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Canadian Improv Games

The Canadian Improv Games (CIG) is an education based format of improvisational theatre for Canadian high schools. To participate in the games, high school students form teams of up to 8 players and are required to pay a registration fee (if their school is not able to cover the cost). The teams compete in regional tournaments, organized and coordinated by regional Canadian Improv Games volunteers. Players perform improvised scenes, fuelled by suggestions provided by the audience. Each scene is judged based on a fixed rubric. The winning team from each region proceeds to the National Festival and Tournament held in Ottawa. The National Arts Centre is a major sponsor of the Canadian Improv Games. The National Arts Centre is the site of the National Festival and Ottawa Tournament. The Games were created by Jamie "Willie" Wyllie and Howard Jerome, based on a concept originally conceived by David Shepherd and Howard Jerome. David Shepherd was the producer of North America's first professional improvisational theater The Compass Players in Chicago, which, was the forerunner of the Second City.

Format
There are three official formats of the Canadian Improv Games: National tournament, Junior tournament, & Online Wildcard.

The National Tournament
The National Tournament has run for over forty years and was developed with the input of hundreds of teachers and professional improvisers. The five events of the CIG challenge improvisers and their team to show a wide range of skills within a short period of time. The format also allows for the improvisers to demonstrate and develop social and life skills such as listening, cooperation, teamwork, and being able to work under pressure. The top 18 teams from the Regions across Canada travel to Ottawa to compete one night, with the top 5 moving forward to the National Finals.

The Online Wildcard Tournament
The Online Wildcard is open to registered Canadian Improv Games student teams and offers an additional opportunity to receive feedback on their performances from CIG judges and trainers while also getting an extra chance to qualify for the National Tournament in Ottawa. Teams submit a video of their events taped in front of a live audience. Once submitted these are then sent to the Online Wildcard Judges and Adjudicators who will then send crucial feedback that will help the growth of the team and to select a winner.

The Junior Tournament
The Junior Tournament is similar to the National Tournament with a few exceptions. Its focus is on younger students, grades 7–10, and was created to help build strong leadership skills within younger students. This format also focuses younger improvisers on the basic scene structure with the addition of the Open Event. This additional format also allows for more stage time for younger players to gain confidence and performance experience in front of an audience.

The teams consist of no more than eight performing members. Teams are given the option of maintaining 2 alternate players; it is recommended that teams have no less than five players.

There are 5 events in the Canadian Improv Games, including: Life, Character, Style, Story and Theme (and open as opposed to life in junior tournaments). Teams must perform 4 of these 5 events, including mandatory Theme and Life scenes. During a night of play, the players will provide the audience with an ask-for. An ask-for is used to specify the type of suggestion the team requires to fuel their scene. An ask-for can be a variety of things, ranging from, the title of a song, a non-geographical location, or simply an adjective. Scenes may last up to 4 minutes, and a whistle will be blown when the allotted time is up. The team is not penalized for the having the whistle blown, it simply means the end of the scene. However, they are not required to use the entire 4 minutes. Before performing a scene, the players may 'huddle' for up to 15 seconds to prepare and briefly discuss the upcoming scene. This also allows the opportunity for players to discuss the suggestion. Time calls from linespersons change and vary depending on location but one minute and thirty second time calls have been implemented in the 2008 season.

Judges are Canadian Improv Games volunteers, often accredited with theatre and improv experience. They are responsible for watching and scoring each scene in a given round. Each judge has a maximum of fifty-nine points available to award to each scene. Although there is no question that improvisation is an artistic and creative endeavour, judges also take into consideration an array of specific technical skills. These skills are making and accepting offers, advancing, listening, commitment, stakes, and staging. Judges can also awards points for skill of the event, use of suggestion, interest, and risk. Most scenes incorporate the "five elements" which include, location, relationship and characters, conflict, raising of the stakes, and a resolution. Scenes are judged out of a maximum total of 59 points.

2021 Season, An Online Experiment?
In the 2021 season due to the outbreak of COVID-19 and it not being safe to continue on with the tournament in person the games were continued with a fully online tournament. In which there was three categories and three winners. A category for all junior teams, a category for senior teams who can meet safely in person, and a category for senior teams who can not meet safely online and have to do their scenes and work online, over zoom or google meet mainly.

Night of Play
Each team will perform on at least one night of play in their regional tournament throughout the duration of the school year. The regional tournament is the competitive culmination of a season’s worth of training, practicing, rehearsing and performing. Many regions hold exhibition nights of play in addition to the competitive tournament.

At regional and nationals a typical night of play goes like this: • Teams arrive early to warm up and provide the head referee with the events they will play that evening. • As show time approaches, the team lines up backstage. • Referees introduce themselves on stage, then the teams. • Head referee leads everyone in recitation of the Canadian Improv Games Oath. • Head referee announces which team will play and what event will be played. The order in which teams appear in each round is randomized ahead of time. • Teams solicit suggestions from the audience with the aid of the referees. • Once the chosen suggestion(s) are announced, the team has 15 seconds to huddle, and then the play begins. • Each scene has a four minute time limit, although teams can end the scene at any time during that time period. • Once the scene is done the team sits, and the referee calls out the next team and event. Repeat. • The judging panel is often introduced between rounds along with other relevant announcements and an intermission. • After all play has completed, judges go backstage to tally their scores, and referees/ volunteers spend time with the audience (read: stalling). This is a great time to do What’s In The Box or other announcements. • A referee or judge reads out the scores.

CIG season overview
Each Regional tournament will offer a number of workshop and performance opportunities to teams throughout the year. The Season typically runs September to February, with registration starting in September, Workshops October & November and Exhibition rounds December & January. Regional Tournaments, depending on the region will happen in January or February with the National Tournament taking place in April.

Depending on how large a region is both geographically and team-wise there may be an introduction to Zones, winners of Zones move on to the Regional Tournaments semi-finals and finals round.

Regions

 * Vancouver (Lower Mainland)
 * Vancouver Island
 * Alberta
 * Regina
 * Winnipeg
 * Sudbury
 * Greater Toronto
 * Kingston
 * TriCity Area
 * Ottawa
 * Montreal
 * Moncton
 * Halifax
 * St John's
 * (Online tournament)

Events
If a team is provided a suggestion that they do not understand they are allowed to request a definition, which is supplied by either a judge or referee. If a team has used the given suggestion previously, they are to do a different scene from the one they’ve done with the same suggestion.

Life
In the Life event the team must present an improvised scene "honestly and sincerely." This may include "moments" in people's lives or merely a realistic representation of an unrealistic situation. Events in a life scene must be dealt with truthfully. The premise of a scene can range from a first date or family trauma to the car not starting. The life event is not intended for broad laughter. Entertainment and humorous moments are generated from the reality of a situation or sincerity of an interaction. A common ask for in this event is "a crisis in a teenager's life." Dated versions of the Life Event stipulated "a pivotal moment in a teenager's life," as an obligatory ask-for. This is the best event.

Story
In the Story event, a team must perform "an original story in an improvised setting, including an aspect of narration." Forms of narration vary. Each improvised story must contain a beginning, middle, and end, not necessarily in that order. This is another event where the team will ask the audience for a suggestion or inspiration before they begin. It is of utmost importance that these three sections are obvious to the audience, because it is those elements that define the scene as a story.

Character
The Character event does not have to be a scene but it usually ends up being one, as the main purpose for this event is to show how well the team can develop and use a character that they create usually based on audience suggestion. It is usually best when a character trait is blown out of proportion or if the character is placed in a situation that would make them stand out. Anyone on the team can use a trait given by the audience, sometimes creating two characters on the same trait, or one on the original trait, and another on its antithesis. The team will usually ask for a character trait to use in their about-to-be-developed character(s) before they begin and some teams will even ask for other suggestions as well that they can use for inspiration, although teams may also ask for something like a location from which to derive their characteristic(s)- i.e. a haunted house would be 'creepy'. Players should be careful, however that the Character Event does not become the "Character Trait" event. The purpose of this event is not to show forty-seven ways to be greedy. The purpose is to create a character; a character trait is only a small (but still prominent) part of that character. The improviser should have an idea of what that character is like in all facets; not just a trait, but for example, what kind of friends that character has, what activities the character might enjoy, even a small sampling of some past experiences that character might have had. The character must be fully formed and plausible. (Can be wacky, and over the top, but they cannot be downright impossible to believe). A good Character scene is when other members are continuously endowing the character and giving him/her chances to show off the character trait.

Theme
In the Theme event, the teams are "given a theme which they must explore in one or more scenes." Theme is quite unique and different from the other games as unlike the other events where the inspiration and suggestion comes from the audience, theme suggestions can come in various ways and is usually given to the team by the host. However, if the team wishes, they are allowed to ask for another suggestion from the audience. For example, this could be a location in which to explore the theme in. Suggestions could be fortune cookie sayings, haiku or just a single word. Once given their theme suggestion teams must explore that theme in as many ways as possible. This may be done as one scene or as a series of vignettes (the overwhelmingly most popular approach, also known as the Harold style). The connection to the theme may be literal or figurative.

Style
Style showcases the team's ability to portray a certain genre of media, usually from film, theater or television. Mime, cheesy horror film, slam poetry, Musical theater, Shakespearean play, and infomercial are examples of different styles that have been seen in performances. Teams may put a lot of research into the style. They are not meant to parody a genre but actually produce an example of that genre. A team performing a style event must tell the audience attributes of their specific style before play for sake of scoring. For example; in the style of "mime", players will not speak and all objects will be pantomimed.

Open
A handle (suggestion) is taken from the audience, as chosen by a referee. Suggestions may include occupations, relationships, non-geographical locations or objects. This event consists of one scene, from beginning to end, without narration. It is very similar to Story. This style is not performed during Nationals however it is often seen at practice competitions such as Moncton's November tournament. Open is a popular event for junior competitions.

Oath
Before every show begins, everyone must rise and place their right hand over their heart, and their left hand on a "G-rated body part" of someone next to them. A referee will begin reciting the Oath as the audience and players repeat it:

 * We have come together
 * In the spirit of loving competition,
 * To celebrate the Canadian Improv Games.
 * We promise to uphold the ideals of improvisation,
 * To co-operate with one another,
 * To learn from each other,
 * To commit ourselves to the moment,
 * And above all…
 * To Have A Good Time!

Warm-up
Teams generally meet up about an hour before the show to warm-up altogether with the referees. The overall purpose of the games is to be a "loving competition", so a joint warm-up helps with this feeling of camaraderie, the referees tend to spread out the teams into groups of members of other teams as to build a friendly bond for the competition.

"What's. In. The box?"
French: ''C'est quoi dans la boite? Je ne sais pas!; Russian: Что в коробке?''

"What's in the box" is a popular Improv fundraiser in which the hosts gather a variety of prizes, put them in a box, and sell off raffle tickets for various prices. Halfway through the show the officials will give a hint distantly related to the contents of the box when time comes the official will explain the clue usually in a run on sentence. As prizes are given out the teams are encouraged to say there are more as the official prompts by saying "But wait..." prior to pulling out another object. The many mystery prizes within the box will be revealed and usually tied to a theme by the presenters as drawn out of the box. These prizes are often "silly" prizes such as odd books and bars of soap as well as Canadian Improv Games merchandise. Often a "real" prize will also be offered for selection (such as chocolates, CDs and gift cards), in which case two raffle winners are selected and often have to participate in a small competition to see who gets to choose their prize first.

1995 YTV Broadcast
For the 1995 season YTV (TV channel) did a broadcast showing all of the teams that made the finals.

CBC Gem Documentary Series
For the 2019 season Andrew Phung of Kim's Convenience fame, along with CBC Television made a mini documentary series on the canadian improv games national festival interviewing the five teams who made the finals, and the sixth place team who barely missed.

At the 2021 Canadian Screen Awards Andrew Phung won the award for best host, web program or series for his work on the CBC series.

title: Canadian Improv Games


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User:Sturgeonslawyer

Sturgeonslawyer is the occasional online cognomen of a writer of technical training and other stuff, residence in the San Francisco Bay area. He has been active in various online communities, most but not all related in some way to science fiction and fantasy, since the 1970s.

The name "Sturgeonslawyer" is, of course, a contraction of "Sturgeon's Lawyer," which derives in turn from Sturgeon's Law, coined by Theodore Sturgeon, in the form "99% of everything is crap." As a reviewer of books since the 1970s, and more recently of music CDs, Sturgeonslawyer feels it his task not to lambaste the huge amount of bad work he encounters, but to seek the elusive 1% and share it with others. "A 'killer review' can be fun to read, but doesn't really help me find things I would enjoy."

Sturgeonslawyer also writes stories and songs, and has occasionally published and performed them.

His special interests include Christianity, science fiction and fantasy (SFF), progressive rock music, philosophy, and sleeping.

Sturgeonslawyer thinks that excessive use of hyperlinks in a Web page is a clear sign of a diseased mind.

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

title: User:Sturgeonslawyer


text:
Talk:USS Nimitz

External links modified
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 * Added archive https://web.archive.org/web/20111005060527/http://www.hs6.navy.mil/index.html to http://www.hs6.navy.mil/index.html

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External links modified (January 2018)
Hello fellow Wikipedians,

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 * Added archive https://web.archive.org/web/20090906214819/http://www.navy.mil/local/story_archive.asp?id=49 to http://www.navy.mil/local/story_archive.asp?id=49

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USS Nimitz Title
The Title should include the designation "(CVN-68)" — Preceding unsigned comment added by Paulgar8 (talk • contribs) 20:02, 3 January 2019 (UTC)

 * A small group of powerful users has determined that the "(CVN-68)" is unnecessary because it is cryptic and American. Sorry. - BilCat (talk) 00:35, 4 January 2019 (UTC)

 * As one member of this supposed cabal, it's simply the application of long-standing policy (namely, WP:PRECISE). Article titles should be no longer than they need to be to identify the subject, and as hull numbers are not part of the subject's name, they don't need to be included in the article title. Their purpose is disambiguation (both for our purposes and the Navy's) and where there is no need for disambiguation here, we don't need to slavishly repeat them. It's the same reason we don't need year of launch disambiguators for ships that are the only vessels to bear that name. If and when there is a second USS Nimitz, we can add the hull number to make clear we're talking about the CVN-68 Nimitz, not the CVN-XX one. Parsecboy (talk) 13:09, 18 January 2022 (UTC)

 * Even within WP:PRECISE, there are examples of where further disambiguation is permitted for consistency reasons, such as for state highways. There certainly is some support for doing it for ships too. BilCat (talk) 13:59, 18 January 2022 (UTC)
 * Sure, but WP:CONSISTENCY specifically points to topic-specific naming guides, and WP:NCSHIPS specifically rules out using disambiguators when they aren't necessary. Parsecboy (talk) 16:45, 18 January 2022 ;;(UTC)
 * Don't bother, the cabal and their spokesperson here won't give in on this, no matter how ridiculously inconsistent it makes USN ship articles look... (imo) -  wolf  02:18, 19 January 2022 (UTC)

 * He's not the spokesperson, but the leader. But I want it on record that there are dissenters who object to their rule of iron and misuse of their admin privileges to enforce their prejudices. BilCat (talk) 03:04, 19 January 2022 (UTC)
 * I would think that posting at wt:ships and wt:milhist would create a more effective record and possibly attract some useful attention to the situation. Just cuz they had a supposed consensus to support this way back whenever, doesn't mean that would be the case now. Consensus can always change. -  wolf  03:24, 19 January 2022 (UTC)

 * We'll see what happens. I'm just testing the waters at the moment. If you want to take lead on it now, that's fine with me. But I'm waiting too. BilCat (talk) 03:57, 19 January 2022 (UTC)

Link needed?
Shouldn't this article link to USS Nimitz UFO incident? Te Nimitz article seems to me where people would look for information on this event. Kdammers (talk) 08:30, 7 March 2019 (UTC)
 * Its already noted and linked in the "2000s" section, in 2004. - wolf  06:34, 8 March 2019 (UTC)

title: Talk:USS Nimitz


text:
Talk:André Bettencourt

Untitled
Some dates need correcting here. If he was born in 1919, he wasn't even in lycée until 1935 or so, and La Cagoule wasn't started until 1935, so what exactly does it mean that he was "a fascist sympathizer, active in La Cagoule" "in the 1920's and 1930's"? --Macrakis 22:51, 7 Apr 2005 (UTC)

How come Jean-Pierre Meyers (1948) lost both his parents in Auschwitz? Auschwitz was closed three years before he was born.

The man "was awarded for his bravery in the Resistance against the Nazis." while he "wrote more than 60 articles for La Terre Francaise, a newspaper that flourished with German Nazi financing during the occupation of France. In a special Easter issue in 1941, he described Jews as 'hypocritical Pharisees' whose 'race has been forever sullied by the blood of the righteous. They will be cursed' ." with no further explaination, this seems strange to say the least. 81.56.95.241 (talk) 22:44, 7 July 2010 (UTC)

title: Talk:André Bettencourt


text:
List of patrol vessels of the Royal Navy

This is a list of patrol boats of the Royal Navy.

Active

 * Archer-class patrol vessel patrol and training craft
 * Archer
 * Biter
 * Smiter
 * Pursuer
 * Blazer
 * Dasher
 * Puncher
 * Charger
 * Ranger
 * Trumpeter
 * Tracker
 * Raider
 * Express
 * Example
 * Explorer
 * Exploit
 * River-class offshore patrol vessel offshore patrol craft
 * Tyne
 * Severn
 * Mersey
 * Forth
 * Medway
 * Trent
 * Tamar
 * Spey

Former

 * Scimitar-class patrol vessel Gibraltar patrol craft
 * Scimitar
 * Sabre
 * River-class offshore patrol vessel offshore patrol craft
 * HMS Clyde (P257)
 * MTB 102 motor torpedo boat
 * Gay-class patrol boat interchangeable motor gunboat / torpedo boats
 * HMS Gay Archer (P1041) - launched 20 August 1952
 * HMS Gay Bombardier (P1042) - launched 20 August 1952
 * HMS Gay Bowman (P1043) - launched 19 December 1952
 * HMS Gay Bruiser (P1044) - launched 19 December 1952
 * HMS Gay Carabineer (P1045) - launched 22 January 1953
 * HMS Gay Cavalier (P1046)- launched 23 January 1953
 * HMS Gay Centurion (P1047) - launched 3 September 1952
 * HMS Gay Charger (P1048) - launched 12 January 1953
 * HMS Gay Charioteer (P1049) - launched 12 June 1953
 * HMS Gay Dragoon (P1050) - launched 28 January 1953
 * HMS Gay Fencer (P1051) - launched 18 February 1953
 * HMS Gay Forester (P1052) - launched 23 March 1954
 * Dark-class patrol boat interchangeable motor gunboat / torpedo boats
 * HMS Dark Adventurer (P1101) - launched 28 October 1954
 * HMS Dark Aggressor (P1102) - launched 9 December 1954
 * HMS Dark Antagonist (P1103) - launched 11 December 1954
 * HMS Dark Avenger (P1105) - launched 6 September 1955
 * HMS Dark Biter (P1104) - launched 23 June 1955
 * HMS Dark Buccaneer (P1108) - launched 30 September 1954
 * HMS Dark Clipper (P1109) - launched 9 February 1955
 * HMS Dark Fighter (P1113) - launched 4 October 1955
 * HMS Dark Gladiator (P1114) - launched 5 December 1956
 * HMS Dark Hero (P1115) - launched 16 March 1957
 * HMS Dark Highwayman (P1110) - launched 29 March 1955
 * HMS Dark Hunter (P1116) - launched 18 March 1954
 * HMS Dark Hussar (P1112) - launched 16 May 1957
 * HMS Dark Intruder (P1118) - launched 6 July 1955
 * HMS Dark Invader (P1119) - launched 5 September 1955
 * HMS Dark Killer (P1111) - launched 26 September 1956
 * HMS Dark Rover (P1107) - launched 30 August 1954
 * HMS Dark Scout (P1120) - launched 20 March 1958
 * Harbour Defence Motor Launch designed for harbour defence but used in general escort and patrol roles.
 * Ford-class seaward defence boat seaward defence boats
 * HMS Shalford (P3101)
 * HMS Aberford (P3102)
 * HMS Axford (P3103)
 * HMS Beckford (P3104)
 * HMS Brayford (P3105)
 * HMS Bryansford (P3106)
 * HMS Camberford (P3107)
 * HMS Desford (P3108)
 * HMS Greatford (P3109)
 * HMS Gifford (P3111)
 * HMS Droxford (P3113)
 * HMS Mayford (P3114)
 * HMS Hinksford (P3115)
 * HMS Ickford (P3116)
 * HMS Dubford (P3119)
 * HMS Glassford (P3120)
 * HMS Kingsford (P3121)
 * HMS Marlingford (P3122)
 * HMS Tilford (P3123)
 * HMS Montford (P3124)
 * Bold-class patrol boat experimental gas-turbine powered attack craft
 * HMS Bold Pathfinder (P5720) (1951) - scrapped 1962
 * HMS Bold Pioneer (P5721) (1951) - scrapped 1958
 * Ton-class minesweeper Hong Kong patrol craft
 * HMS Beachampton (M1107) (1953)
 * HMS Monkton (M1155) (1956)
 * HMS Wasperton (M1189) (1956)
 * HMS Wolverton (M1193) (1957)
 * HMS Yarnton (M1196) (1956)
 * Brave-class patrol boat fast attack craft
 * Brave Swordsman (1959)
 * Brave Borderer (1960)
 * Endurance ice patrol ship (converted 1968)
 * Tenacity fast patrol craft (1973)
 * Scimitar-class fast training craft
 * HMS Scimitar (P271) (1970)
 * HMS Cutlass (P274) (1970)
 * HMS Sabre (P275) (1971)
 * Bird-class patrol vessel large patrol craft
 * HMS Kingfisher (P260) (1975)
 * HMS Cygnet (P261) (1976)
 * HMS Peterel (P262) (1977)
 * HMS Sandpiper (P263) (1977)
 * HMS Redpole (P259) (1985)
 * Small Bird-class patrol vessel patrol craft
 * HMS Cormorant (P256) - commissioned 1985
 * HMS Hart (P257) - commissioned 1985
 * HMS Jura (P296) (1972) offshore patrol craft
 * Island-class patrol vessel offshore patrol craft
 * HMS Jersey (P295) (1976)
 * Guernsey (1977)
 * Shetland (1977)
 * Orkney (1977)
 * Lindisfarne (1978)
 * Anglesey (1979)
 * Alderney (1979)
 * Castle-class patrol vessel offshore patrol craft
 * Leeds Castle (1981)
 * Dumbarton Castle (1982)
 * Attacker-class patrol boat patrol and training boat
 * Attacker (1983) to Lebanon 1992 as Trablous
 * Chaser (1983) to Lebanon 1992 as Jbeil
 * Fencer (1983) to Lebanon 1992 as Jounieh
 * Hunter (1983) to Lebanon 1992 as Saida
 * Striker (1983) to Lebanon 1992 as Arz
 * Falkland Island patrol craft
 * Protector (1983)
 * Guardian (1983)
 * Sentinel (1984)
 * Peacock-class patrol vessel Hong Kong patrol craft
 * Swallow (1984) to Ireland 1988 as Ciara
 * Swift (1984) to Ireland 1988 as Orla
 * Starling (1984) to Philippines 1997 as Artemio Ricarte
 * Peacock (1984) to Philippines 1997 as Emilio Jacinto
 * Plover (1984) to Philippines 1997 as Apolinario Mabini


text: Template:Saint-stub

title: Template:Saint-stub


text:
Embassy of South Africa, Washington, D.C.

The South African Embassy in Washington, D.C. is the diplomatic mission of the Republic of South Africa to the United States. It is located at 3051 Massachusetts Avenue, Northwest, Washington, D.C. in the Embassy Row neighborhood.

History
South Africa sent its first delegation to the United States in 1929. In 1949 it was raised to a formal embassy. The embassy buildings were built in 1936. Previously the delegation had been housed in a series of leased properties.

The original portion now serves as the ambassadorial residence and a new chancery wing was built next door in 1964. Both structures are in the Cape Dutch style, but with Indiana limestone instead of the traditional whitewashed plaster. The complex is no longer large enough to house the entire ambassadorial delegation service, and is being renovated.

The embassy is temporarily located at 4000 Connecticut Avenue NW, and several offices are located in an annex at 4301 Connecticut Ave NW Suite 220.

The embassy was the target of the anti-apartheid movement in the United States].


text:
Tofiq Bahramov

Tofiq Bahramov (Tofiq Bəhramov; Тофик Бахрамов; 29 January 1925 – 26 March 1993) was a Soviet footballer and football referee from Azerbaijan.

He was notable for being the linesman who helped to award a dubious goal for England in the 1966 FIFA World Cup Final against West Germany. He came to be wrongly referred to as "the Russian linesman" in England as a result of his decision and his Soviet citizenship, although he was not Russian but Azerbaijani. As a referee earlier in the tournament, he drew attention for denying a Swiss goal in a first-round game between Switzerland and Spain.

After his death in 1993, Azerbaijan's then national stadium was renamed the Tofiq Bahramov Republican Stadium in his honor.

Career
Bahramov was originally a footballer playing for Neftçi PFK, but a serious leg injury prevented him from continuing his playing career and he became a referee. He was elected onto the FIFA panel of referees in 1964. In the 1966 World Cup he officiated as a linesman for both the opening match and the Final, and refereed a first round match. In the 1970 World Cup he officiated at three matches including a semi-final. In 1972, he refereed the first leg of the UEFA Cup Final between the English clubs Wolverhampton Wanderers and Tottenham Hotspur. After retiring as a referee, he subsequently served for some years as general secretary of the Football Federation of Azerbaijan.

"Wembley Goal"
In the 1966 World Cup Final, with the score at 2–2 and after 11 minutes of the first period of extra time, Geoff Hurst of England fired a shot on goal which bounced off the crossbar sharply downwards, hit the ground, and then spun backwards away from the goal. There were some moments of indecision by referee Gottfried Dienst before he noticed that Bahramov, who was the linesman at that end of the ground, was signalling to him. Eventually, Dienst awarded a goal to England, who went on to win the game 4–2.

The decision to award the third England goal is still debated. It is generally believed in Germany that Bahramov made a mistake. The goal has entered the German vernacular, as any situation in which a ball hits the crossbar and is reflected downwards, landing just before or behind the goal line before spinning back into the penalty area, is described as a "Wembley-Tor". In England, many newspapers referred to the "Russian linesman" who awarded the goal, as Azerbaijan was part of the Soviet Union at the time, and the nickname stuck to the point where his real name was all but forgotten.

According to the Laws of the Game, for a goal to be awarded, the ball must cross the goal line, with its full diameter behind the full width of the line. German players claimed to have seen chalk dust, which would indicate it was not a goal. Roger Hunt claimed to have seen the ball bounce behind the line.

When Bahramov wrote his memoirs, he stated that he believed the ball had bounced back not from the crossbar, but from the net, so the further movement of the ball was already insignificant, and not visible for him either. Bahramov loved refereeing and the game of football in general, and described football matches as, "duels...full of unforeseen turns and even real miracles. And who does not want to be a magician if even for just 90 minutes?"

Legacy
The Azerbaijan national stadium in Baku is named the Tofiq Bahramov Stadium in his honour. It was renamed in 1993, shortly after Azeri independence and Bahramov's death, having previously been named after the Soviet leader Vladimir Lenin.

When England were drawn in the same group as Azerbaijan in qualifying for the 2006 FIFA World Cup, a ceremony was held at the stadium to honour his memory, with attendees including Geoff Hurst, Michel Platini and Sepp Blatter. A statue of him was also unveiled as he became the first referee to have a stadium named after him. His son Bahram Bahramov met representatives of the English fans and expressed his pleasure that the famous "Russian linesman" of 1966 had finally regained his true nationality. "Now that Azerbaijan is independent it’s very right for him to be remembered as a member of the Azeri nation. People like Tofiq Bahramov are only born once in a hundred years".

title: Tofiq Bahramov


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Edward Norton Lorenz

Edward Norton Lorenz (May 23, 1917 – April 16, 2008) was an American mathematician and meteorologist who established the theoretical basis of weather and climate predictability, as well as the basis for computer-aided atmospheric physics and meteorology. He is best known as the founder of modern chaos theory, a branch of mathematics focusing on the behavior of dynamical systems that are highly sensitive to initial conditions.

His discovery of deterministic chaos "profoundly influenced a wide range of basic sciences and brought about one of the most dramatic changes in mankind's view of nature since Sir Isaac Newton," according to the committee that awarded him the 1991 Kyoto Prize for basic sciences in the field of earth and planetary sciences.

Biographical information
Lorenz was born in 1917 in West Hartford, Connecticut. He acquired an early love of science from both sides of his family. His father, Edward Henry Lorenz (1882-1956), majored in mechanical engineering at the Massachusetts Institute of Technology, and his maternal grandfather, Lewis M. Norton, developed the first course in chemical engineering at MIT in 1888. Meanwhile, his mother, Grace Peloubet Norton (1887-1943), instilled in Lorenz a deep interest in games, particularly chess.

Later in life, Lorenz lived in Cambridge, Massachusetts with his wife, Jane Loban (1919-2001), and their three children, Nancy, Cheryl, and Edward. He was an avid outdoorsman, who enjoyed hiking, climbing, and cross-country skiing. He kept up with these pursuits until very late in his life. On April 16, 2008, Lorenz died at his home in Cambridge from cancer at the age of 90.

Education
Lorenz received a bachelor's degree in mathematics from Dartmouth College in 1938 and a master's degree in mathematics from Harvard in 1940. He worked as a weather forecaster for the United States Army Air Forces during World War II, leading him to pursue graduate studies in meteorology at the Massachusetts Institute of Technology. He earned both a master's and doctoral degree in meteorology from MIT in 1943 and 1948.

His doctoral dissertation, titled "A Method of Applying the Hydrodynamic and Thermodynamic Equations to Atmospheric Models" and performed under advisor James Murdoch Austin, described an application of fluid dynamical equations to the practical problem of predicting the motion of storms.

Scientific career
Lorenz spent the entirety of his scientific career at the Massachusetts Institute of Technology. In 1948, he joined the MIT Department of Meteorology as a research scientist. In 1955, he became an assistant professor in the department and was promoted to professor in 1962. From 1977 to 1981, Lorenz served as head of the Department of Meteorology at MIT. In 1983, the MIT Department of Meteorology and Physical Oceanography merged with the Department of Geology to become the current MIT Department of Earth, Atmospheric and Planetary Sciences, where Lorenz remained a professor before becoming an emeritus professor in 1987.

Atmospheric circulation
In the late 1940s and early 1950s, Lorenz worked with Victor Starr on the General Circulation Project at MIT to understand the role the weather system played in determining the energetics of the general circulation of the atmosphere. From this work, in 1967, Lorenz published a landmark paper, titled "The Nature and Theory of the General Circulation of the Atmosphere," on atmospheric circulation from an energetic perspective, which advanced the concept of available potential energy.

Numerical weather prediction
In the 1950s, Lorenz became interested in and started work on numerical weather prediction, which relied on computers to forecast weather by processing observational data on such things as temperature, pressure, and wind. This interest was sparked, in part, after a visit to the Institute for Advanced Study in Princeton, New Jersey, where he met Jule Charney, then head of the IAS's Meteorological Research Group and a leading dynamical meteorologist at the time. (Charney would later join Lorenz at MIT in 1957 as a professor of meteorology.) In 1953, Lorenz took over leadership of a project at MIT that ran complex simulations of weather models that he used to evaluate statistical forecasting techniques. By the late 1950s, Lorenz was skeptical of the appropriateness of the linear statistical models in meteorology, as most atmospheric phenomena involved in weather forecasting are non-linear. It was during this time that his discovery of deterministic chaos came about.

Chaos theory
In 1961, Lorenz was using a simple digital computer, a Royal McBee LGP-30, to simulate weather patterns by modeling 12 variables, representing things like temperature and wind speed. He wanted to see a sequence of data again, and to save time he started the simulation in the middle of its course. He did this by entering a printout of the data that corresponded to conditions in the middle of the original simulation. To his surprise, the weather that the machine began to predict was completely different from the previous calculation. The culprit: a rounded decimal number on the computer printout. The computer worked with 6-digit precision, but the printout rounded variables off to a 3-digit number, so a value like 0.506127 printed as 0.506. This difference is tiny, and the consensus at the time would have been that it should have no practical effect. However, Lorenz discovered that small changes in initial conditions produced large changes in long-term results.

Lorenz's discovery, which gave its name to Lorenz attractors, showed that even detailed atmospheric modelling cannot, in general, make precise long-term weather predictions. His work on the topic, assisted by Ellen Fetter, culminated in the publication of his 1963 paper "Deterministic Nonperiodic Flow" in Journal of the Atmospheric Sciences, and with it, the foundation of chaos theory. He states in that paper: "'Two states differing by imperceptible amounts may eventually evolve into two considerably different states ... If, then, there is any error whatever in observing the present state—and in any real system such errors seem inevitable—an acceptable prediction of an instantaneous state in the distant future may well be impossible....In view of the inevitable inaccuracy and incompleteness of weather observations, precise very-long-range forecasting would seem to be nonexistent.'" His description of the butterfly effect, the idea that small changes can have large consequences, followed in 1969.

In the book "The Essence of Chaos," in the chapter "Our Chaotic Weather" from 1993, authored by Edward Lorenz and Krzysztof Haman, the authors delved into the challenges of weather forecasting. The work discusses the consequences of chaos in the atmosphere and its impact on weather prediction. They describe a scenario in which meteorologists, in the computer age, generate multiple long-term weather forecasts based on different yet similar initial atmospheric conditions. Differences in the forecast results arise due to the sensitivity of the system to initial conditions.

Lorenz's insights on deterministic chaos resonated widely starting in the 1970s and 80s, when it spurred new fields of study in virtually every branch of science, from biology to geology to physics. In meteorology, it led to the conclusion that it may be fundamentally impossible to predict weather beyond two or three weeks with a reasonable degree of accuracy. However, the recognition of chaos has led to improvements in weather forecasting, as now forecasters recognize that measurements are imperfect and thus run many simulations starting from slightly different conditions, called ensemble forecasting.

Of the seminal significance of Lorenz's work, Kerry Emanuel, a prominent meteorologist and climate scientist at MIT, has stated:

"'By showing that certain deterministic systems have formal predictability limits, Ed put the last nail in the coffin of the Cartesian universe and fomented what some have called the third scientific revolution of the 20th century, following on the heels of relativity and quantum physics.'"

Late in his career, Lorenz began to be recognized with international accolades for the importance of his work on deterministic chaos. In 1983, along with colleague Henry Stommel, he was awarded the Crafoord Prize from the Swedish Academy of Sciences, considered to be nearly equal to a Nobel Prize. He was also awarded the Kyoto Prize for basic sciences in the field of earth and planetary sciences in 1991, the Buys Ballot Award in 2004, and the Tomassoni Award in 2008. In 2018, a short documentary was made about Lorenz's immense scientific legacy on everything from how we predict weather to our understanding of the universe.

Legacy
Lorenz is remembered by colleagues and friends for his quiet demeanor, gentle humility, and love of nature. He was described as "a genius with a soul of an artist" by his close friend and collaborator Jule Charney.

The Lorenz Center
In 2011, The Lorenz Center, a climate think tank devoted to fundamental scientific inquiry, was founded at MIT in honor of Lorenz and his pioneering work on chaos theory and climate science.

Centenary celebration
In February 2018, The Edward Lorenz Center and Henry Houghton Fund hosted a symposium, named MIT on Chaos and Climate, in honor of the 100th anniversary of the birth of Lorenz and Charney. The two-day event featured presentations from world-renowned experts on the many scientific contributions that the two pioneers made on the fields of numerical weather prediction, physical oceanography, atmospheric dynamics, and experimental fluid dynamics, as well as the personal legacy they left behind of integrity, optimism, and collaboration. A video produced for the event highlights the indelible mark made by Charney and Lorenz on MIT and the field of meteorology as a whole.

Publications
Lorenz published many books and articles, a selection of which can be found below. A more complete list can be found on the Lorenz Center website: link
 * 1955 Available potential energy and the maintenance of the general circulation. Tellus. Vol. 7; 2. Link
 * 1963 Deterministic nonperiodic flow. Journal of the Atmospheric Sciences. Vol. 20: 130–141. Link.
 * 1967 The nature and theory of the general circulation of atmosphere. World Meteorological Organization. Vol. 218. Link
 * 1969 Three approaches to atmospheric predictability. Bulletin of the American Meteorological Society. Vol. 50; 345–349. Link
 * 1972 Predictability: Does the Flap of a Butterfly's Wings in Brazil Set Off a Tornado in Texas? American Association for the Advancement of Sciences; 139th meeting. Link
 * 1976 Nondeterministic theories of climate change. Quaternary Research. Vol. 6. Link
 * 1990 Can chaos and intransitivity lead to interannual variability? Tellus. Vol. 42A. Link
 * 2005 Designing Chaotic Models. Journal of the Atmospheric Sciences. Vol. 62, No. 5: 1574–1587. Link

Awards

 * 1969 Carl-Gustaf Rossby Research Medal, American Meteorological Society.
 * 1973 Symons Gold Medal, Royal Meteorological Society.
 * 1975 Fellow, National Academy of Sciences (U.S.A.).
 * 1981 Member, Norwegian Academy of Science and Letters.
 * 1983 Crafoord Prize, Royal Swedish Academy of Sciences.
 * 1984 Honorary Member, Royal Meteorological Society.
 * 1989 Elliott Cresson Medal, The Franklin Institute
 * 1991 Kyoto Prize for ... his boldest scientific achievement in discovering "deterministic chaos".
 * 1992 Roger Revelle Medal
 * 2000 International Meteorological Organization Prize from World Meteorological Organization
 * 2004 Buys Ballot Medal of the Royal Netherlands Academy of Arts and Sciences.
 * 2004 Lomonosov Gold Medal of the Russian Academy of Sciences
 * 2008 Felice Pietro Chisesi e Caterina Tomassoni award

title: Edward Norton Lorenz


text:
Wikipedia:Articles for deletion/Emilio Cecconi

 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 delete Jinian 12:36, 14 Apr 2005 (UTC)

Emilio Cecconi
Incomplete article, Google search for Emilio Cecconi returns 20 or so entries that seem unrelated to each other. I'd recommend delete, hard to say what this is about. Rx StrangeLove 22:54, 7 Apr 2005 (UTC)
 * Delete. The part about "widely known player" suggests either vanity or attack page. Andrew Lenahan - St ar bli nd  01:16, Apr 8, 2005 (UTC)
 * Delete Almost no info on page. --Fuzzball! (talk) 01:44, 8 Apr 2005 (UTC)
 * Delete, not notable, vanity. Megan1967 02:52, 8 Apr 2005 (UTC)
 * Delete, vanity. Has anybody else seen A Night at the Roxbury where they are yelling out "Emilio!!!" Hilarious. MicahMN | Talk 05:31, 8 Apr 2005 (UTC)
 * Delete, nn & van Asriel86 05:34, Apr 8, 2005 (UTC)
 * Delete, Lacking information, not needed --Ariggs 15:19, 8 Apr 2005 (UTC)
 * Speedy Delete Pavel Vozenilek 00:42, 13 Apr 2005 (UTC)
 * Delete, nn vanitycruft. ComCat 06:22, 14 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.


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Bükkszentlászló

Miskolc-Bükkszentlászló (Stará Huta) is a small village in Borsod-Abaúj-Zemplén county, Northern Hungary. It is surrounded by the Bükk Mountains. Since 1981 has been a part of the city of Miskolc.

History
The area has been inhabited since ancient times; archaeological findings indicate that Celtic tribes settled here. The village itself isn't too old when compared to other Hungarian towns and villages; it was founded in the 18th century as the first of four villages inhabited by the glassworks workers of the area.

In the 18th century the owners of the Diósgyőr estate decided that it would be useful to build glassworks factories, since the area is rich in wood. Since almost no one in Hungary knew anything about glass making, they invited Czech, Slovak, Polish and German workers. The glass manufacturing began in 1712–1713. The village came into being around this time, and for a long time it was inhabited by Slovaks and Germans only. Its name was Hutta, from the word huta meaning glassworks.

In 1755 another village was founded, and to avoid confusing he two, the residents named it New Huta, while the older village was named Old Huta. New Huta is called Bükkszentkereszt today.

In 1940 the village took the name Bükkszentlászló, which refers to the Bükk mountains and to King Ladislaus I, the patron saint of the village's church.

In 1981 Bükkszentlászló was annexed to Miskolc, it was the last village annexed to the city in the Socialist era of Hungary when many villages were annexed to nearby cities.

title: Bükkszentlászló


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Tibor Fischer

Tibor Fischer (born 15 November 1959) is a British novelist and short-story writer. In 1993, he was selected by the literary magazine Granta as one of the 20 best young British writers, while his novel Under the Frog was featured on the Booker Prize shortlist.

Early life
Fischer's parents were Hungarian basketball players, who fled Hungary in 1956; first his father, György Fischer, and then his mother, the captain of the women's national basketball team. Tibor's father studied economics at Manchester University, started work in the Hungarian section of the BBC, taking the name "George Fischer", and ended up as Radio Four's head of talks and documentaries.

Tibor Fischer was born in Stockport, England, in 1959 and grew up in Bromley, Kent, where he attended the local comprehensive school. He studied Latin and French at Peterhouse, Cambridge.

Author
The 1956 revolution, and his father's background, informed Fischer's debut novel Under the Frog, about a Hungarian basketball team in the first years of Communism in Hungary. The title is derived from a Hungarian saying, that the worst possible place to be is "under a frog's arse down a coal mine."

In 1992, the novel won a Betty Trask Prize for literature, and was the first debut novel to be shortlisted for the Booker prize.

Fischer's subsequent novels include The Thought Gang, about a delinquent and alcoholic philosophy professor who hooks up with a failed one-armed bandit in France to form a successful team of bank robbers, and The Collector Collector, about a weekend in South London, narrated by a 5000-year-old Sumerian pot. Voyage to the End of the Room was published in 2003, and concerned an agoraphobic ex-dancer.

Good to be God was published by Alma Books on 4 September 2008. In it a broke, unemployed, "habitual failure" uses his friend's credit card to start a new life in Florida where he decides that the fastest way to make a fortune would be to start a religion.

In 2000, Fischer published a short-story collection entitled Don't Read This Book If You're Stupid, published in the U.S. as I Like Being Killed: Stories.

Academia
In 2009, Fischer became the Royal Literary Fund writing fellow at City and Guilds of London Art School.

Politics
In April 2017, Fischer wrote an opinion piece in The Guardian where he defended Hungarian prime minister Viktor Orbán's government against charges of authoritarianism and antisemitism. In the same context, he rejected notions of the government going after the George Soros funded Central European University, arguing that the relevant and controversial amendment to the law on higher education affects some 28 foreign institutions, 27 of which were found to be operating with "irregularities" ("largely sloppy paperwork, something that will come as no surprise to anyone familiar with university admin") and that none has been fined or shut down. Fischer posits that the CEU "is not being singled out for punishment" but "asking to be given privileged treatment."

In response to it, the newspaper received letters from CEU president Michael Ignatieff, Brian J. Dooley, of Human Rights First, and others, who expressed their opposition to Fischer's views, arguing that the amendment requires the operation of a campus in CEU's country of origin, something that "would effectively make it impossible for CEU to operate in Hungary", and denying that the university has sought "special privileges".

Novels

 * Under the Frog (1992)
 * The Thought Gang (1994)
 * The Collector Collector (1997)
 * Voyage to the End of the Room (2003)
 * Good to be God (2008)
 * The Hungarian Tiger (2014)
 * How to Rule the World (2018)

Collections

 * Don't Read This Book If You're Stupid (2000) (US title: I Like Being Killed)
 * Crushed Mexican Spiders (2011)

title: Tibor Fischer


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Charles Hosmer Morse Museum of American Art

The Charles Hosmer Morse Museum of American Art, a museum noted for its art nouveau collection, houses the most comprehensive collection of the works of Louis Comfort Tiffany found anywhere, a major collection of American art pottery, and fine collections of late-19th- and early-20th-century American paintings, graphics and the decorative arts. It is located in Winter Park, Florida.

History
The museum was founded by Jeannette Genius McKean in 1942 and dedicated to Chicago industrialist Charles Hosmer Morse, her grandfather. The museum's first director was her husband, Hugh McKean.

The museum was first located on the campus of Rollins College. There, in 1955, the McKeans organized the first exhibition of works by Louis Comfort Tiffany since the artist's death in 1933.

In 1957, Hugh McKean learned from Tiffany's daughter that Tiffany's estate, Laurelton Hall, had burned to a ruin. McKean, who had been an art student at Tiffany's Laurelton Hall estate in 1930, remembered Jeannette's exact words at the scene of the devastation: "Let's buy everything that is left and try to save it."

Among these acquisitions were parts of Tiffany's 1893 chapel for the World's Columbian Exposition; award-winning leaded glass windows; and major architectural elements such as the poppy loggia, which was donated to the Metropolitan Museum of Art and installed in the Charles Englehart Court.

The museum moved to a location on East Welborne Avenue, Winter Park in 1978. The museum opened at its current location on Park Avenue in 1995, and it now has more than 19,000 ft2 of public and exhibition space.

In February 2017, the museum celebrated its 75th anniversary with a retrospective exhibition.

The Tiffany Collection
The Tiffany collection forms the centerpiece of the Morse Museum. It includes examples in every medium he explored, in every kind of work he produced, and from every period of his life. Holdings range from award-winning leaded-glass windows down to glass buttons. It includes paintings and extensive examples of his pottery, as well as jewelry, enamels, mosaics, watercolors, lamps, furniture and examples of his Favrile blown glass.

The Tiffany collection includes the reconstructed Tiffany Chapel he created for the World's Columbian Exposition at Chicago in 1893, with its brilliantly colorful windows, mosaics, Byzantine-Romanesque architectural elements and furnishings. The chapel was fully reassembled and opened in April 1999 to the general public for the first time in more than 100 years. It is approximately 39 ft long and 23 ft wide, rising at its highest point to about 24 ft.

In February 2011, the Morse opened a wing that provided for 6,000 ft2 gallery space for the permanent exhibition of its collection of art and architectural objects from Tiffany’s Long Island country estate, Laurelton Hall.

Other collections
Other leaded-glass windows in the collection include work by William Morris, Louis Sullivan, Frank Lloyd Wright, John LaFarge and Arthur J. Nash. Emile Gallé, René Lalique, and Peter Carl Fabergé are represented in the jewelry and silver. The furniture collection includes pieces by Emile Gallé, Louis Majorelle, and Gustav Stickley, as well as those by Tiffany. The museum also has over 800 pieces in its 19th-century American Art Pottery collection, including about 300 Rookwood pieces. The sculpture collection includes work by Thomas Crawford, Hiram Powers, Daniel Chester French, John Rogers, and others.

The museum also has a collection of American paintings and prints. The paintings include work by Samuel F. B. Morse (a relative of Charles Hosmer Morse), Thomas Doughty, George Inness, John Singer Sargent, Rembrandt Peale, Cecilia Beaux, Martin Johnson Heade, Maxfield Parrish, Arthur B. Davies, Hermann Herzog, Thomas Hart Benton, and Samuel Colman. Prints include work by some of the same artists as well as Grant Wood, Mary Cassatt, Paul Cézanne, Childe Hassam, John Steuart Curry, and Edward Hopper.


text:
Talk:USS George Washington (CVN-73)

Deployment History Update
Hello,

I served onboard the GW while I was attached to the HS-11 Dragon Slayers and participated in the 1997/1998 six month deployment. Can someone please update the GW article to reflect ALL deployments with dates as the USS America (CV-66) article is drafted to include departure/return dates? This ship does have a history prior to 2001 which this article seems to use as it's starting point in history. I thank you for your time.

V/r, Former AZ1(AW/AW) Jason A. Carpenter(USN Ret.) Dusty Dog 01 (talk) 14:34, 4 October 2023 (UTC)

title: Talk:USS George Washington (CVN-73)


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Mrs. Piggle-Wiggle

Mrs. Piggle-Wiggle is a series of children's books written by Betty MacDonald. The first book is Mrs. Piggle-Wiggle, published in 1947; three sequels by MacDonald are Mrs. Piggle-Wiggle's Magic, Mrs. Piggle-Wiggle's Farm, and Hello, Mrs. Piggle-Wiggle (1949 to 1957). Happy Birthday, Mrs. Piggle-Wiggle (2007) was completed by her daughter Anne MacDonald Canham based on "notes for other stories among her mother's possessions".

A spinoff series by Ann M. Martin and McDonald's great-granddaughter Annie Parnell starting in 2016 featured Mrs. Piggle-Wiggle's great-niece, Missy Piggle-Wiggle.

Synopsis
The Mrs. Piggle-Wiggle series is about a small woman who lives in an upside-down house in a lively neighborhood inhabited mainly by children who have bad habits.

Mrs. Piggle-Wiggle has a chest full of magical cures left to her by her deceased husband, Mr. Piggle-Wiggle, who was a pirate. In the first two books of the series, Mrs. Piggle-Wiggle (1947) and Mrs. Piggle-Wiggle's Magic (1949), Mrs. Piggle-Wiggle provides parents with cures for their children's bad habits. Cures range from the mundane (the "Won't-Pick-Up-Toys Cure", allowing a small boy to continue leaving his toys scattered about his room until the room becomes so cluttered that he is unable to escape) to the fantastic (the "Interrupting Cure", a special powder that is blown on the interrupter, which causes the person to become temporarily mute every time they try to interrupt someone).

In the series' third book, Mrs. Piggle-Wiggle's Farm (1954), Mrs. Piggle-Wiggle sells her house in town and buys a farm, where with the assistance of a large assortment of animals she continues to help children overcome their bad habits. In this collection, Mrs. Piggle-Wiggle uses no magic for her cures; the farm itself does the most good. In the fourth book, Hello, Mrs. Piggle-Wiggle (1957) she has apparently returned to her original neighborhood and to her magical cures. No mention of the farm is made for the rest of the series.

The Mrs. Piggle-Wiggle stories were based on bedtime stories MacDonald made up for her daughters, nephews, and nieces (and later grandchildren and grandnephews/-nieces). Some of the 151 children have the same names as members of the original audience (for example, there is a pair of brothers called Darsie and Bard). This explains some of the inconsistencies, such as Mrs. Piggle-Wiggle being either a good witch/fairy or just someone who understands child psychology better than most professors of the subject. The final book in the series, Happy Birthday, Mrs. Piggle Wiggle (2007), was published sixty years after the original, and is largely written by MacDonald's daughter, Anne MacDonald Canham (the two share a writing credit for this book). The first story in the book is an unpublished MacDonald story, while Anne explains in the book that the remaining stories are based on "notes for other stories among her mother's possessions."

The first editions of Mrs. Piggle-Wiggle and Mrs. Piggle-Wiggle's Magic were illustrated by Richard Bennett and Kurt Wiese respectively. Subsequent editions of Mrs. Piggle-Wiggle, Mrs. Piggle-Wiggle's Magic, and Hello, Mrs. Piggle-Wiggle were illustrated by Hilary Knight. Mrs. Piggle-Wiggle's Farm was illustrated by Maurice Sendak. Happy Birthday, Mrs. Piggle-Wiggle was illustrated by Alexandra Boiger.

In other media

 * In 1990, a musical based on the books was created, The Magic Mrs. Piggle Wiggle.
 * In 1994, the books were made into a TV series created by Shelley Duvall and starring Jean Stapleton.

title: Mrs. Piggle-Wiggle


text:
Talk:Pagan (disambiguation)

Untitled
Poen amn Porn

This sentence makes absolutely no sense.

TaintedMustard 22:56, 7 Apr 2005 (UTC)

Obviously, 68.19.207.51 is offended by the use of the word 'pagan' to refer to one who practices idolatry, but it doesn't change the fact that it is used that way. I'm changing the sentence.

TaintedMustard 22:59, 7 Apr 2005 (UTC)

Corrections
I took "An atheist" off because the definition of atheism is one who disbelieves the existence of a deity. I was unable to find a single dictionary reference that supported the paganism/atheist link, nor have I ever heard it used that way. -Mixvio 04:04, August 17, 2005 (UTC)

Replaced "indigenous" with pre-Christian, as that is clearly what the original author meant. Indigenous just means "original inhabitants". Indigenous Europeans are now almost all Christian -- there are very few practicing pagans left in Europe.

Ethnicity, barring racism and xenophobia, refers to a nation or race of people. Indigenous and diasporic European are all ethnic Europeans who are also, many of them (still) Christian. You don't stop being ethnic African, ethnic European or ethnic Asian when you find yourself, for whatever reason, in America or Australia. You are, however (at that point), no longer indigenous.

Kiosa (talk) 6 September 2012

Vandalism
I took out the following: '' because it has no place in a disambiguation article. Unless maybe on Uncyclopedia. Lokicarbis 05:48, 24 November 2005 (UTC)
 * one who wears no underwear (not including katie or hunter)
 * one who believes that trees have spirits
 * one who practices a form of worship which skeeves you out
 * one who chants about their food
 * one who makes sacrifices (lent and ramadan not included)
 * one who participates in ritualistic leaf-waving''

removals
I took out these two entries (after removing wikilinks):
 * Pagan - Bulgarian khan(767-768)
 * One who follows a religion of European, North African, West Asian or Pre-Columbian American origin and who is not Christian, Muslim nor Jewish, or who does not worship the God of Abraham. Such usage, while traditional in the above three religions, may be considered derogatory. (Religions of Southern and Eastern Asian origin (eg. Hinduism, Buddhism, Jainism and Shinto) are not generally considered to be Pagan)

Maybe each of these uses needs an article of it's own, but since such articles don't seem to exist, I'm not sure how we can justify having them on this page. Tedernst 18:04, 30 November 2005 (UTC)
 * There's nothing wrong with having entries for articles that do no yet exist, at least the reader will have some information that way. I think the Bulgarian khan should be put back Fornadan (t) 04:07, 9 December 2005 (UTC)

Black Christmas Tree
I made a black tree chair cover and was told I had a Pagan Tree. At first, I thought evil and anti-Christlike. I looked the word up and then realized it just means different from the standard. —The preceding unsigned comment was added by 208.248.28.49 (talk) 17:02, 11 December 2006 (UTC).

In the film "Breaker Morant"
In the historical film "Breaker Morant", Breaker Morant and his friend were executed by firing squad, just as they were in real life. Just before that, they were both asked about their religion and clergyman. They both replied, "I'm a pagan." Please reply to this, those of you who want argue about the meaning of "pagan". They both obviously meant nonbelievers, skeptics, atheists. Quoting from the article on Breaker Morant himself: When asked if he wanted to see a clergyman, Morant replied indignantly, "No! I'm a Pagan!"[52] On hearing this, Handcock asked, "What's a Pagan?" and after hearing the explanation, declared "I'm a Pagan too!" This contains a reference to source #52. 24.156.78.205 (talk) 03:05, 9 June 2018 (UTC)

P.A.G.A.N.
Thank you to whomever wrote the definition from "Dragnet": P.A.G.A.N. = "People Against Goodness And Normalcy".24.156.78.205 (talk) 03:51, 9 June 2018 (UTC)

title: Talk:Pagan (disambiguation)


text:
File:Crying of lot 49.jpg

Summary
The Crying of Lot 49 book cover

title: File:Crying of lot 49.jpg


text:
User:Dvhatwiki

Education

 * BYU
 * Mechanical Engineering
 * ODE's
 * College Chemistry
 * Honors Thesis: No topic yet
 * Recreational mathematics and Science (mostly reading when I get the chance)

Work

 * Mountain West Travel

Hobbies

 * Reading: The Iliad of Homer, Penguin books newly edited prose translation
 * Warhammer 40K: Dark Angels

Research

 * Evaluation of calculus textbooks by discipline- editing stage (submitted for a grade, rebound and submitted to the math department at BYU
 * Commercial production process for reenactment combat grade Japanese Scale Mail/Lamellar armour- prototype completed (need to post pictures)
 * Commercial production process for quilting frames of adjustable height
 * Tour Guide Training procedure assessment (get approval and funding/materials)

Current Projects

 * T-Shirt Quilt
 * Project Page including: Creator, Greek Amphitheatre, Train Box, Armor, Quilting Frame, Soccer Robots, T-shirt and Patch Quilts, Warhammer 40k Army and Battle Report System.
 * Memorabilia Organizing for Elementary, Middle and High Schools (including IB, Scouts, ROTC, GOlf Team and Church material)
 * Archiving Projects, Papers, Prose and Poetry

title: User:Dvhatwiki


text:
Talk:1941 (film)

POV
I think that the opening sentence definately gives the point of view that the film is not worth watching. It does this by means of Weasel terms. Jack 17:27, 2 February 2006 (UTC)

Novel?
Was this based on a novel, or was it a tie-in book based on the movie? I read it years ago, but forget who wrote it.

Definition of a decade
'the film is generally considered to be Spielberg's first major box office flop after nearly a decade of box office success.'

A decade? His first big success was with Jaws in 1975. 1941 was released in 1979. Four years is now a decade, is it?--Stu-Rat 14:29, 26 July 2006 (UTC)

More detail
I have written the plot outline for 1941 in detail and added a spoiler warning. I have also added some more information for the trivia section and added a music/score section. Perhaps the article can be updated from a start class to a B class and be cleaned up anyone? LordHarris 14:57 5 September 2006 (GMT)

Have also added a section with a list of the main cast and changed one of the titles of subection to reception instead of box office flop. Added references also. LordHarris 12:46, 14 September 2006 (UTC)

The plot section suggests that the Japanese sub believes it has surfaced at Hollywood; it explicitly does no such thing: the dialogue between the sub captain and the German observer makes reference to Hollywood being a target, the German tells the Japanese that Hollywood is in land, and probably an unsuitable target for a sub, the Captain over-rules his objections, and commands a course be set to take them there (the German having already said that he doubts that they could find Japan, let alone Los Angeles). Jock123 (talk) 08:08, 8 August 2016 (UTC)

Comments and a suggestion for article organization
Kudos for everyone who contributed. However, the article might be better served by a revision of the article structure:

Overview: Short description of movie. Brief credits, including director, studio. Popularity, reviews, box office return and mpaa rating.

1. inspiration and origins of movie.

2. movie production and screening timeline

a. script

b. casting

c. sets and locations

d. shooting

e. production credits

f. promotion

g. premier

h. reviews and box office returns

i. run dates

j. television and home video releases

3. storyline

4. characters

5. soundtrack

6. Influences

7. Movie, historical and cultural references in the film

8. Impact and consequences

9. footnotes and references

10. internal and external links

I suggest that the article open with the statement that this is a completely over-the-top comedy about the hysteria that seemed to grip much of the media and populace of the West Coast of the U.S. in the days immediately following the bombing of Pearl Harbor, as people mobilized in preparation for a feared Japanese invasion.

The current story description is too long. It's a good start, but could use condensing. Rather than put so much description into the plot, I think it would be better to briefly describe the overall structure and content of the plot, including the statement that there are multiple interconnected stories that tend to all converge at the end of the movie and that each one explores in human terms certain events and rumors from that place and time.

Give a two- or three-sentance description of each storyline and how many of them intertwine. Perhaps make the intertwining aspect a separate issue. Describe how each storyline illustrates an historical event or series of events.

Mention that there are a number of running gags, but only give a couple of examples.

I would like to see a mention of the reference made to Kubrick's "Doctor Strangelove" during the scene on board the submarine where actor Slim Pickes as Hollis Wood is being interrogated. An officer places items captured with Wood, one-by-one on the sub's map table. As he does so, Wood enumerates each, remeniscent in "Doctor Strangelove" of the pilot of the B-52's enumeration of the contents of their survival kit (that role also played by Slim Pickens).twfeline 02:27, 10 March 2007 (UTC)
 * I concur with the above analysis. This is an interesting film that deserves a more precise description in the plot synopsis and more details in other sections. The notes/references section also needs to be rewritten in a more standard style. IMHO Bzuk 02:25, 6 June 2007 (UTC).

Popular culture
Read WikiProject Aircraft/page content before adding any "Popular culture" items. The example must have a MAJOR or "especially notable" role in what is listed. Random cruft and speculation will be removed. Items should be able to have attribution if challenged as non-notable. FWIW Bzuk (talk) 17:09, 3 January 2008 (UTC).

Claim of OR in 1941 (film)
Three pages in the Culhane book are devoted to the special effect editing and photography which validates the original statement. The book details the landmark special effects and "movie magic" and specifically refers to the 1941 (film) as an example of Sfx at its best. An editor who happened upon the original statement may have been confused over the use of a quote as the source of the statement that was in question. The quote was put in for an entirely different reason as there was some contention in talk and edit comments that the film was not carefully produced and although it was not a well-received product, it was a good example of production values especially in harnessing small-scale miniatures and composite photography. That led to the note being added to the citation. FWiW, unless anyone has noted something other in the reference source, I will be removing your tag. Bzuk (talk) 23:51, 10 April 2009 (UTC).

Introductory crawl?!
Is this necessary? It appears to be overly indulgent for a minor film. If there is no comment or explanation, the section will be deleted as unnecessary. FWiW Bzuk (talk) 14:12, 19 February 2010 (UTC).
 * It is not necessary, and I removed it. Information from primary sources should be limited to basic descriptions that help readers with context for coverage from secondary sources.  The crawl emulates the film more than it serves as a guide in reading the article. Erik (talk) 16:28, 19 February 2010 (UTC)

Cult Film?
Even with the cited article which clims it has somehow received the success it did not have during it's theatrical release by becoming a "requested title" on home video, this film is still relatively obscure despite it's huge budget and notable cast. "Cult film" is such a vague and opinionary term that it really has very little tangible meaning. The movie was a relative flop, and it remains so. Many unsuccessful films have been re-defined as "cult films" on Wikipedia, and about the only criteria for citation is finding a web site that calls it one. As it stands, this seems to allow many unsuccessful films to be-reinvented and to make a almost magical case that it somehow isn't a flop after all. I think, especially in the case of this film, the criteria needs to be a lot more specific. We can call just about any film released on home video that has had moderate success a "cult film", and that does not negate the film's overwhelming failure.

And before anyone counters my argument by citing that this film was ultimately profitable, I will admit right now that it was, but given that it was a Steven Speilberg film it was a masive failure given the expectations and the time, even after factoring in it's later video releases. (24.62.126.170 (talk) 02:28, 30 March 2010 (UTC))

That’s pretty POV in and of itself; I agree that “cult film” is a pretty pointless credential to wave for a movie, as there are no set definitions for what makes one. However, the term “flop” is equally subjective - while I would have agreed with you for a long time, there is a strong case I have seen made that objectively “1941” was *not* the disaster it has come to represent, and that its reputation was manipulated to imply that losses made by the studio for other reasons were actually down to this film (better to bury bad news in plain sight and say that they made one big stinker, than that they had had a string of under-achievers). Jock123 (talk) 08:14, 8 August 2016 (UTC)

 * The term "flop" is not all that subjective -- it can be defined as not returning a profit (albeit somewhat complicated by media sales or rentals). In any case, the more specific term "box-office flop" could be used where applicble.  BMJ-pdx (talk) 02:49, 29 April 2021 (UTC)

it is my belief after a review of the film we may have all overlooked the timeless amount of good aspects of this work by Spielberg.The energy of the actors in carrying out their scenes is extraordinary, the acting is superb in a comedy, actors performing flawlessly, there are also many signs of classic symbology by the producer in how he revealed the behavior of the Japanese sub crew and the Nazi officer...this is extremely well done art. An art form. I may have overlooked it for its importance long ago when it was a serviceable movie comedy but now looking back on it in a era of high tech sci fi robots and special effects I see 1941 now as a special film for all...Blondeignore (talk) 18:22, 13 December 2018 (UTC)

An argument in favor of cult status for this film is Steven Spielberg's comment in the DVD's "making of" extra: "... no one in America really enjoy[ed] it except people as crazy as Bob, Bob and myself and John Milius. You know, it's a very nice, small, you know, insane group that appreciates '1941'." . BMJ-pdx (talk) 07:28, 29 April 2021 (UTC)

Latest edit
The large scalloping of the article is not discussed previously and needs an airing first. FWiW Bzuk (talk) 04:21, 14 February 2011 (UTC)
 * I have found some additional refs and tucked in some of the information, awaiting comment. FWiW Bzuk (talk) 04:51, 14 February 2011 (UTC).

Recent edit excised
See the following that has "the ring of truth" but is unsourced: "Writers Zemeckis and Gale, first asked John Milius to do the film, due to their U.S.C film connection. Originally they wanted to do a screenplay called Bordello of Blood then moved to another LA-based story called "The Night the Japs Attacked", dealing with many important moments in early World War II such as the Battle of Los Angeles in February 1942 and the Zoot Suit Riots in 1943. Around 1975, Milius signed a four picture deal with Metro-Goldwyn Mayerafter receiving praise from his film, The Wind and the Lion. Allowing his next picture to be "The Night the Japs Attacked", then president Daniel Melnick turned down the offer. Milius was friends with Steven Spielberg, going skeetshooting once a week. Spielberg was interested in making the movie because of the scene of the Japanese submarine shooting the ferris wheel at the Pacific Ocean amusement park as it rolls off into the ocean. In 1976, now with Spielberg attached to the product, Zemeckis and Gale decided to go to Columbia Pictures and once again ask Melnick to make the movie, believing that Spielberg was a more bankable name than Milius, Melnick agreed to make the film. During this time, Sid Sheinberg, who worked at Universal wanted Spielberg make another movie. The decision was to be a coproduction between Universal and Columbia with Universal getting domestic distrubition and Columbia getting foreign distribution." FWiwW Bzuk (talk) 20:25, 3 October 2011 (UTC)

 * Interesting, but where did the editor get all this information? ---  RepublicanJacobite  TheFortyFive 04:49, 4 October 2011 (UTC)

Tribute to The Searchers (1956)
While being pressurized into returning the Crackerjack compass he swallowed, Slim Pickens exclaims Hey Boy, what that knife!

This was a line from the 1956 movie The Searchers spoken by the Rev Clayton, played by Ward Bond — Preceding unsigned comment added by 86.165.179.22 (talk) 04:09, 14 January 2019 (UTC)

Dance contest song?
It seems likely that the song played for the USO dance contest is the "Swing, Swing, Swing" number by John Williams. Can anyone confirm that? BMJ-pdx (talk) 02:32, 29 April 2021 (UTC)

NOT "screwball comedy"
In the "Reception" section, there is a quote from Rotten Tomatoes referring to this movie as "screwball comedy". Although certainly "screwy", it is not screwball comedy, and shame on Rotten Tomatoes for further abusing that term. A screwball comedy is one in which a couple initially hate each other, but end up -- guess what? -- falling in love. (It's so named after the screwball pitch in baseball, which unexpectedly changes direction.) But being a  quote, there's unfortunately no valid reason that it can be elided. BMJ-pdx (talk) 03:15, 29 April 2021 (UTC)

title: Talk:1941 (film)


text: User talk:69.245.221.224

title: User talk:69.245.221.224


text:
David Slepian

David S. Slepian (June 30, 1923 – November 29, 2007) was an American mathematician. He is best known for his work with algebraic coding theory, probability theory, and distributed source coding. He was colleagues with Claude Shannon and Richard Hamming at Bell Labs.

Life and work
Born in Pittsburgh, Pennsylvania, he gained a B.Sc. at University of Michigan before joining the US Army in World War II, as a sonic deception officer in the Ghost army. He received his Ph.D. from Harvard University in 1949, writing his dissertation in physics. After post-doctoral work at the University of Cambridge and University of Sorbonne, he worked at the Mathematics Research Center at Bell Telephone Laboratories, where he pioneered work in algebraic coding theory on group codes, first published in the paper A Class of Binary Signaling Alphabets. Here, he also worked along with other information theory giants such as Claude Shannon and Richard Hamming. He also proved the possibility of singular detection, a perhaps unintuitive result. He is also known for Slepian's lemma in probability theory (1962), and for discovering a fundamental result in distributed source coding called Slepian–Wolf coding with Jack Keil Wolf (1973).

He later joined the University of Hawaiʻi. His father was Joseph Slepian, also a scientist. His wife is the noted children's author Jan Slepian.

Slepians

Slepian's joint work with H.J. Landau and H.O. Pollak    on discrete prolate spheroidal wave functions and sequences (DPSWF, DPSS) eventually led to the naming of the sequences as Slepian functions or "Slepians". The naming suggestion was provided by Bob Parker of Scripp's Institute of Oceanography, who suggested that "discrete prolate spheroidal sequences" was a "mouthful". The term "prolates" is equally in current use.

This work was fundamental to the development of the multitaper, where the discrete form are used as an integral component.

Awards

 * IEEE Fellow
 * Fellow of Institute of Mathematical Statistics
 * Claude E. Shannon Award from the IEEE Information Theory Group 1974, and due to this also the Shannon Lecturer 1974.
 * National Academy of Engineering elected member 1976
 * National Academy of Sciences elected member 1977
 * IEEE Alexander Graham Bell Medal 1981
 * IEEE Centennial Medal 1984
 * Society for Industrial and Applied Mathematics’s John von Neumann lecture award 1982
 * American Academy of Arts and Sciences elected member

title: David Slepian


text:
User talk:Wragge

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Hello Wragge,

Where should we take the Distressed securities merge discussion next to get it resolved from an uninvolved admin? I would like an uninvolved third party to determine what steps need to be taken next. I asked user Jonathan A Jones and I also posted a comment to the ANI board for assistance a couple weeks ago but never received a response from either. Thanks in advance for the help! Best, Comatmebro  ~Come at me~ 17:15, 22 October 2014 (UTC)

 * I think that makes sense; I don't keep current on the policies. Perhaps an expert will know the best, or most compliant, way to arrange this information. Wragge (talk) 17:41, 22 October 2014 (UTC)

Need help
Hello Wragge,

I am trying to locate some literature and maybe you can help. In your edit [] you inserted "Therefore, the early versions of the theorm could make no predictions about the affect on the unskilled labour force in a high income country under trade liberalization. However, more sophisticated models with multiple classes of worker productivity have been shown to produce the Stolper-Samuelson effect within each class of labour". If you can provide me references to "models with multiple classes of worker productivity" I would be much obliged.

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