text:
Talk:White Sea–Baltic Canal

Old talk
I would like to know more about the living conditions of the prisoners who built the canal. What werethe working conditions? How was their diet and how did they die? Where were they buried? Rgámez, San Jose, CA,USA

If you want to know everything about the living conditions (if it could be called "living") read The Gulag Archipelago by Alexandr Solzhenitsyn. It'll show you that there was NOTHING "glorious" about the USSR. —Preceding unsigned comment added by 196.209.105.33 (talk) 20:43, 25 January 2009 (UTC)
 * Single story by an author is all you need to reinforce your viewpoint? Really?

The article is very sloppy. It takes a book or two that reinforces one slanted side and then speculates on the intentions or 'what they really thought' of those who were actually there. "Hey, let's throw 100k death toll, no evidence what so ever, but it makes Russia look evil."

-G — Preceding unsigned comment added by 70.24.151.188 (talk) 06:07, 28 January 2012 (UTC)

Death toll
Can anyone verify the death toll on the project? At the beginning of the article it states that 100,000 prisoners died during construction but later on it states the entire work force was 100,000 prisoners. These would imply a 100% mortality rate which seems a bit extreme. I haven't been able to verify the reference provided for the death toll as it points to an educational site in Britain that requires a fee to join.Tgpaul58 (talk) 19:40, 15 July 2010 (UTC)

Later in the article it says there were 100,000 people working there over the 20 months and a death rate of 8.7%. This would mean 8,700 or if it was an annual rate about 13,000. At the very least the 100,000 so dubious it should not be allowed to stand alone. — Preceding unsigned comment added by 92.18.22.227 (talk) 15:09, 26 May 2011 (UTC)

They put more and more work slaves to the camp after the first ones died. The flow through was fast and large. About 270 000 died. — Preceding unsigned comment added by 62.78.161.177 (talk) 08:47, 30 December 2012 (UTC)

 * I think this is the correct interpretation, most figures I've seen place the death toll in the hundreds of thousands, the reason this canal is so infamous is because they were trying to meet a tight deadline and worked through the harsh winters. The prisoners were extremely underfeed, under dressed and over worked, and because of this there were exceptionally high death tolls and people would quickly freeze to death. That said I'm open to hearing other estimates. Haxonek (talk) 07:51, 8 December 2019 (UTC)

Regardless of his accounts of life in the gulag, I do not believe Solzhenitsyn is considered a credible source for estimates of numbers of prisoners and death toll. Zetaeta (talk) 18:06, 2 November 2018 (UTC)

Lake Ladoga
This article mentions two of the lakes on the canal's length, but not the biggest, Lake Ladoga. (It seems to be part of the canal, at least according to the map.) Maybe someone should add it to the relevant section. --JamesHoadley 09:14, 10 April 2007 (UTC)
 * Actually Belomorkanal connects the White Sea and Lake Onega - you can see its map in the russian wikipedia article. Other parts on the map refer to Mariinskaya Waterways System which was built before Russian Revolution. RamBow 19:08, 10 April 2007 (UTC)
 * OK, I get it. Thanks. --JamesHoadley 13:47, 11 April 2007 (UTC)
 * You are welcome. And you are right - the article needs improvement in this area. It consists good political overview but there is obvious lack of geographic and technical information. RamBow 19:58, 20 April 2007 (UTC)

Too much about those writers
There is too much speculation about that team of Russian writers and artists and what they knew. Is that visit especially notable? --Apoc2400 06:21, 10 May 2007 (UTC)

yes it is very important. gives a whole different perspective on the gulags —Preceding unsigned comment added by 220.239.201.31 (talk) 09:20, 17 August 2008 (UTC)

depth limited?
Is canal really challenged by its depth ( citation? )? Being 4m deep, it conforms with depth of river waterways in Russia. Maybe it's locks' width that create some difficulties ( most popular cruise ships and volgo-don size freighters don't fit them). Linefeed 00:25, 5 November 2007 (UTC)

 * Depth is important. Waterways that can accommodate ocean going vessels do not require cargo to be trans-shipped.  Trans-shipping cargo from one form of transport to another is expensive.

 * Consider Bremen and Hamburg, consider Wuhan -- inland river-ports on rivers deep enough to accommodate ocean going vessels. Cities develop at the most inland riverport before trans-shipment becomes necessary.  Geo Swan (talk) 18:54, 17 August 2008 (UTC)

 * Is it very expensive to make it deeper? Andries (talk) 20:22, 3 December 2009 (UTC)

 * As I understand, the canal has been upgraded in the 1960s to the standards of the United Deep Waterways System of European Russia (ru:Единая глубоководная система Европейской части Российской Федерации), i.e. something like 4 m deep. This is supposed to enable boats of the standard sizes to travel all over from the Sea of Azov and Caspian Sea to the Baltic and the White Sea, via the Don, the Volga, the Volga-Baltic Canal and the White Sea-Blatic Canal, the Svir and the Neva. The boat class involved is referred to as "Reka-More" in Russian (i.e., River/Sea ships), meaning that they are small enough to operate in major rivers, but seaworthy enough to enter Russia's coastal seas. Making this particular canal deeper and wider - to enable bigger boats than this standard to go through - would make little sense unless one also wanted to deepen at least some other major sections of the system. (E.g., if you want a deeper waterway from St Petersburg on the Baltic to Belomorsk on the White Sea, you'd have to create a deeper channel over the Neva and Svir rivers, and the Ladoga and Onega Lakes.) Which probably would not be feasible, or at least not cost-effective for the length of the waterways and the cargo volumes involved. -- Vmenkov (talk) 04:37, 16 July 2010 (UTC)

 * Bremen and Hamburg (or Dudinka or Arkhangelsk) are somewhat different from Petrozavodsk or Nizhny Novgorod: they are located in the lower course of their respective rivers, so enabling the access of ocean ships to them involves the dredging of comparatively short shipping channels in those rivers. Wuhan is quite different as well: no offense to the Volga or the Svir, but I think that the Yangtze is way deeper (6-7 m in the lower course; maybe a bit less by Wuhan) than these Russian rivers, so the Chinese can operate bigger boats there. -- Vmenkov (talk) 04:37, 16 July 2010 (UTC)

Naming names, "Jewish conspiracy"??!
User:BigChillClassic put in some editorial comments and a list of people responsible for the deaths on the canal. This was reverted, I though unecessarily so, it should have just been edited. So I put in the following:
 * "Some of the administrators and security officers believed to be responsible for the many deaths are Naftaly Frenkel, Yakov Rappoport, Matvei Berman, Lazar Kogan, Genrikh Yagoda and Sergei Zhuk."

As it stands it uses "weasal words" so it would be much better to say who thinks they are responsible (beyond BigChill). Frenkel is obviously responsible, and Yagoda certainly is responsible for things just as bad, and probably this as well. The other names ring a bell from having read a couple of books on the topic, but that's really not good enough in the long term (I think gradualism can apply here, it is not a BLP issue).

Unfortuneately, in doing some basic internet checks, it seems that this list (usually in the same order) is posted all over the internet in anti- (Jewish,Semetic,Zionist take-your-pick) sites. There seems to be a common source, perhaps Gulag Archipeligo - but who knows. I do not want to associate myself or Wikipedia with those sites, but I do think that naming names is important here. For example, I can't imagine an article on Nazi concentration camps that doesn't name Hitler or Eichmann.

Any help, suggestions appreciated. Smallbones (talk) 20:16, 26 November 2007 (UTC)

 * I removed this list once, as unreferenced, chaotic and pointless. For example, why would Yagoda be responsible for deaths? He was a governmental chief of the whole GULAG at these times. The (first) chief of the Canal constructioin was Frenkel. By this logic the whole Politburo must be added in this list, with Lenin and Stalin and all, who were in charge of everything. If there are particular cases of brutality, they must be decribed in the corresponding bio article. And I am removing it again. What might be of use is the chain of command for the SWBK. `'Míkka>t 00:56, 27 November 2007 (UTC)
 * P.S. BTW you are right about "Jewish conspiracy" issue: there were quite a few non-Jews amonmg management; the russian wikikipedia article lists some of them. `'Míkka>t 01:18, 27 November 2007 (UTC)
 * As for Hitler and Nazi camps, you are a bit confused and mistaken. Yes Hitler and others are ultimately responsible for the whole Holocaust. But you don't need them to be mentioned in each Holocaust article. Each level of events has its own list of immediately guilty, who must be blamed, not Hitler. Please remember it was the favorite line of defense of Nazis: "I was only executing the command. Don't blame me, blame my boss." `'Míkka>t 01:24, 27 November 2007 (UTC)
 * Yes, you are right naming names is significant. There is a good deal of confusion who was chief of what and when. I will start adding them in a proper way. `'Míkka>t 01:26, 27 November 2007 (UTC)

According to Yuri Slezkine, "all the top leadership positions were held by Jews" so it appears the information removed about Jewish involvement in building the canal was correct. Dmcw127 (talk) 18:31, 13 February 2014 (UTC)

a useless symbol?
I'm not sure where in the article it'd go, but it seems this claim, from Marshall Berman (All That Is Solid Melts into Air, 1982, p. 76) is relevant:
 * Stalin seems to have been so intent on creating a highly visible symbol of development that he pushed and squeezed the project in ways that only retarded the reality of development. Thus the workers and engineers were never allowed the time, money or equipment necessary to build a canal that would be deep enough and safe enough to carry twentieth-century cargoes; consequently, the canal has never played any significant role in Soviet commerce or industry.

--Delirium (talk) 13:18, 8 March 2010 (UTC)
 * This claim is an opinion; a guesswork based upon a guesswork. While it is good in a thick book, an encyclopedia is better to provide solid facts, rather than various guesswork on what Stalin thought and wanted. Stalin pushed for a very large number of giant projects; many if not all of them were based on forced labor; some of them succeeded, some not; shit happens. No reason to draw profound conclusions from one (or several) failures. - Altenmann >t 23:00, 9 March 2010 (UTC)

Name of article?
The article says repeatedly that the canal is called the "White Sea – Baltic Sea Canal" and yet this article is titled "White Sea - Baltic Canal." Can someone change the title so it is correct? I don't see a way to do this myself. 69.125.134.86 (talk) 22:06, 6 July 2013 (UTC)

 * The Russian names (Russian: Беломо́рско–Балти́йский кана́л, Byelomorsko–Baltiyskiy Kanal, BBK), often abbreviated to White Sea Canal (Belomorkanal), translate to White Sea - Baltic Canal, or White Sea Canal, so I don't see any point in including the extra "Sea" after "Baltic". Perhaps you can remove all the extra "Seas" if it bothers you.  Smallbones( smalltalk ) 23:34, 6 July 2013 (UTC)
 * Per wikipedia naming rules, the correct title would be the one commonly accepted in English publications. If anyone can prove that some other name is much more common in English, you re welcome to request article renaming. - Altenmann >t 02:31, 7 July 2013 (UTC)

Obvious contradiction
" These teams were pitted to compete against each other in surpassing the norms, and promises were made of shortened sentences, food and cash bonuses for those who would—however, the norms were impossible to fulfill, let alone surpass. After the construction, 12,000 prisoners were freed as a reward for their efforts."

So here we are told they were promised they'd be rewarded for passing a set of goals, but those goals were impossible. We are also told 12,000 people passed those goals. How then, are they impossible, if 12,000 people achieve them? — Preceding unsigned comment added by 79.69.107.122 (talk) 12:36, 4 August 2016 (UTC)
 * Not exactly contradiction, but anyway, I removed the emotional part; this is not wikipedia's style. - üser:Altenmann >t 02:20, 5 August 2016 (UTC)

Dubious numbers for deaths.
In the "Working conditions" sections there is a statement by Alexander Solzhenytsyn describing 250 000 deaths. Solzhenytsyn is not a historian and his claims are not supported by any evidence. The Gulag Archipelago is not a historical reasearch work, and cannot be taken as a source. I would like to remove this claim as counter-productive and unsourced. Thoughts? F.Alexsandr (talk) 15:39, 29 June 2020 (UTC)

 * The Gulag Archipelago is a published source, and its author won the Nobel Prize, so it's not just some crackpot book. Now finding some other sources to back it up would be good, but I don't see a reason to remove it.  CaptainEek  Edits Ho Cap'n!⚓ 16:22, 29 June 2020 (UTC)

 * The Gulag archipelago is not a historical work. Solzhenytsyn himself called it "artistic fiction study". It is based on letters and oral stories of prisoners, not documents or even some kind of mathematical ststistical estimation. This "estimation" is nothing more than a guess by the author. We have archival Soviet data which clearly take precedence over a wild estimate. I say we remove it. F.Alexsandr (talk) 17:17, 29 June 2020 (UTC)

 * Solzhenytsyn's number is not the only one there, we have several other numbers for context.  CaptainEek  Edits Ho Cap'n!⚓ 02:55, 30 June 2020 (UTC)

Also I would put very little stock in a Soviet estimate, they have every incentive to lie. CaptainEek Edits Ho Cap'n!⚓ 02:56, 30 June 2020 (UTC)

 * The Soviet number is not an "estimate". Its a hard number recorded by the authorities during construction, with breakdown by year. Also you are ignoring my point. The Solzhenytsyn number shouldnt be even allowed here, because it is based on nothing but the authors guess. His guess is no better or worse than mine or yours. Its the same as if "For whom the Bell Tolls" was used as a source for Spanish Civil war. Did Hemingway participate in the Civil war? Yes. Does that mean that his work is a credible source? No. F.Alexsandr (talk) 09:08, 30 June 2020 (UTC)

"deadweight cargo up to 600 kg"
This number in the opening paragraphs is clearly wrong, and presumably should be 600 tonnes. A boat with a capacity of 600 kg would be closer to the size of a large rowing boat or dinghy. A boat of 100 m length by 10 m beam by 3 m draft should comfortably fit down the canal and could have a displacement of approximately 3000 tonnes, about 5000 times greater than the quoted cargo capacity. 217.169.17.163 (talk) 22:27, 30 September 2022 (UTC)

title: Talk:White Sea–Baltic Canal


text:
Northlake Mall (Atlanta)

Northlake Mall is a shopping mall northeast of Atlanta in the Northlake community of northern DeKalb County, Georgia, United States. The mall is owned by Texas-based ATR Corinth Partners.

History
The mall was once owned and managed by Simon Property Group. In 2014, the ownership of the 43-year-old mall was spun-off into a newly formed real estate investment trust, Washington Prime Group, and in 2015, Washington Prime Group completed acquisition of Glimcher Realty Trust - forming WP Glimcher. In February 2016, the mall was sold to Texas-based ATR Corinth Partners.

Anchors
The sole current anchor store is Macy's (formerly Davison's). Former anchors include JCPenney, Kohl's, and Sears. Kohl's closed in 2016; its location was originally Atlanta's fourth Parisian in 1994, after both Town Center at Cobb and Phipps Plaza in 1992 and Gwinnett Place Mall in 1993. On May 31, 2018, Sears announced that it would be closing its location in September 2018 as part of a plan to close 72 stores nationwide. In October 2019, it was announced that Emory Healthcare will occupy the former Sears building. Emory Healthcare has since converted the building into a mass distribution site for COVID-19 vaccinations, serving as their largest off-site vaccination center. On June 4, 2020, it was announced that JCPenney would be closing on October 18, 2020, as part of a plan to close 154 stores nationwide, which left Macy's as the only anchor store left.

Tucker Northlake CID Master Plan Study (2015)
The Tucker-Northlake Community Improvement District (CID) completed its Master Plan for the Tucker and Northlake area in 2015 - serving as the road map for transportation improvements and land use modifications.

Northlake's regional commercial and industrial centers are to be developed into mixed use, walkable destinations.

Plans remain in the works to turn the mall into a mixed-use office, medical and retail/restaurant complex.

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

title: Northlake Mall (Atlanta)


text:
Holbæk Municipality

Holbæk Municipality (Holbæk Kommune) is a kommune in northwestern Region Sjælland on the island of Zealand in Denmark. The municipality includes the island of Orø, and covers an area of 583 km², and has a total population of 74,129 (2024). Its mayor is Christina Krzyrosiak Hansen, a member of the Social Democrats and the youngest mayor ever in Denmark. The main town and the site of its municipal council is the city of Holbæk. On 1 January 2007 Holbæk municipality was, as the result of Kommunalreformen ("The Municipal Reform" of 2007), merged with existing Jernløse, Svinninge, Tornved, and Tølløse municipalities to form a new Holbæk municipality.

Politics
Holbæk's municipal council consists of 31 members, elected every four years. The municipal council has seven political committees.

Municipal council
Below are the municipal councils elected since the Municipal Reform of 2007.

Urban areas
The ten largest urban areas in the municipality are:

The town of Holbæk
The number of inhabitants on 1 January:
 * 1980 - 29,578
 * 1985 - 30,154
 * 1990 - 31,151
 * 1995 - 32,485
 * 1999 - 33,555
 * 2000 - 33,864
 * 2003 - 34,500

title: Holbæk Municipality


text:
Talk:Mitochondrion/to do

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title: Talk:Mitochondrion/to do


text:
KDRB

KDRB (100.3 MHz "100.3 The Bus") is a commercial FM radio station in Des Moines, Iowa. It airs an adult hits radio format and is owned by iHeartMedia. Its slogan is "We Play Everything." KDRB is the flagship station for Iowa State University sports.

The station's studios are located at 2141 Grand Avenue in Des Moines along with iHeartMedia's other Des Moines stations, and its transmitter is located on Northwest 2nd Street, near Ankeny Boulevard in Alleman. KDRB broadcasts in the HD Radio format. Its HD-2 subchannel airs a simulcast of sister station WHO.

WHO-FM
In 1948, the station signed on as WHO-FM. It was owned by the Central Broadcasting Company and was the third FM station in Des Moines, after KRNT-FM and KSO-FM. In its early years, it primarily simulcast its sister station, AM 1040 WHO. During the "Golden Age of Radio," WHO-AM-FM carried programming from the NBC Red Network, including comedies, dramas, news, sports, soap operas, game shows and big band broadcasts.

Studios were located at 1100 Walnut Street and the station's tower and transmitter were located on top of the Equitable Building at 6th and Locust in Des Moines. In 1950, the transmitter was moved to a new tower at WHO's transmitter site in Mitchellville, Iowa. The old transmitter and tower on top of the Equitable Building were sold to KCBC for a new FM station KCBC-FM. In the mid-1960s, WHO-FM ceased simulcasting its AM sister and started programming easy listening and classical music.

Switch to KLYF
In 1973, the station underwent some dramatic changes. The call letters were changed to KLYF and the station was reprogrammed with a beautiful music format in FM stereo. This was the first time that the station broadcast in multiplex stereo and became known by its nickname "K-Life." As the 1980s approached, KLYF added more vocals to its sound to attract younger listeners. In 1981, the format evolved into an adult contemporary format.

By the mid-1990s, KLYF was a Hot AC station competing directly with KSTZ. The station's transmitter was eventually moved to the WOI Tower near Alleman, Iowa.

Ownership changes
In December 1996, Palmer Broadcasting sold its Des Moines radio stations to Jacor Broadcasting of Cincinnati, Ohio. Jacor immediately re-branded KLYF as "Mix 100.3," but left the format unchanged for the most part. On June 17, 1998, the call letters changed to KMXD to represent Mix and Des Moines. Over time the station saw its ratings decline.

Several steps were taken to try to counteract this, such as rebranding the station as "Mix 100" and trying an "80s and more" format. When these steps failed, the format was changed again to mainstream adult contemporary and the station was renamed "My 100." In 1999, Clear Channel Communications (the forerunner to current owner iHeartMedia) bought Jacor, bringing KLYF under its ownership.

The Bus
On May 25, 2006, the AC format came to an end, as KMXD was rebranded as "The Bus," simulcasting the adult hits format on 106.3, which at the time carried the KDRB call sign. This was a short lived, transitional arrangement to get listeners of 106.3 to move to 100.3. The adult hits format had performed better than expected, and the decision was made to move "The Bus" to the 100,000 watt signal at 100.3.

On June 12, 2006, KMXD became KDRB "The Bus" on 100.3 FM. The 106.3 frequency switched to AAA as KPTL, "Capital 106.3".

Since the switch to the new format, KDRB has constantly been at the top of the Nielsen Audio Ratings for the Central Iowa area.

Programming
100.3 The Bus primarily has no DJs, except Heather Burnside in middays and Maxwell in afternoon drive. However, most of the time, the "Bus Driver" is heard between most songs and commercial breaks, mainly to identify the station. The voice of the "Bus Driver" is national voiceover artist Mark Driscoll.

KDRB has been the flagship station for the Iowa State University Cyclones sports teams since the 2006-2007 season, taking over from sister station AM 1460 KXNO. Its longtime AM sister, WHO, airs the games of the rival University of Iowa.

Signal
KDRB has an effective radiated power of 100,000 watts, the maximum output for non-grandfathered FM stations. It broadcasts from a height above average terrain (HAAT) of 547 meters (1795 feet). That gives it one of the best FM signals in Iowa, allowing it to be heard over much of the state. With a good radio, it can sometimes be heard in small sections of Kansas, Illinois and Nebraska. Co-owned AM 1040 WHO also has the largest coverage area of any AM station in the state of Iowa. With a good radio at night, WHO AM can be heard as far away as northern Mexico.

title: KDRB


text:
Talk:H.M.S. Pinafore

getting Ralph's age right
"According to discographer Marc Shepherd, the [Brent Walker] Pinafore video "is widely considered one of the worst" in the series." It's not merely among the worst, it's downright embarrassing. But the actor playing Ralph is a middle-aged, bearded fellow. Josephine is in love with a man who could be her father! (Elektra, anyone?) The revelation of who Ralph really is no longer an absurdity. WilliamSommerwerck (talk) 22:49, 11 August 2017 (UTC)
 * the one I just watched, directed by Judith de Paul, was pretty bad. The singing was fine, but obviously dubbed over.  The Captain did it in burlesque.  And Ralph looked just like her father, which made it a little cringy.--142.163.194.7 (talk) 01:25, 26 March 2021 (UTC)

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Plot synopsis
Please note that per MOS:PLOTSOURCE no citations are required for the synopsis section. - SchroCat (talk) 13:06, 17 March 2020 (UTC)
 * What a very odd thing to do – to put a {refimprove} tag into a Featured Article. Well meant, without doubt, but misguided.  Tim riley  talk   17:08, 17 March 2020 (UTC)
 * Per MOSPLOTSOURCE "If a plot summary includes a direct quote from the work, this must be cited using inline citations per WP:QUOTE." Thus, the blanket statement that "no citations" are required is incorrect. This synopsis section includes many direct quotes mixed in with the Wikipedia prose, such as "admiring crowd of sisters, cousins and aunts" "daughter to a tar is partial" "He is an Englishman!" "love levels all ranks ... to a considerable extent, but it does not level them as much as that." I explained this in the edit summary. I do not know why you reverted me with an accusation of edit warring when I was actually abiding by the guideline you were citing.  I'm not sure how it is "misguided" to tag a significant problem on a Wikipedia article for improvement. I would suggest that it is misguided to act as if an FA is perfect and can't possibly bear being tagged for improvement. The little star in the top corner of the page is meaningless unless we actually hold its content to FA standards. Note this is an FA that was promoted over 11 years ago. -Indy beetle (talk) 13:04, 18 March 2020 (UTC)
 * Firstly I said you were edit warring because that's exactly what you were doing (even if you think you're in the right, just reverting others is edit warring). You need to discuss without re-reverting. Thankfully we are now doing that, rather than just continuing the reversions, which tends to end up with someone blocked, which isn't what anyone wants to happen.
 * Secondly, the MoS is a flexible guidline, not a blue-lined policy that needs to be obeyed without fail. Now, this article is Featured, which means it has a fairly solid existing consensus for how it should be, as it's been through both a peer review and the FAC process. You're right to say that pages need to stay to current FA standards, but this standard hasn't changed in the intervening years.
 * I will leave it for others to discuss the substantive point as to whether the addition of citations for the quotes alone is necessary or beneficial, but please see WP:STATUSQUO and leave the article to stand while the discussion progresses. - SchroCat (talk) 13:25, 18 March 2020 (UTC)
 * "the MoS is a flexible guideline, not a blue-lined policy that needs to be obeyed without fail". Why is it ok for you to cite it as a rational for reverting my edit but now you're telling me that its a "flexible" guideline as if now we shouldn't follow it, because I mentioned the rest of the guideline's stipulations regarding direct quotes? Sounds awfully convenient. Either way, if we choose to not leave citations, we have no way to WP:Verify (a policy, not a "flexible" guideline) that anything in the that paragraph actually is representative of the play's plot, particularly the direct quotes.-Indy beetle (talk) 01:14, 19 March 2020 (UTC)
 * Ive said that I will leave it to others to given their rationale, but I'll just corrrect something obviously erroneous: citations are not needed to show the article text is representative of the plot ("The plot summary for a work, on a page about that work, does not need to be sourced with in-line citations, as it is generally assumed that the work itself is the primary source for the plot summary" - in other words, the primary source exists to support the plot overall. If you don't like it, tough - or go start an RfC on Manual of Style/Writing about fiction to have the guidance changed). You may want them, but they are not required by guideline or practice. I will let others discuss the matter of the quotations. - SchroCat (talk) 10:41, 19 March 2020 (UTC)
 * Agree totally with SchroCat on this, citations are not needed to show the article text is representative of the plot Jack1956 (talk) 10:45, 19 March 2020 (UTC)
 * Indy Beetle, if you look at the FA articles on plays, musicals and operas, you will see that it is customary not to provide citations in the plot summary, because the it is just a summary of the script or libretto. In the case of H.M.S. Pinafore, the libretto is public domain and widely available and very standard across all modern editions, and you can see that the plot summary merely summarizes the main points of the plot.  Here is the libretto:  https://gsarchive.net/pinafore/pf_lib.pdf  -- Ssilvers (talk) 12:58, 19 March 2020 (UTC)
 * Everyone is entitled to have a bee in his bonnet, and nobody will begrudge Indie beetle his, but he would now do us all a favour if he took note of the consensus on this page and let the matter rest. There is not the smallest doubt what the MoS guidance is, nor what the practice of most editors of relevant articles is. As it happens I am one of the minority of editors who prefer to cite page numbers in synopses, but it is not compulsory, and adding the {refimprove} tag was a faux pas.  Tim riley  talk   16:01, 19 March 2020 (UTC)
 * Well then, I suppose "the consensus" is to apply the rules when it is convenient to us. The direct quotes remain unsourced, just the opposite of what the guideline says. -Indy beetle (talk) 06:01, 23 March 2020 (UTC)
 * Consensus is the rule on Wikipedia, as far as it has any rules. Guidelines are just guides, not rules. See Five_pillars. The point of citations is to allow people to check Wikipedia when corroborative information may be difficult to locate. So we need citations for many little-known facts within the article. However there is no need to cite facts which are commonly known or widely available online because it is easy to check them without citations. The text and plot for all the G & S shows are well known and widely available, so the consensus is that they don't need citations. -- Derek Ross | Talk'' 14:40, 23 March 2020 (UTC)

Again, the source for the summary and all quotations is the libretto, reproduced here at the G&S Archive, the Archive's Pinafore home page is the first External Link listed, and the libretto is prominently linked there. -- Ssilvers (talk) 02:44, 26 March 2021 (UTC)

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Commons files used on this page or its Wikidata item have been nominated for speedy deletion
The following Wikimedia Commons files used on this page or its Wikidata item have been nominated for speedy deletion: You can see the reasons for deletion at the file description pages linked above. —Community Tech bot (talk) 03:52, 3 February 2022 (UTC)
 * DOyly Carte 1960 - HMS Pinafore 03 - Im called Little Buttercup.ogg
 * DOyly Carte 1960 - HMS Pinafore 06 - My gallant crew, good morning.ogg
 * DOyly Carte 1960 - HMS Pinafore 11 - When I was a lad.ogg
 * DOyly Carte 1960 - HMS Pinafore 19 - The hours creep on apace.ogg

The Sousa Pinafore
I always hesitate to edit FA articles, but I am surprised that there is no mention of John Philip Sousa's Pinafore arrangement which is probably the best known of the pirated Pinafore productions and which was in wide use in Australia for many years (his arrangement was published). There is an excellent journal article on Sousa's Pinafore if anyone cares to add some content on this into the "Taking Pinafore to the United States" section. See: Also this 1910 article from The Musician might give some perspective on that production, given that the author singled it out as particularly important. See: On a side note, I just created an article on the playwright Louis De Lange who was Sir Joseph in the Sousa Pinafore. Best. 4meter4 (talk) 06:06, 16 June 2023 (UTC)

 * User:Tim riley and User:Adam Cuerden, what do you think about this? I have a very busy day ahead, but I will read the journal article and think about this tomorrow. -- Ssilvers (talk) 14:44, 16 June 2023 (UTC)
 * First, thanks to 4meter4 for such a scrupulous approach. Would that some other editors were as reluctant to barge in and edit FA texts! As to the suggestion, I can't conscientiously express a view. I've never heard of Sousa's version, but as I'm British that's probably to be expected (though I'm surprised that a pirate version was allowed in Australia). Certainly Sousa himself is notable, and if others feel his pirate version of Pinafore is notable I shall not demur.  Tim riley  talk   15:34, 16 June 2023 (UTC)
 * You are welcome, . I think one could mention it briefly, perhaps through the window of Gilbert and Sullivan actually attending a performance of the Sousa production which is an interesting tidbit. I do think a mention of its wide use in Australia for decades (see the Abstract on page 517) would be warranted. Perhaps some mention of Sousa's orchestration practices, but that may be too esoteric. I will leave it to you two on how detailed to get. I should think a couple of additional sentences should be all that is needed for a brief mention, but there is clearly enough detail in the sources to craft a paragraph if you all wish to go there. I will leave it to your discretion.4meter4 (talk) 18:22, 16 June 2023 (UTC)
 * Just noting an error in my original comment above, the orchestration was not published (the libretto from the Sousa production with cast bios was published but not the music), although copies of the orchestral parts were sold to the J. C. Williamson Opera Company in Australia; copies of which circulated on that continent. The Sousa orchestral parts are in the collection of the State Library of New South Wales as is an incomplete copy of Sousa’s original score in the Library of Congress. Best.4meter4 (talk) 18:49, 16 June 2023 (UTC)
 * Thank you very much for this, and for the excellent journal article. I added a sentence about this to the appropriate part of the article. First, the journal article does not state that this was the most successful pirated version.  It did tour extensively, but there were other very successful productions, and this one started off as an amateur production and only seems to have gotten up to snuff around halfway through the tour. The journal article only says that the production was the "best documented" one.  Second, the journal article has little nice to say about the orchestrations, comparing them very unfavorably to Sullivans, and stating that Sousa's much later recollection that Sullivan praised them is "dubious". Third, it says that the parts that were later sold to Williamson had seen "considerable use", but it does not compare it to the number of times that Williamson used the authorized parts -- Williamson played Pinafore extensively from 1879 to the 1960s, and I doubt very much that the Sousa parts were used nearly as often as Sullivan's. Fourth, there were 150 U.S. productions of Pinafore, and I think it does not add much to the article to single out individual ones for extensive discussion. So, per WP:BALASP, I think one long-ish sentence is either enough or more than enough. -- Ssilvers (talk) 19:23, 17 June 2023 (UTC)
 * Yes I am aware of all of that from the journal article. As for the best of the pirated versions, see Robert Grau's article provided above who singled out the production as "by far the best of all the Pinafores" up to that point in time on the American stage (article written in 1910).4meter4 (talk) 19:54, 17 June 2023 (UTC)
 * Thanks. It may have been "the best", but I'm skeptical of that article.  For one thing, it calls Sir Joseph "the Admiral", which he isn't, and which shows a basic misunderstanding of the Royal Navy and the relationship between Sir Joseph and Captain Corcoran.  -- Ssilvers (talk) 20:03, 17 June 2023 (UTC)
 * I think if you look, you will find other reviews and sources with similar evaluations. Gilbert and Sullivan themselves acknowledged that they would have to hire better singers than what they used in England after seeing this cast. It was very well reviewed.4meter4 (talk) 20:07, 17 June 2023 (UTC)
 * No doubt, well received and well-sung, agreed. I think the fact that we single it out in the article, along with only the original Boston company, indicates its importance appropriately. -- Ssilvers (talk) 20:11, 17 June 2023 (UTC)
 * I agree. I do think some clarity is warranted though in terms of the tour's significance in the article. Mentioning it played in major American theatres gives a better sense of the tour. Otherwise it seems like a nominal amateur company. One doesn't play the Walnut Street Theatre and the Gaiety Theatre on Broadway typically as an amateur company. These were amateur artists playing successfully in top theatres and reviewed with excellent reviews by the major theatre critics of the day.4meter4 (talk) 20:19, 17 June 2023 (UTC)
 * Pinafore productions played at nearly every Broadway theatre and all the major urban theatres up and down the US. Walnut Street Theatre is not more important than the theatres where many, many of the other Pinafores played. This one played at the Broadway Theatre (later called Daly's) and the Park Theatre after Walnut.  I don't see any reason to mention them. You can note them in De Lange's article if you think it helps there. -- Ssilvers (talk) 20:31, 17 June 2023 (UTC)
 * That may be, but I still think the modern reader doesn't glean the facts or context of the tour from the current article text which downplays it to the point of being unrecognizable. Without better details, it reads as an inaccurate portrayal in my opinion.4meter4 (talk) 21:24, 17 June 2023 (UTC)
 * User:Tim riley, or anyone, can you give us a 3rd opinion on this? -- Ssilvers (talk) 21:30, 17 June 2023 (UTC)
 * I think the 38 words just added suffice on that point, and as to the amateur company, for my own part I shouldn't wish to see it singled out for detailed coverage. Having read the exchanges, above, I'm even more puzzled than I already was about why the Williamson company would want to use the Sousa orchestrations when they had the rights to use Sullivan's. (And you have the wrong paper in the fifth sentence of the relevant para: The Times did not review the production: you mean The New York Times.) –  Tim riley  talk   08:38, 18 June 2023 (UTC)

title: Talk:H.M.S. Pinafore


text:
Wikipedia:Articles for deletion/Nikos Djorjis

 This page is an archive of the discussion about the proposed deletion of the article below. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was DELETE. Golbez 08:58, Jun 18, 2005 (UTC)

Nikos Djorjis
0 Google hits on the name. I'd say he's not notable. --Xcali 23:26, 8 Jun 2005 (UTC)
 * Delete No google hits indeed. Likely vanity--M412k 00:27, 9 Jun 2005 (UTC)
 * Delete very little reference anywhere --Aristocratac 02:31, 9 Jun 2005 (UTC)
 * Keep. Borderline, for sure, but why exclude someone who has a small following? You get more hits in Greek btw: Νίκος Τζώρτζης.Grace Note 05:26, 9 Jun 2005 (UTC)
 * Delete vanity. JamesBurns 07:57, 9 Jun 2005 (UTC)
 * Delete fails WP:MUSIC criterion.  Grue   14:40, 11 Jun 2005 (UTC)
 * This page is now preserved as an archive of the debate and, like some other VfD subpages, is no longer 'live'. Subsequent comments on the issue, the deletion, or the decision-making process should be placed on the relevant 'live' pages.  Please do not edit this page .


text:
List of presidents of the Indian National Congress

The president of the Indian National Congress is the chief executive of the Indian National Congress (INC), one of the principal political parties in India. Constitutionally, the president is elected by an electoral college composed of members drawn from the Pradesh Congress Committees and members of the All India Congress Committee (AICC). In the event of any emergency because of any cause such as the death or resignation of the president elected as above, the most senior general secretary discharges the routine functions of the president until the Working Committee appoints a provisional president pending the election of a regular president by the AICC. The president of the party has effectively been the party's national leader, head of the party's organisation, head of the Working Committee, the chief spokesman, and all chief Congress committees.

After the party's foundation in December 1885, Wyomesh Chandra Banerjee became its first president. From 1885 to 1933, the presidency had a term of one year only. From 1933 onwards, there was no such fixed term for the president. During Jawaharlal Nehru's premiership, he rarely held the Presidency of INC, even though he was always head of the Parliamentary Party. Despite being a party with a structure, Congress under Indira Gandhi did not hold any organisational elections after 1978. In 1978, Gandhi split from the INC and formed a new opposition party, popularly called Congress (I), which the national election commission declared to be the real Indian National Congress for the 1980 general election. Gandhi institutionalised the practice of having the same person as the Congress president and the prime minister of India after the formation of Congress (I). Her successors Rajiv Gandhi and P. V. Narasimha Rao also continued that practice. Nonetheless, in 2004, when the Congress was voted back into power, Manmohan Singh became the first and only prime minister not to be the president of the party since establishment of the practice of the president holding both positions.

A total of 61 people have served as the president of the Indian National Congress since its formation. Sonia Gandhi is the longest serving president of the party, having held the office for over twenty years from 1998 to 2017 and from 2019 to 2022. The latest election of president was held on 17 October 2022, in which Mallikarjun Kharge became the new president defeating Shashi Tharoor in the 2022 Indian National Congress presidential election.


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Rome, Open City

Rome, Open City (Roma città aperta), also released as Open City, is a 1945 Italian neorealist war drama film directed by Roberto Rossellini and co-written by Sergio Amidei, Celeste Negarville and Federico Fellini. Set in Rome in 1944, the film follows a diverse group of characters coping under the Nazi occupation, and centers on a Resistance fighter trying to escape the city with the help of a Catholic priest. The title refers to the status of Rome as an open city following its declaration as such on 14 August 1943. The film is the first in Rosselini's "Neorealist Trilogy", followed by Paisan (1946) and Germany, Year Zero (1948).

Open City is considered one of the most important and representative works of Italian neorealism, and an important stepping stone for Italian filmmaking as a whole. It was one of the first post-war Italian pictures to gain major acclaim and accolades internationally, winning the prestigious Palme d'Or at the 1946 Cannes Film Festival and being nominated for Best Adapted Screenplay Oscar at the 19th Academy Awards. It launched director Rosselini, screenwriter Fellini, and actress Anna Magnani into the international spotlight.

In 2008, the film was included on the Italian Ministry of Cultural Heritage’s 100 Italian films to be saved, a list of 100 films that "have changed the collective memory of the country between 1942 and 1978".

Plot
In occupied Rome in 1944, German SS troops are trying to arrest Luigi Ferraris (hiding under the alias of engineer Giorgio Manfredi), a communist, and leader of the Resistance against the Nazis and Italian Fascists. The landlady of his rooming house warns him in time for him to elude capture. He sneaks to the home of Francesco, another Resistance fighter. There he encounters Pina, Francesco's visibly pregnant fiancée, who lives in the next apartment. She first suspects Luigi of being a cop and gives him a rough time, but when he makes it clear he is a confederate of Francesco she welcomes him into his apartment to wait for him. With Pina's help Luigi/Giorgio contacts Don Pietro, a Catholic priest who is helping the Resistance. Luigi asks him to transfer messages and money to a group of Resistance fighters outside the city, as he is now known to the Gestapo and cannot do it himself. The priest willingly does so.

Don Pietro is also scheduled to officiate at Pina's and Francesco's wedding the next day. Francesco is not very religious, but would rather be married by a patriot priest than a fascist official; the devout Pina, on the other hand, is pragmatic about the decision - as it would be unthinkable in normal times for an unmarried pregnant woman to be married in a church - but wrestling with why God would allow such terrible things to happen to people as are occurring all around them. Her son, Marcello, a somewhat reluctant altar boy, is involved with a crippled youth fighting his own resistance planting bombs. Pina's feckless sister Laura stays with her, but works in a cabaret serving the Nazis and Fascists. She is also an old friend of Marina, Luigi's girlfriend, who has been looking for him. Marina also works in the cabaret and has not only turned to prostitution for the luxuries she craves but has become addicted to drugs by the treacherous Ingrid, a consort of the local Nazi commander, Major Bergmann.

Bergmann, helped by the Italian police chief, suspects that Luigi is at Francesco's apartment. They raid the huge building that afternoon, pulling everyone out and arresting dozens of men. Luigi gets away, but Francesco is thrown in a truck to be hauled off. Seeing him, Pina breaks through a cordon of soldiers screaming his name, but is shot dead. The priest, who was in the building to erase any trace of the Resistance weapons under the guise of praying for a dying man, holds her in his arms and prays as Part I ends.

Part II begins with the several trucks of Italian prisoners taken from the apartment building in a convoy with military vehicles, which is attacked by Resistance fighters. Most of the captives appear to escape. Francesco reconnects with Luigi. Together they go to the priest, who has offered to hide them in a monastery.

Afterwards the pair go to an inn where Marina lives and works to spend the night in hiding. When Luigi sees how she lives and finds her drugs they quarrel over her choices. Seeking revenge for his rebuke, she betrays both him and Francesco to the Nazis. The next morning Luigi, Francesco, Don Pietro, and an Austrian deserter the priest is also aiding, leave for the monastery. Francesco lags slightly behind, and is able to escape when the rest of the party is ambushed by Germans, who mistakenly believe the Austrian is him. Marina is rewarded by Ingrid with a fur coat and more drugs.

At Nazi headquarters Bergmann tells Ingrid of his plan - to extract everything from his captives before dawn in order to take the Resistance by surprise before news of their capture can get back to it. He then offers leniency to Luigi in return for betrayal. Luigi refuses and is taken off to be tortured. The Austrian, who has already displayed cowardice at the prospect of interrogation, hangs himself in his cell. The Gestapo assault Luigi in waves with whips and a blow torch, in vain.

Obsessed with meeting the deadline he has set himself, Bergmann next tries to convince Don Pietro to use his influence on Luigi to betray his cause, describing Luigi as an atheist and communist who is an enemy of the Church. Don Pietro placidly responds that anyone who strives to live a righteous life is doing God's work. Bergmann then forces Don Pietro to watch Luigi's torture. When Luigi dies without revealing anything, Don Pietro blesses his body and commends him to God's mercy. Luigi's refusal to yield shakes the confidence of the Germans, including Bergmann, who had boasted that they were the "master race", and no one from a "slave race" could withstand their torture.

Marina and a German officer who had bad-mouthed the Reich to Bergmann earlier in the officers' club stumble drunk into Bergmann's office with the door opened to the adjoining torture cell. When she sees that Luigi has refused Bergmann's deal and allowed himself to be tortured to death, she faints. The Gestapo chief and Ingrid decide that she is now useless to them and order her locked up. Ingrid removes the coat Marina had draped over her shoulders, saying she'll use it again "the next time". While she and Bergmann exit, the German officer murmurs disdainfully, "we are a master race".

In the morning Don Pietro is taken to be executed. The parish altar boys-resistance fighters show up and begin whistling their signal tune to him. Effectively sightless since his glasses were broken being thrown roughly into a cell upon arrival at Nazi headquarters, Don Pietro is heartened when he recognizes the boys' tribute. An Italian firing squad readies to shoot, but aims slightly off when it fires, unwilling to kill a priest. Seeing Don Pietro still mumbling prayers the presiding German officer, the same man who while drunk had decried the futility of the Nazi obsession with world dominance the night before to Major Bergmann, shouts at the commander of the firing squad to finish his task. When the commander does not react, the German officer draws his pistol and kills the priest with a shot to the head.

The boys bow their heads in grief and slowly depart, the city of Rome and the dome of St. Peter's Basilica visible in the background.

Development
By the end of World War II, Rossellini had abandoned the film Desiderio, as conditions made it impossible to complete (though it was later finished by Marcello Pagliero in 1946 and disowned by Rossellini). By 1944, there was virtually no film industry in Italy, and the origins of the film's initial funding are unclear. Rossellini had initially planned a documentary titled Storie di ieri on the subject of Don Pietro Morosini, a Catholic priest who had been shot by the Nazis for helping the partisan movement in Italy, and began meeting with a number of screenwriters in Rome shortly after Germany abandoned the city. Federico Fellini was initially uninterested in joining, as he had disapproved of partisan action during the occupation.

Production

The Nazis abandoned Rome on June 4, 1944; the Allies occupied the undefended city the next day. Shooting for the film began in January 1945 under precarious conditions, with its style developing from circumstance. The facilities at Cinecittà Studios were unavailable at the time, as they had been damaged in the war and were then currently requisitioned by Allied forces to house displaced persons.

Aldo Venturini, a wool merchant with some capital to invest, was involved in financing the film. After a few days of shooting production had stopped due to lack of cash, and Rossellini convinced Venturini to complete the film as a producer, arguing that it was the only way to safeguard his investment.

New Yorker Rod E. Geiger, a soldier in the Signal Corps who eventually became instrumental in the movie's global success, met Rosselini at a point when the production was out of film. Geiger had access to film - short-ends and complete rolls that might have become fogged, scratched, or otherwise deemed unfit for use - that the Signal Corps regularly threw away. He provided enough of this stock for the picture to be completed.

In order to authentically portray the hardships and poverty of life in Rome under the occupation Rossellini hired mostly non-professional actors; a few exceptions included established stars Fabrizi and Anna Magnani. According to Rossellini, "the situation of the moment guided by my own and the actors' moods and perspectives" dictated what was shot, and he relied more on improvisation than on a script. He also stated that the work was "a film about fear, the fear felt by all of us but by me in particular. I too had to go into hiding. I too was on the run. I had friends who were captured and killed." Rossellini relied on traditional devices of melodrama, such as identification of the film's central characters and a clear distinction between the primary good and evil ones. Only four interior sets were constructed for the more important locations of the film. Production ended in June 1945.

The film's documentary or newsreel style reflects in part different film stocks used in its production. When the Cineteca Nazionale restored the print in 1995 it stated that the original negative consisted of just three different types: Ferrania C6 for outdoor scenes, and the more sensitive Agfa Super Pan and Agfa Ultra Rapid for interiors. The previously unexplained changes in image brightness and consistency are now attributed to inadequate processing, including variable development times, insufficient agitation in the developing bath, and insufficient fixing.

Unlike films made in the early years of the war (when Italy was Germany's ally under Mussolini) that depicted the British, Americans, Greeks, Russians and other allied countries, as well as Ethiopians, communists, and partisans, as antagonists, Rome, Open City was one of the early Italian films of the war to depict the struggle as being against the Germans and Italian fascists. Even though the Allied Invasion of Italy took place in 1943, there is no trace of any Allied presence or imminent arrival in the movie; instead, references are made to it being only "the beginning" of what was characterized as a long struggle ahead, not a Nazi evacuation of Rome that had already occurred.

Distribution
The film opened in Italy on 27 September 1945, with the war damage to Rome not yet repaired. The United States premiere followed on 25 February 1946 in New York. The American release was censored, resulting in a cut of about 15 minutes. The story of the film's journey from Italy to the United States is recounted in Federico Fellini's autobiographical essay "Sweet Beginnings" published in 1996. Rod E. Geiger, a U.S. Army private stationed in Rome, met Rossellini and Fellini after catching them tapping into the power supply used to illuminate the G.I. dancehall. In the book The Adventures of Roberto Rossellini, author Tag Gallagher credits Geiger at age 29 as the "man who more than any single individual was to make him and the new Italian cinema famous around the world." Before the war, Geiger had worked for an American distributor and exhibitor of foreign films which helped facilitate the film's release in the United States. In gratitude, Rossellini gave Geiger a co-producer credit.

However, According to Fellini's essay Geiger was "a 'half-drunk' soldier who stumbled (literally as well as figuratively) onto the set of Open City. [He] misrepresented himself as an American producer when actually he 'was a nobody and didn't have a dime.'" Fellini's account of Geiger's involvement in the film was the subject of an unsuccessful 1983 defamation lawsuit Geiger brought against Fellini.

The film was banned in several countries. West Germany banned it from 1951 to 1960. In Argentina, it was inexplicably withdrawn in 1947 following an anonymous government order.

Box Office
Thanks to heavy marketing by Arthur Mayer and his partner Joseph Burstyn in Life magazine. Rome Open City grossed an astonishing $3 million at the U.S. box office, an unprecedented number for an Italian movie playing mainly in small, independent theaters. Rome Open City created a new appetite for foreign films.

Critical response
Rome, Open City received a mediocre reception from Italian audiences when it was first released when Italian people were said to want escapism after the war. However, it became more popular as the film's reputation grew in other countries. The film brought international attention to Italian cinema and is considered a quintessential example of neorealism in film, so much so that together with Paisà and Germania anno zero it is called Rossellini's "Neorealist Trilogy". Robert Burgoyne called it "the perfect exemplar of this mode of cinematic creation [neorealism] whose established critical definition was given by André Bazin". Rossellini himself traced what was called neorealism back to one of his earlier films The White Ship, which he claimed had the same style. Some Italian critics also maintained that neorealism was simply a continuation of earlier Italian films from the 1930s, such as those directed by filmmakers Francesco De Robertis and Alessandro Blasetti. More recent scholarship points out that this film is actually less neo-realist and rather melodramatic. Critics debate whether the pending marriage of the Catholic Pina and the communist Francesco really "acknowledges the working partnership of communists and Catholics in the actual historical resistance".

Bosley Crowther, film critic for The New York Times, gave the film a highly positive review, and wrote "Yet the total effect of the picture is a sense of real experience, achieved as much by the performance as by the writing and direction. The outstanding performance is that of Aldo Fabrizi as the priest, who embraces with dignity and humanity a most demanding part. Marcello Pagliero is excellent too, as the resistance leader, and Anna Magnani brings humility and sincerity to the role of the woman who is killed. The remaining cast is unqualifiedly fine, with the exception of Harry Feist in the role of the German commander. His elegant arrogance is a bit too vicious – but that may be easily understood." Film critic William Wolf especially praised the scene where Pina is shot, stating that "few scenes in cinema have the force of that in which Magnani, arms outstretched, races towards the camera to her death."

Pope Francis has said that the film is among his favorites.

As of July 2019 the film had a rare approval rating of 100% on Rotten Tomatoes, based on 42 reviews, with an average rating of 9.08/10. The site's critics' consensus reads: "Open City fills in the familiar contours of its storyline with three-dimensional characters and a narrative depth that add up to a towering – and still powerfully resonant – cinematic achievement."

Other media
The difficulties encountered by the director and crew before and during the shooting of "Rome, Open City" are dramatized in the 1996 film Celluloide by Carlo Lizzani and in it Massimo Ghini plays the role of Rossellini. In 2004, The Children of Rome Open City was released, a documentary directed by Laura Muscardin.

title: Rome, Open City


text:
20 GOTO 10

20 GOTO 10 was an art gallery in operation from 2008 to 2012, founded by Christopher Abad in San Francisco, California, United States.

History
Its name is a reference to the traditional looping 'Hello world' program written by beginner programmers. It featured both traditional and "hacker" art, with an emphasis on technology as art, or exhibits which make the potentially criminal or unethical aspects of computer security accessible to the public.

It received more prominent vlog, blog,  and print news coverage when Kevin Olson displayed the first ever American showing of ANSI art in a physical art gallery. Jason Scott Sadofsky, creator of the BBS Documentary expressed interest in the custom LCD scrollers based on a Parallax chipset with a custom ANSI scroller to VGA output written in SPIN made solely for the ANSI gallery show.

The gallery was located at 679 Geary Street in San Francisco, and was defunct at this location as of Summer 2012.

title: 20 GOTO 10


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From Under the Cork Tree

From Under the Cork Tree is the second studio album by the American rock band Fall Out Boy, released on May 3, 2005 by Island Records as the band's major label debut. The music was composed by lead vocalist and rhythm guitarist Patrick Stump, with all lyrics penned by bassist Pete Wentz, expanding the band's songwriting approach they took for some songs on their debut album, Take This to Your Grave (2003). Neal Avron served as the album's producer. Commenting on the record's lyrical themes, Wentz said the lyrics were about "the anxiety and depression that goes along with looking at your own life." In support of its release, the group headlined tours worldwide and played at various music festivals. For their Black Clouds and Underdogs tour, the album was re-released as From Under the Cork Tree (Limited "Black Clouds and Underdogs" Edition), featuring new songs and remixes.

The album was Fall Out Boy's breakthrough mainstream success. Spearheaded by the lead single "Sugar, We're Goin Down", the album debuted at No. 9 on the US Billboard 200 with 168,000 first week sales, a position it stayed at for two non-consecutive weeks, earning the band their first Top 10 album and becoming their longest charting and best-selling album. It logged 14 weeks in the Top 20 out of its 78 chart weeks. The album as well as its singles won several awards and the album was certified 2× Platinum by the Recording Industry Association of America (RIAA). It has since sold over 2.5 million units in the United States, and over seven million worldwide. The album produced two hugely popular hit singles, "Sugar, We're Goin Down" and "Dance, Dance", which peaked at No. 8 and No. 9 on the Billboard Hot 100 respectively, receiving regular radio play on both pop and alternative stations. In 2005, the album was ranked at No. 43 on the International Federation of the Phonographic Industry's (IFPI) list of the "Top 50 Best Selling Albums of 2005" worldwide.

Background
Fall Out Boy formed near Chicago, Illinois, in 2001. The band debuted with a self-released demo in the same year, and in 2002 released a split EP with Project Rocket through Uprising Records. A first mini-album, Fall Out Boy's Evening Out with Your Girlfriend was recorded in 2002 but released in 2003 by Uprising against the band's wishes. Both releases helped Fall Out Boy gain notoriety on the internet and attention from record labels. The band signed with indie label Fueled by Ramen and received an advance from major label Island Records, which financed the production of Take This to Your Grave. Grave became an underground success and helped the band gain a dedicated fanbase. Fall Out Boy returned to the studio in November 2004 to begin work on a new album.

However, the group suffered a setback in February 2005 after Wentz's anxieties about creating a new record culminated in a suicide attempt. Wentz explained, "It was overwhelming. I was either totally anxious or totally depressed. It is particularly overwhelming when you are on the cusp of doing something very big and thinking that it will be a big flop. I was racked with self-doubt." After undergoing therapy, Wentz rejoined the band and headed to Burbank, California to record the album.

Recording and production
From Under the Cork Tree was recorded in Burbank, California, and served as the first time the band had stayed in California for an extended period of time. The group lived in corporate housing during the making of the album. In contrast to Take This to Your Grave's rushed recording schedule, Fall Out Boy took a much more gradual pace while working on From Under the Cork Tree. It was the first Fall Out Boy record in which Stump created all the music and Wentz wrote all the lyrics, continuing the approach they took for some songs on Grave. Stump felt that this process was much more "smooth" as every member was able to focus on their individual strengths. He explained: "We haven't had any of those moments when I play the music and he'll say, 'I don't like that,' and he'll read me lyrics and I'll say, 'I don't like those lyrics.' It's very natural and fun." Despite this, the band had great difficulty creating its desired sound for the album, constantly scrapping new material. Two weeks before recording sessions began, the group abandoned ten songs and wrote eight more, including the album's first single, "Sugar, We're Goin Down".

The chorus of "Sugar, We're Goin Down" was nearly thrown away by the group's label, Island Records, but it was ultimately salvaged. Wentz recalled, "Our label told us the chorus was too wordy and the guitars were too heavy and that the radio wasn't going to play it." Island Records also intervened when the band wanted to title the album's first track "My Name Is David Ruffin And These Are The Temptations". Wentz stated "Our label said, 'You're going to get sued for doing that,' and our lawyer said, 'You're definitely going to get sued for doing that,' which totally sucked. So we said, 'OK, why don't we immortalize you in a song?'" The group subsequently retitled the song "Our Lawyer Made Us Change the Name of This Song So We Wouldn't Get Sued".

Music
Stump served as the primary composer for From Under the Cork Tree. He said of the album's musical style: "We experimented quite a bit with all sorts of stuff. Some metal, some folk, some R&B. But ultimately, your band sounds like your band. You can put those things in it, but it's still going to sound like you." Niyaz Pirani of the Orange County Register referred to "Dance, Dance" as "pop-punk-meets-swing-dance glory". Critics have described the album as being pop-punk and emo.

Lyrics
On earlier works, Stump collaborated with Wentz on the lyrics. For From Under the Cork Tree and albums thereafter, Wentz handled all the lyrical duties. He called them "more introspective" than the group's previous album. "Take This To Your Grave was very reactionary," Wentz said. "It was like this person does this to you. But part of growing up is understanding that if you end up in the same situation over and over again you probably have to examine your own self and wonder whether that's one of the reasons that you have ended up in the same situation repeatedly. This time the lyrics were more about the anxiety and depression that goes along with looking at your own life." He also said of his lyrics, "This is where we're going to be a year from now, and this is what you're going to be saying about us." Wentz described "I've Got a Dark Alley and a Bad Idea that Says You Should Shut Your Mouth (Summer Song)" as "looking in the mirror and not feeling safe in your own skin".

The band wanted to create a record that was "a lot more developed," Wentz said. "When we did Take This to Your Grave, we were really young, we had two weeks to do it and it was like, make it or break it, this is your only shot. This time we had more time to sit with the songs and make them work and more of a chance to plan things out. To us, we're throwing the fight, but we didn't write a record that's throwing a fight. We wrote a record that means a lot to us but maybe isn't going to mean a lot to the people who are hyping us as the next big thing. And that's fine. We don't want to be the saviors of anything — we just want to be ourselves. We made a record we really like, and that's all we ever wanted. Fall Out Boy have never been about goals or ambitions. We started out just for fun, and it became this huge thing. In 2007, it emerged that the band had reached an out of court settlement with American Nightmare vocalist Wesley Eisold, over the use of his poetry in some songs from From Under the Cork Tree and Infinity on High. The settlement led to future pressings of both albums listing Eisold in the credits.

Title and artwork
The title is taken from a line in the 1936 children's book The Story of Ferdinand by Munro Leaf, which Wentz was intrigued by. The story focuses on a bull named Ferdinand who would rather sniff flowers under a cork tree than participate in fights. The album cover features a van with a trailer in a slump of snow. This is a reference to the car accident the band was in while they were driving to New York City to film the video for "Grand Theft Autumn/Where Is Your Boy" from their album Take This to Your Grave.

Critical reception
Critical reaction to From Under the Cork Tree was generally positive. In an extremely positive review of the album, Johnny Loftus of AllMusic said: "Musically, Cork Tree's first five tracks are relentless, with razor-sharp melodies that seem familiar but sound totally unique at the same time. The 'Oh! Oh!'s and punchy chords of 'Of All the Gin Joints in All the World' are a thrill greater than any Jimmy Eat World album ever; 'Sugar, We're Going Down' 's half-time shifts are triumphs of tumbling words; and the opening track meditates wryly on all-ages shows' fame. Further, when Fall Out Boy rip into 'Sophomore Slump or Comeback of the Year,' summer 2005 will not be able to ignore them. 'We're the therapists pumping through your speakers/Delivering just what you need,' they sing. It's obviously time to embrace our inner mall kid." Entertainment Weekly gave the album a B+ in one of its "short takes" and called it "Peppy pop-punk aimed at the Warped Tour crowd. If the infectious songs don't get you, the snarky titles will".

However, mixed criticism was dealt by reviewers for the band being part of a saturated scene of pop-punk bands. In Rolling Stone's review, they gave it 3 stars out of 5 saying "...FOB's knack for crafting ginormous, soaring anthems is in full-force: even with its demented, inscrutable lyrics, "Sugar, We're Goin Down" will likely still be blasting from radios ten years on." Music critic Robert Christgau, in a C+ review of the album, said that "these Warped Tour cover boys aren't terrible, but are they ever ordinary. Only their record company would claim that emotional vocals, dramatic dynamics, poppy-punky tempos, and not actually all that catchy tunes add up to their own sound." IGN was very negative towards the album, giving it a 3.6 out of 10 saying: "Pop-punk had to begin somewhere, and when it rains, it apparently pours; Fall Out Boy is merely another addition to a stable bursting at the seams."

Accolades
Rolling Stone listed it among the "40 Greatest Emo Albums of All Time" in 2016, with Brittany Spanos writing it "changed the course of emo-punk, pop-punk and pop itself with From Under the Cork Tree, which brought the scene mainstream."

Commercial performance
From Under the Cork Tree debuted at No. 9 on the US Billboard 200 with 168,000 copies sold in its first week. It became the band's first top 10 effort, as their 2003 album Take This to Your Grave did not chart in the top 200. Logging 78 weeks on the chart, Cork Tree has sold over 2 million copies in the US and over seven million worldwide, making it Fall Out Boy's best selling album. It is certified RIAA 2× platinum for shipments of two million copies. During Christmas 2005, the album again reached its peak of No. 2 with 257,000 sales, posting the band's second biggest sales week to date as of 2013. Upon the release of Fall Out Boy's 2007 follow-up album Infinity on High, which debuted at No. 1 on the Billboard 200, From Under the Cork Tree re-entered the Billboard 200 at No. 168 with 5,300 sales. In early 2015, the album re-entered the Billboard 200 at No. 190 for a 78th week on the strength of the band's American Beauty/American Psycho No. 1 album release.

On the 2005 year-end charts, Cork Tree was No. 53 on the Billboard 200, No. 26 in 2006, and No. 187 on the 2000s decade-end chart.

Singles
Three singles were released from this album: "Sugar, We're Goin Down", "Dance, Dance" and "A Little Less Sixteen Candles, a Little More "Touch Me"". The first two singles enjoyed mainstream and commercial success and exposed Fall Out Boy to a new audience. From Under the Cork Tree's lead single, "Sugar, We're Goin Down", debuted on the US Billboard Hot 100 at No. 93 and eleven weeks later it peaked at No. 8 in September 2005. It spent five weeks in the top 10 and 20 weeks (five months) in the top 20, logging a total of 42 weeks on the chart before it was retired. The track received heavy airplay spins on Alternative as well as Pop stations, being a crossover hit. It reached No. 3 on Billboard Alternative Songs. Its MTV2-award-winning video enjoyed regular rotation on TV music programs. This exposed the band to the mainstream audience and helped them reach great popularity. In the UK, "Sugar" also reached No. 8, and spent 21 weeks in the top 75. "Sugar, We're Goin Down" has sold over two million copies in the US and was certified Triple Platinum by the Recording Industry Association of America (RIAA), denoting the shipment of three million copies. It stands as the band's best-selling single to date.

The second single from the album, "Dance, Dance" was also released to commercial success, charting at No. 9 in the US in January 2006 and No. 8 in the UK, a second top 10 hit single for the band in both regions. In the US it spent 14 weeks in the top 20 out of a total of 30 chart weeks before it was retired, being certified Platinum by the RIAA for the shipment of one million units. "Dance, Dance" is Fall Out Boy's highest hit on Alternative radio, peaking at No. 2 on Billboard Alternative Songs. It charted at No. 35 on Ireland's singles chart. "Dance, Dance"'s music video won awards for "Viewer's Choice" and "Best Group" at the 2006 MTV awards, two Teen Choice Awards for "Rock Track" and "Single", and helped the band win "People's Choice: Favorite International Group" at the MuchMusic Video Awards.

"A Little Less Sixteen Candles, a Little More "Touch Me"", the album's third and last single, was much less popular than Cork Tree's first two singles but managed to reach No. 65 on the Hot 100. It charted for 13 weeks. On Billboard Alternative Songs, it peaked at No. 38. In the UK, "Sixteen Candles" reached No. 38 on the singles chart. The band considered between "A Little Less Sixteen Candles..." and "Sophomore Slump or Comeback of the Year" as the third and last single, deciding on the former.

Track listing
On March 14, 2006, a separate version of the album was released entitled From Under the Cork Tree (Limited "Black Clouds and Underdogs" edition). This consisted of a total 18 tracks, the first 13 being the original release. The album rose to No. 9 on the Billboard 200 upon its re-release, its second week at its peak position. The three new songs and two dance remixes are as follows and in this order:
 * Limited "Black Clouds and Underdogs" edition

 * The iTunes Store released a similar From Under the Cork Tree (Limited "Black Clouds and Underdogs" Edition) EP consisting of 8 tracks: the above 5 as well as the music videos for "Sugar We're Goin Down" and "Dance, Dance". It also contains a live performance of "Sugar, We're Goin Down".

 * The limited edition is sometimes sold along with the regular edition under the same name.

 * The album was re-pressed on vinyl in January 2013. It was on swirled Maroon vinyl, and limited to 1,500 copies, and exclusively sold at Hot Topic.

Personnel
Fall Out Boy
 * Patrick Stump – lead vocals, rhythm guitar, piano on "Sugar, We're Goin Down"
 * Pete Wentz – bass guitar, backing vocals, unclean vocals on tracks 1, 8, 10, 12, 13, 14
 * Joe Trohman – lead guitar, backing vocals
 * Andy Hurley – drums, percussion

Guest artists
 * William Beckett (of The Academy Is...) – guest vocals on "Sophomore Slump or Comeback of the Year"
 * Brendon Urie (of Panic! at the Disco) – backing vocals on "7 Minutes in Heaven (Atavan Halen)"
 * Chad Gilbert (of New Found Glory) – guest vocals on "I Slept With Someone in Fall Out Boy and All I Got Was This Stupid Song Written about Me"

Artwork
 * Louis Marino – Creative Direction
 * Frank Gargiulo – Art Direction and Album Design

Other
 * Wesley Eisold - "Inspirador"

Production
 * Neal Avron – Producer, mixing on tracks: 1, 5, 6, 7, 9, 10,12,13
 * Tom Lord-Alge – Mixing on tracks: 2, 3, 4, 8, 11
 * Femio Hernandez – Mixing assistant
 * Brian "Big Bass" Gardner – Mastering
 * Travis Huff – Pro Tools Engineer
 * Mike Fasano – Drum Tech
 * Dan Suh – Guitar Tech

Management
 * Bob Mclynn – Management for Crush Music Media
 * Andrew Simon – Booking for APA
 * Mike Mckoy – Legal
 * Mareia Hyman – Business Management for East Bay Business
 * Robert Stevenson – A&R for Island Records
 * John Janick – A&R for Fueled By Ramen Records
 * Eric Wong – Marketing
 * Tara Podolsky & Erica Bowen – A&R Administration

title: From Under the Cork Tree


text:
Wikipedia:Articles for deletion/Yatton Village Social Club

 This page is an archive of the discussion about the proposed deletion of the article below. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was DELETE. Golbez 08:58, Jun 18, 2005 (UTC)

Yatton Village Social Club
There are lots of social clubs. Having a fire doesn't make this one notable. Edward 23:27, 2005 Jun 8 (UTC)
 * Keep. No reason not to include all social clubs, however many there are, so long as the information is verifiable and presented in accordance with NPOV policy. Notability is in the eye of the beholder. Grace Note 23:44, 8 Jun 2005 (UTC)
 * Delete, sounds very much like advertising. --Sn0wflake 00:11, 9 Jun 2005 (UTC)
 * Delete - OK, I can almost see keeping schools. But an article on every bar in the world? We'll run out of not paper real fast. --FCYTravis 00:36, 9 Jun 2005 (UTC)
 * Delete FCYTravis made me laugh. --Xcali 04:53, 9 Jun 2005 (UTC)
 * delete, some bars & social clubs are notable, this one isn't - I live 20 minutes away from Yatton, have driven through the village to its railway station countless times, and have a friend who lives there, but I'd never heard of it before reading this article. Thryduulf 07:29, 9 Jun 2005 (UTC)
 * Delete non notable. JamesBurns 07:56, 9 Jun 2005 (UTC)
 * Delete NeoJustin 17:58, June 9, 2005 (UTC)
 * Delete; most social clubs have nothing verifiable beyond a name, maybe a meeting location, maybe a pale semblance of a purpose, and officers which change every year or more in fashions not conducive to maintainability.  Their events and activities aren't even close to encyclopedic significance, except maybe a very few such as the Friars Club Roast.  Grace Note is incorrect, in that "notability" for WP purposes isn't subjective; it's about objective facts like widespread coverage by mainstream media, or ongoing published controversy in the major journals covering a field.  None of this is shown in the article or vote comments.  Barno 18:49, 9 Jun 2005 (UTC)
 * It's a bar that serves alcoholic drinks.  And - Get this! - it has a pool table, snooker table, dart board, table skittles, and a jukebox.  How unusual is that!  Grace Note is wrong.  Verifiability and NPOV are not the sole grounds for encyclopaedia-worthiness.  (If they were, 11111 would have stayed.) Delete. Uncle G 19:27, 2005 Jun 9 (UTC)
 * Delete. Oh come on, Grace Note.  RickK 21:02, Jun 9, 2005 (UTC)
 * Delete. Wikipedia is not a worldwide guide to places where one can get drunk. carmeld1 02:49, 10 Jun 2005 (UTC)
 * Delete. The place does have some local cultural significance, but the page has never managed to reflect this; few other users have shown any interest in updating it, detracting from its utility. Burn the asylum
 * This page is now preserved as an archive of the debate and, like some other VfD subpages, is no longer 'live'. Subsequent comments on the issue, the deletion, or the decision-making process should be placed on the relevant 'live' pages.  Please do not edit this page .


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Aboriginal Protection Board

Aboriginal Protection Board, also known as Aborigines Protection Board, Board for the Protection of Aborigines, Aborigines Welfare Board (and in later sources, incorrectly as Aboriginal Welfare Board), and similar names, refers to a number of historical Australian state-run institutions with the function of regulating the lives of Aboriginal Australians. They were also responsible for administering the various half-caste acts where these existed and had a key role in the Stolen Generations. The boards had nearly ultimate control over Aboriginal people's lives.

Protectors of Aborigines were appointed by the Board under the conditions laid down in the various Acts. In theory, protectors of Aborigines were often empowered to undertake legal proceedings on behalf of Aboriginal people, dictate where Aboriginal people could live or work, and keep all wages earned by employed Aboriginals. The exact powers varied over time and by jurisdiction.

As the boards had limited funds, protectors received very limited remuneration. A range of people were appointed as local protectors, including resident magistrates, jail wardens, justices of the peace and, in some cases ministers of religion, though most were local police inspectors. The minutes of the boards show they mostly dealt with matters of requests from religious bodies for financial relief and reports from resident or police magistrates pertaining to trials and convictions of Aboriginal people under their jurisdiction.

Aboriginal protection boards also issued permits to allow Aboriginal people the right to leave their respective missions and reserves and enter the mainstream society for a set period of time.

Victoria
The Central Board Appointed to Watch Over the Interests of the Aborigines was established in 1860. This was replaced by the Victorian Central Board for the Protection of Aborigines in 1869 (via the Aboriginal Protection Act 1869), making Victoria the first colony to enact comprehensive regulations on the lives of Aboriginal Victorians. The board exerted an extraordinary level of control over people's lives including regulation of residence, slavery as employment, marriage, social life and other aspects of daily life.

The Victorian Half-Caste Act of 1886 gave the Board extensive new powers over the lives of Aboriginal people, including regulation of residence, employment and marriage.

In particular, the 1886 Act started to remove Aboriginal people of mixed descent, known as "half-castes", from Aboriginal stations or reserves to force them to assimilate into European society. These expulsions separated families and communities, causing distress and leading to protest. Nevertheless, the board refused to assist the expelled people. It was assumed that the expulsions would lead to the decline in the population of the reserves and their eventual closure.

The Aborigines Act 1910 increased the rights of Aboriginal people in Victoria.

The board was abolished in 1957 by the Aborigines Act 1957.

The Aboriginal Lands Act 1970 gave recognition of Aboriginal people's right to land. Under this Act the deeds of land at the Lake Tyers Mission and Framlingham reserves were transferred to the communities.

New South Wales
The New South Wales Board for the Protection of Aborigines was established in 1883 and was reconstituted under the Aborigines Protection Act 1909 with wide ranging control over the lives of Aboriginal people, including the power to remove children from families because their parents were Aboriginals, as was written on many of the files, and the power to dictate where Aboriginal people lived to ensure protection from violent colonialists and provide education in the face of European opposition (McCallum, 2008). It also controlled their freedom of movement and personal finances. In particular, Aboriginal children could be removed from their homes and families and taken into care to be raised like white children, thus starting the Stolen Generations. The 1911 amendment to the Aboriginal Protection Act established Kinchela Boys Home and Cootamundra Domestic Training Home for Aboriginal Girls. Aboriginal children were removed from their homes for various welfare reasons and transported to Kinchela and Cootamundra, where they were often abused and neglected while being taught farm labouring and domestic work, many of them ending up as servants in the homes of wealthy Sydney residents.

In 1915, the Aborigines Protection Amending Act 1915 gave the Board authority to remove Aboriginal children "without having to establish in court that they were neglected."

The Board was renamed the Aborigines Welfare Board (which was frequently referred to as the Aboriginal Welfare Board in later sources ) in 1940 by the Aborigines Protection (Amendment) Act 1940, which stipulated that Aboriginal people should be assimilated into mainstream white society. It intended that Aboriginal culture would evaporate, and Aboriginal people would eventually become indistinguishable from Europeans. The Board consisted of 11 members, including two Aboriginal people, one "full-blood" and one having "a mixture of Aboriginal blood". It was abolished under the Aborigines Act 1969 (NSW).

After its abolition, the NSW Aboriginal Advisory Council was formed, which advised the NSW Minister for Aboriginal Affairs directly.

Western Australia
The Western Australian Aborigines Protection Board operated between 1 January 1886 and 1 April 1898 as a statutory authority. It was created by the Aborigines Protection Act, 1886 (WA), also known as the Half-Caste Act, described as An Act to provide for the better protection and management of the Aboriginal Natives of Western Australia, and to amend the Law relating to certain Contracts with such Aboriginal Natives (statute 25/1886), and The Aborigines Act, 1889 (statute 24/1889).

The 1886 act was enacted following the furore over the Fairburn Report (which revealed slavery conditions among Aboriginal farm workers) and the work of the Rev. John Gribble. The Act introduced employment contracts between employers and Aboriginal workers over the age of 14. There was no provision in the 1886 Act for contracts to include wages, but employees were to be provided with "substantial, good and sufficient rations", clothing and blankets. The 1886 act provided a resident magistrate with the power to indenture 'half-caste' and Aboriginal children, from a suitable age, until they turned 21. An Aboriginal Protection Board was also established to prevent the abuses reported earlier, but rather than protect Aborigines, it mainly succeeded in putting them under tighter government control. It was intended to enforce contracts, employment of prisoners and apprenticeships, but there was not sufficient power to enforce clauses in the north, and they were openly flouted. The Act defined as "Aboriginal" as "every Aboriginal native of Australia, every Aboriginal half-caste, or child of a half-caste". Governor Broome insisted that the act contain within it a clause permitting traditional owners to continue hunting on their tribal lands.

The effect of the act was to give increasing power to the board over Aboriginal people, rather than setting up a system to punish whites for wrongdoing in relation to Aboriginal people. An Aboriginal Department was set up, under the office of the Chief Protector of Aborigines. Nearly half of the Legislative Council voted to amend the act for contract labour as low as age 10 but it was defeated. McKenzie Grant, the member for The North, claimed that child labour of age six or seven was a necessary commonplace, as "in this way they gradually become domesticated". The attorney general Septimus Burt, in debate on the 2nd reading speech, claimed that contracts were being issued, not for current work, but to hold Aboriginal people as slaves on stations for potential future work, and so prevent them from being free to leave.

In 1898, the board was replaced by the Aborigines Department.

Queensland
The Queensland Aboriginal Protection Board was established by the Aboriginals Protection and Restriction of the Sale of Opium Act 1897.

South Australia
The Aborigines Act Amendment Act 1939 created the Aborigines Protection Board in South Australia, which was "charged with the duty of controlling and promoting the welfare" of Aboriginal people (which included anyone descended from an Aboriginal person). Charles Duguid was a founding board member; other board members included J. B. Cleland and Constance Cooke.

Decline
By the late 1960s, all states and territories had repealed the legislation allowing for the removal of Aboriginal children under the policy of 'protection'.

NSW

 * Aboriginal Affairs in NSW: A Short History (NSW Govt Dept of Communities. Aboriginal Affairs, archived March 2012.)
 * Aboriginal Affairs in NSW: A Short History (NSW Govt Dept of Communities. Aboriginal Affairs, archived March 2012.)

title: Aboriginal Protection Board


text:
Tiffany Fallon

Tiffany Fallon (born May 1, 1974 in Fort Lauderdale, Florida) is an American model. In 2004, she was photographed by Stephen Wayda for Playboy and was named Playmate of the Month for December. She was also named Playmate of the Year for 2005.

Career
In addition to her work with Playboy, Fallon was a cheerleader for the Atlanta Falcons. Prior to that, she worked as a flight attendant.

Personal life
Fallon is of Irish-American descent. She was Homecoming Queen and senior Class President at her high school where she played volleyball, soccer and ran track. She was Miss Georgia in 2001 and also 2nd-runner up for Miss USA in 2001. She has a degree in sports management from Florida State University.

Fallon married Joe Don Rooney, the lead guitarist of country music band Rascal Flatts on April 23, 2006, and she lives in Brentwood, Tennessee. On May 31, 2008, Fallon gave birth to their first child, son Jagger Donovan Rooney. On September 7, 2010, their daughter, Raquel Blue, was born. On September 29, 2014, their third child, daughter Devon Olivia, was born. She and Rooney separated in 2021. The divorce was finalized in the fall of 2023.

Television appearances

 * Fallon first appeared in Toby Keith's country music video "Who's Your Daddy?".
 * She had made several comedic guest star appearances on Spike TV's The Lance Krall Show.
 * Fallon was on an episode of The Simple Life: Interns as a judge for a beauty pageant which Paris Hilton participated in.
 * Co-host of the International Fight League's weekly program IFL Battleground with MMA legend, Bas Rutten.
 * Fallon competed on The Celebrity Apprentice, playing for charity. She was the first contestant to be fired by Donald Trump.
 * Appears in Cletus T Judd's country music video for "I Love Nascar."

title: Tiffany Fallon


text:
Cardston (provincial electoral district)

Cardston was a provincial electoral district in Alberta, Canada, mandated to return a single member to the Legislative Assembly of Alberta from 1905 to 1993.

History
Cardston was one of the original 25 electoral districts contested in the 1905 Alberta general election upon Alberta joining Confederation in September 1905. The district was carried over from the old Cardston electoral district which returned a single member to the Legislative Assembly of the Northwest Territories from 1902 to 1905. The member for the Northwest Territories seat, John William Woolf would be elected in the 1905 Alberta general election.

The riding has always occupied the most southern portion of the province along the Canada / United States border.

The Cardston electoral district was abolished in the 1993 electoral boundary re-distribution, with the borders of the Pincher Creek-Crowsnest electoral district shifted south into Cardston, and the district was renamed Cardston-Chief Mountain.

The riding was named after the Town of Cardston and this region is considered one of the most conservative in the province.

1905
The 1905 election was between Liberal candidate John William Woolf and Conservative candidate John Parrish. Woolf was well known rancher and politician in the area. He had served as the district representative in the Northwest Territories Legislature from 1902 to 1905. Woolf also served briefly on the local government as a municipal councilor in the town of Cardston. Woolf won the district on election day easily defeating Parish with a landslide taking nearly 70% of the popular vote.

1948 electrification plebiscite
District results from the first province wide plebiscite on electricity regulation.

1957 liquor plebiscite
On October 30, 1957 a stand-alone plebiscite was held province wide in all 50 of the provincial electoral districts in Alberta. The government decided to consult Alberta voters to decide on liquor sales and mixed drinking after a divisive debate in the Legislature. The plebiscite was intended to deal with the growing demand for reforming antiquated liquor control laws.

The plebiscite was conducted in two parts. Question A asked in all districts, asked the voters if the sale of liquor should be expanded in Alberta, while Question B asked in a handful of districts within the corporate limits of Calgary and Edmonton asked if men and woman were allowed to drink together in establishments.

Province wide Question A of the plebiscite passed in 33 of the 50 districts while Question B passed in all five districts. Cardston recorded the strongest vote in the province against expanded sale of liquor, this was likely due to the strong Mormon communities in the district, which had made Cardston a dry city since 1904. The district also recorded a strong voter turnout. It was well above the province wide average of 46 percent.

Official district returns were released to the public on December 31, 1957. At first the Social Credit government said it did not consider the results binding, but soon the government repealed the existing liquor legislation and introduced an entirely new Liquor Act.

A majority in Cardston were opposed and prohibition was in effect in the town until 2023. Municipal districts lying inside electoral districts that voted against expanded liquor sales such as Cardston were designated Local Option Zones by the Alberta Liquor Control Board and considered effective dry zones, business owners that wanted a license had to petition for a binding municipal plebiscite in order to be granted a license.


text:
Richard Ellis (Texas politician)

Richard Ellis (1781 – December 20, 1846) was an American plantation owner, politician, and judge on the Fourth Circuit Court of Alabama. He was president of the Convention of 1836 that declared Texas' independence from Mexico and he signed the Texas Declaration of Independence. Later, Ellis served in the Republic of Texas legislature.

Ellis was born and raised in the tidewater region of Virginia, but he settled in Alabama. He was a member of Alabama’s Constitutional Convention in 1818 and an associate justice of the Alabama Supreme Court (1819–1826).

Ellis settled in Mexican Texas in 1834, defying the ban on immigration by the Mexican government, establishing a plantation in what is now Bowie County. In 1836 he was unanimously elected president of the Texas constitutional convention that declared independence on March 2, 1836. He also held the convention together for the additional seventeen days needed to draft Texas's constitution. He then served the Republic of Texas as a Senator from 1836 to 1840 in the first four congresses.

Ellis died in Bowie County in 1846, but in 1929, he and his wife, Mary West Dandridge were reinterred in the State Cemetery at Austin, Texas.

Ellis County, Texas, is named in his honor.

title: Richard Ellis (Texas politician)


text:
Northlake Mall (Charlotte, North Carolina)

Northlake Mall is a two-story modern shopping mall located eight miles (13 km) north of center city Charlotte, North Carolina off Interstate 77 at exit 18, Harris Blvd, and off Interstate 485 at exit 21, also at Harris Blvd. The mall was owned by Starwood Capital Group and is currently managed by Spinoso Real Estate Group.

History
In 2005, when Northlake Mall opened, it filled a void for the lack of retail in the northern portion of Mecklenburg County. A mall had been planned for this region for years, but plans never materialized until a few years prior to the mall's opening. It has become the dominant retail destination for the thriving communities in North Charlotte and the Lake Norman region, from where it gets its name.

It was announced in 2013 that Northlake Mall would receive Charlotte's second H&M store, after the recently announced store at Carolina Place Mall. These two stores, along with the planned store at the SouthPark Mall, would be the only H&M stores in the Charlotte area.

In June 2014, it was announced that Taubman Centers would sell Northlake Mall to Starwood Capitol Group, as part of a portfolio of malls, for an aggregate purchase price for the portfolio of $1.4 billion.

In February 2016, Starwood Capitol Group announced a $50 million expansion of the mall, adding an additional 200,000 square feet.

Dick's Sporting Goods closed in February 2021, in favor of the location at Concord Mills Mall. Apple Inc. closed their store without notice on March 1, 2023 due to 3 shootings at the mall in 75 days.

Anchor stores
The mall's anchor stores include:

 * AMC Theatres
 * Belk (180000 sqft
 * Dillard's (186000 sqft
 * Macy's (165000 sqft; opened as Hecht's, converted to Macy's in 2006.

Junior anchor stores

 * H&M (25600 sqft; Space previously occupied by Borders Books and Music from 2005 to 2011, remodeled as an H&M in 2014.

Former anchor stores

 * Dick's Sporting Goods (75000 sqft; closed in February 2021