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System 7 (band)

System 7 are a UK-based electronic dance music band. Due to the existence of another band called System Seven they were initially billed as 777 in North America. System 7 was also the name of the current version of the Macintosh operating system at the time, although this was not the reason for the temporary name change.

Steve Hillage and Miquette Giraudy, both formerly of Gong, formed System 7 in 1989, after a period of several years becoming gradually immersed in the developments of electronic and dance music in the UK while Steve was working mainly as a record producer for other artists. A key early collaborator was DJ Alex Paterson (of the Orb), whom Steve and Miquette heard playing Hillage's 1979 ambient record Rainbow Dome Musick in an ambient DJ set at the London club Heaven. They soon became part of the underground dance scene in London. While Hillage and Giraudy form the core of System 7, it is an extended collaborative project with artists such as A Guy Called Gerald, Paul Oakenfold, Carl Craig, Laurent Garnier, Derrick May, Alex Paterson, and Youth. System 7 makes extensive use of Hillage's electric guitars.

Hillage and Giraudy later launched a chill-out and downtempo sister project called Mirror System, and have also worked under the name Groovy Intent.

The first System 7 album was released on Virgin's 10 Records dance music label, followed by the vinyl-only Derrick May collaboration Altitude (featuring Ultra Naté). In 1992, System 7 moved to Youth's Butterfly label, releasing four albums, until 1999 when they founded their own label A-Wave for all future releases, also re-releasing their Butterfly catalogue.

In addition to the albums, System 7 have released a number of club singles with notable remixes from, among others, Richie Hawtin (aka Plastikman), Dubfire, James Holden, Liquid Soul, and Son Kite.

Early 1990s
System 7 were one of the first techno groups to play live, and have developed a live performance approach that is a bit more extreme than their records, with tougher beats and hypnotic live echo loops. The first System 7 live show was in December 1990 at Linford Studios in Battersea, London, consisting of Steve playing guitar and Alex Paterson playing samples and DJing pre-release versions of the upcoming first System 7 and Orb albums. In 1991 there were some more shows and a tour to support the System 7 album release, with Miquette's synthesisers incorporated into the live sound. In 1993 System 7, now playing as a duo, developed a new live technical format and joined Orbital, The Drum Club, and Aphex Twin on the Midi Circus tour of the UK with Megadog party crew.

Festivals
Partly through their extended involvement with Megadog, by 1994 System 7 had become an established live act, in particular playing at many music festivals. In 1995, through his previous association with Michael Eavis, Steve Hillage was asked to oversee the putting together of the first official dance music stage at Glastonbury Festival. In subsequent years System 7 played at Glastonbury a further 15 times, often at the open-air Glade stage, a further dance music development at the festival that started in 2000. The crew from the Glastonbury Glade stage created their own spin-off festival, the Glade Festival, starting in 2004, with System 7 playing there 5 times.

Other major festivals where they have played include Phoenix Festival, Beach Festival, Wickerman, Willowman, Womad, Sunrise Celebration, Waveform, Whirl-Y-Gig, Guilfest, and Eden Festival (UK); Printemps de Bourges, Borealis and Francofolies (France); Lovefield and Burg Herzberg (Germany); Pink Pop and Lowlands (Netherlands); Dour Festival and I Love Techno (Belgium); Sonica (Italy); Open Air Field (Czech Republic); Odinstown and Roskilde (Denmark); Hultsfred and Arvika (Sweden); Konemetsä (Finland); Indigo Festival (Israel); Ozora (Hungary); Reverence Valada and Boom Festival (Portugal).

Outside of Europe they have played at Juggernaut Festival and the Big Top tour (USA); Fuji Rock, Summersonic, Star Festival, Amami Eclipse 2009, Hotaka, Asagiri Jam, Nagisa Festival, Solstice Music Festival and the World Festival of Sacred Music (Japan); Earthcore (Australia); Universo Paralello (Brazil); Tribal Gathering (Panama).

Recent shows
System 7 co-headlined at Matsuri Digital's Timeless event at AgeHa, Tokyo on 14 March 2015, and at the Megadog 30th anniversary event at Manchester Academy on 21 November 2015. They continue to play their own club shows and at parties and festivals, including Glastonbury, Ozora and Boom. They have also been involved in some notable live collaborations with The Orb, Japanese progressive space rock jam band Rovo (Phoenix Rising), Japanese rock guitarist and Juno Reactor collaborator Sugizo, leading psy-trance artist Ajja (Novelty Engine), and Merv Pepler of Eat Static (System Static).

Mirror System Live
System 7's chill-out and downtempo sister project Mirror System made its live debut on the ID Spiral chill-out stage at the UK Sunrise Celebration festival in 2006, followed closely by a set also with ID Spiral at the Glade Festival of that year. In 2007, ID Spiral opened the InSpiral Lounge in Camden. London, and Mirror System played at the opening party on 16 December 2007. They became one of the resident artists at the InSpiral Lounge playing there two or three times a year, including most of the inSpiral New Year's Eve parties. Mirror System live also became popular in Japan, and at European trance festivals where they have been booked as the chill-out stage closing act at Sonica (twice), Ozora (three times) and Boom Festival, where in 2016 they followed their closing set with a full-length live rendition of Rainbow Dome Musick. With the Reflector DJ mix album (release in 2009) the Mirror System sound expanded to incorporate a soft techno dance groove element, and this element has been further developed in their most recent album, N-Port. This ability to seamlessly move from deep chill to danceable grooves that still retain the chill element, has been an important factor in the Mirror System live approach.

System 7 in Japan
Since their first show, at the closing party for Tokyo's On Air club on 4 May 1994 with Orbital and Alex Paterson, System 7 have toured in Japan on twenty-eight further occasions. In addition Steve Hillage went to Japan to play with Manuel Göttsching at Metamorphose Festival (2010) and to play with Tomita at Free Dommune Festival in 2013, plus an additional visit to mix the Phoenix Rising album in February 2013. System 7 have a special relationship with Japan, and have been closely associated with the development of live dance music there. As an extension to this special spiritual connection, System 7 played as the only electronic dance music act at the World Festival of Sacred Music at Itsukujima shrine on Miyajima in 2001, and also offered a hōnō (dedicatory) performance at Tenkawa-Daibenzaiten-sha (Tenkawa shrine) in Nara in 2013. In 2006 they were approached by Rumiko Tezuka, the daughter of famed manga pioneer Osamu Tezuka, to see if they were interested in making musical interpretations of her father's Phoenix manga graphic novels. Rumiko had first become interested in System 7 after seeing them perform at the Miyajima festival. This project excited System 7 and it led directly to their album Phoenix (released in Japan in 2007), which became their biggest selling album in Japan and also produced their successful Japanese single Hinotori (which means bird of fire). The phoenix theme, with Rumiko Tezuka's endorsement, continued with System 7's album and tour collaboration with Japanese band Rovo, which was titled Phoenix Rising, and also featured Rovo's live rock re-interpretation of the track Hinotori. Other System 7 recording and remixing collaborations in Japan have been with Mito (of the group Clammbon), Sugizo, and Joujouka, the group founded by noted Japanese psychedelic trance DJ Tsuyoshi Suzuki.

Studio albums

 * System 7 (1991)
 * 777 (1993) - No. 30 on the UK Albums Chart; March 1993
 * Point 3 - Fire Album (1994)
 * Point 3 - Water Album (1994)
 * Power of Seven (1996)
 * Golden Section (1997)
 * Seventh Wave (2001)
 * Encantado (2004)
 * Phoenix (2008)
 * Up (2011)
 * Phoenix Rising (2013) with Rovo
 * X-Port (2015)
 * Cafe Seven (2018)
 * Field of Dreams (2020)

As Mirror System
 * Mirror System (2006)
 * Reflector - DJ Mix (2010)
 * N-Port (2015)

U.S. albums
As 777
 * 777 (1992) U.S. version of the System 7 album
 * System 7.3: Fire + Water (1995) U.S. release of the two Point 3 albums

Compilations

 * Excursions in Ambience (A Collection of Ambient-House Music) (1994)
 * Excursions in Ambience (The Fourth Frontier) (1995)
 * System Express (1996)
 * Mysterious Traveller with Derrick May (2002)
 * Planet 7 (2006) iTunes-only album
 * System 7 - Classics (2010) iTunes-only album
 * Out (2014)

Live albums

 * Live Transmissions (2006)

Singles and EPs

 * "Sunburst" (1990)
 * "Habibi" (1991)
 * "Freedom Fighters" (1991)
 * "Miracle" (1991)
 * "7:7 Expansion" (1992) - No. 39 on the UK Singles Chart; February 1993
 * Altitude (featuring Ultra Naté) (1992) - No. 75 on the UK Albums Chart; June 1992
 * "Sinbad" / "Quest" (1993) - No. 74 on the UK Singles Chart; July 1993
 * "Alpha Wave" (1995) - No. 92 on the UK Singles Chart; April 1995
 * "Hangar 84" (1996)
 * "Interstate" (1996) - No. 85 on the UK Singles Chart; February 1996
 * "Rite of Spring" (1997) - No. 99 on the UK Singles Chart; July 1997
 * "Ring of Fire" (1998)
 * "High Planes Drifter" (2001)
 * "Planet 7" (2004)
 * "Love Mission - Mission Love" • "I Move" • "Teotihuacan" • "Om Rock" (by Groovy Intent) (download-only EP) (2004)
 * "Space Bird" (2008)
 * "AlphaWave" / "HPD" (2010)
 * "Passion" (2012)
 * "Hinotori" (with Rovo) (2013)

System 7

 * System 7 website (official site)

Mirror System

 * Mirror System official website

title: System 7 (band)


text:
Talk:Adaptive

Can we move/rename this page to Adaptivity (psychology)? ~ Dpr 01:26, 21 Apr 2005 (UTC)

Support. Also, very poor definition of adaptive. --Sambostock 22:53, 28 May 2005 (UTC)

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

title: Talk:Adaptive


text: Talk:Santa Maria Navarrese

title: Talk:Santa Maria Navarrese


text:
North Riverdale, Bronx

North Riverdale is the northernmost part of the Riverdale neighborhood of the borough of the Bronx in New York City, particularly above 254th Street. It is a residential sub-neighborhood, and shares its northern border with Yonkers, New York in Westchester County.

The northernmost point in New York City is at the Hudson River on the campus of the College of Mount Saint Vincent.

Description
One of the geographic characteristics which gives all of Riverdale its suburban quality is that it lies on a high ridge which separates it from the rest of the city. The highest part of the ridge, at 284.5 ft above sea level, lies in North Riverdale, near Iselin Avenue and 250th Street. North Riverdale has been described as "leafy" and "sleepy" and, by one resident, "the last bastion of gracious living in New York City." The neighborhood is generally wealthy and mostly free of serious crime with the exception of grand theft auto. It features a mixture of private residences and apartment buildings.

Traditionally a bastion of Irish Catholics, since 2003 and the building of the Salanter Akiba Academy (SAR) High School the neighborhood has seen an influx of Orthodox Jewish families. While Riverdale as a whole has long had a sizable Orthodox Jewish population – and overall is predominantly Jewish – North Riverdale has not.

In 1998, residents of North Riverdale joined citizens of Yonkers in protesting the building of the Riverdale Classic Residence, a 17-story retirement home which would be located on Riverdale Avenue. Although the building would be sited in Yonkers, because it would sit on the top of a hill, North Riverdale residents feared that it would tower over the smaller apartment buildings and single family residences there. Despite the protests, the building, which did not require a hearing to be approved, was built at its intended height.

Notable places
Points of interest in the neighborhood include the Hillside Residential Enclave on Ladd Road and the James Strain House, both listed by the AIA Guide to New York City; the Monastery of the Visitation on Arlington Avenue at West 256th Street; the Riverdale Yacht Club on the Hudson River at West 254th Street, built c.1880; the Passionist Fathers and Brothers Monastery on Palisades Avenue; the Riverdale Neighborhood House, founded in 1920 and located at 5221 Mosholu Avenue; the Russian Mission School in New York and former Diplomatic Residence of the United Nations Mission of the U.S.S.R, a 19-story apartment building designed by Skidmore, Owings & Merrill and built in 1975; and the Riverdale Branch of the New York Public Library on Mosholu Avenue at West 256th Street; Just south of 254th Street, along Sycamore Avenue, lies the 15-acre Riverdale Historic District, which consists primarily of estates on landscaped sites.

P.S. 81 serves elementary school children in North Riverdale, and the neighborhood is home to the College of Mount Saint Vincent.

Places of worship in North Riverdale include St. Margaret of Cortona's Church Roman Catholic, Congregation Shaarei Shalom and Young Israel Ohab Zedek of North Riverdale.

The Mt. St. Vincent New York Central Railroad station on the Metro North Hudson Line, which was closed, and abandoned on June 3, 1975, was located on West 261st Street in North Riverdale.

Transportation
The neighborhood is served by the Bx7 and Bx10 MTA Regional Bus Operations local buses on Riverdale Avenue, as well as the Bx9 on Broadway. The BxM1, BxM2, and BxM18 express buses serve Riverdale Avenue, and the BxM3 serves Broadway. In addition, the 1, 2, 1X, and 3 buses from Bee-Line of Westchester County pass by the neighborhood on their way to the 242nd Street Subway Station.

Metro-North Railroad serves the neighborhood at Riverdale station. The Hudson Rail Link A, B, C, and D routes serve the neighborhood, connecting to the Metro-North station.

title: North Riverdale, Bronx


text:
Rick Blight

Richard Derek Blight (October 17, 1955 – April 3, 2005) was a Canadian ice hockey player.

A native of Portage la Prairie, Manitoba, Blight had a long and varied hockey career as a Right wing for teams in the National Hockey League (NHL), Central Hockey League (CHL) and the American Hockey League (AHL). After playing junior hockey in the Manitoba Junior Hockey League and the Western Hockey League, Blight was selected by the Vancouver Canucks in the first round of the 1975 NHL Amateur Draft. Blight was also drafted by the Michigan Stags in the second round of the 1974 WHA Amateur Draft, but did not play in the WHA. The name Blight is of Cornish origin.

Playing career
Blight was the Canucks' top scorer over his first three years in the NHL, finishing fifth, first and second in team scoring in 1975, 1976 and 1977 with a total of 187 points.

Blight was the recipient of the WCHL Rookie of the Year Award in 1973 and was a member of the CHL Second All-Star Team in 1981.

Blight retired from playing hockey in 1983 and began a career as a stockbroker and marketing consultant, as well as managing his family farm in his native Manitoba. In 1995, Blight was inducted into the Manitoba Sports Hall of Fame. Blight also curled during this time, and was a member of the Don Spriggs curling team.

On April 3, 2005, Blight disappeared. Two weeks later, on April 18, after a Canada-wide search, Blight was found dead in a field on a farm near Lake Manitoba in his pickup truck. He had committed suicide.

Awards and achievements

 * 1973: WCHL Rookie of the Year
 * 1981: CHL Second All-Star Team
 * Honoured Member of the Manitoba Hockey Hall of Fame

Personal
His niece, Halli Krzyzaniak, played in the Canadian Women's Hockey League for the Calgary Inferno.

title: Rick Blight


text:
Milton: A Poem in Two Books

Milton is an epic poem by William Blake, written and illustrated between 1804 and 1810. Its hero is John Milton, who returns from Heaven and unites with the author to explore the relationship between living writers and their predecessors, and to undergo a mystical journey to correct his own spiritual errors.

Blake's Milton was printed in his characteristic combination of etched text and illustration supplemented by watercolour.

Preface
The preface to Milton includes the poem "And did those feet in ancient time", which was set to music as the hymn called "Jerusalem". The poem appears after a prose attack on the influence of Greek and Roman culture, which is unfavourably contrasted with "the Sublime of the Bible".

Text
The poem is divided into two "books".

Book I opens with an epic invocation to the muses, drawing on the classical models of Homer and Virgil, which were also used by John Milton in Paradise Lost. However, Blake describes inspiration in bodily terms, vitalising the nerves of his arm. Blake goes on to describe the activities of Los, one of his mythological characters, who creates a complex universe from within which other Blakean characters debate the actions of Satan. As with all of Blake's Prophecies, the general structure of the Poem begins with the Fall and ends with the Apocalypse or consummation. The fall is pictured vividly as each of the five senses plummets into an abyss; each "broods" there in fear and desperation. These represent an early fallen Age in Blake's Mythological construct.

The early pages are dominated by a "Bard's Prophetic Song", heard in Heaven by the "unfallen" Milton. The relationship The Bard's Song has with the rest of the text is in dispute, and the meaning of it is complex. Referring to the doctrines of Calvinism, Blake's "Bard" asserts that humanity is divided into the "Elect", the "Reprobate" and the "Redeemed". Inverting Calvinist values, Blake insists that the "Reprobate" are the true believers, while the "Elect" are locked in narcissistic moralism. At this point Milton, hearing the Bard's song, appears and agrees to return to earth to purge the errors of his own Puritan imposture and go to "Eternal death".

Milton travels to Lambeth, taking in the form of a falling comet, and enters Blake's foot, the foot here representing the point of contact between the human body and the exterior "vegetative world". Thus the ordinary world as perceived by the five senses is a sandal formed of "precious stones and gold" that he can now wear. Blake ties the sandal and, guided by Los, walks with it into the City of Art, inspired by the spirit of poetic creativity.

Book II finds Blake in the garden of his cottage, now Blake’s Cottage, in the village of Felpham. Ololon, a female figure linked to Milton, descends to meet him. Blake sees a skylark, which mutates into a twelve-year-old girl, who he thinks is one of his own muses. He invites her into his cottage to meet his wife. The girl states that she is actually looking for Milton. Milton then descends to meet with her, and in an apocalyptic scene he is eventually unified with the girl, who is identified as Ololon and becomes his own feminine aspect.

The poem concludes with a vision of a final union of living and dead, internal and external reality, and male and female, and a transformation of all of human perception.

Ololon: Blake studied Hebrew. He incorporated Hebrew twice in Milton and coined the name "Ololon" out of a Hebrew word.

Book and chapter length commentary
The following books, chapters, and other works, are commentaries and critiques pertaining to this poem:

Book

 * (reprinted 2016)
 * (reprinted 2016)
 * (reprinted 2016)
 * (reprinted 2016)

Chapter

 * Free PDF download.

Theses

 * Withers, Stacie F. (1978) Blake's Milton: a critical introduction and a commentary. Masters thesis, Durham University. Free PDF download.

title: Milton: A Poem in Two Books


text: User talk:4.136.84.51

title: User talk:4.136.84.51


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User:MatthewMastracci/Sandbox

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title: User:MatthewMastracci/Sandbox2


text:
Antoine Nduwayo

Antoine Nduwayo (born 1942) was the Prime Minister of Burundi from February 22, 1995, until July 31, 1996. He is an ethnic Tutsi and a member of UPRONA. He was appointed prime minister by the Hutu president in an effort to stop some Tutsis from fighting with his government. He resigned shortly after the 1996 military coup.

Opened in October 2019, the trial on the assassination of the first democratically elected Hutu president, Melchior Ndadaye delivered its verdict on October 19, 2020, more than a year after its opening and two days before the anniversary of the assassination.

Nduwayo, as well as the former president of Burundi, Pierre Buyoya, and fifteen other defendants, were sentenced to life imprisonment for "an attack on the Head of State, an attack on the authority of the State and an attempt to bring massacre and devastation ”and to a fine of 102 billion Burundian francs. Three other defendants were sentenced to 20 years in prison. Nduwayo was the only accused to be acquitted by Burundian justice.

title: Antoine Nduwayo


text:
Aion (CMX album)

Aion (2003) is an album by the Finnish rock group CMX. The word Aion (or Aeon) is Ancient Greek for "age, life-force" and also a Finnish verb form meaning "I intend (to do something)".

The album is regarded as something of a concept album by the band and listeners alike; a common theme throughout the songs is the concept of the devil and how this concept manifests itself in the mortal world.

The album was placed at #50 in Finnish rock magazine Soundi's list of "50 most remarkable Finnish rock albums of all time".

Track listing
All songs written by CMX with lyrics by A. W. Yrjänä.

 * 1) "Pirunnyrkki" – 3:19 ("Devil's Fist")
 * 2) "Sielunvihollinen" – 4:00 ("Satan", lit. "Enemy of the Soul")
 * 3) "Melankolia" – 4:12 ("Melancholy")
 * 4) "Fysiikka ei kestä" – 4:53 ("Physics Will Not Last")
 * 5) "Palvelemaan konetta" – 3:52 ("To Serve a Machine")
 * 6) "Kuoleman risteyksestä kolme virstaa pohjoiseen" – 5:42 ("Three Versts North from the Crossing of Death")
 * 7) "Kyyn pimeä puoli" – 3:17 ("Dark Side of the Viper")
 * 8) "Sivu paholaisen päiväkirjasta" – 4:12 ("Page from the Devil's Diary")
 * 9) "Nahkasiipi" – 4:20 ("Leather Wing")
 * 10) "Ensimmäinen saattaja" – 5:42 ("First Escort")
 * 11) "Hautalinnut" – 6:12 ("Grave Birds")

Personnel

 * A. W. Yrjänä – vocals, bass guitar, acoustic guitar, producer
 * Janne Halmkrona – guitar, bass guitar, trumpet, Rhodes piano, glockenspiel, backing vocals, producer
 * Timo Rasio – guitars, bass guitar, backing vocals
 * Tuomas Peippo – drums, percussion
 * Rake – producer, engineer, mixing, programming, keyboards
 * Anna-Leena Haikola, Janne Ahvenainen, Kati Kiraly, Marja-Sisko Lahti, Riikka Lampinen, Maija Juuti, Lotta Poijärvi, Siiri Rasta – strings
 * Pauli Saastamoinen – mastering
 * Ari Talusén – photography
 * Olga Poppius – photography
 * Sami Fiander – sleeve design
 * Gabi Hakanen – executive producer

title: Aion (CMX album)


text:
Camryn Grimes

Camryn Grimes (born January 7, 1990) is an American actress.

Career
She played Cassie Newman on The Young and the Restless starting in 1997. In 2000, at age 10, she became the youngest winner ever of the Daytime Emmy Award for Outstanding Younger Actress in a Drama Series; Kimberly McCullough had won the award ten years earlier, at age 11. In May 2005, Grimes's character was written off the show when she died from injuries sustained in a car accident. Since departing the show, she has made several guest appearances as Cassie's spirit. In 2014, she began a new role on the series, playing a woman with a resemblance to Cassie, named Mariah Copeland, later revealed to be Cassie's twin sister. It was announced on May 5, 2014, that Grimes was put on contract with The Young and the Restless.

Grimes played the part of Holly in the 2001 film Swordfish alongside Hugh Jackman, Halle Berry, and John Travolta. She guest-starred on Medium, JAG, NCIS, and ER.

Personal life
Grimes is the daughter of Preston Lee and Heather Grimes and the niece of actor Scott Grimes. She is the oldest of seven children. She welcomed her first baby with fiancé Brock Powell, 33, on Wednesday, Dec. 13, 2023.

title: Camryn Grimes


text: User talk:70.28.110.141

title: User talk:70.28.110.141


text:
Pteropsida

Pteropsida is a subdivision of vascular plants that is no longer in use. It included all flowering plants and ferns and was divided into Filicinae, Gymnospermae, and Angiospermae.

title: Pteropsida


text: User talk:141.161.140.83

title: User talk:141.161.140.83


text:
Attic talent

The Attic talent (a talent of the Attic standard), also known as the Athenian talent or Greek talent (τάλαντον, talanton), is an ancient unit of weight equal to about 26 kg, as well as a unit of value equal to this amount of pure silver. A talent was originally intended to be the mass of water required to fill an amphora, about 1 cuft.

History
The earliest known Athenian coins range between the years of 545 BC to 515 BC. However, Athenians had already adopted the drachma and the obol as a form of currency. The corresponding weights vary before and after the Athenians began to produce coins. After the reign of Solon, the change of standard was lowered to half of its former weight. As the Athenian league's influence expanded over the Mediterranean, the Attic standard became one of the major weight standards adopted during the Archaic and Hellenistic Period.

During the Peloponnesian War, a trireme crew of 200 rowers was paid a talent for a month's worth of work, one drachma, or 4.3 grams of silver per rower per day. According to wage rates from 377 BC, a talent was the value of nine man-years of skilled work. This corresponds to 2340 work days or 11.1 g of silver per worker per workday.

The Attic talent, corresponding with the standard, would change throughout the time of Alexander the Great and the Hellenistic Period, subsequently diminishing its value little by little.

Currency or weight
The subsequent units would then become as follows, obol, drachma, mina, and heaviest being the talent. An Attic talent is equivalent to 60 minae, 6,000 drachmae or 36,000 oboloi.

title: Attic talent


text: File:For-fiskere.jpg

title: File:For-fiskere.jpg


text:
New York Avenue (Washington, D.C.)

New York Avenue is a diagonal avenue radiating northeast from the White House in Washington, D.C. to the border with Maryland. It is a major east–west route in the city's Northwest and Northeast quadrants and connects downtown with points east and north of the city via Cheverly, Maryland, the John Hanson Highway, the Baltimore–Washington Parkway, and eventually, Interstate 95.

History
New York Avenue was planned as one of the original streets in the L'Enfant Plan for Washington, D.C. It was intended to begin at the Potomac River and extend northeast toward the White House, then continue past the Executive Residence northeast to the city's boundary with Maryland. The portion of the street southwest of the White House was to give the President of the United States an uninterrupted view of the Potomac River. Construction on the State, War, and Navy Building from 1871 to 1888 blocked this view, and it remains blocked to this day. It extended to the grounds of the U.S. Naval Observatory, but the construction of Rawlins Park in 1873 destroyed a block of New York Avenue between 18th and 19th Streets NW.

New York Avenue's consolidation with Triangle Park and three other parklets into a small mall in 1937 consumed another block between 20th and 21st Streets NW. Construction of the United States Department of War Building (now the Harry S Truman Building, housing the United States Department of State), and an associated park (since January 1959, known as Edward J. Kelly Park) from 1940 to 1941 destroyed the lower three blocks of New York Avenue. Construction of the Theodore Roosevelt Building (which now houses the United States Office of Personnel Management) in 1963 eliminated another block between 19th and 20th Streets NW. This left a single block of New York Avenue NW, between 17th and 18th Streets NW, southeast of the White House.

New York Avenue northeast of the White House retains its uninterrupted character. It originally terminated at Boundary Avenue (now Florida Avenue NE, as all city streets did in the L'Enfant Plan. Extensive development occurred beyond Boundary Avenue from 1870 to 1900. Extension of New York Avenue to Bladensburg Road was considered as early as 1899. But no action was taken. The McMillan Plan, a master plan for the capital published in 1901, strongly endorsed extension of the street. But although many portions of the plan were acted on, no road construction occurred. Plans were drawn up in 1903 to extend the street about 1 mi beyond the "city limits" to reach the Ivy City development, but these, too, fell through. In 1907, as construction of Union Station was under way, the Baltimore and Ohio Railroad (B&O) created a diversion track (beginning at Ivy City) so that its passenger trains could reach the new station. As part of this effort, the B&O was required to build a bridge to carry New York Avenue over its new track route, extending New York Avenue to Fourth Street NE. The B&O built the bridge and extension, but the bridge remained unused for decades.

Extensions to Bladensburg Road were debated again in 1908, and failed. The right of way was purchased in 1914, and property owners along the street route assessed for construction. But no construction occurred. An extension was proposed to South Dakota Avenue NE in 1925 (after land was purchased to found the United States National Arboretum), but these proposals were not acted on. Construction on New York Avenue Extended finally began in September 1930. The $231,000 ($0 in dollars) project created a 50 ft roadway 2.125 mi long from Florida Avenue NE to Bladensburg Road NE. There were no intersections with side streets, and only 4th Street NE merged with it. New York Avenue Extended opened on November 2, 1931.

The final section of New York Avenue NE (known as New York Avenue Extended), from Bladensburg Road to the District-Maryland border and the connection with U.S. Route 50, opened in October 1954. The construction of Route 50 was a joint effort of the state of Maryland (which built the northern half) and the federal government (which constructed the southern half). The District of Columbia paid to have New York Avenue extended to the connection. A "gateway" to the city was proposed at this time, but no gateway was built. This section of the avenue was not well-planned. At the bridge over South Dakota Avenue and the railroad track just a few hundred feet westward, New York Avenue narrowed from three lanes to two, creating major back-ups.

The fate of New York Avenue NE was sealed with the cancellation of the Northeast Freeway in 1977, which was intended to provide a more direct route for traffic between downtown Washington and Baltimore along the Interstate 95 corridor. The loss of the Northeast Freeway left New York Avenue NE, U.S. Route 50, and the Baltimore-Washington Parkway as the best route to get in and out of downtown Washington from the northeast. The main advantage of New York Avenue NE is that drivers need only put up with about two-and-a-half miles (4 km) of traffic lights between downtown Washington and the last traffic light at Bladensburg Road, while the distance between downtown Washington and the closest controlled-access freeway is more than twice as far for the two next best alternative routes, MD 650 and MD 500/MD 410.

Major reconstructions
New York Avenue NW and NE within the boundary of the old Federal City has generally remained in good to excellent condition. The city rebuilt New York Avenue between 9th and 15th Streets NW from 1992 to 1994.

New York Avenue NE beyond Florida Avenue NE, however, has had serious degradation issues. This section of the roadway saw only minor repairs until the mid 1980s, when major portions of the road began to fail. In 1987, a complete reconstruction of New York Avenue NE from Bladensburg Road to South Dakota Avenue occurred. The lower portion of the street did not receive major repairs, and by 1990 was listed by the city (along with South Capitol Street) as one of the worst for potholes.

In 1995, the District of Columbia Department of Transportation (DDOT) estimated that New York Avenue Extended carried 107,000 vehicles each day. By 1997, this had risen to 135,000 vehicles every day. The road was D.C.'s most heavily trafficked; only the 14th Street Bridge and the Southeast-Southwest Freeway (I-395) were more traveled. It was also the city's most-used commercial corridor, as semi-trailer trucks were twice as likely to use New York Avenue to enter the city than any other street.

In the spring of 1998, the city announced a two-year, $24.7 million ($0 in dollars) project reconstructed New York Avenue from South Dakota Avenue to the District line. The two bridges which created two-lane traffic jams were replaced and the roadway widened to three lanes in each direction. The ramps connecting South Dakota Avenue with New York Avenue were also replaced. A new roadway design, which incorporated a 10 in reinforced concrete road surface, was used on this section of the street. The project also installed new street and traffic lighting and improved storm water drainage. Design and delays in obtaining federal funding kept the project on the ground until March 1999. Traffic barriers were used to create reversible lanes, to alleviate rush hour problems. The work proved more difficult than planned, and was not complete until June 2002. For reasons which remain unclear, the bridge over the railroad tracks near South Dakota Avenue NE was not replaced, and the two-lane bottleneck continued.

As the 1999 reconstruction project continued, the section of New York Avenue from South Dakota Avenue to Bladensburg Road was repaved to remove bumpy asphalt. All three inbound lanes were closed at the same time, as the city experimented with what it called a "full-bore approach" in repaving. Fort Myer Construction handled the $700,000 ($0 in dollars) job. The new construction method worked, and the avenue reopened on time three days later.

According to a study released in 2005 by the government of the District of Columbia, five of the ten most crash-prone intersections in the city are along New York Avenue. The most crash-prone intersection in the city is at New York Avenue NE and Bladensburg Road NE.

Another major bridge, carrying 9th Street NE over New York Avenue, began replacement in April 2009. The 70-year-old structure carried 26,000 vehicles a day. The two-year, $40 million ($0 in dollars) project replaced two-lane, 44 ft wide span with a four-lane, 52 ft wide structure. Sidewalks were widened from 5 ft to 9 ft in width, a median was added, and new crash-resistant railings installed. Delays in other New York Avenue projects allowed the 9th Street NE bridge to begin replacement sooner than expected, and to proceed faster toward completion.

Work on New York Avenue occurred again in the spring of 2010. Single lane closures in both directions occurred as repaving occurred from Bladensburg Road to Florida Avenue. A far more major repair effort began 2011, when the 1907 bridge over the railroad tracks between Florida Avenue NE and Penn Street NE was replaced. The job was a complex one, as the bridge also carried electricity, telecommunication cables, and mechanical equipment critical for railroad operations. The project was ready to begin in 2010, but the complexity of the replacement led to a new replace plan which delayed work a year. Lanes closures in 2011 consisted of a single lane in one direction during rush hour, but expanded to two lanes in each direction in 2012.

Corridor redevelopment efforts
Originally, New York Avenue Extended passed through relatively rural areas, where farms and small, isolated developments were common. But during the road's first 30 years, the area around it transformed into a major industrial corridor. The economic dislocations of the 1970s, however, led to rapid deindustrialization along New York Avenue. By the late 1970s, many industrial businesses along the route were closed or abandoned, and retail was relatively nonexistent. The residents in the surrounding neighborhoods were very poor, unemployment was high, and environmental problems were severe.

In 1980, D.C. Mayor Marion Barry announced a major effort to redevelop the New York Avenue Extended industrial and retail corridor. Little action was taken to implement the plan's goals.

Barry's successor, Sharon Pratt Dixon, announced another redevelopment effort in late 1993. Once more, redevelopment efforts failed to materialize. Barry defeated Dixon in her attempt to win renomination for mayor, and Barry won the general elected held in November 1994.

Barry announced his second effort to redevelop the New York Avenue Extended corridor in July 1995. A more thorough analysis of the corridor found several problems: The roadway was poorly maintained and traffic was far too heavy; the intersection of New York Avenue and Bladensburg Road was a confusing mass of exit and on ramps, medians, and underpasses; poor zoning laws had allowed businesses to erect bright, visually distracting signs; and an excessive number of curb cuts permitted too many motorists to access the road and slow traffic. Barry's plan for the street included plans to induce light manufacturing and blue-collar service businesses to return to the area, adding hundreds of trees to the streetscape to make it more appealing, and reducing traffic congestion. DDOT officials said they were ready to replace the bridge over the railroad tracks near South Dakota Avenue NE but that the city lacked the $16 million ($0 in dollars) for the project because federal highway funding had not been forthcoming. DDOT also said it planned to widen the street to four lanes between Bladensburg Road and the District line, and reduce the steepness of the approaches to the overpass over the railroad tracks near Florida Avenue. Business executives said reducing congestion on the road was the key to reviving retail and industry. But once more, little revitalization occurred.

In 2002, D.C. Mayor Anthony A. Williams announced yet another New York Avenue Extended redevelopment initiative. Transportation and economic development officials announced that they were studying plans to reduced congestion on New York Avenue by adding more public transit, such as light rail. They also said they would improve the streetscape by adding bicycle paths, widening sidewalks, and planting more trees and shrubs. The city hired six consulting firms, and paid them $900,000 ($0 in dollars) to identify additional problems, survey residents, and propose solutions. The 18-month effort was intended to create a New York Avenue master plan that would guide development in the area for the next 30 to 50 years. The most significant issue immediately identifiable facing the street was the anticipated rise in heavy trucks using the road, due to the presence of the Walter E. Washington Convention Center, Bureau of Alcohol, Tobacco and Firearms headquarters, and several anticipated big-box stores on the street.

In 2004, the New York Ave–Florida Ave–Gallaudet U station opened on the Washington Metro's Red Line, after a group of property owners formed a special assessment district, agreeing to tax themselves to fund construction of the station.

Route
New York Avenue is U.S. Route 50 from the border with Maryland and into northwest as far west as 6th Street NW. In addition, it is U.S. Route 1 Alternate from Bladensburg Road NE to 6th Street NW. The northern terminus of Interstate 395 is at a signaled intersection with New York Avenue and 4th Street NW. At that intersection, traffic from New York Avenue in either direction may turn south onto Interstate 395, but traffic on northbound Interstate 395 may turn only right (east) onto New York Avenue.

At its eastern end, New York Avenue NE becomes the John Hanson Highway (U.S. Route 50 in Maryland).

On the east side of Mount Vernon Square, New York Avenue crosses 7th Street NW. At Mount Vernon Square, traffic on New York Avenue mixes with traffic on Massachusetts Avenue NW and K Street NW. East of Mount Vernon Square, New York Avenue is part of the National Highway System.

While the main line of New York Avenue extends northeast of the White House, the avenue resumes southwest of the White House to run one block between 17th and 18th Streets NW. At 18th Street NW, New York Avenue joins E Street NW, which leads to the E Street Expressway. That one-block segment of New York Avenue is also part of the National Highway System.

Places of interest
New York Avenue NE is served by the NoMa – Gallaudet U Station on the Washington Metro. The $103.7 million ($0 in dollars) subway stop opened in 2004 as the New York Ave-Florida Ave-Gallaudet U station. Seven years later, Metro gave the stop a new name, NoMa-Gallaudet U, in an effort to broaden the subway station's appeal. (NoMa stands for "North of Massachusetts", an area city officials hoped to transform into a hip arts and retail area.)

Locations of interest on or near New York Avenue include Bureau of Alcohol, Tobacco and Firearms at 99 New York Avenue NE (which opened in 2008), the main entrance of the National Arboretum (including four relocated U.S. Capitol Gateposts and the National Capitol Columns), the Walter E. Washington Convention Center at New York Avenue and 7th Street NW (which opened in 2003), the National Museum of Women in the Arts, the New York Avenue Presbyterian Church, and the Corcoran Gallery of Art.

title: New York Avenue (Washington, D.C.)


text: User talk:65.103.58.55

title: User talk:65.103.58.55


text: User talk:65.65.192.251

title: User talk:65.65.192.251


text:
The Hometown Band

The Hometown Band was a Canadian folk music group. They are best known as the backup band for Valdy.

History
The Hometown Band was founded in 1975 by Claire Lawrence, a former member of The Collectors and Chilliwack, as the back-up group for Canadian folk artist Valdy. The band comprised Shari Ulrich (lead vocals, flute, fiddle), Geoff Eyre (drums, vocals), Robbie King (organ, piano, keyboard bass), and Doug Edwards (guitar, keyboards, bass).

Their first LP Flying was released in 1976, and produced two hit singles, the title track and "I'm Ready" (both written by the Pied Pumkin's Joe Mock.)

In 1977 Eddie Patterson joined the group, and they recorded a second album, titled The Hometown Band.

The group toured with Valdy in 1977, and continued to tour in 1978. That year the band won the Juno Award for "Most Promising Group of the Year",

The band's second album failed to produce a radio hit, and the band broke up soon after.

Following the band's breakup, Shari Ulrich played in several other groups as well as solo performances. She and Joe Mock continued to perform occasionally with The Pied Pumkin.

The Hometown Band reunited with Valdy in 2016 for a 40th anniversary tour.

title: The Hometown Band


text:
Talk:Hanafuda

During play,
when a card is drawn from the deck, it is placed on the table face up. If this is not done, how will the players know which card to match it with?

I play the Korean variant of the game with subtle difference in play and scoring, so perhaps in the Japanese variant, the card is placed face down. -- 68.206.99.145 05:33, 31 May 2005 (UTC)

History of Hanafuda
Saw a cleanup request for Hanafuda, and did a major rewrite on the history of Japanese card games, hopefully enough of one that pages for other, less popular card games can simply be linked to this one.

Thoughts? Dace K 20:05, 30 July 2005 (UTC)

Name
I recently acquired a hanafuda deck, but the name on the box is Kwa-do. this site seems to refer to it as Hwa-t'u, Godori, GoStop, and Ha-to. Apparently, this game is known by many names. --Jsnow 21:35, 3 October 2005 (UTC)

 * The name depends on the country where the cards are sold. But actually "GoStop" is the name of a game, not a name for the type of cards.  This may be the case with other names you quoted. 203.217.22.128 00:14, 18 October 2006 (UTC)

Rules
... Maybe it's just me, but I'm not sure the 'rules' section is entirely accurate. All the sites I've visited detailing koi-koi (including the linked Sloperama and Nintendo of Japan's site) play 8 cards per player, 8 on the field. The current rules listing (7 per player, 6 on the field) seems to be the dealing rules for hachi-hachi, with I'm not as familiar with. I guess I'll leave this for a few days so that maybe someone else can correct me if I'm wrong, but I'll edit this article with (what I understand to be the correct) koi-koi rules before long if no one voices any objections. I'm thinking a seperate rules listing for each of koi-koi and hachi-hachi? --71.124.58.37 06:40, 27 May 2006 (UTC)

 * If it's verifiably wrong, then go in and change it. --Atkinson 02:07, 9 September 2006 (UTC)

Japanese or Korean cards in picture?
The picture in this article once had the caption, "Korean Hwatu cards," and it was changed to "Japanese Hanafuda cards," with the comment from the editor, "Korean cards look a little different." Now, these look identical to the Korean cards I've played with in real life and online. Also, when I search for pictures of Hanafuda cards, I get pictures that look a lot different from these while the pictures of Hwatu cards look exactly like this, or quite similar. If nobody tells me different, I'm going to change the caption back. Better still would be to find unprotected scans of verified Japanese Hanafuda cards, which I haven't got.--Atkinson 02:07, 9 September 2006 (UTC)

 * That's strange... the deck I have looks like the picture in the article, and I got them from Japan. Although it's kinda funny how that Wisteria card is upside down. ^^ --Cael 03:34, 10 September 2006 (UTC)

 * Looks like someone solved the problem by deleting the picture. 203.217.22.128 00:15, 18 October 2006 (UTC)
 * The writing on the banners in the current set of images is in Japanese. The Korean versions would and do have Korean, specifically Hangul, writing.  Note also that two cards from the Korean version are missing from the image.  Why was Hwatu merged into this article?  JimCubb (talk) 21:49, 1 June 2010 (UTC)

Could we have some pictures
I am looking for interesting card designs and found this linked from the main "playing card" entry. You mention that the card designs are different, but you don't show any examples of these designs. I did find some examples through the links, but it would be nice if there were some examples of the cards displayed in the table in the Game Play - Cards section. I'd do it myself, but I'm not sure about the ownership of the images (or which are which :) ).

--Martin lester 09:56, 10 November 2006 (UTC)

Unencyclopedic Tag
Please see WP:NOT for clarfication of why I added the tag to the rules section, especially WP:NOT #4: Instruction Manuals. The Kinslayer 11:59, 5 December 2006 (UTC)

 * Half a month late, but here goes. I find it odd that a section describing the rules of play would be considered unencyclopedic. The way I see it, it's a definition of rules, which isn't quite an instruction manual. That is, it's not telling how to operate some object to achieve some desired effect (thus an instruction manual), and neither does it attempt to teach strategy (thus a tutorial/game guide/etc.). Besides that, entries in Wikipedia for specific other card games (such as the many variants of poker) have sections describing rules of play. They should, too: people who don't know how to play should be able to read the rules of play, which is really the most important part. An encyclopedia article about a simple game without such basic and crucial information is very lacking, I'd say. -Cael 09:08, 28 December 2006 (UTC)

Looking at that, and then looking at was in the article, it did seem to pretty much be 'how to play' section. Links to different versions of the rules would be fine I'm sure, but telling people step-by-step how to play anything (cards games, computer games, board games etc etc) is definitly covered by WP:NOT meaning it shouldn't be in the article (as far as I see it anyway!) The Kinslayer 12:10, 3 January 2007 (UTC)
 * Found the relevent bit I was referring to at WP:NOT: While Wikipedia has descriptions of people, places, and things, Wikipedia articles should not include instructions or advice (legal, medical, or otherwise), suggestions, or contain "how-to"s. This includes tutorials, walk-throughs, instruction manuals, video game guides, and recipes.

Oh and I think by saying that the rules aren't official could open a problem with WP:OR as well (just pointing it out, nothing more though!) The Kinslayer 12:13, 3 January 2007 (UTC)

 * I tend to agree with Cael. This article seems to me to be very similar to the one for UNO ( http://en.wikipedia.org/wiki/UNO_%28game%29 ) and other entries for card games 70.230.243.92 21:59, 4 January 2007 (UTC)

 * To be honest I agree when it's put like that. I'll remove the tag, otherwise I'd have to say the same about Uno. The Kinslayer 00:02, 5 January 2007 (UTC)

Note about Korean cards
They are slightly different... the number of them, how they are played and the jokers tend to amount to more than the Japanese version. I have a link for reference... --66.215.18.156 00:52, 1 January 2007 (UTC)
 * The link you provided is excellent. It matches my deck, and the style of play I played in Korea. 67.174.157.126 (talk) 10:39, 8 September 2008 (UTC)--
 * Which begs the question of why Hwatu redirects here rather than having its own article. JimCubb (talk) 21:51, 1 June 2010 (UTC)

Hanafuda, Hanafura, Hanapua
I am not 100% sure about this but i believe that in Japan this game is called Hanafura and in Hawaii, Hanapua. —The preceding unsigned comment was added by 216.244.34.93 (talk) 08:05, 3 January 2007 (UTC).

-- I learned the game in Hawaii when I was working as an aviation electronic tech during night shifts with local hires (mostly Okinawan Japanese). During breaks in the lunch room I saw these guys animatedly playing a card game with stiff little brown rectangular cards. I got to asking them what kind of game they were playing and they told me it was "Hanafuta", and volunteered to teach me the game if I wanted to join them. I did, and they did. Afterwards I also played the game with my ranching relatives on the Big Island of Hawaii. They told me that they played it often with their friends; they were very familiar with how to play the game, and they too called it "Hanafuta". Now being curious about the subject of whether the game is called "Hanafuda", "Hanafuta", "Hanafura" or the Hawaiian "Hanapua", I used my old friend "Google Translate" [translate.google.com] to tell me which of those Japanese "Romaji" words it thought was the most correct English translation. After a number of iterations between Japanese, Korean, Hawaiian, and English the answers my translator tutor gave me were this: Japanese "Hanafuda" means "flower card", with a notation that it is a noun referring to "floral playing cards"; "Hanafuta" translates as "flower cover" with no additional notes. And the only difference between the two versions is that two Japanese Kanji characters (also shown by my friend Google) for "-da" and a single Chinese glyph for "-ta". My old friend had no definitions at all for either "Hanafura" or Hawaiian "Hanapua"; this is its usual way of telling me that it couldn't find those two words in any of its rather extensive Japanese, Korean, and Hawaiian dictionaries. K. Kellogg-Smith (talk) 16:49, 22 July 2019 (UTC)

Koi Koi rules
It seems that the rules to koi koi are off in a few places here. Although the rules do seem to vary from place to place, it seems that in the standard Japanese game of koi koi, calling koi-koi and getting another yaku does not double the score as stated. It only doubles if the opponent beats you to the punch. The only thing calling koi-koi does is allow you to score more points, not double your score. This seems to hold true in most video game console or computer versions of the game, along with being confirmed in other rule sites.

Also, another important rule that was left out is that the your score can be doubled if you get more than 7 points in a round. Obakedake 02:23, 16 October 2007 (UTC)

Gosutop
Gosutop (Go-stop/[Gostope]) should be added to one of the lists of games played with hanafuda. It is the largest game played in Korea that uses the Hadafuda (or Hwatu) cards. Please consider adding it to this article. The Korean article for Gosutop is: 고스톱. Amphitere 16:59, 28 October 2007 (UTC)

Photo Request
I removed the photo request because the current photo seems to fulfill the request. If I am wrong, please revert. --TorsodogTalk 21:52, 19 August 2008 (UTC)

THIS ISN'T HUATU —Preceding unsigned comment added by 81.109.219.155 (talk) 17:13, 6 October 2008 (UTC)

Rules clarification request
The rules section (hiki paragraph) mentions use of a "storm card" but this term is not explained. — Preceding unsigned comment added by 80.5.66.25 (talk) 19:52, 30 May 2011 (UTC)

Confettis
What is the meanig of the confettis on some cards (for example on january ribbon) ? Nojhan (talk) 16:43, 30 January 2012 (UTC)

November/December swapped
I have swapped the entries for the cards for November and December around. Rainman/Willow is November; and Phoenix/Paulownia is December (also, credits on the final month).

This is verifiable from a scan of the rules (in Japanese) that you can see at http://www.heyrick.co.uk/blog/images/20110729koikoi_rules_two.jpeg

These rules are from an official Nintendo Hanafuda deck purchased in Japan in 2010.

HeyRick1973 (talk) 21:40, 26 November 2012 (UTC)

 * Update - I've found where the November/December swap originates. It's the Korean form of Hanafuda (with extra Joker cards not found in Japanese versions); as described at http://www.sloperama.com/gostop/cards.html

 * HeyRick1973 (talk) 13:39, 23 December 2012 (UTC)

Lacking of 2 pictures of cards?
There are 48 cards but only 46 pictures in the "card" part. It lacks 1 of January and 1 of March. The march one is a 20 point card. Why are they missing? I found the picture in the source code pack of PySolFC (http://pysolfc.sourceforge.net). It's a GPL software. Is it OK to upload them? Inufuusen (talk) 10:43, 9 July 2015 (UTC)
 * I see the 2 pictures were deleted due to copyright violation. Does it mean GPL is not enough for the pictures? Inufuusen (talk) 04:56, 10 July 2015 (UTC)

Game rules Section
I was reading the article and it had a section on the game rules. I think it should be dropped as presumably the links to the games in the games section each contain the rules to those games. I will take it out in two weeks if no one objects to it.

Catzilla4 (talk) 05:43, 23 August 2015 (UTC)Catzilla4
 * Yes, there is a Rules section. Please specify what other section of this article you believe already contains this information.  Are you referring to the Variants section or the External links section?  I see no reason to remove the Rules section.  — Myasuda (talk) 13:38, 23 August 2015 (UTC)
 * I was referring to the games in "Variants" section (with the possible exception of Hachi which just links to this page) contain the rules to each of the games. I was thinking that since those were there, it should be removed from here. Maybe given the fact that Hachi links here, those are the rules for it.  To me, for consistency, the rules for each game should be in the game's article.  Catzilla4 (talk) 02:10, 24 August 2015 (UTC)Catzilla4
 * This article just lists the vanilla version of Hanafuda rules, and that's fine. The "variants" use the same deck, but describe different games.  That's why those articles need to specify their own special rules. — Myasuda (talk) 03:42, 24 August 2015 (UTC)
 * While I still disagree, I can see your point. To me, it would be a bit like having rules to Western playing cards, which doesn't work as the rules for example War, Poker, and Crazy Eights are too different to generalize much.  As a result, I will leave it in for now unless I find there are games played with Hanafuda have rules wildly different from the ones described.Catzilla4 (talk) 21:49, 25 August 2015 (UTC)Catzilla4

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Tanjiro Kamodos Ear rings
Tanjiro the main Character of Demon slayer wears ear rings that look like the playing cards they are made out of glass with what looks like an ocean or a hill with a sun set. — Preceding unsigned comment added by 47.37.196.26 (talk) 23:32, 15 March 2021 (UTC)

Card Art & Coloration
A change was made by an IP user that altered all the card art on the page to be closer to Nintendo’s own color scheme on their hanafuda. As the person who made the art, I feel like I should give some information as to why I did it the way I did, and I think this change is worth discussing, especially when considering the various card image removal (as seen above on the Talk page). I think the best practice is to represent hanafuda as a whole, which is wide, varied, and can be so many different styles and colors. By changing their color scheme back toward the darker Nintendo color scheme, it ceases to be representative of other hanafuda, and starts to relate more to Nintendo than any other manufacturer, I also think there’s a smaller chance that anyone will take issue with them and want to remove them if they are more different. Lastly, as there are extra suits that were created with additional colors by other manufacturers, creating a color scheme that belongs to no manufacturer but instead is suited for the concept allows these to look good with the rest. Ultimately, I think it’s in the best interest of the page and educating others that the card art does not look too close to any particular manufacturer, just as the “standard 52 card deck” images on Wikipedia look nothing like any manufacturer’s actual cards. Louie Mantia (talk) 15:09, 22 August 2021 (UTC)

 * makes sense to me. Just change it back. – ishwar  (speak)  03:57, 23 August 2021 (UTC)

I am not talking about Nintendo's Hanafuda. The green color used for pine trees and other parts of the Hanafuda is unique to Matsui Tengu-do, and no other manufacturer uses it. I strongly feel that you should use images of typical Hanafuda, not the Hanafuda that Louie Mantia personally finds most attractive. sukejo (talk) 05:20, 25 September 2021 (UTC)

 * Your claim about the usage of colour green is not accurate. To name just two: Tamura Shogundo and Suzuki Tengudo both have green in their Hanafuda designs. There are countless more examples, both modern and vintage.
 * Personally I think it's a good idea to represent Hanafuda in as generic a way as possible, so not using a specific colour scheme like the Nintendo one. Much like Playing cards are best represented generically rather than, say, using a Bicycle deck. There is much more to Hanafuda than that seen through a Nintendo lens. Thinking that green is unique to one set of Hanafuda could be considered proof that your view of Hanafuda is too narrow. —Flicky1984 (talk) 08:44, 25 September 2021 (UTC)
 * Suzuki Tengu-do is not a real manufacturer of Hanafuda. It is an anonymous individual who is ripping off Matsui Tengu-do's design on a hobby level. I also think that a general design is preferable to a specific manufacturer's design. The green design is, after all, a design that has only been used by a specific manufacturer, not general. If you think that the black design is "Nintendo's design", it could be said you are showing your own narrow and uninformed view of Hanafuda (However, I don't think this is the best way to go about the discussion.). The black design is the general design used by all hanafuda makers, even Matsui Tengu-do: . sukejo (talk) 01:37, 26 September 2021 (UTC)
 * This reply (along with your other posts and removal of information without discussion) clearly identifies a personal bias about what you consider consider “real,” as if you are purporting to be the single authority of hanafuda. You have placed the word hanafuda in quotes to indicate your disdain for hanafuda you dislike and even went to far as to say one manufacturer is not a “real manufacturer” because you consider them a hobbyist.
 * You have now made several assertions about the supposed objectivity of what hanafuda is and isn’t while merely presenting your opinion. This concerns me because you have also made several accusations and (from my perspective) given them in a rather aggressive tone, while somehow accusing another user of having a "superior officer style” tone in the same breath as “It is not desirable to insult other editors.”
 * You’ve issued warnings, threats, and posted notices on a few pages, all which appear to be based on your feelings rather than facts. Louie Mantia (talk) 05:33, 26 September 2021 (UTC)
 * I think it’s clear that the cards on this page are unmistakable as hanafuda regardless of color. As it has already been pointed out, several manufacturers use the color green in their hanafuda, both currently produced decks and historical decks. While the most-prominent manufacturers (Nintendo, Oishi Tengudo) use fewer colors, a broader range of color is commonly found in many other decks. I think this discussion about color raises a great point about what might be missing in this article: a visual depiction of the variety of hanafuda that exists. Not just in color, but in style. Louie Mantia (talk) 17:27, 25 September 2021 (UTC)
 * Suzuki Tengu-do is only a hobby level individual, as I told Flicky1984 before. Tamura Shogun-do used to make something similar to Matsui Tengu-do's design, but their main line is black: . When it comes to Hanafuda using the green design, none of the others are in Japan. However, the Hanafuda produced by Louie Mantia himself certainly uses green instead of black, doesn't it? I would like to remind you again. If there is a WP:COI (which he hasn't admitted yet, so if it's not, I apologize), I would like to ask you to stop editing further.sukejo (talk) 01:53, 26 September 2021 (UTC)
 * Thankfully, who is and isn’t considered a “real” manufacturer is not decided by you. Also, it only takes perusing the Japan Playing Card Museum website to find several instances of green in hanafuda over the years, if you only care to look. It should be clear that neither Tamura Shogundo or Matsui Tengudo were the first to use green.
 * You can keep making accusations of supposed conflicts of interest, but so far all you’ve managed to accuse me of is using attributes of hanafuda (the color green?) that have existed before and are well documented. I’m not sure how that matters at all. Louie Mantia (talk) 05:41, 26 September 2021 (UTC)
 * First of all, I would like to say that I regret that my tone of voice, which Louie Mantia describes as "aggressive," came across as such. I'm sorry that it came across that way. I tried to be careful and write in polite language, but I'm using the help of automatic translation, so I'm not sure if that might have changed my tone. On the other hand, I have the impression that Louie Mantia is the one who is being aggressive, but I would like to get to the point, because discussing it will not help the discussion. I also appreciate and thank Louie Mantia for providing free Hanafuda material for Wikipedia. I would however appreciate it if you would stop calling me "threatening" you. It is highly regrettable. Proposing to take an issue through Wikipedia conflict resolving process can not be considered a WP:THREAT.
 * I don't mean to make fun of Suzuki Tengu-do at all, but a guy who has been posting to Twitter since last year, without disclosing his own name, company's name, address, or anything else, and not actually selling his Hanafuda anywhere, is on the same level as a "manufacturer" who only printed playing cards on Kickstarter in one shot　(This is not an indirect criticism of Louie Mantia, just an example). Of course, there is no mention of this "Suzuki Tengu-do" among reliable sources, not even on Japanplayingcardmuseum.com. When I call this hobby level, I am not making fun of it. If you look at his Twitter page, you can clearly see that he does this on his own as a side job, and only occasionally, and currently is not selling anything. That he choses to call himself "Suzuki Tengu-do" or "Kyoto Tengu-do" does not mean he is notable like other Tengu-do in Kyoto and actually I feel he is parasitisic of their reputation. I think it's an insult to the manufacturers to compare them with professional manufacturers that have been around for decades or centuries. To be honest, I didn't think this would be a point of contention at all. It shouldn't be a situation where you have to say something hostile like "Thankfully, who is and isn't considered a "real" manufacturer is not decided by you". Clearly he is not noteworthy.
 * Japanplayingcardmuseum.com is not a reliable source, so I don't know what kind of choice they are making, but even so I wondered how Louie Mantia could look at the scans on that site and say, "The black design is from Nintendo". Among the 80 Hanafuda scans, there are two Hanafuda that use green color in a way that is similar to the green Matsui Tengu-do design that Louie Mantia is pushing. Two "Late Musashi":
 * There is another similar that is not a Hanafuda deck but copy from a book illustration. I think there were 3-4 other ones that used green in a very different naturalistically drawn way.
 * On the site there are however an astonishing 70+ Hanafuda cards from different manufacturers with black designs, including 4 decks from Matsui Tengu-do, which Louie Mantia still elects to call "Nintendo design".
 * This means that
 * (1) it is completely wrong to call the black design "Nintendo design" and
 * (2) Even if we exclude Nintendo and Oishi Tengu-do and many, many others, there is no mistaking the black color as the absolutively representative design of Hanafuda.
 * It's the same thing with green clubs in Western playing cards: four-color decks exist, but are they representative of Western playing cards, or would those colors be appropriate for the Wikipedia playing card template? No, of course not.
 * Don't you think so? If you don't think so, I would certainly like to know why.sukejo (talk) 23:35, 12 October 2021 (UTC)
 * Once again, you have shown a disdain for information that does not match your view. You have decided what is and isn’t notable, real, or reliable. There’s no reason to believe Japanplayingcardmuseum.com is an unreliable source, so I’m unsure why you made that claim. Simply saying it doesn’t make it true. ~ Louie Mantia (talk) 14:23, 21 October 2021 (UTC)
 * You are getting emotional and don't seem to be able to wrap your head around my arguments at all. I don't take any information lightly, and I wonder how well you understand Japanese, Louie Mantia. To be honest, I'm surprised that someone who doesn't understand Japanese would say "you don't understand as well as I do" about the reliability of a Japanese source. First, let me describe Japanplayingcardmuseum.com. "There's no reason to believe Japanplayingcardmuseum.com is an unreliable source" you told me. Louie Mantia seems to be stating that a reliable source is as if it is abstract. It appears to be. WP:RS, what do you think after reading it? First of all, there is no actual museum that calls itself "Japan Playing Card Museum" or "Nihon Karuta Bunka-kan" in Japanese, at least not in Japan. It seems that they just use that name as the name of their website. Next, there is no About page, which was available in the old version of the WebArchive, but even there, there is no information about the publisher or even the name of the owner of the site. The only thing I could find was a "Director" (館長) signature on everything. Needless to say, an unnamed "Director" (館長) of a non-existent museum is not something that would meet the requirements of WP:RS.
 * However, I put aside the question of whether or not Japanplayingcardmuseum.com is a reliable source (it is not actually important) and proceeded to discuss the case of even if it is RS, but you did not respond to that question. I argued that calling the black design "Nintendo design" is deceptive, and that the black design is clearly the most common and representative design by far, even if you look at the non-RS source provided by Louie Mantia.
 * It seems responding to that was not convenient and it was easier to just say that I am showing disdain.sukejo (talk) 12:54, 31 October 2021 (UTC)
 * This website is from Takashi Ebashi, a researcher and author of “Hanafuda,” a book published in 2014. Inside this book, you’ll find lots of information about hanafuda (including photos from his collection). His website is a digital source for much of his knowledge and research since the book was published. He’s also written a book on Mahjong. The word “museum” is used non-literally, as a digital museum of historical hanafuda and other karuta.
 * This website absolutely does have an About page, with Ebashi’s name clearly listed. And beneath his name, there is a list of events related to his research.
 * (As a side note, I’m not sure why you’ve put words in my mouth. I didn’t say you don’t understand anything as well as I do. I said that you have made claims about which things are and aren’t reputable or which manufacturers are and aren’t real or which hanafuda is and isn’t notable or significant based on your own point of view.)
 * Louie Mantia (talk) 15:35, 3 November 2021 (UTC)

Additional Suits
An IP user removed some content about additional suited cards saying the information was poorly sourced and undue focus was placed on these cards for only appearing in a single deck. If there’s a problem with the citation, I think that’s a great question to ask and to discuss on the Talk page here or ask for additional citations. I don’t think their inclusion is a problem, nor do I think undue attention is being given to them, nor are they the only decks that featured additional suits or even these specific suits. I think this is an issue that should be discussed before removal.

I worry that Nintendo hanafuda are often thought to be the basis for what hanafuda is and isn’t, and I think viewing hanafuda that way excludes a lot of information about this type of playing cards. This page is not specifically about 48-card hanafuda decks, is it? It’s about hanafuda, which has many different versions, styles, and additional cards. Perhaps the page should have additional information about older hana awase decks that contained far more than 12 or 14 suits. It would help others to understand the origin of modern hanafuda, and might give context for “additional” suits that were added later. Louie Mantia (talk) 10:56, 22 September 2021 (UTC)

Are you the same person as Louie Mantia, who is producing your own 14-month "Hanafuda" deck commercially? kickstarter.com/projects/juniorcards/junior-hanafuda　If so, you have a private Conflict of Interest with commercial nature, and if it is pointed out on the admin bulletin board, it can just be an indefinite ban on editing. I recommend that you act cautiously here. On top of that, I think there are two problems. 1) This image has been uploaded to Wikimedia Commons under a Creative Commons license, even though it is based on a copyrighted deck that is clearly not free. This is more of a Wikimedia Commons issue, but if a vote is taken at Wikimedia Commons, I think this image will be removed soon. 2) Where are the sources to show that these additional suits are really noteworthy? Nothing can be done with an expired Geocities link. sukejo (talk) 05:40, 25 September 2021 (UTC)

 * I hope I'm OK in adding to this conversation even though the questions were for somebody else. My name is Matt Sephton: I've been active on Wikipedia since 2006, and I've been following the sale of Hanafuda cards since 2007. I also run the Hanafuda Discord out of which the independent Fuda Wiki has sprung, both aim to document Japanese cards. I'm wary of any New_account that champions removal of information.
 * Vintage 14-month decks by Matsui Tengudo the former, pre-eminent manufacturer of hand-made Hanafuda are frequently for sale privately via online auctions in Japan and sell for very high prices. I say this to show their noteworthy from that perspective. Given the nature of Hanafuda being Japanese that is not surprising. The Junior deck is simply one of numerous modern 14-month decks, and is not referenced directly in the Hanafuda article. I would say that mentioning the 14-month design change is the same as mentioning one of the design changes documented in the Playing card article. ref/cites can be found with a little time, no question in my mind. —Flicky1984 (talk) 08:33, 25 September 2021 (UTC)
 * I am sorry, but I would like to ask you not to play the superior officer style. This is not an argument about whether one of us has a long history of editing Wikipedia or liking Hanafuda. It is not desirable to insult other editors. Since I can't seem to get anywhere with people who start discussions with the default stance of "you don't understand Hanafuda", I'll just go to Wikimedia Commons and request removal.sukejo (talk) 01:24, 26 September 2021 (UTC)
 * I’m left a little puzzled after reading this message because what you are upset about seems to be the behavior you are exhibiting: a “superior officer style” tone and “insulting other editors.” You’re making threats toward other editors and clearly declaring you’ll seek out other methods of getting your way when you cannot reach consensus with other editors (which is how conflicts are resolved on Wikipedia). Louie Mantia (talk) 05:45, 26 September 2021 (UTC)
 * I only described myself and my situation so as to not be anonymous. Wikipedia process encourages interactions, and with that experience and time comes more credibility and responsibility. Any user, new or experienced, that throws around accusations and retaliatory threats is not to be taken seriously. That's just not a civil way to behave. —Flicky1984 (talk) 10:13, 26 September 2021 (UTC)
 * It was my fault for saying, "I can't argue with these guys anymore. I apologize for that. It is true that I was offended by the way Flicky1984 was arguing. In English, it was "pull rank". I don't think that's appropriate for Wikipedia. However, I think it is the policy of Wikimedia Commons to request the removal of images that are not copyright free, and I don't think it is "threatening" to do so, and I don't think the debate here should determine whether to remove them or not. That makes me want to question Flicky1984's intentions in saying that I am not to be taken seriously. If you think you're asking people not to follow your policy, it's not a very convincing way to ask.sukejo (talk) 08:23, 18 October 2021 (UTC)
 * Discussion about conflicts of interest should happen on users’ talk pages rather than article talk pages. If this discussion is to continue, I recommend moving it to my talk page. Conflicts of interest on Wikipedia specifically refer to using Wikipedia articles as a method of self-promotion, which is clearly not happening here.
 * About the information itself, it is visually separated into a separate section with other kinds of extra cards. This helps to contextualize extra cards separate from the cards found in a deck most people consider “standard.” Of course decks exist that contain jokers or ads, or even blank cards. So too exist other decks (separate from Matsui Tengudo) that contain additional suits, like in hana-trump hybrid decks and even older hana-awase decks.
 * I think the issue is that extra playable cards are not otherwise discussed in this article, and perhaps some attention could be paid to fix that. The history section of the article quickly skips through hana awase decks which contained around double the cards found in standard hanafuda today. Louie Mantia (talk) 17:46, 25 September 2021 (UTC)
 * I had a look at your talk page. Blank page, wasn't it? I see from your changelog that you had a problem with WP:COI in another article before. You conveniently removed that note, too, because it was your talk page, right? I think I got the true meaning of the instruction to talk on your talk page.sukejo (talk) 02:04, 26 September 2021 (UTC)
 * An accusation is not a conviction. Merely stating that you think there is a conflict of interest doesn’t make it so. I directed you to make your claim on my Talk page because that’s where the Conflict of Interest article you continue to link to says to voice that concern. Louie Mantia (talk) 05:47, 26 September 2021 (UTC)

I have made a request to remove a copyright violation. Here it is: https://commons.wikimedia.org/wiki/Commons:Deletion_requests/Copyrighted_Hanafuda_Trace However, even if these images are removed, I don't think anyone is discussing whether or not the very rare 13- and 14-month hanafuda statements should be included in the policy. Louie Mantia said, "If there’s a problem with the citation, I think that’s a great question to ask and to discuss on the Talk page here or ask for additional citations." But no one has been providing additional citations, right? At this point, all we have is one Geocities with broken links. Are you saying that you still follow WP:RS? Or is it that I'm a newer user than Flicky1984 and Louie Mantia, so I don't need to take what I say seriously?sukejo (talk) 13:56, 21 October 2021 (UTC)

I believe Wikipedia is edited by consensus, but right now, only 1 out of 3 people in this discussion believe this should be changed. That’s not consensus. You may continue to make arguments that these are “very rare” but make no argument against significance. I think you’re conflating the concept of rarity with insignificance. I don’t wish to argue further, because the cases against removal of this information have been clearly stated. You are making decisive actions despite not reaching consensus for your actions. Louie Mantia (talk) 14:22, 21 October 2021 (UTC)

 * Wikipedia operates on policies like WP:VERIFIABILITY. Louie Mantia claims that there is "significance", but how can it be verified? Don't call your friends and then sit back and enjoy "consensus". Simply prove the significance with a reliable source. sukejo (talk) 14:00, 31 October 2021 (UTC)

title: Talk:Hanafuda


text:
Koibla Djimasta

Koibla Djimasta (1950 – January 30, 2007 ) was a Chadian politician of Sara ethnicity from the southern Chari-Baguirmi Prefecture.

An administrator, Djimasta held various cabinet positions under Presidents Hissène Habré and Idriss Déby, beginning with his appointment as Minister of Health and Social Affairs in the cabinet created by Habré on October 21, 1982, shortly after his rise to power. After the rise of Déby to power and the legalization of opposition political parties, he became a member of the Union for Democracy and the Republic, founded in 1992, and was a leading figure in the party, together with Jean Alingué Bawoyeu.

A shrewd politician, Djimasta was appointed as Minister of the Interior on May 22, 1992, serving in that position until 1993. He headed a commission, composed of representatives of the government, political parties, and civil society, that was responsible for preparing for the Sovereign National Conference; the commission was created by President Déby in November 1992, and its task included the selection of the Conference's delegates. Djimasta was nominated as transitional Prime Minister by Déby on April 8, 1995 and confirmed by the transitional parliament by winning a majority vote of 54 to 36. Déby had become wary of Prime Minister Delwa Kassiré Koumakoye due to the latter's evident presidential ambitions, moving him to search a more malleable Prime Minister, as Djimasta was effectively to prove himself.

On August 11, 1996 a new 21-member cabinet was formed, in which he retained the post of Prime Minister. A year later he resigned and on May 17, 1997 his place was taken by Nassour Guelendouksia Ouaido. He was instead assigned the post of National Mediator (ombudsman) in 1997, and he held this post until his death in 2007.

title: Koibla Djimasta


text:
Minae

Minae may refer to:

 * Mina (unit), ancient unit of mass
 * Minaeans, the inhabitants of the kingdom of Ma'in in modern-day Yemen.

People:
 * Minae of Silla (died 839), Silla ruler
 * Minae Mizumura (水村 美苗) (born 1951), Japanese writer and literary critic
 * Minae Noji (born 1973), Japanese-American actress

title: Minae


text: File:Clutch - Pitchfork.jpg

title: File:Clutch - Pitchfork.jpg


text:
Don Bexley

Donald Thomas Bexley (March 10, 1910 – April 15, 1997) was an American actor and comedian, best known for playing Bubba Bexley on the 1970s television sitcom Sanford and Son.

Early life
Bexley was born in either Jamestown, Virginia, or Detroit, Michigan, to Mr. and Mrs. Thomas Bexley. His father was a Bible scholar and teacher, and his mother a classical vocalist. "I was born with a flair for the stage, as I had always been a clown – even during early adolescence," Bexley wrote in 1983.

Career
In his career, Don Bexley was an orchestra director, singer, dancer, stand-up comedian, and actor. In the early 1940s, Bexley started doing comedy in upstate New York. He worked with Milton Berle, Danny Kaye, and Henny Youngman, and danced with Sammy Davis Jr. Bexley was the first black stand-up comedian to do the hotel circuit in the Borscht Belt. During his travels, he met many black entertainers, including Redd Foxx. They worked in New York City, Philadelphia, Baltimore, and New Jersey. Early in his career, he performed with a dance group called Three Shades of Rhythm. Before his television debut, he did theater in Los Angeles and New York City.

Redd Foxx and Sanford and Son
When Bexley returned from Europe in 1969, he and Foxx were cast together in Cotton Comes to Harlem (1970). Upon Bexley's arrival from Asia in 1971, Foxx sent for him to join the sitcom Sanford and Son. Foxx convinced Bud Yorkin and Aaron Ruben to hire Bexley to play one of Fred G. Sanford's friends. At the time, Bexley was 62 years old and never had appeared on television before. Bexley gained popularity for his portrayal as Bubba on the series, a very successful "rerun sitcom" today. Sanford and Son was an instant hit and remained in the top 10 programs for 5 of 6 years from 1972 to 1977. Bexley reprised Bubba in the short-lived sequel Sanford Arms, which had many of the same characters but not Foxx and Demond Wilson.

Later career
He appeared in many television shows such as Cheers, Hunter and Laverne & Shirley as well as the 1976 film Sparkle. One of his later appearances on television was in an episode of Foxx's The Royal Family. In the episode, "New Beginnings", Bexley made a special guest appearance as an old friend of Al Royal's (Foxx) who attends his funeral. In 1989, Bexley had a sitcom in the works that he had written and would have starred, titled Cee Cashman and 'Yul Stay Broke. It was a story about a Black Jew who owns a pawnshop. Just before his death, Bexley was still writing for stage and television. Clarence Williams, Sr., a friend of Bexley, said the actor had completed several scripts, but he knew of no current plans to produce them.

Later life
In 1989, Bexley was awarded the Outstanding Senior Citizen of the Year award by the Support the Artists of America (STAA) in Orlando, Florida. Since moving to Hampton, Virginia (before that, he resided in the San Fernando Valley) during the 1990s, Bexley was still quite active, always working on new ideas for shows and live performances. Bexley made personal appearances and signed autographs on many occasions, including the Newmarket Fair Day-Talent Show in September 1996, and the Aberdeen Athletic Association in June 1996. One of Bexley's later signings was during his attendance at the NASA Langley Research Center's Black History Program in February 1997. These types of activities added to his longevity.

Personal life and death
Bexley had a close friendship with Redd Foxx until Foxx's death in October 1991. He was an honorary pallbearer at Foxx's funeral in Las Vegas. Their friendship lasted for nearly 50 years. Bexley lived much of his life in Los Angeles, but after injuring his hip, moved to Hampton, Virginia, in 1996 to live with a friend, who served as his caregiver. Bexley died of heart and kidney failure on April 15, 1997, at Hampton Sentara Hospital. He was 87 years old. His wife was Sally Bexley, with whom he had two daughters.

Filmography

 * Cotton Comes to Harlem (1970)
 * What's Up, Doc? (1972) as Skycap
 * Sparkle (1976) as Bubbles
 * Little Miss Marker (1980) as Sam
 * Vibes (1988) as Lou

title: Don Bexley