text:
Supercluster (genetic)

Most usage of supercluster in population genetics research articles applies to proposed large groups of human mtDNA haplotype lineages, found by cluster analysis, that are thought to stem from a single distant most recent common ancestor, on a time scale of tens of thousands of years.

Other usage
Usage of supercluster for geographically defined human populations instead of mtDNA strains is rarely seen. However, it does appear in the seminal Cavalli-Sforza paper Reconstruction of human evolution: bringing together genetic, archaeological, and linguistic data. (1988) to describe "Northeurasian" and "Southeast Asian" collections of sampled populations, which are also more frequently referred to in the paper as "major cluster" or simply "cluster". Therefore use of "supercluster" as a euphemism for "race" might be considered a neologism or, more likely, an idiosyncratic usage according to the Google test.

Usage of supercluster for populations as well as haplotypes makes the term ambiguous and may require clarification when the word is used.

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

title: Supercluster (genetic)


text:
Le Nouvelliste

Le Nouvelliste is the name of:

 * Le Nouvelliste (Haiti), a Haitian international newspaper, based in Port-au-Prince, Haiti
 * Le Nouvelliste (Quebec), Mauricien regional newspaper, based in Trois-Rivieres, Quebec.
 * Le Nouvelliste (Valais), Valais regional newspaper, based in Sion, Switzerland.

title: Le Nouvelliste


text:
Frank Jacobs

Franklin Jacobs (May 30, 1929 – April 5, 2021 ) was an American author of satires, known primarily for his work in Mad, to which he contributed from 1957 to 2014. Jacobs wrote a wide variety of lampoons and spoof, but was best known as a versifier who contributed parodies of famous song lyrics and poems. In 2009, Jacobs described himself as "the least-known writer of hysterical light verse in the United States."

In 2021, musical parodist "Weird Al" Yankovic told the Washington Post, “I absolutely devoured every issue [of Mad], and Frank Jacobs was a big reason for that obsession. I can’t swear that Frank’s work was my first-ever exposure to the art form of parody, but it was definitely the first time I had seen the craft approached with that much skill, wit and attention to detail. Frank laid out the template for me — he irrevocably changed my DNA.”

Jacobs appeared in the sixth chapter of PBS' comedy documentary, Make 'em Laugh: The Funny Business of America singing "Blue Cross", his own 1961 parody of Irving Berlin's "Blue Skies". That lyric was one of 25 that were the subject of Berlin v. E.C. Publications, Inc., a precedent-setting case that was appealed to the Supreme Court and helped to define the boundaries of parody in American law.

Mad contributions
Bored by his work in a public relations firm, Jacobs found a copy of the magazine and thought "I can do this." When the firm folded Jacobs went to Mad.

Jacobs' first submission to the magazine, "Why I Left the Army and Became a Civilian," resulted in an immediate sale and a request for more material. It was one of five Jacobs pieces to appear in issue #33 (June 1957), marking a prodigious debut for the Mad contributor. His byline subsequently appeared in more than 300 issues of the magazine, second only to Dick DeBartolo among Mad writers who did not also illustrate their own work. Jacobs had more than 575 credits for the magazine, more than any other writer and second only to writer/artist Al Jaffee. At his peak, Jacobs was writing a fifth of the magazine's content. "My top year, I sold 60 pages... so you get an idea of the roll I was on," Jacobs told an interviewer. 165 separate issues of Mad include multiple articles written by Jacobs.

Jacobs established numerous recurring features in Mad, including fabricated obituaries for fictional characters from various genres, and the "Do-It-Yourself Newspaper Stories" which offer a series of fill-in-the-blank options.

Books and writings
Jacobs wrote 13 paperback books under the Mad imprint, including Mad for Better or Verse, a collection of poetry parodies, as well as the biography The Mad World of William M. Gaines.

One of Jacobs' non-Mad-related projects was the 1965 Alvin Steadfast on Vernacular Island, a gentle spoof of post-Victorian boys' books. The titular hero is a ten-year-old boy, who joins an adult explorer on Vernacular Island, a place populated by bizarre and wonderful creatures such as the Standing Ovation, the Ill Omen, the Glowing Report and the Ugly Rumor. The two humans go in search of the Doubt, and as their adventure takes them into the jungle, even more fabulous creatures are encountered. The original Dial Press edition was illustrated by Edward Gorey, in a non-characteristic whimsical style unlike his usual gleefully dark drawings. Jacobs' writing is only lightly cynical, with more of an emphasis on wordplay, puns and gentle humor.

Jacobs contributed to other magazines, including Oui, Playboy, Town and Country, New York, Sports Illustrated, Saturday Review, Punch and Signature.

At the 2009 San Diego Comic-Con, Jacobs received the Bill Finger Award for Excellence in Comic Book Writing.

Mad bibliography
Jacobs' work appears in most of the Mad reprint compilations. Two Mad compendiums containing only reprinted work by Jacobs have been published: "MAD Zaps the Human Race" in 1984, and "Mad's Greatest Writers: Frank Jacobs - Five Decades of His Greatest Works" in 2015.

He wrote 13 paperback books of new material under the Mad brand name:
 * Mad For Better Or Verse (Signet 1968 / Warner Books, 1975)
 * Sing Along with Mad (Signet 1970 / Warner Books, 1977 )
 * Mad About Sports (Warner Paperback Library, 1972)
 * Mad's Talking Stamps (Warner Paperback Library, 1974)
 * The Mad Turned-On Zoo (Warner Paperback Library, 1974), with co-writer Bob Clarke
 * The Mad Jumble Book (Warner Paperback Library, 1975), with co-writer Max Brandel
 * More Mad About Sports (Warner Books, 1977)
 * Mad Around The World (Warner Books, 1979)
 * Mad Goes Wild (Warner Books, 1981), with co-writer Bob Clarke
 * Get Stuffed With Mad (Warner Books, 1981)
 * The Mad Jock Book (Warner Books, 1983)
 * ''Mad Goes To Pieces (Warner Books, 1984)
 * Mad's Believe It Or Nuts! (Warner Books, 1986)

Jacobs also contributed scripts to Don Martin's original paperbacks. In 2000, he provided the commentary for "'Mad' Cover to Cover," a book of the magazine's cover images.

Non-Mad bibliography

 * Canvas Confidential – A Backward Glance at the World of Art (The Dial Press, 1963), co-written with Sy Reit
 * 30 Ways to Stop Smoking (Pocket Books, 1964), illustrated by Alfred Gescheidt
 * The Highly Unlikely Celebrity Cookbook (New American Library, 1964)
 * It Came From Madison Avenue (Kanrom Inc., New York, 1964), co-written with Nick Meglin
 * Alvin Steadfast on Vernacular Island (The Dial Press, 1965)
 * The Mad World of William M. Gaines (Lyle Stuart, Inc., 1972; paperback edition, Bantam Books, 1973)
 * Pitiless Parodies (Dover Books on Literature & Drama, 1994)
 * Casey at the Bat Baseball Cards: The Mudville Nine (Dover Publications, 1995)
 * Batty Baseball Cards (Dover Publications, 1995)
 * Fun With Hand Shadows (Dover Games & Puzzle Activity Books, 1996), co-written with Henry Bursill
 * Looney Limericks (Dover Games & Puzzle Activity Books, 1999)

title: Frank Jacobs


text:
Detective Investigation Files Series

Detective Investigation Files (刑事偵緝檔案) is a TV series in Hong Kong about detectives, produced by TVB. The series had four installments, spanning from 1995 to 1999.

Cast
The first (1995), second (1995), and third (1997) installments starring:
 * Michael Tao Dai Yu
 * Joey Leung Wing Chung
 * Kenix Kwok Ho Ying
 * Louisa So Yuk Wah

The fourth installment (1999) is a complete reboot of the series, with new cast led by:
 * Louis Koo Tin Lok
 * Sunny Chan Kam Hung
 * Jessica Hester Hsuan
 * Charmaine Sheh Shi Man
 * Lee San San

Availability
The VCDs of Detective Investigation Files I - IV are now available worldwide.

title: Detective Investigation Files Series


text:
Koottickal

Koottickal is a town at the base of Western Ghats mountain ranges in the Kottayam district, in the state of Kerala. It is 2000 ft above sea level and is situated on the eastern border of Kottayam District, 55 km from Kottayam, and around 5 km away from Mundakayam on the NH 220 (Kottayam–Kumily Road). There are streams and waterfalls in the surrounding places. The Muthukora Hills (2500 ft above MSL) are nearby. Urban centres in Kottayam and Ernakulam districts can be viewed from the top of Muthukora Hills.

Location
This village is situated on the banks of Manimala River; Kuttikkanam, Peermade and Thekkady Forest Reserve are close by. St. George's High School is one of the oldest high schools in the Kottayam district.

Economy
Rubber is a prime crop in Koottickal, one of the first places in India where it was cultivated. The Irish planter, John Joseph Murphy nurtured his rubber plantations here. The tomb of Murphy is situated atop the nearby hillock in Yendayaar. The old-world charm of British plantations is still around, with purity of village life. It is one of the most beautiful places in Kottayam district.

Koottickal can be reached from Kochi and Thiruvananthapuram International Airports via Kottayam. All the buses to Elamkadu and Yendayar pass through Koottickal.

Schools

 * 1) Vettickanam KCMLPS
 * 2) St. George's HS
 * 3) CMS LPS
 * 4) KMJ Public School
 * 5) Little Buds SNDP EMS
 * 6) JJMMHSS Higher secondary school

Churches

 * 1) St. George Catholic Forane Church, Koottickal
 * 2) St Luke's CSI Church, Koottickal
 * 3) St Mary's Orthodox Church, Koottickal

Temples

 * 1) Palakkunnu Sreedarmasastha Temple, 3 rd mile, Koottickal
 * 2) Thalunkal Devi Temple, Koottickal

Masjid

 * 1) Koottickal Muhyadheen Juma Masjid

How to Reach

 * Kottayam - Ponkunnam - Kanjirappally - Koottickal
 * Kochi/Cochin -Thalayolapparambu - Ettumanoor-Pala - Ponkunnam - Kanjirappally - Koottickal
 * Thiruvananthapuram - Kottarakkara - Adoor - Pathanamthitta - Ranni - Erumeli - Koottickal
 * Thekkady - Kumily -Vandiperiyar-Peerumedu-Kuttikkanam- Mundakayam-Koottickal
 * Angamaly - Muvattupuzha -Thodupuzha-Erattupetta-Poonjar-Kavali - Koottickal
 * Sabarimala - Pampa - Erumely - Koottickal

AC Volvo bus service is available from Technopark to Mundakayam, by KSRTC.

Nearest Airport
Cochin International Airport

Nearest Railway Station
Kottayam

title: Koottickal


text: Template:Harold Pinter

title: Template:Harold Pinter


text:
Tom Koch

Thomas Freeman Koch (May 13, 1925 – March 22, 2015) was an American humorist and writer. He wrote for Mad Magazine for 37 years.

Early life
Koch (pronounced "Cook") was born in Charleston, Illinois, and spent his youth in Indianapolis before attending Northwestern University. He published a book of poetry, I'll Remember Indiana, in 1948, and a book about Indiana basketball, Tournament Trail, in 1950. Later with Mad he published four books under the magazine's imprint. Koch moved to California in 1957, and was married three times.

Writing career
Koch was also one of the primary writers for radio performers Bob and Ray. It was this association that brought him to the attention of Mad when some of the show's scripts were reproduced in the magazine with caricatures of the star duo drawn by Mort Drucker. Mad eventually published ten Bob & Ray articles in the space of a year and a half, but Koch went on to write more than 300 other pieces for the magazine between 1958 and 1995 on a variety of subjects.

Koch was a staff writer for NBC Radio's Monitor program, turning out 100 pages of material per week for Dave Garroway, when he was asked by NBC in 1955 to write spot scripts for Bob and Ray's guest appearances. Recalled Koch, "The network preferred to have something written down so they knew what was going out on the air. So I wrote ten spots and they used eight of them. So I sent them ten more and they never did reject another one... I just kind of fell into it." He ended up writing nearly 3,000 comedy pieces for the duo. Among Koch's sketches were the Slow Talkers of America, the Parsley Society of America, Mr. Science, and episodes of "The Gathering Dusk," a soap opera parody starring Edna Bessinger, "a girl who's found unhappiness by hunting for it where others have failed to look." "Tom's stuff couldn't have been more on the button," said Bob Elliott. "Everything he did was funny. he was a gold mine of funny thoughts and exactly what we needed to punctuate what we had already been doing."

"It always started out fairly straight," said Koch. "You didn't know it was humor and it would just slowly veer off into something that was hilariously funny. Some people didn't think it was funny at all." Through all of it, he never had a contract with Bob and Ray; "Sometimes they would give me money and sometimes they wouldn't," said Koch. Like many radio performers, Bob and Ray did not credit their writers; Elliott later wrote, "I feel we didn’t give him a real shake that he should have had."

Koch's professional association with the duo lasted 33 years, though contact was infrequent. Bob Elliott recalled that he and Ray Goulding would only learn where their ongoing storyline segments were headed next by ripping open the envelopes mailed in by Koch: "It was great when the Tom Koch package arrived." Following Koch's death, Elliott told the New York Times that he had only met Koch three times, and that Goulding had met him just once.

While Koch was working for Monitor, he was assigned to write short sketches for Fibber McGee and Molly, which aired regularly in five-minute segments between 1957 and 1959. Koch wrote his spots from his home in Indiana, and later, California, where he also wrote for television shows starring George Gobel, Tennessee Ernie Ford, Dinah Shore, Pat Paulsen, Dick van Dyke, and Jonathan Winters. Koch also wrote for The Lucy Show, Petticoat Junction, My World and Welcome to It, My Mother the Car, and All in the Family. Koch's script for the Bob and Ray special "A Cure for California" won an Emmy Award. Koch played a bit part as a janitor on Mary Hartman, Mary Hartman; Koch said, "I didn't like it at all... It scared the wits out of me."

Longtime Mad editor Nick Meglin called Koch a "natural fit" for the magazine. "He was such a polished writer, a very literate craftsman with a far-ranging wit that ran the gamut from hilarious absurdity to wry, brilliant commentary... He had stuff no one else was doing." As with Bob and Ray, Koch wrote from home and only rarely visited the Mad offices. When he did, "he wore a shirt and a tie and a business suit," recalled Meglin. "He was conservative; very smart mustache and trimmed hair, and we're walking around with jeans and sneakers and sweatshirts and stuff."

Discussing his career, Koch said, "People would say I must have had such a great life doing this, people who were engineers, doctors, insurance salesmen or whatever. But it was the kind of work where every morning I would wake up and think, ‘My God, I wonder if I can do it again today.’ There is no way you prepare to do it, or even know how you do it."

43-Man Squamish
In 1965, Mad #95 included "43-Man Squamish", written by Koch and illustrated by George Woodbridge. The absurdist article detailed the convoluted rules of an imaginary sport, and made enough of an impression to be mentioned in both men's New York Times obituaries, including the first sentence of Koch's.

In the article, new terminology is introduced with no explanation; much of the humor derives from the reader's half-successful attempts at gleaning a meaning from context. Exactly what everyone on the team is supposed to do, exactly what penalties apply, and exactly when or why the "yellow caution flag" is to be flown remains far from clear, even after repeated readings.

The rules
Each team consists of one left and one right Inside Grouch, one left and one right Outside Grouch, four Deep Brooders, four Shallow Brooders, five Wicket Men, three Offensive Niblings, four Quarter-Frummerts, two Half-Frummerts, one Full-Frummert, two Overblats, two Underblats, nine Back-Up Finks, two Leapers and a Dummy—for a total of 43. The game officials are a Probate Judge (dressed as a British judge, with wig), a Field Representative (in a Scottish kilt), a Head Cockswain (in long overcoat), and a Baggage Smasher (dressed as a male beachgoer in pre–World War I years). None of the officials has any authority after play has begun.

Squamish is played on a pentagonal field, or Flutney, and the game is divided into a period of 15 minutes, known as an Ogre. Most squamish games consist of seven Ogres, unless of course, it rains. In that case, they are to play eight Ogres. Competitors wear gloves, a helmet, and flippers. They pursue the Pritz (or ball), which is $3 3/4$ inches in diameter, constructed from untreated ibex hide, and is stuffed with blue jay feathers. Each player is equipped with a Frullip, a long hooked stick very similar in appearance to a shepherd's crook that is used to impede opponents.

Before any game, the Probate Judge must first flip a coin, usually a new Spanish peseta, while the Visiting Captain guesses the toss. If he guesses correctly, the game is cancelled immediately. If not, the Home Team Captain must then decide if he wishes to play offense or defense first. Play begins after a frullip is touched to the flutney and the recitation "Mi tío es enfermo, pero la carretera es verde!", a wise old Chilean saying that means, "My uncle is sick but the highway is green!" Penalties are applied for infractions such as walling the Pritz, icing on fifth snivel, running with the mob, rushing the season, inability to face facts, or sending the Dummy home early.

The offensive team has five Snivels to advance to the enemy goal. Carrying the Pritz across the goal line is a Woomik and scores 17 points; hitting it across with the frullip counts as a Durmish and only scores 11 points. Except in the 7th Ogre (and the 8th, if it rains), only the offensive Niblings and Overblats are allowed to score. In such cases, the four Quarter-Frummerts are allowed to kick or throw the Pritz, and the nine Finks are allowed to heckle the opposition by doing imitations of Barry Goldwater.

The teams must play a sudden-death overtime to break a tie, unless both Left Overblats are out of the game on personal fouls. If this is the case, the tie is settled by the teams lining up on opposite sides of the flutney (inherently difficult on a pentagonal shape) and shouting dirty limericks at each other until one side breaks up laughing.

When an insufficient number of players precludes a regulation 43-Man Squamish match, a simplified version may be played: 2-Man Squamish. The rules are identical, except in 2-Man Squamish, the object is to lose.

In real life
Although writer Koch intended the game to be completely unplayable, some colleges attempted to form teams and play the game. The letters column to Mad #97 included several "team photos" and accounts from new acolytes of the sport. A student from Rensselaer Polytechnic Institute issued a public challenge to Harvard, while athletes from the University of Alberta exulted that "we happen to be the only undefeated Squamish team in Western Canada, mainly because we are the only team in Western Canada, and we haven't played a game. We can't understand why we have no opposition." A letter from the Athletic Committee of Marquette University reported that three of its Squamish players had been suspended for "sportsmanlike conduct".

In popular culture
There is a brief reference to 43-Man Squamish as a Trivial Pursuit question in the "Weird Al" Yankovic video "White and Nerdy" (2006).

In Endymion, by Dan Simmons, the narrator describes himself dodging pursuers "like a deep brooder on a forty-three man squamish team herding the goat in for the goal."

Three Cornered Pitney
For Mad issue #241 (Sept. 1983) Koch followed up with a similarly unplayable board game which he named Three Cornered Pitney. The four pages of rules featured illustrations by Jack Davis.

title: Tom Koch


text:
Mantis (comics)

Mantis, in comics, may refer to:

 * Mantis (DC Comics), a supervillain in Jack Kirby's Fourth World
 * Mantis (Marvel Comics), a former member of the Avengers and current member of the Guardians of the Galaxy.

title: Mantis (comics)


text:
Juan Pizarro (baseball)

Juan Ramón Pizarro a.k.a. "Terín" (February 7, 1937 – February 18, 2021) was a Puerto Rican Major League Baseball (MLB) pitcher. He played for 18 seasons on 9 teams, from 1957 through 1974. In 1964, he won 19 games (19–9) and pitched 4 shutouts for the Chicago White Sox. He was selected for the Major League All-Star Baseball game in 1963 and 1964.

Early years
Pizarro (birth name:Juan Ramon Pizarro Cordova ) was born in Santurce, Puerto Rico. He began his baseball career in 1955 in Puerto Rico as a pitcher for the Cangrejeros de Santurce. During the 1957–1958 Winter League of Puerto Rico of the  Liga de Béisbol Profesional de Puerto Rico (Puerto Rico Baseball League), he played for the Criollos de Caguas and was selected as the Most Valuable Player of the season. From 1959 to 1960 he pitched for the last time in Puerto Rico for the Cangrejeros del Santurce.

Milwaukee Braves
Pizarro signed with the Milwaukee Braves as an amateur free agent in 1956. After going 27–6 with a 2.06 earned run average in the minors, he made his major league debut on May 4, 1957, against the Pittsburgh Pirates at 20 years of age. He pitched seven strong innings, giving up only one run, however, the Braves managed only two hits off opposing pitcher Vern Law, and Pizarro lost his debut, 1–0. For the season, he went 5–6 with a 4.62 ERA. The Braves beat the New York Yankees in a seven-game World Series that year; Pizarro's only appearance came in Milwaukee's 12–3 loss in game three.

He split 1958 between Milwaukee and the triple A Wichita Braves, and was again included on the Braves' post-season roster as they faced the Yankees in the World Series for the second year in a row. This time the Yankees won the Series in seven games. Pizarro's only appearance again came in a loss in game five.

Pizarro remained with the Braves through 1960, compiling a 23–19 record and 3.93 ERA in Milwaukee. On December 15, 1960, he was traded with Joey Jay to the Cincinnati Reds for Roy McMillan, then immediately sent by the Reds with Cal McLish to the Chicago White Sox for Gene Freese.

Chicago White Sox
Pizarro enjoyed his greatest success as a member of the White Sox. In 1961, despite being the youngest pitcher in the starting rotation, Pizarro emerged as the staff's ace, leading the Chisox with fourteen wins, 188 strikeouts and 194.2 innings pitched. He also made fourteen appearances out of the bullpen, and earned his first career save on August 27. He was given the opening day nod in 1962, and pitched a complete game 2–1 victory over the Los Angeles Angels. In 1963, he was named to the American League All-Star roster, and pitched a scoreless seventh inning during the All-Star Game.

Pizarro's best season was 1964, when he went 19–9 with a 2.56 ERA and four shutouts. Coincidentally, it was also his best season with the bat, as he batted .211 with a career high three home runs and career high 15 runs batted in.

From there, things rapidly deteriorated for him. Injuries limited Pizarro to just eighteen starts in 1965. In 1966, he was used primarily in relief. Despite a respectable 8–6 record and 3.76 ERA in 34 appearances, he pitched only 88.2 innings. Following the season, he was purchased by the Pittsburgh Pirates.

Journeyman
Though he made nine starts for the 1967 Pirates, he was mainly a relief pitcher, earning a career high nine saves. He was limited to "mop up duty" by manager Larry Shepard in 1968. He appeared in twelve games with the Pirates prior to being placed on waivers; eleven were losses. The one win, Pizarro entered the game with the Pirates trailing, and earned the win himself.

The Boston Red Sox claimed Pizarro off waivers on June 27. He was used primarily as a starter in Boston, going 6–6 with six complete games as a starter. He also earned two saves for the Bosox. He was traded along with Ken Harrelson and Dick Ellsworth from the Red Sox to the Cleveland Indians for Sonny Siebert, Vicente Romo and Joe Azcue on April 19, 1969. Toward the end of the season, he was placed on waivers and claimed by the Oakland Athletics.

After beginning the 1970 season with Oakland's triple A affiliate, Pizarro was released and signed a minor league contract with the California Angels. He was 9–0 for the Hawaii Islanders when the Angels dealt him to the Chicago Cubs for Archie Reynolds.

Chicago Cubs
On September 11, 1971, he shut out the St. Louis Cardinals at Wrigley Field. In his next start, he shutout Tom Seaver and the New York Mets 1–0 at Shea Stadium. The one run was a solo shot by Pizarro in the eighth inning. Seaver had won seven in a row at that point. His previous loss came on August 1, also courtesy of a complete game by Pizarro. It would be more than 40 years before another starting pitcher broke a scoreless tie by hitting a home run in the eighth inning or later: Clayton Kershaw of the Dodgers did this, also in the eighth inning, on Opening Day 2013.

For the 1971 season, Pizarro went 7–6 with a 3.46 ERA. He was 4–5 with a 3.94 ERA in 1972. He spent most of the first half of the 1973 season assigned to the Cubs' triple A affiliate, the Wichita Aeros. After a blown save against the Atlanta Braves on June 17, Pizarro was placed on waivers. He was claimed by the Houston Astros on July 8.

Return to the post season
Pizarro was 2–2 with a 6.56 ERA out of Houston's bullpen in 1973. He was released the following Spring, and rejoined the Pittsburgh Pirates. The Pirates won the National League East by a game and a half over the St. Louis Cardinals, allowing Pizarro to return to the post season for the first time since 1958. His only appearance in the 1974 National League Championship Series came in the fourth game, which the Los Angeles Dodgers won to head to the 1974 World Series.

Death
Pizarro died from cancer on February 18, 2021.

Legacy
Looking at his entire professional career, Pizarro won more than 400 ballgames. His regular-season count is 392: 197 in the US (131 in the majors and 66 in the minors), plus 38 more in Mexico in his late 30s and 157 while playing winter ball in his homeland. His final record in Puerto Rico was 157–110, with a superb 2.51 ERA. Only Rubén Gómez had more wins (174, and he needed 29 seasons to do it). Pizarro pitched 2,403 innings, again second behind Gomez, and allowed just 1,980 hits. He is the PRWL's all-time leader in strikeouts (1,804) and shutouts (46), marks that will almost certainly never be challenged.

Pizarro was inducted into the Hall of Fame of the Caribbean Confederation and the Puerto Rican Sports Hall of Fame.

Major-league career stats
Pizarro had a .202 lifetime batting average (133–658) with 8 home runs, 72 runs scored and 66 RBIs.
 * American League All-Star (1963, 64)
 * American League Leader in strikeouts per 9 innings pitched (1961, 62)
 * AmerIcan League Leader in fielding average as pitcher (1963, 64)
 * National League pennant team (1957, 58)
 * World Series champion team (1957)

title: Juan Pizarro (baseball)


text:
XLispStat

XLispStat is a statistical scientific package based on the XLISP language.

Many free statistical software like ARC (nonlinear curve fitting problems) and ViSta are based on this package.

It includes a variety of statistical functions and methods, including routines for nonlinear curve fit. Many add-on packages have been developed to extend XLispStat, including contingency tables and regression analysis

XLispStat has seen usage in many fields, including astronomy, GIS, speech acoustics, econometrics, and epidemiology. XLispStat was historically influential in the field of statistical visualization. Its author, Luke Tierney, wrote a 1990 book on it. XLispStat dates to the late 1980s/early 1990s and probably saw its greatest popularity in the early-to-mid 1990s with greatly declining usage since. In the 1990s it was in very widespread use in statistical education, but has since been mostly replaced by R. There is a paper explaining why UCLA's Department of Statistics abandoned it in 1998, and their reasons for doing so likely hold true for many other of its former users.

Source code to XLispStat is available under a permissive license (similar terms to BSD)

title: XLispStat


text:
User talk:Dripping dick

Please stop. If you continue to vandalize pages, you will be blocked from editing Wikipedia. Edward 09:14, 2005 Jun 4 (UTC)

You have been blocked from editing for Pelican Shit vandalism of Wikipedia. Edward 09:17, 2005 Jun 4 (UTC)

title: User talk:Dripping dick


text: Category:Wawel

title: Category:Wawel


text:
Wawel Castle

The Wawel Royal Castle (Zamek Królewski na Wawelu) and the Wawel Hill on which it sits constitute the most historically and culturally significant site in Poland. A fortified residency on the Vistula River in Kraków, it was established on the orders of King Casimir III the Great and enlarged over the centuries into a number of structures around an Italian-styled courtyard. It represents nearly all European architectural styles of the Medieval, Renaissance and Baroque periods.

The castle is part of a fortified architectural complex erected atop a limestone outcrop on the left bank of the Vistula River, at an altitude of 228 m above sea level. The complex consists of numerous buildings of great historical and national importance, including the Wawel Cathedral where Polish monarchs were crowned and buried. Some of Wawel's oldest stone buildings can be traced back to 970 CE, in addition to the earliest examples of Romanesque and Gothic architecture in Poland. The current castle was built in the 14th century, and expanded over the next hundreds of years. In 1978, Wawel was declared the first World Heritage Site as part of the Historic Centre of Kraków.

For centuries the residence of the kings of Poland and the symbol of Polish statehood, Wawel Castle is now one of the country's premier art museums. Established in 1930, the museum encompasses ten curatorial departments responsible for collections of paintings, including an important collection of Italian Renaissance paintings, prints, sculpture, textiles, among them the Sigismund II Augustus tapestry collection, goldsmith's work, arms and armor, ceramics, Meissen porcelain, and period furniture. The museum's holdings in oriental art include the largest collection of Ottoman tents in Europe. With seven specialized conservation studios, the museum is also an important center for the conservation of works of art. With over 2.56 million visitors in 2023, Wawel Castle is the most visited art museum in Poland and the 20th most visited art museum in the world.

Early history
The history of Wawel is deeply intertwined with the history of the Polish lands and Polish royal dynasties already in the Middle Ages. The political and dynastic tensions that led to the ascendance of Kraków as the royal seat are sophisticated, but for most of the Middle Ages and the Renaissance Wawel was the seat of the national government and the Diet (assembly). As the Polish–Lithuanian Commonwealth formed and grew, Wawel became the seat of one of Europe's largest and most important states. This status was only lost when the capital was moved to Warsaw in 1596 (designated officially in 1793).

From the late 18th century, when Poland lost its independence during the period of foreign partitions, Wawel became a symbol of endurance and was the setting for demonstrations and gatherings of Krakowians protesting against the continuing foreign occupation by the Austrian, Prussian, and the Russian Empires. Thus, the significance of the Wawel Hill comes in part from its combination of political and religious significance. The Cathedral holds the relics of St. Stanislaus and stands directly adjacent to the Royal Castle. The Hill has a long history of religious functions; some of the oldest extant architectural remains are those of the Rotunda of the Virgin Mary.

The hill which takes the form of a horst originated in the Miocene epoch (23–25 million years ago) and consists of Jurassic limestone dating back to the Oxfordian age (155–161 million years ago). This limestone is strongly karsted and abounds in caves (e.g. the Dragon's Den—Smocza Jama). This possibly explains why the hill was originally called "wąwel", meaning ravine in Polish. This ravine once divided the hill. An alternative theory is that the word means 'protrusion from the marshes' which surrounded the hill. However, the most recent theory is that "Wawel" is a regular continuation of the name Babel in the Greek language (the consonant [B] followed by [V]/[W]).

The Wawel Hill has archaeological remains indicating settlement from the 4th century. Archaeological studies suggest that the earliest settlement dates back to the Middle Paleolithic era, c. 100,000 years BC and owed its rapid development to its location being the crossing of a number of key trading routes. Wawel is believed to be one of the strongholds of the Vistulan tribe which formed a nation at the turn of the 8th and 9th century AD. Its legendary rulers Krakus and Princess Wanda, who are said to have lived in the 7th and 8th centuries, are mentioned by the 13th-century chronicler Wincenty Kadłubek. In the 10th century, the Vistulans’ lands and Kraków became part of the emerging state of Poland.

In the year 1000, the Kraków diocese was established followed by the construction of a Cathedral – the seat of the bishop. However, as a result of an ongoing conflict with the Holy Roman Empire, construction did not begin until the signing of the Peace of Bautzen, in 1018. Only minor fragments remain of the original cathedral (which is sometimes called ‘Chrobrowska’ after Bolesław I the Brave) and despite extensive archaeological research, it has proved impossible to reconstruct its exterior. Until the 1980s, relicts of St Gereon's Church were identified with the first cathedral but this theory, advanced by Adolf Szyszko-Bohusz, has been disproved by more recent research. There are also inconsistencies in the dating of the destruction of the original cathedral. Some sources place this at the time of the invasion of Bretislaus I of Bohemia in the 1040s, while others date the destruction to a fire in the 1080s.

In addition to the cathedral, the hill was also the site of other building work. The earliest evidence is of wooden structures dating from the 9th century, with the earliest stone buildings dating to the 10th and 11th centuries; the remains of the following buildings date from this era: the Rotunda of the Blessed Virgin Mary – probably from the turn of the 10th and 11th century; Church B (the earliest parts originate from the 10th century); Church of St Gereon (probably the palace chapel); the Church of St. George; the Church of St Michael; the Twenty-Four Pillar Room (possibly part of the Ducal Mansion); the Keep and the Residential Tower.

Wawel dragon
From this early period of the Wawel's history originates the popular and enduring Polish myth of the Wawel Dragon. Today, it is commemorated on the lower slopes of the Wawel Hill where by the river, is a modern fire-breathing metal statue of the dragon. The statue is sited in front of Smocza Jama (Dragon's Den), one of the limestone caves scattered over the hill. The dragon, Smok Wawelski, was a mystical beast which supposedly terrorised the local community, eating their sheep and local virgins, before (according to one version) being heroically slain by Krakus, a legendary Polish prince, who supposedly founded the city of Kraków and built his palace above the slain dragon's lair. The oldest known literary reference to the Wawel dragon comes from the 12th century, in the work by Wincenty Kadłubek.

Romanesque (11th–12th centuries)
Between 1038 and 1039 Duke Casimir I the Restorer returned to Poland and it's believed that Kraków first became a royal residence and the capital of Poland at this time.

At the end of the 11th century, construction work began on a replacement cathedral, today called "Hermanowska" as it's likely that Władysław I Herman was its patron. The new cathedral was consecrated in 1142. Quite a lot is known about the building because an image of it is engraved on a 13th-century chapterhouse seal, and some of its remains and foundations are well preserved; besides the lower 12 m of the Silver Bell Tower, the trinavel St. Leonard's Crypt, the rotunda by the Bastion of Ladislaus IV of Hungary (once a baptistery and the rotunda by the Sandomierska Tower all date from this era, as does a church near the Dragon's Cave.

In 1118 Bishop Maurus was buried in the crypt. The paten and the chalice, buried with the bishop, were later exhumed from his tomb during its accidental discovery in 1938.

Silver Bell Tower
The Silver Bell Tower (originally known as the Wikaryjska or Priest Tower) dates from the early 12th century and is the oldest of the Wawel's many towers. However, the tower has many later additions and only the 12-metre-high rectangular base can be dated as belonging to the 11th-century Hermanowska Cathedral. The belfry was constructed in the final quarter of the 14th century and the spire in 1769. The tower contains three bells; the largest was made in 1423, the next largest around 1271 and the smallest in 1669. In the foundations of the tower is a burial vault containing the remains of notable Poles from all periods of history. Other notables are also buried at the nearby Skałka Church.

Wawel Cathedral
Around 1305 to 1306, the Hermanowska Cathedral was partially destroyed by a fire; however, the coronation of King Władysław I the Elbow-high, in 1320, was still able to take place within its precincts. In the same year construction of a third cathedral, consecrated in 1364, began at the King's behest, the key elements of this cathedral are preserved today.

The cathedral is trinavel in construction and surrounded by side-chapels, added in later centuries. The earliest of these chapels were built off the chancel; St Margarita's chapel was consecrated (today it acts as a sacristy) in 1322 and few years the chapel, later to be known as the Báthory Chapel, was completed. The cathedral's west entrance is flanked by two chapels; one dedicated to Queen Sophia (last wife of Władysław II Jagiełło) and the second to the Holy Cross; these were built during the reign of Casimir IV Jagiellon (1440–1492); the former is notable for its polychrome vaulted ceiling. From the close of the 15th century, a further nineteen side-chapels were built or rebuilt.

Władysław I the Elbow-high was the first king to be buried in the cathedral in 1333. His sandstone sarcophagus was set up by his son and successor, Casimir III the Great, the last King of Poland from the Piast dynasty. The cathedral also contains the tombs of Casimir III the Great and Jogaila but the most precious is that of Casimir IV Jagiellon, carved by Veit Stoss in 1492. The late Gothic tombstone of John I Albert was carved at the beginning of the 16th century and is attributed to Jorg Huber. The cathedral also contains memorials to Stephen Báthory and bishop Fillip Padniewski – both designed by Santi Gucci and also the tombstone of bishop Andrzej Zebrzydowski designed by Jan Michalowicz from Urzedow. During the 20th century, the cathedral became the site of Karol Wojtyla's priesthood ordination in 1946 and bishop ordination in 1958 as Kraków's auxiliary bishop.

Secular buildings
Little is known of the first royal residences at the Wawel until Casimir III the Great, who reigned from 1333 until 1370, had a Gothic castle erected next to the cathedral; this consisted of multiple structures situated around a central courtyard. In the 14th century, it was rebuilt by King Władysław II Jagiełło (also known as Jogaila) and Queen Jadwiga of Poland. The Hen's Foot Tower, built upon three projecting buttresses resembling a chicken foot, and the Danish Tower date from their reigns, as do the Jadwiga and Jogaila Chamber, in which the Polish coronation sword (Szczerbiec) is exhibited.

During this period, the Wawel began to take its present appearance and size as further buildings were developed on the hill to serve as quarters for the numerous clergy, royal clerks, troops, servants and craftsmen; this work included defensive walls, ramparts and the ‘Jordanka,’ ‘Lubranka,’ ‘Sandomierska,’ ‘Tęczyńska,’ ‘Szlachecka,’ ‘Złodziejska’ and ‘Panieńska’ towers.

Renaissance and Baroque period (16th and 17th centuries)
The reign of the penultimate member of the Jagiellonian dynasty, Sigismund I the Old, was a high point in Wawel fortunes. Following another fire in 1499, from 1507 to 1536, Sigismund rebuilt the royal residence. King Sigismund had spent part of his youth at the court of his brother, King Vladislaus of Hungary and Bohemia in Buda; this court has a small band of Italian artisans pioneering the Renaissance movement, at that time little known outside of Florence. Thus inspired Sigismund took the decision to rebuild in the Renaissance style within the walls of the old castle. A great influence on the king was his second wife, Italian-born Bona Sforza. She brought in the best native and foreign artists including Italian architects, sculptors, and German decorators, to refurbish the castle into a splendid Renaissance palace.

Work on the new avant-garde palace was initially supervised by two artisans from Italy: Francisco from Florence and Bartolommeo Berrecci, and after their deaths by Benedykt from Sandomierz. A feature of the rebuilding were the large, light rooms which open from tiered arcades lining a courtyard. The new rooms and halls included the ornate Deputy Hall with its coffered ceiling, exemplifying the skills of both Italian and Polish craftsmen. To decorate the palace's rooms, Sigismund (and later his son) purchased over 350 tapestries, collectively known as the Jagiellonian tapestries; they were woven in the Netherlands and Flanders; many based on designs by Michiel Coxie.

While the arcaded courtyard is considered a fine example of Renaissance art, it has subtle eccentricities—hints of Polish Gothic within its form, a steeply hipped and projecting roof (necessary in a northern climate) counterbalancing the soaring effect created by the uppermost arcade being higher than those below (a feature unknown in Italy) to give the courtyard a uniquely Polish renaissance look. The extra height of the uppermost arcade is truly unusual as it indicates and places the piano nobile on the third floor, whereas the rules of Italian Renaissance architecture place it on the second floor; again this indicates that while the design was inspired by Italians, the Polish artistic and cultural tradition was not extinguished in the execution.

After a fire in 1595 when the north-east part of the castle burned down, King Sigismund III Vasa decided to have it rebuilt with the work carried out under the direction of the Italian architect Giovanni Trevano. The Senator Stairs and the fireplace in the Bird Room date from this period. However, the castle still retains many of the earlier interiors designed by Berrecci. While many have been altered through neglect, war damage and, after World War II, through overenthusiastic restoration, the spirit of Berrecci's Renaissance ideals mingled with the Gothic motifs of local craftsmen still remains. The Ambassadors' Hall still retains much of its timber carving, most notable its coffered ceiling with thirty Gothic style carved heads by Sebastian Tauerbach.

In the 17th century, Wawel became an important defensive point and was modernised and heavily fortified. Later, the transfer of power to Warsaw did not change the symbolic role and importance of the Wawel Cathedral, which was still the place of royal coronations.

During this period, many changes were introduced in the cathedral – the high altar was remodelled, the cloister was elevated and the Shrine of St Stanislaus (a marble altar and a silver coffin) and the Vasa Chapel were constructed. Baroque memorials were also erected, among others were tombs to bishops Marcin Szyszkowski, Piotr Gembicki, Jan Małachowski, Kazimierz Lubieński and kings Michael I and John III Sobieski.

Sigismund's Chapel

In 1517, the 16-year-long construction of another chapel adjoining the cathedral began. Sigismund's Chapel (Kaplica Zygmuntowska) was to serve as the mausoleum of the last members of the Jagiellonian dynasty. Later, at the turn of the 16th century, a memorial tablet to John I Albert was placed in a niche sculptured by Francesco Fiorentino; this is considered to be the first Renaissance work of art in Poland. Other memorials from this period include those of Cardinal Frederic Jagiellon and of bishops Piotr Gamrat, Piotr Tomicki, Jan Konarski, Jan Chojeński and Samuel Maciejowski.

The chapel is considered one of the most notable examples of architecture in Kraków, it has been hailed by many art historians as "the most beautiful example of Tuscan renaissance north of the Alps". Financed by King Sigismund, the chapel was designed by Bartolomeo Berrecci. It is square-based with a golden dome and houses the tombs of its founder as well as King Sigismund II Augustus of Poland and Queen Anna. The design of the internal sculptures, stuccoes and paintings was carried out by some of the most renowned artists of the era, including Santi Gucci, Hermann Vischer, and the architect himself, Georg Pencz.

Sigismund Bell

In 1520 the Royal Sigismund Bell was cast, by Hans Behem, in bronze; it is the largest of the five bells hanging in the Sigismund Tower and was named to honour King Sigismund I the Old. It weighs almost 13 tonnes (28 thousand pounds) and requires 12 bell-ringers to toll it. It's rung only on special occasions (in modern times these were such events as the death of Józef Pilsudski, the death of Bolesław Bierut, the election of Karol Wojtyla as Pope, Poland's accession to the EU), mostly religious and national holidays, and is regarded as one of the country's national symbols. Today, the bishops of Kraków use it quite often, which reduces the importance of the Sigismund bell. The hanging of the bell is the subject of a painting by Jan Matejko.

18th and 19th centuries
The 18th and 19th centuries were to be a period of decline and misfortune for Wawel. The decline had begun as early as 1609, when King Sigismund III moved permanently to Warsaw. Despite the concerns of successive governors, both the castle and its precincts began to fall into ruin, which was in part due to occupying Swedes between 1655 and 1657 and again in 1702.

The decline worsened drastically when the hill was occupied by the Prussian army in 1794; at this time, the royal insignia were looted (apart from the Polish coronation sword) and taken to Berlin, where they were melted down for their gold, precious gemstones and pearls, which were handed to the Directorate of Maritime Trade in Berlin.

The castle was besieged and then taken by the Russians on 26 April 1772, during the war of the Bar Confederation. After the Third Partition of Poland (1795), Wawel fell under Austrian rule. Austrian soldiers converted the hill into barracks and as a consequence, much destruction and alteration took place: the Renaissance arcades of the courtyard were walled up, the interior of the castle was changed and parts of the buildings were demolished; amongst the buildings destroyed were the churches of St. Michael and St. George.

Following the unsuccessful Kraków Uprising and the fall of the Republic of Kraków, three large buildings housing a military hospital were built on the hill. During the latter half of the 19th century, the Austrians rebuilt the defence walls, making them a part of the expanded Kraków fortification system (two new caponiers were made). At the same time, the Poles tried to retake the hill.

In 1815, the funeral of Prince Józef Poniatowski took place at Wawel Cathedral. Since that event, national heroes have been entombed within the cathedral; prior to this date, only bodies of monarchs were interred there. In 1818, the body of national hero Tadeusz Kościuszko was buried in St. Leonard's Crypt. During the reconstruction of Potocki Chapel in a classical style, the statue of Prince Arthur Potocki by the Danish sculptor Bertel Thorvaldsen was placed within the chapel. A second work by Thorvaldsen was placed in Queen Sophia's Chapel.

In 1869, due to the accidental opening of the coffin of King Casimir III, a second funeral was performed. Consequently, an initiative was taken to renovate other monarchs’ tombs in the cathedral. The underground crypts were connected with tunnels, sarcophagi were cleaned and refurbished and new ones were funded. Emperor Franz Joseph I of Austria paid for a sarcophagus for King Michael, whose wife was from the House of Habsburg.

20th and 21st centuries
In 1905, Emperor Franz Joseph I of Austria, in his capacity as King of Galicia and Lodomeria, ordered his troops to leave Wawel. The Austrian withdrawal permitted the commencement of restoration work managed by Zygmunt Hendel and Adolf Szyszko-Bohusz. During the renovation, the Rotunda of Virgin Mary was discovered as well as other notable relics of the past. The renovation of the Wawel Hill was funded by public subscription. The names of the donors were inscribed on the bricks used to build the wall near the castle's northern gateway. The Coat of Arms Gate was built at this time and the statue of Tadeusz Kościuszko was placed nearby.

Between 1902 and 1904, Włodzimierz Tetmajer decorated the walls of Queen Sophia's Chapel with paintings depicting Polish saints and national heroes.

Józef Mehoffer painted murals in the vault of the cathedral and created stained-glass windows in the St. Cross Chapel as well as paintings in the Szafrańcy Chapel. Mehoffer is also responsible for the stained-glass windows in the transept which depict the Sufferings of Christ and the Virgin Mary.

During Poland's twenty years of independence after World War I, Polish authorities decided that the Wawel Castle was to be a representative building of the Polish Republic and would be used an official residence by the State Governor; this position was further re-enforced when, in 1921, the Polish Parliament passed a resolution which gave Wawel official status as the residence of the President of Poland. No legal acts have been issued by the independent Polish authorities redacting this resolution (apart from the decision of the Stalinist State National Council (KRN) to change the Wawel Castle into a museum).

In 1921 a statue of Tadeusz Kościuszko sculpted by Leandro Marconi and Antoni Popiel was placed on the ramparts of king Władysław IV Vasa on the northside.

In 1925, a column fragment of Wawel Castle was incorporated into Chicago's landmark Tribune Tower. Located in its own niche over the upper-left corner of the main entrance; it is a visual tribute to Chicago's large Polish populace, the largest such presence outside of the Republic of Poland.

The tradition of burying notable Polish national in the cathedral has continued into the 21st century: in 1927, the ashes of the romantic poet Juliusz Słowacki were brought to the cathedral, ten years later the statesman and former Leader of Second Polish Republic, Marshal Józef Piłsudski, was interred in a vault beneath the Silver Tower and in 1993 the remains of the World War II military leader Władysław Sikorski were finally returned to Poland for burial in the crypt. More recently, the bodies of President Lech Kaczyński and his wife were entombed in a sarcophagus, in the antechamber of the vault beneath the Silver Bell Tower.

During World War II, when Poland was occupied by Nazi Germany, the Wawel Castle was the residence of governor general Hans Frank, later to be executed as a war criminal. During his despotic regime, Raphael's Portrait of a Young Man (1513–14), part of the Czartoryski collection, was removed from Wawel and to this day has yet to be returned to Poland. Many of the tapestries have disappeared too, their whereabouts unknown; however, 150 of the tapestries which along with many of the Wawel's other treasures had spent the war years, for safety, in Canada have been returned to the castle and are, today, part of the Wawel Royal Castle National Art Collection on public display along with countless art treasures and items of historical Polish significance.

John Paul II Wawel Cathedral Museum
The 14th-century former Cathedral house, in the shadow of the Silver Bell Tower, between the Vasa Gate and the former Clerical Seminary, now houses the John Paul II Wawel Cathedral Museum. It was opened in 1978 by Cardinal Karol Wojtyła, Archbishop of Kraków (later Pope John Paul II), and displays many historic Polish artefacts both spiritual and temporal which were formerly kept in the cathedral's treasury.

Treasury and armoury
The Crown Treasury situated in the historic Gothic rooms which were used from the 15th century on for storing the Polish coronation insignia and Crown Jewels, feature on display priceless objects from the former Treasury that survived plunder, among them the memorabilia of Polish monarchs including members of their families and eminent personages, like the hat and sword given to John III Sobieski by the pope after the Battle of Vienna, as well as the coronation sword Szczerbiec.

In February 2021, a unique 16th-century child armour belonging to Polish king Sigismund Augustus was officially returned to Poland by Hungary and it is now kept in the collections of the Wawel Castle. Since World War I it had been held in the Museum of Fine Arts in Budapest where it was transported by mistake.

Chambers

 * State Rooms
 * Royal Private Apartments
 * Exhibition "The Lost Wawel"
 * Exhibition "Oriental Art"
 * The Royal Gardens
 * Dragon's Den

title: Wawel Castle


text:
Pomoan languages

The Pomoan, or Pomo, languages are a small family of seven languages indigenous to northern California spoken by the Pomo people, whose ancestors lived in the valley of the Russian River and the Clear Lake basin. Four languages are extinct, and all surviving languages except Kashaya have fewer than ten speakers.

Geographical distribution
John Wesley Powell, who was the first to define the extent of the family, noted that its boundaries were the Pacific Ocean to the west, Wintuan territory in the Sacramento Valley to the east, the head of the Russian River to the north, and Bodega Head and present-day Santa Rosa to the south (Powell 1891:87-88). Only Northeastern Pomo was not contiguous with the other Pomoan languages, being separated by an intervening region of Wintuan speakers.

Internal relationships of languages

Pomoan is a family of seven languages. Their relationship to one another was first formally recognized by John Wesley Powell, who proposed that they be called the "Kulanapan Family" (Powell 1891). Like many of Powell's obscure nomenclatural proposals, particularly for California languages, "Kulanapan" was ignored. In its place, Pomo, the term used by Indians and Whites alike for Northern Pomo, was arbitrarily extended to include the rest of the family.

All seven languages were first systematically identified as Pomo by Samuel Barrett (1908). To avoid complications, Barrett named each of the Pomoan languages according to its geographic position ("Northern Pomo," "Southeastern Pomo," etc.) This naming convention quickly gained wide acceptance and is still in general use, except for the substitution of "Kashaya" for Barrett's "Southwestern Pomo". Barrett's geographical language names often lead those unfamiliar with the Pomoan languages to the misconception that they are dialects of a single "Pomo" language.

Various genetic subgroupings of the family have been proposed, although the general outlines have remained fairly consistent. The current consensus view (cf. Mithun 1999) favors the tree presented in Oswalt (1964), shown below.

 * Pomoan
 * Southeastern Pomo
 * Eastern Pomo †
 * Northeastern Pomo †
 * Western
 * Northern Pomo †
 * Southern
 * Central Pomo †
 * Southern Pomo †
 * Kashaya (Southwestern Pomo)

Essentially identical versions of this classifications are presented in Oswalt and McLendon's "Introduction" to the Pomo chapters in Heizer, ed. (1978) and in Campbell (1997). The most important dissenter was Abraham M. Halpern, one of the few linguists since Barrett's time to collect comparative data on all of the Pomoan languages.

Halpern's classification differed from Oswalt's mainly in the placement of Northeastern Pomo. Instead of considering it an independent branch of the family, Halpern grouped it with the languages of Oswalt's "Western" branch. He suggested the possibility that Northeastern Pomo represents a recent migration of a Northern Pomo subgroup (Halpern 1964; Golla 2011:106-7).

Proto-language
Proto-Pomo reconstructions by McLendon (1973):

 * {| class="wikitable sortable"

! gloss !! Proto-Pomo
 * acorn || *biʔdú
 * afraid, to be || *kʰiˑyá, *kʰiyáˑ
 * angelica || *baʔk̓ówa
 * arm || *ʔiˑxál(ʸ)
 * armpit || *daˑyamá-
 * arrow || *hic̓úˑ
 * arrow || *baṭʰíy
 * ashes || *hiˑnó(x̣ò)
 * back || *bak̓oˑ
 * backbone || *hiʔk̓i, *k̓idí
 * bark (of tree) || *qʰahwálʸ
 * basket, sp. || *c̓óˑy
 * basket, sp. || *kʰiṭúˑ
 * basket, pack (open-woven) || *buhqʰál
 * basket, pack (close-woven) || *buhkí ?
 * basket, pounding || *miké
 * bear || *buˑṭáqa(lʸ)
 * bear, brown || *limá(ˑ) ?
 * bee || *koʔó(lʸ), *kaʔolʸó
 * behind, rear || *siˑlí, *silíˑ
 * belly || *ʔuhqʰá(ˑ)
 * below || *ʔiyów
 * big, sg. || *bahṭʰé, *bahṭʰén
 * big, pl. || *ʔahṭʰíy, *ʔahṭíynʸ
 * bird || *c̓iyíta ~ *c̓ihtá
 * bite, to || *qaˑné-
 * blackfish || *xaqʰál
 * blanket || *ʔihxí(ˑ)
 * blood || *baˑláy
 * body || *xiʔbá
 * bone || *ʔihyá(ˑ)
 * bow || *xihmúy, *xi(ʔ)mi
 * brains, head, protuberance || *hoʔt̓ó
 * bread, acorn || *qʰaṭó(ˑ)
 * break wind || *ʔihpʰéṭ-
 * breast, milk || *xiʔdónʸ
 * brother, mother's || *cúˑ-c̓i ~ *céˑ-c̓i
 * brother, older || *méqi
 * brother, father's younger || *kéqi
 * brother-in-law (i.e., wife's brother ?) || *mahá-, *háˑ
 * buckeye || *bahxá
 * buckeye nuts when soaked || *dihsá
 * bumblebee || *kʰeˑhéy
 * burn || *maˑlí- ~ *mahlá-
 * bush, sp. || *qȧ(h)nóˑ
 * buzzard || *kuhkʰí
 * carry in hands, to || *bi-ʔdíˑ-d(i)-
 * causative || *-hqa
 * chaparral || *seʔé
 * chest || *yeʔélʸ
 * child || *qaˑwí
 * clam || *x̣alá/ú
 * claw || *héˑc̓
 * cloud || *qʰaʔbá(ˑ), *qʰaʔbú
 * clover || *ʔohsó
 * cold || *qahcíl, *qacˑi
 * come, to || *(h)wáˑdu-
 * cook, bake under ashes, to || *ʔihpʰá-
 * cottontail (rabbit) || *nóˑmik
 * cottonwood || *qaxálabʔ ~ *qáxalabʔ
 * coyote || *doˑwí
 * creek || *biʔdá
 * dance/song || *qʰé
 * daughter-in-law || *-ʔódʔ
 * daughter-in-law || *xowmi(ˑ-c̓i)
 * dawn, morning || *qʰaʔˑá
 * day || *makílʸ, *maˑkí
 * deer/meat || *bihxé
 * die, to || *q̓alálʸ ~ *q̓alá-
 * directional || *-lal
 * dirty || *c̓áʔc̓a
 * doe || *maṭʰéy
 * door || *hohwá
 * dove || *maˑyú, *maˑyúˑ
 * dream, to || *qʰaʔadˑú-
 * drink, to || *hoʔq̓ó(k)
 * duck || *q̓aˑyán (~ *q̓ayáˑn ?)
 * durative || *-kid-
 * ear || *xiˑmánʸ
 * earth || *ʔa(h)máṭ
 * east || *ʔaxóˑ
 * eat, chew, to || *qawá-
 * eat, to || *kuhˑú-
 * egg || *hik̓óˑ, *hik̓ó
 * elbow || *q̓o/uhsá
 * embers, charcoal || *mahsíkʔ/tʔ
 * enemy || *kuhmá
 * excrement || *ʔahpʰá
 * eye, face || *huʔúy
 * fat || *ʔihpʰúy
 * father || *meʔˑé
 * father, father's || *bá-ˑc̓i
 * father, mother's || *-ká-ˑc̓i
 * fawn || *nuhwákʔ
 * feather, small/down || *ʔahṭʰé ~ *ʔahṭʰén ?
 * feather, large || *hiʔˑí
 * fire || *ʔohx̣ó
 * first person singular subject || *haʔáˑ
 * first person singular object || *ʔawí-toˑ
 * first person singular possessive prefix || *ʔawí-
 * first personal plural subject || *awá-ya
 * first personal plural object || *ʔawá-ya-l
 * fish || *ʔahxá
 * five || *ṭuhxo
 * flea || *ʔiˑméla
 * flesh || *c̓iʔˑí
 * flint || *qʰahká
 * fly, to (1) || *hakˑá- ( ?)
 * fly, to (2) || *pʰudí-
 * fly, n. || *c̓amolʸ
 * food || *maʔá
 * foot || *qʰaˑmánʸ
 * forehead || *diˑlé
 * forest, deep, dense (hence shaded) || *xiˑyó
 * fox (1) || *haq̓áw
 * fox (2) || *duˑcá
 * frog || *waˑṭakʔ/qʔ
 * give round object || *dihqá-
 * go, several to || *pʰilá
 * good || *q̓oʔdí
 * goose || *lála, *hláˑla
 * gopher ? || *ʔaˑláme
 * grain, grain plant || *muhká
 * grass || *qac̓ˑá
 * grasshopper || *xahqót
 * hair, of head || *heʔˑé, *heʔey( ?)
 * hair, of body, fur || *cihmé ~ *ciˑme
 * hand || *ʔatʰáˑna ~ *ʔatʰaná
 * hawk || *k̓iyáˑ
 * head || *kináˑlʸ, *xináˑ/lʸ, *kʰináˑ ?
 * hear, to || *xóˑki-
 * hemp || *mahxá
 * hole || *hiˑmó
 * horn || *haʔˑá
 * hot, to be || *muht̓ám-
 * house || *ʔahká
 * hunt, to || *boˑʔó
 * imperative singular || *-im
 * jackrabbit || *ʔaˑmáˑqala
 * jay || *c̓ayi ~ *c̓aˑyi
 * jealous || *ʔayél
 * kinsman, one's own, in generations above ego || *-ˑc̓i
 * laugh, to || *kʰuwáy
 * leach, to || *kʰeʔé-
 * leaf (1) || *siʔṭ̓ál
 * leaf (2) || *xihpʰa
 * mountain || *dȧˑnó
 * mouth || *ʔahx̣á
 * mud || *báˑto
 * mudhen (?) || *qʰá-c̓iyàt ~ *qʰa-c̓it
 * mush, acorn || *ṭʰoʔó(ˑ)
 * mushroom (1) || *hic̓éˑ
 * mushroom (2) || *k̓aˑlál
 * mussel (ocean clam ?) || *lȧʔq̓ó
 * name || *ʔahxí
 * navel || *ʔohqó-hmo
 * neck || *q̓óyu
 * negative (1) || *-tʰin ?
 * negative (2) || *kʰów ~ *akʰˑów
 * dip net || *waˑyákʔ/qʔ
 * new || *xiˑwéy
 * night || *duwˑé
 * north || *kuhˑúla ( ?)
 * nose || *hiˑlá
 * oak, black || *yuhxíy, *lixúy
 * oak, live (?) || *maʔk̓i(bʔ)
 * oak, mush || *c̓ipʰa, *c̓apʰˑa
 * oak, sp. || *wiyú
 * oak, white || *qaʔban/l-
 * object case || *-al ~ *-to
 * occiput || *kʰaˑyá
 * on, on top of, above || *wína ~ *wináˑ
 * one || *k̓á-, *káˑ-
 * onion, wild || *qʰaʔbat/y
 * optative || *-ix
 * pain || *duṭʰál
 * panther || *yahmóṭʔ
 * path || *hiʔdá
 * people, group of people, village, race || *nȧhpʰó
 * pepperwood tree || *bahˑébʔ
 * pepperwoodnut || *bahˑé
 * phlegm || *q̓uʔlés
 * pick up a non-long object, to || *dihkí
 * pinole || *yuhhú(ˑ), *yuhx̣ú(ˑ) ?, *yuhhúy, *yuhx̣úyʔ
 * pitch || *qʰahwé, *qʰahwé
 * plural act (1) || *-lV-
 * plural act (2) (with extent?) || *-ma
 * plural number || *-aya
 * poison, poisoning song || *q̓oˑʔó ~ *q̓oʔóˑ
 * poison oak || *hmaˑṭi̇́yu ~ *maˑṭi̇́yuho ?
 * potato, Indian || *hiʔbúnʸ
 * pregnant || *wiˑní
 * quail || *xaqáˑqa
 * quail topknot || *qʰéya ~ *ʔehqʰéya
 * raccoon || *qʰaʔdús ~ *qʰahlús ?
 * rain || *kehkʰé(ˑ) ~ *ihkʰé
 * raw/alive || *qa(h)xó-
 * reciprocal || *~(h)ma(ˑ)k̓ ~ *-ma(ˑ)k̓-
 * reciprocal relationship || *-a(ˑ)q
 * rectum || *haṭ̓á, *(ṭ̓i ?)
 * reed, sp. || *c̓iwíx
 * reflexive || *-i(ˑ)k̓i
 * rib || *misˑá(ˑ)kʔ
 * ridge/mountain || *wixálʸ
 * rock || *qʰaʔbé
 * salt (1) || *ṭaʔq̓o
 * salt (2) || *kʰeʔéˑ
 * sand/gravel || *miˑṭákʔ
 * saw apart, to || *xuqʰáˑ-
 * seaweed, edible || *ʔoˑṭóno
 * second person singular subject || *ʔaˑmá
 * second person singular object || *míˑ-to ~ *mí-to ~ *mi-tó
 * second person singular possessive prefix || *mi-
 * second person plural subject || *ʔaˑmá-ya
 * second person plural object || *ʔaˑmá-ya-l
 * see || *kád-, *káˑd-
 * seed || * ?isóˑ, *ʔisóy
 * semelfactive || *-ki-
 * sentence connective (1) || *-pʰila
 * sentence connective (2) || *-pʰi
 * sentence connective (3) || *-in
 * separate from someone, to || *q̓á(ˑ), *q̓a-(m-)(h)mak̓
 * shoulder || *c̓uwáˑ
 * sibling, younger || *ṭ̓áqi
 * sinew || *hiˑmá
 * sister, father's || *múc̓i ~ *múˑc̓i ~ *wéˑqi
 * sister, mother's older || *ṭʰúˑc̓
 * sister, mother's younger || *xéˑqi
 * sister, older || *déˑqi
 * sister's husband || *kóˑdʔ, *qóˑdʔ ?
 * sit, to || *ká-
 * sit down, to || *kahkí-
 * six || *lanká, *káci
 * skin || *ćʔdá
 * skunk || *nupʰéṭ
 * sky || *qalí, *qalínʸ
 * sleep, to || *siˑmán
 * slow || *pʰaláˑ
 * slug || *paʔláˑ
 * smoke || *ʔohx̣ósa(xà), *saxá
 * snot || *hiˑlásu
 * snow || *ʔihyúlʸ
 * soaproot || *haʔˑá(ˑ)bʔ
 * son-in-law || *hkéye
 * sour || *móc̓ ~ *móˑc̓
 * south || *ʔiyó
 * speculative || *-xe-
 * spider || *ʔikʰáˑ, *mikʰá, *ikʰá
 * spit || *ʔihqʰetʔ
 * spleen || *maṭ́éˑ
 * spring (of water) || *(qʰa) qahpʰá
 * squirrel || *kuˑmáṭʔ, *qumáṭ
 * stink, to || *mihxé
 * stop doing, to || *-hyéˑ-
 * stories, myths, to tell || *maṭúˑ
 * string || *suˑlímaṭʔ
 * suckerfish || *xamólʸ
 * sun || *haʔdá
 * sweat || *mikʰˑéq
 * tail || *hibá
 * talk, to || *kȧhnów
 * tears || *huʔuy-qʰà(ˑ)
 * testicles || *yȧqolʸ
 * thing || *á(ˑ)maˑ
 * third person masculine singular subject || *hamíyabʔ
 * third person masculine singular object || *hamíˑb-al
 * third person feminine singular subject || *hamíyadʔ
 * third person feminine singular object || *hamíˑd-al
 * third person singular possessive prefix || *hamíyaˑ-
 * throat || *mihyánʸ
 * tick || *aṭ̓aʔláˑ
 * tongue || *haʔbálʸ ~ *hawba(ˑ) ~ *hibʔa
 * tooth || *hȧʔˑo
 * tree || *qʰaˑlé
 * tule, round || *bakóˑ
 * tule sprout || *ṭʰiʔbéˑ
 * two || *ʔaqʰóc
 * umbilicus || *ʔohqó
 * uphill || *dȧnóˑ
 * valley, clearing || *qahqó
 * walk, to || *hwáˑd-, *wáˑd-
 * water || *ʔahqʰá
 * west (1) || *mihila, *mix̣ila
 * west (2) || *bóˑ
 * what || *(baˑ)q́o(ˑ)
 * whistle || *li(?)búˑ
 * white || *qahlé
 * wildcat || *dȧˑlóm(ʔ)
 * wind || *ʔihyá
 * winter || *qʰu(ʔ)c̓áˑ-
 * wolf || *cihméwa ~ *ciméwa
 * woman || *ʔimáˑta
 * wood || *ʔahx̣áy
 * wood duck || *waṭá-
 * wood rat || *mihyóqʔ
 * worm (1) || *biˑlá
 * worm (2) || *ʔikʰólʸ
 * }
 * mudhen (?) || *qʰá-c̓iyàt ~ *qʰa-c̓it
 * mush, acorn || *ṭʰoʔó(ˑ)
 * mushroom (1) || *hic̓éˑ
 * mushroom (2) || *k̓aˑlál
 * mussel (ocean clam ?) || *lȧʔq̓ó
 * name || *ʔahxí
 * navel || *ʔohqó-hmo
 * neck || *q̓óyu
 * negative (1) || *-tʰin ?
 * negative (2) || *kʰów ~ *akʰˑów
 * dip net || *waˑyákʔ/qʔ
 * new || *xiˑwéy
 * night || *duwˑé
 * north || *kuhˑúla ( ?)
 * nose || *hiˑlá
 * oak, black || *yuhxíy, *lixúy
 * oak, live (?) || *maʔk̓i(bʔ)
 * oak, mush || *c̓ipʰa, *c̓apʰˑa
 * oak, sp. || *wiyú
 * oak, white || *qaʔban/l-
 * object case || *-al ~ *-to
 * occiput || *kʰaˑyá
 * on, on top of, above || *wína ~ *wináˑ
 * one || *k̓á-, *káˑ-
 * onion, wild || *qʰaʔbat/y
 * optative || *-ix
 * pain || *duṭʰál
 * panther || *yahmóṭʔ
 * path || *hiʔdá
 * people, group of people, village, race || *nȧhpʰó
 * pepperwood tree || *bahˑébʔ
 * pepperwoodnut || *bahˑé
 * phlegm || *q̓uʔlés
 * pick up a non-long object, to || *dihkí
 * pinole || *yuhhú(ˑ), *yuhx̣ú(ˑ) ?, *yuhhúy, *yuhx̣úyʔ
 * pitch || *qʰahwé, *qʰahwé
 * plural act (1) || *-lV-
 * plural act (2) (with extent?) || *-ma
 * plural number || *-aya
 * poison, poisoning song || *q̓oˑʔó ~ *q̓oʔóˑ
 * poison oak || *hmaˑṭi̇́yu ~ *maˑṭi̇́yuho ?
 * potato, Indian || *hiʔbúnʸ
 * pregnant || *wiˑní
 * quail || *xaqáˑqa
 * quail topknot || *qʰéya ~ *ʔehqʰéya
 * raccoon || *qʰaʔdús ~ *qʰahlús ?
 * rain || *kehkʰé(ˑ) ~ *ihkʰé
 * raw/alive || *qa(h)xó-
 * reciprocal || *~(h)ma(ˑ)k̓ ~ *-ma(ˑ)k̓-
 * reciprocal relationship || *-a(ˑ)q
 * rectum || *haṭ̓á, *(ṭ̓i ?)
 * reed, sp. || *c̓iwíx
 * reflexive || *-i(ˑ)k̓i
 * rib || *misˑá(ˑ)kʔ
 * ridge/mountain || *wixálʸ
 * rock || *qʰaʔbé
 * salt (1) || *ṭaʔq̓o
 * salt (2) || *kʰeʔéˑ
 * sand/gravel || *miˑṭákʔ
 * saw apart, to || *xuqʰáˑ-
 * seaweed, edible || *ʔoˑṭóno
 * second person singular subject || *ʔaˑmá
 * second person singular object || *míˑ-to ~ *mí-to ~ *mi-tó
 * second person singular possessive prefix || *mi-
 * second person plural subject || *ʔaˑmá-ya
 * second person plural object || *ʔaˑmá-ya-l
 * see || *kád-, *káˑd-
 * seed || * ?isóˑ, *ʔisóy
 * semelfactive || *-ki-
 * sentence connective (1) || *-pʰila
 * sentence connective (2) || *-pʰi
 * sentence connective (3) || *-in
 * separate from someone, to || *q̓á(ˑ), *q̓a-(m-)(h)mak̓
 * shoulder || *c̓uwáˑ
 * sibling, younger || *ṭ̓áqi
 * sinew || *hiˑmá
 * sister, father's || *múc̓i ~ *múˑc̓i ~ *wéˑqi
 * sister, mother's older || *ṭʰúˑc̓
 * sister, mother's younger || *xéˑqi
 * sister, older || *déˑqi
 * sister's husband || *kóˑdʔ, *qóˑdʔ ?
 * sit, to || *ká-
 * sit down, to || *kahkí-
 * six || *lanká, *káci
 * skin || *ćʔdá
 * skunk || *nupʰéṭ
 * sky || *qalí, *qalínʸ
 * sleep, to || *siˑmán
 * slow || *pʰaláˑ
 * slug || *paʔláˑ
 * smoke || *ʔohx̣ósa(xà), *saxá
 * snot || *hiˑlásu
 * snow || *ʔihyúlʸ
 * soaproot || *haʔˑá(ˑ)bʔ
 * son-in-law || *hkéye
 * sour || *móc̓ ~ *móˑc̓
 * south || *ʔiyó
 * speculative || *-xe-
 * spider || *ʔikʰáˑ, *mikʰá, *ikʰá
 * spit || *ʔihqʰetʔ
 * spleen || *maṭ́éˑ
 * spring (of water) || *(qʰa) qahpʰá
 * squirrel || *kuˑmáṭʔ, *qumáṭ
 * stink, to || *mihxé
 * stop doing, to || *-hyéˑ-
 * stories, myths, to tell || *maṭúˑ
 * string || *suˑlímaṭʔ
 * suckerfish || *xamólʸ
 * sun || *haʔdá
 * sweat || *mikʰˑéq
 * tail || *hibá
 * talk, to || *kȧhnów
 * tears || *huʔuy-qʰà(ˑ)
 * testicles || *yȧqolʸ
 * thing || *á(ˑ)maˑ
 * third person masculine singular subject || *hamíyabʔ
 * third person masculine singular object || *hamíˑb-al
 * third person feminine singular subject || *hamíyadʔ
 * third person feminine singular object || *hamíˑd-al
 * third person singular possessive prefix || *hamíyaˑ-
 * throat || *mihyánʸ
 * tick || *aṭ̓aʔláˑ
 * tongue || *haʔbálʸ ~ *hawba(ˑ) ~ *hibʔa
 * tooth || *hȧʔˑo
 * tree || *qʰaˑlé
 * tule, round || *bakóˑ
 * tule sprout || *ṭʰiʔbéˑ
 * two || *ʔaqʰóc
 * umbilicus || *ʔohqó
 * uphill || *dȧnóˑ
 * valley, clearing || *qahqó
 * walk, to || *hwáˑd-, *wáˑd-
 * water || *ʔahqʰá
 * west (1) || *mihila, *mix̣ila
 * west (2) || *bóˑ
 * what || *(baˑ)q́o(ˑ)
 * whistle || *li(?)búˑ
 * white || *qahlé
 * wildcat || *dȧˑlóm(ʔ)
 * wind || *ʔihyá
 * winter || *qʰu(ʔ)c̓áˑ-
 * wolf || *cihméwa ~ *ciméwa
 * woman || *ʔimáˑta
 * wood || *ʔahx̣áy
 * wood duck || *waṭá-
 * wood rat || *mihyóqʔ
 * worm (1) || *biˑlá
 * worm (2) || *ʔikʰólʸ
 * }
 * sibling, younger || *ṭ̓áqi
 * sinew || *hiˑmá
 * sister, father's || *múc̓i ~ *múˑc̓i ~ *wéˑqi
 * sister, mother's older || *ṭʰúˑc̓
 * sister, mother's younger || *xéˑqi
 * sister, older || *déˑqi
 * sister's husband || *kóˑdʔ, *qóˑdʔ ?
 * sit, to || *ká-
 * sit down, to || *kahkí-
 * six || *lanká, *káci
 * skin || *ćʔdá
 * skunk || *nupʰéṭ
 * sky || *qalí, *qalínʸ
 * sleep, to || *siˑmán
 * slow || *pʰaláˑ
 * slug || *paʔláˑ
 * smoke || *ʔohx̣ósa(xà), *saxá
 * snot || *hiˑlásu
 * snow || *ʔihyúlʸ
 * soaproot || *haʔˑá(ˑ)bʔ
 * son-in-law || *hkéye
 * sour || *móc̓ ~ *móˑc̓
 * south || *ʔiyó
 * speculative || *-xe-
 * spider || *ʔikʰáˑ, *mikʰá, *ikʰá
 * spit || *ʔihqʰetʔ
 * spleen || *maṭ́éˑ
 * spring (of water) || *(qʰa) qahpʰá
 * squirrel || *kuˑmáṭʔ, *qumáṭ
 * stink, to || *mihxé
 * stop doing, to || *-hyéˑ-
 * stories, myths, to tell || *maṭúˑ
 * string || *suˑlímaṭʔ
 * suckerfish || *xamólʸ
 * sun || *haʔdá
 * sweat || *mikʰˑéq
 * tail || *hibá
 * talk, to || *kȧhnów
 * tears || *huʔuy-qʰà(ˑ)
 * testicles || *yȧqolʸ
 * thing || *á(ˑ)maˑ
 * third person masculine singular subject || *hamíyabʔ
 * third person masculine singular object || *hamíˑb-al
 * third person feminine singular subject || *hamíyadʔ
 * third person feminine singular object || *hamíˑd-al
 * third person singular possessive prefix || *hamíyaˑ-
 * throat || *mihyánʸ
 * tick || *aṭ̓aʔláˑ
 * tongue || *haʔbálʸ ~ *hawba(ˑ) ~ *hibʔa
 * tooth || *hȧʔˑo
 * tree || *qʰaˑlé
 * tule, round || *bakóˑ
 * tule sprout || *ṭʰiʔbéˑ
 * two || *ʔaqʰóc
 * umbilicus || *ʔohqó
 * uphill || *dȧnóˑ
 * valley, clearing || *qahqó
 * walk, to || *hwáˑd-, *wáˑd-
 * water || *ʔahqʰá
 * west (1) || *mihila, *mix̣ila
 * west (2) || *bóˑ
 * what || *(baˑ)q́o(ˑ)
 * whistle || *li(?)búˑ
 * white || *qahlé
 * wildcat || *dȧˑlóm(ʔ)
 * wind || *ʔihyá
 * winter || *qʰu(ʔ)c̓áˑ-
 * wolf || *cihméwa ~ *ciméwa
 * woman || *ʔimáˑta
 * wood || *ʔahx̣áy
 * wood duck || *waṭá-
 * wood rat || *mihyóqʔ
 * worm (1) || *biˑlá
 * worm (2) || *ʔikʰólʸ
 * }
 * tears || *huʔuy-qʰà(ˑ)
 * testicles || *yȧqolʸ
 * thing || *á(ˑ)maˑ
 * third person masculine singular subject || *hamíyabʔ
 * third person masculine singular object || *hamíˑb-al
 * third person feminine singular subject || *hamíyadʔ
 * third person feminine singular object || *hamíˑd-al
 * third person singular possessive prefix || *hamíyaˑ-
 * throat || *mihyánʸ
 * tick || *aṭ̓aʔláˑ
 * tongue || *haʔbálʸ ~ *hawba(ˑ) ~ *hibʔa
 * tooth || *hȧʔˑo
 * tree || *qʰaˑlé
 * tule, round || *bakóˑ
 * tule sprout || *ṭʰiʔbéˑ
 * two || *ʔaqʰóc
 * umbilicus || *ʔohqó
 * uphill || *dȧnóˑ
 * valley, clearing || *qahqó
 * walk, to || *hwáˑd-, *wáˑd-
 * water || *ʔahqʰá
 * west (1) || *mihila, *mix̣ila
 * west (2) || *bóˑ
 * what || *(baˑ)q́o(ˑ)
 * whistle || *li(?)búˑ
 * white || *qahlé
 * wildcat || *dȧˑlóm(ʔ)
 * wind || *ʔihyá
 * winter || *qʰu(ʔ)c̓áˑ-
 * wolf || *cihméwa ~ *ciméwa
 * woman || *ʔimáˑta
 * wood || *ʔahx̣áy
 * wood duck || *waṭá-
 * wood rat || *mihyóqʔ
 * worm (1) || *biˑlá
 * worm (2) || *ʔikʰólʸ
 * }
 * valley, clearing || *qahqó
 * walk, to || *hwáˑd-, *wáˑd-
 * water || *ʔahqʰá
 * west (1) || *mihila, *mix̣ila
 * west (2) || *bóˑ
 * what || *(baˑ)q́o(ˑ)
 * whistle || *li(?)búˑ
 * white || *qahlé
 * wildcat || *dȧˑlóm(ʔ)
 * wind || *ʔihyá
 * winter || *qʰu(ʔ)c̓áˑ-
 * wolf || *cihméwa ~ *ciméwa
 * woman || *ʔimáˑta
 * wood || *ʔahx̣áy
 * wood duck || *waṭá-
 * wood rat || *mihyóqʔ
 * worm (1) || *biˑlá
 * worm (2) || *ʔikʰólʸ
 * }
 * winter || *qʰu(ʔ)c̓áˑ-
 * wolf || *cihméwa ~ *ciméwa
 * woman || *ʔimáˑta
 * wood || *ʔahx̣áy
 * wood duck || *waṭá-
 * wood rat || *mihyóqʔ
 * worm (1) || *biˑlá
 * worm (2) || *ʔikʰólʸ
 * }
 * wood duck || *waṭá-
 * wood rat || *mihyóqʔ
 * worm (1) || *biˑlá
 * worm (2) || *ʔikʰólʸ
 * }
 * worm (2) || *ʔikʰólʸ
 * }
 * }

title: Pomoan languages


text:
Arnie Kogen

Arnie Kogen is an American comedy writer and producer. He has written for TV, film, and is a longtime writer for Mad Magazine. Among his hundreds of Mad bylines, Kogen has written more than 100 film or television parodies.

Born in Brooklyn, New York City, New York, to Jewish parents, Kogen contributed to Mad soon after college at New York University. He wrote for many of the top stand-up comics of that time including Don Adams, Morty Gunty, and Jan Murray. He moved on to writing for Candid Camera, The Les Crane Show, The Jackie Gleason Show and The Tonight Show Starring Johnny Carson.

In 1965 he co-wrote the feature film Birds Do It, starring Soupy Sales.

He moved to California with his family in 1968. His many variety and sitcom credits include The Dean Martin Show, The Carol Burnett Show, The Mary Tyler Moore Show, The Rich Little Show, The Tim Conway Show, The Golden Globes (1972–1975), Donny and Marie, An Evening at the Improv, Newhart, Empty Nest, and MADtv.

Kogen has written comedy material for many entertainers including Steve and Eydie, Totie Fields, Flip Wilson, Jackie Vernon, Sammy Davis, Jr., Debbie Reynolds, Connie Stevens and Shelley Berman.

Kogen has won 3 Emmy Awards (7 nominations) and one WGA Award (3 nominations).

His son Jay Kogen, also an Emmy-winning comedy writer, was an original writer for the animated television series The Simpsons. His late daughter, Jill Arons, worked at The Bingo Bugle.

title: Arnie Kogen


text:
John Caldwell (cartoonist)

John F. Caldwell (March 23, 1946 – February 21, 2016) was a nationally syndicated American gag cartoonist primarily known for his work in National Lampoon and Mad, where he was a member of "The Usual Gang of Idiots."

Following his death, The Comics Reporter described him as having had "one of the most prolific and successful [cartooning] careers of the late 20th Century."

Education
Caldwell never received any actual training as a cartoonist, but he attended the Parsons School of Design, where his general art education helped him prepare for a cartooning career. He spent 1969–70 working for the State of New York as a cartographer.

Career
Caldwell's drawings appeared in numerous publications, including Writer's Digest, Playboy, Barron's, the New Yorker, the Wall Street Journal, Reader's Digest and Harvard Business Review. He designed greeting cards for Recycled Paper Greetings and Nobleworks.

In an oddity, one of Caldwell's better-known cartoons was never officially published. He wrote and drew a gag front cover depicting the mascot Alfred E. Neuman having taken a wrong turn away from the New York Marathon route, jogging into a murder scene, and cluelessly breaking through yellow crime scene tape in triumph. The issue, #411, was already at the printer when the 9/11 attacks happened. The joke which depicted downtown Manhattan and a dead body was no longer appropriate in light of the real world events. A replacement cover was swiftly produced, showing a closely cropped head shot of Neuman, his trademark tooth gap filled in by a small American flag.

Death
Aged 69, Caldwell died February 21, 2016, from cancer. He was survived by his wife Diane, as well as a daughter and grandson.

Books

 * Running A Muck: A Bunch of Zany Cartoons (Writer's Digest Books, 1978) ISBN 978-0-911654-60-8
 * Mug Shots: A Splendid Collection of Cartoons (Fantaco, 1980)
 * The Book of Ultimates (McGraw-Hill, 1983) ISBN 978-0-07-009608-0
 * Caldwell (Fawcett Columbine, 1988) ISBN 978-0-449-90266-0
 * Fax This Book: Over 100 Sit-Up-and-Take-Notice Cover Sheets for Better Business (Workman, 1990) ISBN 978-0-89480-807-4
 * Faxable Greeting Cards (Workman, 1991) ISBN 978-1-56305-006-0

title: John Caldwell (cartoonist)


text:
Hermann Mejía

Hermann Mejía (born 1973) is a Venezuelan–American painter and sculptor known for his work for Mad magazine. He was named by HuffPost as "one of 15 famous Venezuelan artists to know".

Early life
Hermann Mejía started drawing at a young age. He started collecting comics at age 13 and received his first artist's commission at 15, painting promotional graffiti for musical acts in Caracas. He studied illustration and painting at the Caracas Design Institute. After graduating, he started his career in fine arts with numerous exhibitions in his native Venezuela, both collective and solo. Growing recognition as a vanguard artist landed him a commission to design a series of Venezuelan postage stamps commemorating Pope John Paul II in 1996.

Career
Mejía is a prolific artist with a long career of solo and collective exhibitions of both paintings and sculptures, mostly in South America but also in the U.S. His style and technique have been linked to many influences including Francis Bacon, Lucian Freud, the surrealists, and street art. In addition to his artistic career, he has successfully ventured into comic art and commercial art.

Upon having won the first prize in a sequential art contest, Mejia was awarded a trip to New York City, where he met artist George Pratt, who had been one of the judges of the contest. Pratt took Mejía to the offices of DC Comics, where Mejía was offered a job almost instantly. Through DC, Mejía met Charlie Kochman, publishing editor for DC, which included the satirical humor magazine Mad. Mejía received his first assignment for the April 1997 issue.

Mejía worked for the New York-based Mad magazine while still living in Venezuela during the next two years. In 1999, Mejía moved to the United States. He received a "Best in Magazine Feature" Reuben Award from the National Cartoonists Society in 2003.

Mejia works in his studio in Gowanus, Brooklyn, New York.

Selected exhibits

 * 1995 Buen Provecho. La Paninoteka. Caracas, Venezuela
 * 1996 Ángeles. Ateneo de el Hatillo. Caracas, Venezuela
 * 1998 Venarte. Torre Consolidado. Caracas, Venezuela
 * 2002 That Smell of Beauty. Consulate of Venezuela. New York City
 * 2002 Design. Consulate of Venezuela. New York City
 * 2003 Amazonas, Consulate of Venezuela. New York City
 * 2003 L Factor. Exit Art. New York, NY-USA
 * 2003 Latin-Art Digital Diaspora. Studio Soto. Boston, USA
 * 2004 Clear and Present Danger. Galou Gallery. Brooklyn, USA
 * 2004 Spanglish. Solar Gallery. East Hampton, USA
 * 2005 Comic Reality. Katzen Arts Center at American University, Washington DC, USA
 * 2008 Art Auction – Step by Step. Durba Segnini Gallery. Miami, USA
 * 2010 Solo show. Rocketship, Brooklyn, USA
 * 2012 Winter Salon Exhibition. Brooklyn Artist Gym. Brooklyn, USA
 * 2012 Studio La Perla – Collective Show (20 years after). Excideuil Castle. Dordgne, France
 * 2012 All Together Now: A Tribute To The Beatles. Nucleus Gallery. Los Angeles, USA
 * 2013 In TRansition, Ambush Gallery. Sydney, Australia
 * 2013 Summer Salon, Trestle Gallery. Brooklyn, USA
 * 2014 Contemporary Landscapes and Other Fantasies, The Modern Barn, East Hampton, USA
 * 2014 Eyesight is Insight, One Art Space Gallery. New York City
 * 2014 Fonzo Miami, Curator's Voice Art Proyect. Miami, USA
 * 2015 Small Works, Trestle Gallery. Brooklyn, USA
 * 2016 Recent Works, Museo de Arte Contemporaneo de Caracas
 * 2016 (In) Between, Filser & Gräf Gallery. Munich, Germany
 * 2017 WITHIN, Gallery Elena Shchuckina, Mayfair, London, UK

Selected art works

 * "Transmutación" – 1988 – acrylic on illustration board 11" x 18"
 * "Bala-Huevo" – 1989 – acrylic on illustration board 20" x 14"
 * "Polen" – 1994 – acrylic on illustration board 20" x 14"
 * "Fruta, Mono y Sombras" – 1998 etching – print on paper 15" x 14"
 * "Mono 2" – 2001 – acrylic on paper 53" x 68"
 * "El Chigüire" – 2001 – acrylic on canvas 50" x 57"
 * "Amazonas" – 2003 – acrylic on canvas 28" x 40"
 * "The Rubber Man" (collaboration with Lucia Pizzani) – 2003 (installation) Dragon Skin silicone rubber, c-prints and rubber bands 69" x 16" x 0.8"
 * "Las FAN" – 2004 – acrylic on canvas 60" x 40"
 * "Amazonas Loop" – 2004 – Video (1 minute)
 * "Madera" – 2009 – acrylic on canvas 35" x 45"
 * "Deer Hunt" – 2012 – acrylic on canvas 56" x 118"
 * "Yellow" – 2012 – watercolor / acrylic on paper  23" x 36"
 * "Hunter" – 2012 – acrylic on canvas 83" x 60"
 * "Woman's Head" – 2012 – acrylic on canvas 33" x 38"
 * "Frontier" – 2012 – acrylic on canvas 38" x 33"
 * "Garden" – 2012 – acrylic on canvas 42" x 40"
 * "Waiting Room" – 2012 – acrylic on canvas 36" x 36"
 * "Suit 1" – 2012 – watercolor on paper 30" x 22"
 * "Suit 2" – 2012 – watercolor on paper 22" x 30"
 * "Cicada" – 2012 – watercolor / silkscreen on paper 12" x 16"
 * "Entangled" – 2013 – Acrylic on canvas, 48" x 72"

Selected commercial works

 * The Books of Magic Annual No. 1, cover only (1997, DC Comics)
 * The Books of Faerie #1–3, covers only (Mar–May 1997, DC Comics)
 * The Books of Magic No. 58, "Auberon Finds a Friend" (March 1998, DC Comics)
 * The Books of Faerie: Auberon's Tale #1–3, covers only (Aug–Oct 1998, DC Comics)
 * The Books of Faerie: Molly's Story #1–3 (Sept–Nov 1999, DC Comics)
 * Lobo: Fragtastic Voyage
 * Mad: Preview of the Walking-Dead-Satire

title: Hermann Mejía


text:
Rick Tulka

Rick Tulka (born Brooklyn, New York in 1955) is an illustrator and caricaturist whose work has appeared in Mad magazine since 1988. He has been living and working in Paris since the mid-1990s.

Early life and education
He was born in Brooklyn, New York in 1955. Tulka educated at the Brooklyn Museum Art School and the Art Students League of New York, and later majored in illustration at Pratt Institute. He was influenced by such artists as Charles M. Schulz, Winsor McCay, Honoré Daumier, Al Hirschfeld, Edgar Degas, Henri de Toulouse-Lautrec, Vincent van Gogh, Hans Holbein and Ben Sargent. Since 1976 he began working as a professional illustrator and his first works appeared in Cue Magazine. In 1988 he published his first drawing in Mad magazine and has worked with the magazine since.

His creative work
In 1988 he illustrated Moonwalker – The Coloring Book for children with Michael Jackson. He illustrated articles and specialized in caricatures of celebrities. He did most of his works as a series which had "narrative sequences". The most known of these works of him is the 'Six Degrees of Separation' which issued in 1997 for the first time. "It features satirical links between various celebrities, pop culture characters and phenomena". In addition to Mad he also drew for the like of People Weekly, Reader's Digest, Money Magazine and Rolling Stone.

In 1995 he and his wife moved to Paris. In 1998 he was the only courtroom sketch artist to be present at the Augusta-Dassault trial for Belgium’s Le Soir. "He made a series of caricatures of French politicians which are on permanent exhibition in the Parisian parliament". In 2015 after the tragic events with the Charlie-Hebdo in Paris he participated in the Peaceful demonstrations that was held to support the journalists. In addition to his personal sketch book which he started in 1973 he gathered a great collection of celebrity caricatures many of which bear signatures of the famous faces themselves. Among his famous caricatures are the likes of Michael Jackson, Elizabeth Taylor, Spike Lee, Mikhail Baryshnikov, Liza Minnelli, Lucille Ball, Stephen Sondheim and Johnny Carson. He also made the book Today I Am A Ma’am with the actress Valerie Harper in 2001.

In 2007, he was featured on the CBS Sunday Morning show in conjunction with the release of the book he co-authored with Noël Riley Fitch, Paris Café: The Sélect Crowd (Soft Skull Press). Dozens of Tulka's caricatures of Parisians, drawn from life at the historical literary café, Le Sélect, are featured in the book.

He has cooperated with such United States' media and organizations as The Wall Street Journal, The Madison Square Garden Theater, Harper's Magazine, The Playboy Jazz Festival, Michael Jackson/MJJ Productions and much more. His works have also appeared in French Le Monde, Marianne, Télérama, Famili, Charlie Hebdo etc.

title: Rick Tulka


text:
Constantino Brumidi

Constantino Brumidi (July 26, 1805 – February 19, 1880) was an Italian painter and a naturalised American citizen, best known and honored for his fresco work, Apotheosis of Washington, in the Capitol Building in Washington, DC.

Parentage and early life
Brumidi was born in Rome, his father a Greek from Filiatra in the province of Messinia, Greece, and his mother an Italian. He showed his talent for fresco painting at an early age and underwent training in the fields of sculpture and painting, under the tutelage of artists such as Bertel Thorvaldsen, Antonio Canova, and Baron Vincenzo Camuccini. Brumidi painted in several Roman palaces, among them being that of Prince Torlonia. Under Gregory XVI he worked for three years in the Vatican.

Immigration and following work
The occupation of Rome by French forces in 1849 apparently persuaded Brumidi to emigrate, having joined the short-lived risorgimental Roman Republic, and he sailed for the United States, where he became a naturalized citizen in 1852. Taking up his residence in New York City, the artist painted a number of portraits.

In 1854 Brumidi went to Mexico, where he painted an allegorical representation of the Holy Trinity for the altarpiece of the Mexico City Metropolitan Cathedral. Brumidi subsequently created several works for St. Stephen's Church in New York, including an altarpiece (1855) and murals (1866 and 1871–72).

Brumidi first visited the United States Capitol in the 1850s, after being introduced to Quartermaster General Montgomery C. Meigs, who was overseeing the completion of the Capitol dome and rotunda.

Brumidi also executed frescoes at Taylor's Chapel, Baltimore, Maryland.

His first art work in the Capitol Building was in the meeting room of the House Committee on Agriculture. At first he received eight dollars a day, which Jefferson Davis, then Secretary of War of the United States, helped increase to ten dollars. His work attracting much favorable attention, he was given further commissions, and gradually settled into the position of a Government painter. His chief work in Washington was done in the rotunda of the Capitol and included The Apotheosis of Washington in the dome and the Frieze of American History, which contains allegorical scenes from American history. His artistic vision was influenced by the wall paintings of Pompeii and ancient Rome, as well as the classical revivals that characterized the Renaissance and Baroque periods. His work in the rotunda was left unfinished at his death, but he had decorated many other sections of the building, most notably hallways in the Senate side of the Capitol now known as the Brumidi Corridors. Filippo Costaggini continued painting the frieze over the next 8 years based on the sketches Brumidi left; however, there was no sketch left for the final panel, which remained empty until 1953, when Allyn Cox designed and painted it.

Brumidi's Liberty and Union paintings are mounted near the ceiling of the White House entrance hall.

In the Cathedral-Basilica of Sts. Peter and Paul in Philadelphia, Pennsylvania, he pictured St. Peter and St. Paul. Brumidi was a capable, if conventional painter, and his black and white modeling in the work at Washington, in imitation of bas-relief, is strikingly effective. He decorated the entrance hall of Saleaudo, located at Frederick, Maryland, and listed on the National Register of Historic Places in 1979.

A Brumidi fresco appears behind the altar in St. Ignatius Church in Baltimore, Maryland. Another, of Saint Aloysius Gonzaga receiving communion from Saint Charles Borromeo, hangs over the high altar of St Aloysius Church in Washington, D.C. Another Brumidi altarpiece was recently restored behind the marble high altar of the Shrine and Parish Church of the Holy Innocents in New York, New York. The fresco commissioned by the first pastor of Holy Innocents, John Larkin, portrays the Crucifixion of Jesus.

In memoriam
Brumidi died in Washington, D.C., and was interred at Glenwood Cemetery. When he was buried, his grave was unmarked. The location of Brumidi's grave was lost for 72 years. It was rediscovered, and on February 19, 1952, a marker was finally placed above it.

Forgotten for many years, Brumidi's role was rescued from obscurity by Myrtle Cheney Murdock.

On June 10, 2008, Congress passed, and on September 1, 2008, President George W. Bush signed, Public Law 110–59 (122 Stat. 2430), which posthumously awarded the Congressional Gold Medal to Constantino Brumidi, to be displayed in the Capitol Visitor Center, as part of an exhibit honoring him.

title: Constantino Brumidi


text: User talk:210.49.160.63

title: User talk:210.49.160.63


text:
Talk:Hirado, Nagasaki

Can you explain why you removed Hirado is the birthplace of the Ming general Koxinga, who was born in 1624.

Tan 17:21, 4 June 2005 (UTC)

Accept my unreserved Apologies--I have just noticed the fact was already in the articles.--Tan

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title: Talk:Hirado, Nagasaki


text:
Bintang Temasek

The Bintang Temasek (Star of Temasek), Singapore's most prestigious national honour, which was instituted on 24 July 1970. The decoration is only awarded to members of the Singapore Armed Forces, the Singapore Police Force or the Singapore Civil Defence Force who have performed "acts of exceptional courage and skill or exhibited conspicuous devotion to duty in circumstances of extreme danger". The badge may be awarded posthumously, although it has never been awarded since its inception.

Recipients of the honour are entitled to use the post-nominal letters BT. The badge is to be worn on the left side of the outer garment suspended from a ribbon.

History
The Bintang Temasek was conferred to the Prime Minister of Cambodia, Norodom Sihanouk during Lee Kuan Yew's state visit to Phnom Penh in 1967. It was awarded before being institutionalised in Singapore in 1970.

Recipients
None, it has not been awarded to anyone since inception.

title: Bintang Temasek


text:
Juan de Flandes

Juan de Flandes ("John of Flanders"; c. 1460 – by 1519) was a Flemish painter active in Spain from 1496 to 1519. His actual name is unknown, although an inscription Juan Astrat on the back of one work suggests a name such as "Jan van der Straat". Jan Sallaert, who became a master in Ghent in 1480, has also been suggested. He worked in the Early Netherlandish style.

Life and works
He may have been born around 1460 somewhere in Flanders, Flandes in Spanish, which encompassed modern Belgium, Netherlands, Luxembourg and bordering regions of France. He evidently trained in his home country, most likely in Ghent, as his work shows similarities to that of Joos van Wassenhove, Hugo van der Goes and other Ghent artists. He is only documented after he became an artist at the court of Queen Isabella I of Castile, where he is first mentioned in the accounts in October 1496. He is described as "court painter" by 1498 and continued in the queen's service until her death in 1504. He likely lived in Burgos and mostly painted portraits of the royal family, but also the majority of a large series of small (21.3 x 16.7 cm) panels for a polyptych altarpiece for the queen. The panels have been dispersed and the largest number of panels is in the royal collection in Madrid.

After Isabella's death in 1504 Juan de Flandes turned to ecclesiastical commissions from Spanish churches, beginning in Salamanca in 1505–1507. He was later based in Palencia, where there is a large reredos in the cathedral. In Palencia, his wife was described as a widow in December 1519. The overwhelming majority of his work held in collections outside Spain dates from this later period during which he concentrated on religious themes. Panels from a large altarpiece from a Palencian church are divided between the Prado and National Gallery of Art, Washington, who have four panels each.

His works show the Early Netherlandish style of Ghent adapted to the Spanish taste and landscape, notably the requirements for groups of compartmented scenes for altarpieces. His colouring is refined, "with a preference for rather acid hues", and "while his feeling for space and light is sophisticated, a tendency to divide space into a succession of thin planes becomes a mannerism in his late works".

Albrecht Dürer praised Juan de Flandes's polyptych when he was shown it by Margaret of Austria in 1521: ''And on Friday Lady Margaret showed me all her beautiful things. Amongst them I saw about forty small oil pictures, the like of which for precision and excellence I have never beheld.''

title: Juan de Flandes


text:
Le Nouvelliste (Valais)

Le Nouvelliste is a Swiss French-language daily newspaper, published in Sion, Valais, by the publishing company Éditions Le Nouvelliste SA.

A regional newspaper for the Valais canton, it was established in 1903 in Saint-Maurice by Charles Haegler. At first, it was published three times a week, then became a daily newspaper in 1929.

title: Le Nouvelliste (Valais)