's spoken about it in private posts, but also mentioned it in a public post... would that be considered a valid source? Here is a link: https://www.facebook.com/photo.php?fbid=10157773435045399&set=a.49711570398&type=3&theater Bzzzing (talk) 00:44, 12 April 2020 (UTC)

This, also: https://twitter.com/SamWangPhD/status/1249132655737790464 --181.115.109.94 (talk) 00:47, 12 April 2020 (UTC)

Elaborating on my comment above... Diana Conway, John's wife, has talked about his condition on private social media for several days, and he had been very unwell (he had contracted coronavirus) since at least the 7th of April, likely even before that. He passed away sometime in the morning hours today (the 11th of April), which she confirmed in a public posts as well. I'm sure there will eventually be a news piece on it, so we could wait for that. I don't know the protocol for using social media posts as sources. He will be missed greatly. Bzzzing (talk) 00:57, 12 April 2020 (UTC)

I haven't been closely following how cause of death is being treated, only to note that it's obviously a matter of contention and debate during this current pandemic. What are the relevant Wikipedia guidelines here? I would not want to see see either false positives or false negatives in the attribution of someone's passing to Covid19. ForestMars (talk) 07:49, 12 April 2020 (UTC)

This is now being reported in The Guardian Westfablomka (talk) 08:12, 12 April 2020 (UTC)
 * Note: based on this tweet. Vincent Lefèvre (talk) 11:18, 12 April 2020 (UTC)

NRC Handelsblad, one of the most reputable newspapers of the Netherlands reported on his death. Or does it have to be an American/UK source? Someone Not Awful (talk) 18:45, 12 April 2020 (UTC)

There seem to be three quite reliable sources out there now: Le Scienze, NRC, and a local obituary in the New Jersey Saddlebrook Daily Voice. Jokullmusic 18:58, 12 April 2020 (UTC)

Wait
 * His wife is a primary source. Can't be used in this case.  — Lentower (talk) 19:45, 12 April 2020 (UTC)
 * Tweets are not a reliable source.  Can't be used in this case.  — Lentower (talk) 19:45, 12 April 2020 (UTC)
 * I translated, using translate.google.com, both Le Scienze & NRC. Neither cites the source of the news of his death. Note knowing that, Wikipedia doesn't trust these as sources. — Lentower (talk) 19:45, 12 April 2020 (UTC)
 * The New Jersey Saddlebrook Daily Voice cites Princeton scientist Sam Wang. We need the info from another quality source, posted in a reliable source. — Lentower (talk) 19:45, 12 April 2020 (UTC)

Does this still need to be protected?
I have some edits I would like to make without having to go through an editsemiprotected request, but the article is still protected. Is there any reason to keep the page protected even now that we've decided there are RSes to support his death? 70.172.136.61 (talk) 04:57, 13 April 2020 (UTC)

Agree that it's appropriate to lift semiprotection now. Billbrock (talk) 05:37, 13 April 2020 (UTC)

Upon reflection, Conway's obituary has not yet been reported in NYT, WaPo, or Princeton homepage. Do we know for certain that he did not rise from the dead on Easter? Billbrock (talk) 05:43, 13 April 2020 (UTC)
 * I'm sure Conway's resurrection will look more like this. 2601:648:8202:96B0:E0CB:579B:1F5:84ED (talk) 05:56, 13 April 2020 (UTC)
 * Hah. There is a April Fool's video JHC made at someone's request with a bad Erdös pun.
 * JHC has his own xkcd memorial now: https://xkcd.com/2293/ 2601:648:8202:96B0:E0CB:579B:1F5:84ED (talk) 04:28, 14 April 2020 (UTC)
 * i once met him at a train station. What was the glider's apgcode? (talk) 22:37, 7 November 2023 (UTC)

 * The AMS is reporting his death. 73.81.117.104 (talk) 16:29, 13 April 2020 (UTC)

 * So is Princeton. 73.81.117.104 (talk) 16:32, 13 April 2020 (UTC)

 * Yes, please unprotect. Aside: Princeton seems to have deleted Conway's faculty page.  It was there yesterday.  It didn't say much though. 2601:648:8202:96B0:E0CB:579B:1F5:84ED (talk) 19:57, 13 April 2020 (UTC)

xkcd
The xkcd comic honoring Conway has been added and removed several times from the article. I don't have a strong opinion either way, but it looks like discussion would be called for before adding or removing it again. Russ Woodroofe (talk) 17:53, 16 April 2020 (UTC)
 * ... and I just reverted removing it again. Let me open discussion.  Perhaps a mention of the comic would fit better (and be less controversial) under "Awards and honours"?  Such a tribute is a sort of an honor. Russ Woodroofe (talk) 10:00, 25 April 2020 (UTC)
 * I say remove it as trivia and WP:UNDUE weight. Opencooper (talk) 21:20, 25 April 2020 (UTC)
 * I agree with Opencooper. —Emil J. 20:51, 28 April 2020 (UTC)

It's been a week, and the only comments have been against inclusion of the webcomic. I agree that it at least doesn't belong in such a prominent place of the article. I'm removing, and will direct any attempting to re-add it to build consensus on the talk page first. Russ Woodroofe (talk) 19:29, 2 May 2020 (UTC)
 * I don't know how prominent it was before, and a prominent showing of it doesn't seem appropriate, but an understated mention (e.g. in awards and honors, or popular culture or something) would be good and I'd support that. It comes down to asking whether it is something readers will appreciate, and I think that it is. 2601:648:8202:96B0:3567:50D5:8BFF:4588 (talk) 11:45, 16 May 2020 (UTC)
 * Oppose. I like the comic, and I would like to have it displayed somewhere, but rather outside Wikipedia. I don't think the encyclopedia bio article is an appropriate place for linking it. --CiaPan (talk) 16:26, 20 May 2020 (UTC)

Requested move on John Conway
I have started a requested move discussion at Talk:John Conway. Discussion and opinions are invited. Thanks, King of ♥   ♦   ♣  ♠ 02:03, 19 April 2020 (UTC)

article organization
I tried to clean up the organization a bit since the new edits from I think the new sectioning was an improvement, but the game of life details were out of place in Career (they didn't focus on career aspects, and Conway's career didn't overlap much with the game of life, which was something he did mostly on the side). The Martin Gardner friendship is OK in career I think, but this section does need expanding with other eras and aspects of his life. Caleb Stanford (talk) 02:50, 25 May 2022 (UTC)
 * Hi, thank you so much for this post and for moving the game of life stuff out of the career section into a new subsection recreational mathematics. I agree ! I didnt know what to do with these 2 weird mega sections, which had existed previously, and I didnt want to delete them either.
 * I totally agree that his career section is too thin; editors so far seem not to have bothered with his bio really, only amassing his research achievements!
 * For example, I noticed on the videos from Princeton (2009) that he must have had a stroke involving his right arm and leg, which I consider a significant piece of his biography, but I do not know sources to "prove" this observation for an entry on his page.--Wuerzele (talk) 09:02, 26 May 2022 (UTC)
 * The move is an improvement, but i don't thin cellular automata er merely recreational mathematics. They are examples and study ground for self-organization. Not sure what a better heading would be, though.--Nø (talk) 10:00, 26 May 2022 (UTC)
 * I agree in principle, but traditionally, the branch of math they fall unto is recreational mathematics. It's not meant to be a diss, it's a valid area of math. It could be headed "cellular automata" or "automata theory" to be more specific. Caleb Stanford (talk) 12:36, 26 May 2022 (UTC)
 * Feel free to (Google-)translate my featured article ru:Конвей, Джон Хортон. Its biographical part is based largely on the brilliant book Genius At Play by Siobhan Roberts. colt_browning (talk) 08:33, 27 May 2022 (UTC)
 * Wow! This is great, amazing work. Hope someone has time to translate it -- I may get to it eventually. Caleb Stanford (talk) 14:25, 27 May 2022 (UTC)

title: Talk:John Horton Conway


text:
File:Enough cameraman.jpg

A cameraman gets the Panavision movie camera ready for a scene on the set of 'Enough.' Picture taken in Gig Harbor, WA. on June 19th, 2001.

Source: Brandon Wholey, 2001.

title: File:Enough cameraman.jpg


text:
User talk:Cheesycow5

Welcome!

Hello,, and welcome to Wikipedia! Thank you for your contributions. I hope you like the place and decide to stay. Here are a few good links for newcomers: I hope you enjoy editing here and being a Wikipedian! Please sign your name on talk pages using four tildes (~~); this will automatically produce your name and the date. If you need help, check out Where to ask a question, ask me on my talk page, or place  on your talk page and someone will show up shortly to answer your questions. Again, welcome! — Knowledge Seeker দ 01:00, 15 Apr 2005 (UTC)
 * The five pillars of Wikipedia
 * How to edit a page
 * Help pages
 * Tutorial
 * How to write a great article
 * Manual of Style

And yes, you are allowed to edit your user page the way you have done. Although many people who view your page probably do have their own :) — Knowledge Seeker দ 01:17, 15 Apr 2005 (UTC)

Wow, a welcoming committee. Thanks for the info, I'll be sure to use it. Cheesycow5 03:30, 15 Apr 2005 (UTC)

Collaboration of the week/History
Oh, thank you thank you thank you for taking the time to research the missing information and adding it in. You are a star. -- ALoan (Talk) 02:21, 28 May 2005 (UTC)

 * Heh, well I just used the tool I made for that: ArticleCount, so if anything new is added, you can just use that. Cheesycow5 02:30, 28 May 2005 (UTC)

 * Well, well done for creating the tool. :) -- ALoan (Talk) 03:42, 28 May 2005 (UTC)

Your tools doesn't work
I tried to use the tools that you designed, but they don't seem to be working. Is there something wrong? CG 08:35, August 22, 2005 (UTC)

Proposal to merge Perry Monument
See talk:Perry Monument. — Eoghanacht  talk 20:16, 2005 September 2 (UTC)

Exceedingly cute ferret
I noticed the unbearably cute ferret picture you uploaded (Awwww...). But I was curious, since you said you just did a google images search, Is the picture public domain or otherwise allowed to be used by wikipedia? Otherwise there might be a copyright problem with the use of the image. You can let me know on my talk page. Thanks a bunch! Peace, delldot | talk 05:25, 8 January 2006 (UTC)

 * Hey, since I didn't hear back from you for a while, I felt I ought to list the image as a copyright violation :( Sorry!  If you can show that wikipedia has permission to use the image, you can upload it again so long as you provide that proof along with the image (like on the talk page).  Thanks!  Peace, delldot | talk 09:17, 11 January 2006 (UTC)

title: User talk:Cheesycow5


text:
List of soccer clubs in Australia

This is a list of soccer clubs in Australia. The Australian soccer league system consists of one national league — A-League Men — a state/territory-based second tier National Premier Leagues (NPL) structure and other state-based metropolitan and regional leagues. Promotion and relegation exists in some states between NPL and state leagues, however not between the A-League Men and the NPL.

List of leagues and divisions
Clubs from the following competitions are included on the list below. Reserve teams, or instances where one club fields teams in multiple divisions, are not included.

 * A-League Men (Level 1)

 * National Second Division (Level 2 from 2025)

 * Capital Football
 * National Premier Leagues Capital Football (Level 2)
 * Capital Premier League (Level 3)
 * Capital Football State League (Levels 4–12)

 * Football NSW
 * National Premier Leagues NSW (Level 2)
 * NSW League One (Level 3)
 * NSW League Two (Level 4)
 * Illawarra Premier League, Western Premier League, Central Coast Premier League (Level 5)
 * Illawarra District League, Central Coast Division One (Level 6)

 * Northern NSW Football
 * National Premier Leagues Northern NSW (Level 2)
 * Northern League One (Level 3)
 * Newcastle Zone League One (Level 4)
 * Newcastle Zone League Two (Level 5)
 * Newcastle Zone League Three (Level 6)

 * Football Northern Territory
 * NorZone Premier League (Level 2)

 * Football Queensland
 * National Premier Leagues Queensland (Level 2)
 * Football Queensland Premier League (Level 3)
 * Football Queensland Premier League 2 (Level 4)
 * Football Queensland Premier League 3 (Central Coast, Darling Downs, Far North & Gulf, Metro, Northern, South Coast, Sunshine Coast, Whitsunday Coast, Wide Bay) (Level 5)
 * Football Queensland Premier League 4 (Metro, South Coast) (Level 6)
 * Football Queensland Premier League 5 (Metro) (Level 7)
 * Football Queensland Premier League 6 (Metro) (Level 8)

 * Football South Australia
 * National Premier Leagues South Australia (Level 2)
 * State League 1 South Australia (Level 3)
 * State League 2 South Australia (Level 4)

 * Football Tasmania
 * National Premier Leagues Tasmania (Level 2)
 * Northern Championship (Level 3)
 * Southern Championship (Level 3)
 * Northern Championship One (Level 4)
 * Southern Championship One (Level 4)
 * Northern Social League (Level 5)
 * Southern Social League (Level 5)
 * Southern Social League Two (Level 6)
 * Southern Social League Three (Level 7)
 * Southern Social League Four (Level 8)

 * Football Victoria
 * National Premier Leagues Victoria (Level 2)
 * Victoria Premier League 1 (Level 3)
 * Victoria Premier League 2 (Level 4)
 * Victorian State League 1 (Level 5)
 * Victorian State League 2 (Level 6)
 * Victorian State League 3 (Level 7)
 * Victorian State League 4 (Level 8)
 * Victorian State League 5 (Level 9)

 * Football West
 * National Premier Leagues Western Australia (Level 2)
 * Football West State League Division 1 (Level 3)
 * Football West State League Division 2 (Level 4)

List of clubs
The divisions are correct for the 2024 and 2024–25 seasons.

title: List of soccer clubs in Australia


text: User talk:198.178.132.254

title: User talk:198.178.132.254


text:
Offense (sports)

In sports, offense (American spelling) or offence (Commonwealth spelling, see spelling differences; pronounced with first-syllable stress; from Latin offensus), known as attack outside of North America, is the action of attacking or engaging an opposing team with the objective of scoring points or goals. The term may refer to the tactics involved in offense, or a sub-team whose primary responsibility is offense.

Generally, goals are scored by teams' offenses, but in sports such as American football it is common to see defenses and special teams (which serve as a team's offensive unit on kicking plays and defensive on returning plays) score as well. The fielding side in cricket is also generally known as the bowling attack despite the batting side being the side that scores runs, because they can prevent batting players from scoring by getting them out, and end the batting team's scoring turn by getting them all out.

In countries outside North America, the term offence is almost always taken to mean an infraction of the rules, a penalty or foul, and attack is more likely to be used where Americans would use offense.

Many sports involve elements of offense and defense, where teams take turns trying to score points while also trying to prevent the opposing team from scoring. Sports that use an offense and defense:

 * American Football
 * Soccer (Football)
 * Basketball
 * Hockey
 * Baseball

How the Offense Works
Baseball's offense revolves around the team trying to get on base and score runs against the opposing team. Each team has nine chances to score runs, with a total of once per inning.

Batting Order

 * The offensive side of baseball follows an order in which the players will take turns “at-bat” or when they face the opposing team’s pitcher. The batting order is a total of nine players long, and the order in which the players are aligned varies from team to team based on skill and strategy.

At-Bat

 * When a player from the batting team steps up to the plate, they face a crucial challenge from the pitcher from the opposing team. The pitcher, a key defensive player, throws the ball toward home plate, aiming to get it past the batter and into the catcher's mitt. The batter's goal is to hit the ball into fair territory, away from the defenders. The batter can get on base by getting a hit or walking.

Hits and Walks
During an at-bat, the batter attempts to reach base by contacting the baseball with the baseball bat and putting it in fair territory without the defense making a play to get them out. Hits are classified in four separate ways:

 * Single – When a batter hits the ball into fair territory and reaches first base safely.
 * Double – When a batter safely hits the ball into fair territory and reaches second base.
 * Triple - When a batter hits the ball into fair territory and reaches third base safely.
 * Home run – When a batter hits the ball into fair territory and it either goes over the fence without touching the ground, the batter is awarded all four bases and scores a run. An inside-the-park home run occurs when a player hits the ball into fair territory and reaches home plate safely after touching all other bags.
 * Walk – A walk occurs when an at-bat ends if the pitcher throws four “balls” before throwing three “strikes” or the batter puts the ball in play.

Base-Running
Once a batter reaches base, they becomes a baserunner. Baserunners can advance to the next base on subsequent hits, walks (when the pitcher throws four balls outside the strike zone), or when they steal a base (attempt to advance while the pitcher is delivering the ball). Baserunners must touch each base in order, and they can be tagged out by defenders with the ball.

Scoring Runs
The batting team's objective is to score runs. A run is scored when a baserunner successfully advances around all four bases and touches home plate before the defensive team can record three outs.

Outs
The batting team has three outs per inning to try to score runs. An out can occur in various ways, including striking out (when the batter fails to hit the ball after three strikes), getting caught by a fielder, or by force outs (when a fielder with possession of the ball reaches a base before the baserunner).

Strategy
Offense in baseball also involves strategic decisions by the batters and coaches. This includes bunting (purposefully tapping the ball lightly to advance baserunners), stealing bases, hitting for power, and executing hit-and-run plays.

Notable Offenses

 * 1927 New York Yankees

 * 1975 Cincinnati Reds

 * 2001 Seattle Mariners

American Football
In football, the offense is the team with the ball and trying to score points. At the start of the game, the offense gets the ball first. The main goal of the offense is to move the ball down the field toward the opponent's end zone. This is done by running with the ball or throwing it to the offensive teammates. The offense has four chances (called downs) to move the ball at least 10 yards. If the offense succeed, they get another set of downs. If the offense does not, the other team will get the ball. The offense uses different strategies and plays to outsmart the defense and move the ball efficiently and effectively. The coaches design these plays and involve players running specific routes, blocking opponents, and making quick decisions with the ball.

Scoring
The ultimate aim of the offense is to score points. They can do this by carrying the ball into the opponent's end zone for a touchdown (worth 6 points) or by kicking the ball through the opponent's goalposts for a field goal (worth 3 points). If they score a touchdown, they can also score an extra point by kicking the ball through the goalposts (1 point) or running or passing the ball into the end zone (2-point conversions).

The offense's job is to advance the ball down the field and score points while avoiding turnovers and getting stopped by the defense.

Offensive Positions

 * Quarterback (QB): Leader of the offense. They call plays, receive the snap, and pass the ball to a teammate or hand it off to the running backs.

 * Running Back (RB): Lines up behind or beside the quarterback and primarily carries the ball. They can also be used as receivers in passing plays or blockers to protect the quarterback.
 * Wide Receiver (WR): Lines up on the outside edges of the offensive formation. Their primary role is to catch passes from the quarterback and advance the ball down the field. They must be fast, agile, and skilled at catching the ball in traffic.
 * Tight end (TE): Versatile players who line up on the offensive line next to the tackles but can also split out wide like a wide receiver. They are often used as blockers in running plays or pass protectors in passing plays. Additionally, tight ends can catch passes and are a valuable receiving option for the quarterback.
 * Offensive line (OL): Consists of five players: the center, two guards, and two tackles. Their primary job is to protect the quarterback from the defense's pass rush and create openings for the running backs by blocking defensive players. The center starts each play by snapping the ball to the quarterback.

=== Notable Offenses ===

 * 1994 San Francisco 49ers
 * 1981 San Diego Chargers
 * 2007 New England Patriots

title: Offense (sports)


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Talk:Brown Sahib

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Just wanted to put something down here. Please expand if you can. 24.218.24.39
 * There used to be an article devoted to the book "The Brown Sahib" by the late Tarzie Vittachi, but someone seems to have deleted it. Strangely his article mentions only his political books, which can't have been as widely read. The topic must have been discussed in newspapers and magazines published in India and other ex-colonial countries in the 1960s, but those are unlikely to be available on-line. Sanctimonious "Indo-Americans" are unlikely to have taken notice of it. NRPanikker (talk) 13:34, 5 August 2019 (UTC)

title: Talk:Brown Sahib


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Brandon Backe

Brandon Allen Backe (born April 5, 1978) is a former pitcher in Major League Baseball (MLB). He played for the Tampa Bay Devil Rays and Houston Astros during his career, and appeared in the 2005 World Series as a member of the Astros.

Originally a position player, Backe was drafted as a second baseman and played in the outfield in the minor leagues prior to converting to pitching.

High school and college
Backe starred for Ball High School in Galveston, Texas where he was a two-time team MVP in baseball and earned all-district honors. He was selected by the Milwaukee Brewers in the 36th round of the 1996 Major League Baseball Draft, but chose to stay close to home and played his collegiate baseball at Galveston College where he earned third-team All-America honors in 1998. Primarily an infielder, he pitched only 26 total innings for the Whitecaps. Other notable Whitecap players on Backe's team included Pete Orr and Seth Foreman.

Minor leagues
Backe was selected by the Tampa Bay Devil Rays in the 18th round of the 1998 Major League Baseball Draft. During his first three seasons in the minor leagues, he played every infield and outfield position. In fact, the two innings that he pitched for the rookie league Princeton Devil Rays in 1998 were the only time he spent on the mound during that time. In spite of his steady glove and versatility, it was clear that a light-hitting utility player had a very small chance of making the major leagues. In 2001, he changed positions to pitcher and found immediate success. He rose through the ranks of the pitching-depleted Tampa Bay system climbing from Single-A to the major leagues in just a season and a half.

2002
In just his second season as a pitcher, Backe was recalled on July 16, from the Double-A Orlando Rays and pitched nine times for the Devil Rays. He posted a 6.92 ERA giving up 10 runs in 13 innings, however 7 of those runs came in one outing - the first game of a July 23 doubleheader at Fenway Park, a game the Rays lost 22-4 and in which Backe allowed a pair of home runs to Nomar Garciaparra in one inning.

2003
Backe began the season in the minor leagues, but was recalled on May 16 when John Rocker was optioned. He earned his first big league win on August 1 at Kansas City with four scoreless innings of relief. He had a 9-outing stretch from July 22 to August 21 in which he pitched to a 1.42 ERA over 19 innings, lowering his ERA from 6.06 to a season-low 3.60.

Houston
In December, his hometown team, the Houston Astros, acquired Backe from the Devil Rays for Geoff Blum.

2004
In 2004, Backe shuffled between Triple-A and the majors, pitching out of the bullpen when he was with the Astros. On August 21, Backe was called up for his first major league start, where he ended up limiting the Chicago Cubs to four hits and no runs over seven innings. After that start, Backe became a permanent member of the Astros rotation, going 4–2 over the final two months of the season.

Entering their final regular-season game against the Colorado Rockies on October 3, the Astros needed a win to clinch a playoff spot. Although Roger Clemens was scheduled as the starting pitcher for that game, he was sidelined by a stomach virus, forcing manager Phil Garner to press Backe into starting duty the morning of the game. Backe performed well on his short notice, surrendering only 2 runs over 5 innings as the Astros beat the Rockies 5-3 and edged out the San Francisco Giants for the team's first playoff berth since.

Backe's star continued to rise during the 2004 playoffs. After earning a win in Game 3 of the NL Division Series against the Atlanta Braves, Backe gained national attention with an eight-inning, one-hit performance against the St. Louis Cardinals in Game 5 of the NL Championship Series. Going toe-to-toe with Cardinals starter and Houston native Woody Williams, Backe carried a perfect game into the 5th inning and a no-hitter into the 6th inning, surrendering only a bloop single to St. Louis second baseman Tony Womack. Backe's pitching performance set the stage for Jeff Kent's walk-off home run in the ninth inning, giving the Astros a 3–2 series advantage headed back to St. Louis, however the Astros lost both subsequent games and the series.

2005
Backe started the season in the Astros starting rotation, going 10–8 with a 4.76 ERA in his first full season as a starter. Backe performed well in the Astros second-consecutive postseason appearance, including a five-hit, seven-strikeout performance in Game 4 of the 2005 World Series.

2006
In the season, Backe was the Astros No. 4 starter. But after two starts he went onto the disabled list for three months. He returned in late July, but on August 19 he sprained a ligament in his right elbow was placed on the disabled list again. This injury required Tommy John surgery, which was successfully performed on September 7, 2006.

2007
Although Backe's recovery time was slated at 12–18 months, he rehabbed aggressively and made his return on September 4. In his return, he gave up 4 runs (3 earned) in 5.2 innings, taking the loss, but won his last 4 starts of the season for an ERA of 3.77.

2008
During the season, Backe was totally healthy and made 31 starts for the Astros, although it turned out to be a disappointing year for him, as he went just 9–14 with a 6.05 ERA. He led the majors in home runs allowed, with 36, in home-runs-per-9 innings (with 1.9), in home runs per plate appearance (with 4.8%), and in highest-slugging-percentage-against (.544) and OPS-against (.920).

On October 5, 2008, Backe was arrested, along with nine others, after being involved in a fight at a wedding. He was charged with interfering with a police officer and resisting arrest, but a grand jury declined to indict him. On October 18, 2008, it was reported that Backe's attorney filed a complaint with the FBI, claiming that Backe's and the other arrested citizens' civil rights had been violated by the officers. In 2014, in a federal lawsuit that he and others who were injured at the wedding brought against several Galveston, Texas police officers, Backe testified that he heard a cry referring to Cole O'Balle, the brother of the bride:

Backe said he ran to the sound and encountered O'Balle face down on the ground and surrounded by police, his face bloody and the prongs from a stun gun stuck in his back. O'Balle was flown by helicopter to a Houston hospital.

Backe said officer Nicholas McDermott "screamed, 'back the f--- up." Backe said he could back up no farther and told the officer, "Chill out, we can't back up. You've got enough room." At that point several officers attacked him, he said, striking him as he fell to the ground and continuing to beat him until his face was bloody. One kicked him in the face, he said.

When he fell, his shoulder struck a concrete curb that separated the sidewalk from a garden. He said officers kept beating him while he was down. "I hit the ground hard and they just got on top of me," he said. Backe contends that this is when his shoulder was so badly damaged it ended his career.

2009
Backe was designated for assignment on June 26, 2009. Backe had an ERA of over 10 for the Astros in 2009, including 7 relief appearances and one start. The young Felipe Paulino replaced him on the roster as he was recovering from an injury. On June 29, 2009, Backe was released by the Astros.

title: Brandon Backe