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Dorothy Arzner

Dorothy Emma Arzner (January 3, 1897 – October 1, 1979) was an American film director whose career in Hollywood spanned from the silent era of the 1920s into the early 1940s. With the exception of longtime silent film director Lois Weber, from 1927 until her retirement from feature directing in 1943, Arzner was the only female director working in Hollywood. She was one of a very few women able to establish a successful and long career in Hollywood as a film director until the 1970s. Arzner made a total of twenty films between 1927 and 1943 and launched the careers of a number of Hollywood actresses, including Katharine Hepburn, Rosalind Russell, and Lucille Ball. Arzner was the first woman to join the Directors Guild of America and the first woman to direct a sound film.

Early life
Arzner was born in San Francisco, California, in 1897 to Jenetter (née Young) and Louis Arzner but grew up in Los Angeles, where her father owned the Hoffman Café,   "a famous Hollywood restaurant next to a theatre". Her parents' restaurant was the first place Arzner came into contact with Hollywood elite; it was frequented by many silent film stars and directors, including Mary Pickford, Mack Sennett, and Douglas Fairbanks. After finishing high school at the Westlake School for Girls in Los Angeles, she enrolled at the University of Southern California, where she spent two years studying medicine with hopes of becoming a doctor. During World War I she joined a local Southern California ambulance unit. After spending a summer working in the office of a respected surgeon, however, Arzner decided that she did not want a career in medicine. "I wanted to be like Jesus," she said. "'Heal the sick and raise the dead,' instantly, without pills, surgery, et cetera."

Early career
After World War I the film industry was in need of workers. According to Arzner herself this was her opportunity to get a foot in the door. "It was possible for even inexperienced people to have an opportunity if they showed signs of ability or knowledge" she said in a 1974 interview published in Cinema. A girl friend from college suggested Arzner meet with William DeMille, a major director for Famous Players–Lasky Corporation, the parent company of Paramount. Arzner told the Sunday Star in 1929 that the friend thought she would be well suited to the industry. "Then she drove me over to the Paramount studio and dumped me out in front of the main office" she said.

When Arzner met with DeMille in 1919, he asked her in which department she would like to start working. "I might be able to dress sets," Arzner replied. After asking her a question about the furniture in his office that she did not know the answer to, DeMille suggested Arzner explore the different departments for a week and talk to his secretary. Arzner spent the week watching the sets at work, including that of Cecil DeMille, after which she made the observation "If one was going to be in this movie business, one should be a director because he was the one who told everyone else what to do."

At the recommendation of DeMille's secretary, Arzner decided to start in the script department, typing scripts so she could learn "what the film was to be all about." Within six months Arzner became an editor at a subsidiary of Paramount, Realart Studio, where she edited 52 films. In 1922, she was recalled to Paramount proper to edit the Rudolph Valentino film Blood and Sand (1922). This proved to be Arzner's opportunity to try her hand at directing. Although she went uncredited, Arzner shot some of the bull-fighting scenes for the film and edited this footage, intercutting it with stock footage, thereby saving Paramount thousands of dollars. Arzner's work on Blood and Sand caught the attention of director James Cruze who would later employ her as a writer and editor for a number of his films. According to Arzner, Cruze told people she was "his right arm." She eventually wrote the shooting script for and edited Cruze's Old Ironsides (1926).

Through her work with Cruze, Arzner gained considerable leverage and threatened to leave Paramount for Columbia if she was not given a picture to direct. "I had an offer to write and direct a film for Columbia," Arzner said, "It was then I closed out my salary at Paramount and was about to leave for Columbia." Before leaving, Arzner decided to say goodbye to "someone important and not just leave unnoticed and forgotten," which led her to Walter Wanger, the head of Paramount's New York studio. When she told Wanger she was leaving, he offered her a job in the scenario department and a discussion about directing some time in the future. Arzner replied, "Not unless I can be on a set in two weeks with an A picture. I'd rather do a picture for a small company and have my own way than a B picture for Paramount." Wanger then offered her a chance to direct a comedy based on the play The Best Dressed Woman in Paris, which would later be retitled Fashions for Women (1927). It became Arzner's first picture as a director.

Prior to Fashions for Women, Arzner had not directed a thing. "In fact, I hadn't told anyone to do anything before," she said. The film starred Esther Ralston and was a commercial success. Arzner's success led Paramount to hire her as director for three more silent films, Ten Modern Commandments (1927), Get Your Man (1927), and Manhattan Cocktail (1928), after which she was entrusted to direct the studio's first talking picture, The Wild Party (1929), a remake of a silent film that Arzner had edited.

Directing career
Many of Dorothy Arzner's films had a similar theme of unconventional romance; The Wild Party is about a college student who is attracted to one of her teachers. Honor Among Lovers is about a businessman who is attracted to his secretary, who ends up marrying another, shadier man, which leads to a love triangle. Christopher Strong is a tale of illicit love among the English aristocracy, in which the title character, a married man, falls in love with another woman, after his daughter's boyfriend does the same. Craig's Wife is about a woman who marries the titular character for his money, though this eventually backfires when he has a run-in with the police. Dance, Girl, Dance is about two female dancers who fall for the same man and fight over him.

The Wild Party starred Clara Bow in her first talking picture and Fredric March in his first leading role. Because Bow found it awkward to move around the cumbersome sound equipment, Arzner had a rig made in which a microphone was attached to the end of a fishing rod, thus freeing Bow to move more easily. That invention was the first boom mic. The film, about a college girl, played by Bow, who leads a party lifestyle and falls for one of her professors, played by March, was a huge commercial and critical success. According to William S. Kenly,The Wild Party was such a success that it kicked off a series of films "set on college campuses where the fun-loving, hard-drinking students include coeds who fall in love with their professors."

After The Wild Party, Arzner directed more features for Paramount, including included Sarah and Son (1930), starring Ruth Chatterton, and Honor Among Lovers (1931), starring Claudette Colbert, as well as two where she worked in tandem with director Robert Milton, Charming Sinners (1929) and Behind the Make-Up (1930), for which she was not credited. After 1932, she left the studio to work on a freelance basis. During her time freelancing, Arzner made some of her best-known films: Christopher Strong (1933), with Katharine Hepburn; Craig's Wife (1936), starring Rosalind Russell; and Dance, Girl, Dance (1940), featuring Lucille Ball. Arzner worked with RKO, United Artists, Columbia, and MGM during this time.

Christopher Strong follows a female aviator named Cynthia Darrington, played by Katharine Hepburn, who begins an affair with a married man, Christopher Strong. Towards the end of the film, Strong's wife, Elaine, appears both to acknowledge and forgive Cynthia for the affair. This plot is an example of the way Arzner turned conventional societal views of women upside-down. Instead of pitting the two women against each other, buying into the narrative of women as rivals, Arzner complicates and interrogates typical views of women by portraying a genuine moment of connection between Cynthia and Elaine. In an article for Jumpcut, Jane Gaines argues it's possible to read Christopher Strong as reflecting Arzner's belief that "heterosexual monogamy cripples the imagination and curbs the appetite for living." Arzner herself noted that the film was well-liked at the time but that she never considered it her favorite. "I could hardly consider any one a favorite," she said. "I always saw too many flaws."

Craig's Wife tells the story of Harriet Craig, played by Rosalind Russell, a woman so consumed by the upkeep of her home that nothing else interests her. The film was based on a stage play of the same name by George Kelly but differed in its treatment of its female protagonist. The play, in a much more misogynistic look at the American housewife, sided with Harriet's husband, portraying Harriet as cold and disinterested. Arzner's version turned the story into what So Mayer calls "a plea for women to become their own people rather than beautiful possessions." In her essay The Woman at the Keyhole: Women's Cinema and Feminist Criticism, Judith Mayne writes that "it is Harriet's husband who married for love, not money" whereas Harriet approached the marriage as "a business contract." In this way, Craig's Wife is an example of a running theme in Arzner's work: the repressiveness of heterosexual marriage. Mayer writes that Arzner's films "show again and again that when a man believes he can own a woman and women have to compete for men, then romance, loyalty and friendship go out the window." In Craig's Wife, Arzner offers the possibility of women's community after the instability of heterosexual romance with a final scene between Harriet and her widowed next door neighbor. Both women have been left by their husbands, in vastly different ways, and their next potentially meaningful connection is with each other.

Dance, Girl, Dance is one of Arzner's most celebrated films. Described by Variety as "an unlikely-female-buddy burlesque movie that conceals a withering attack on the male gaze under its showgirl wardrobe of sequins and feathers," the film starred Lucille Ball and Maureen O'Hara as a pair of showgirl best friends. Dance, Girl, Dance is yet another example of the ways in which Arzner subverted and complicated traditional depictions of women and female relationships. The film is Arzner's best-known and most-studied work and thematizes the issues of female performance, female relationships, and social mobility. Most notable, though, is the film's interrogation of the male gaze. As Teresa Geller writes, Dance, Girl, Dance "foregrounds dance as women's avenue to self-expression and economic independence." In a scene in the latter half of the film, O'Hara's character, Judy, stops her stage performance to directly address the male audience watching her act. Judy confronts the men with a stirring admonishment of their objectification of women. In feminist film studies, this scene has been read as a "returning" of the male gaze and a larger address to the real-life audience, not just the diegetic audience within the film.

Later career
In 1943, after making First Comes Courage (1943), Arzner retired from Hollywood. Though her reasons for retirement are not known, it is speculated that it was due to a decline in the critical and commercial performance of her films. It could also have been due to the increase of systemic sexism and homophobia that followed the implementation of the Hays Code. Despite leaving Hollywood, Arzner continued to work in the field of film. She made Women's Army Corps training films during World War II.

In 1950, Arzner became associated with the Pasadena Playhouse, a well-known theatre company in southern California, where she founded filmmaking classes. She produced some plays and starred in a radio program called You Wanna Be a Star. In 1952, she joined the staff of the College of the Arts of the Playhouse as the head of the Cinema and Television Department. She taught first-year courses in cinema at the university. In the late fifties, she became the entertainment and publicity consultant at the Pepsi-Cola Company, with the influence of her friend Joan Crawford, who was married to Pepsi president Alfred Steele. Arzner made a series of successful commercials for Pepsi, most of them with Crawford.

In 1961, Arzner joined the UCLA School of Theater, Film and Television, in the Motion Picture division as a staff member, where she spent four years supervising advanced cinema classes before retiring in June 1965. There, she taught Francis Ford Coppola and became an influence on his later work. Arzner's documents, files and films are preserved in Cinema and Television File in UCLA, thanks to Jodie Foster, who raised sufficient funds for their maintenance.

Personal life and death
Dorothy Arzner was born in San Francisco, California on January 3, 1897, then moved with her parents, Louis and Jenetter Arzner, to Los Angeles, where her father opened a very prestigious restaurant next to a theatre in Hollywood. Arzner spent her childhood surrounded by celebrities who came to the restaurant, including Maude Adams, Sarah Bernhardt, and David Warfield, among others, but she was so used to them that she was never attracted to the cinema world.

Arzner began studying for a medical degree at the University of Southern California, but in a 1974 interview with Karin Kay and Gerald Peary published in Cinema, she said "With a few summer months in the office of a fine surgeon and meeting with the sick, I decided that was not what I wanted. I wanted to be like Jesus – 'Heal the sick and raise the dead', instantly, without surgery, pills, etcetera." It was then, two years into her degree, that she left and decided to find a job so she could acquire economic independence. Arzner, in spite of having abandoned the degree, had a broad education, which included architecture and art history courses. As soon as she left the university she began working for Paramount Studios doing jobs such as that of a cutter or editor, work for which she would receive a credit on Blood and Sand (1922). Later, the studios would offer her a two-year contract as a director, after which she began a freelance career.

Arzner would maintain a forty-year relationship with Marion Morgan, a dancer and choreographer who was sixteen years older than Arzner. Morgan choreographed some dancing sequences in some of Arzner's movies, such as Dance, Girl, Dance. Even though she tried to keep her private life as private as possible, Arzner was linked romantically with a number of actresses, including Alla Nazimova and Billie Burke. It was rumored, though never confirmed, that Arzner also had relationships with Joan Crawford and Katharine Hepburn. She never hid her sexual orientation, nor her identity; her clothing was unconventional for a woman of that time, as she wore suits or straight dresses.

In 1930, Arzner and Morgan moved to Mountain Oak Drive, where they lived until Morgan's death in 1971. While they lived in Hollywood, Arzner assisted various cinematographic events. In her last years, Arzner left Hollywood and went to live in the desert. In 1979, at the age of 82, Arzner died in La Quinta, California.

Legacy
Arzner's work, as both a female and lesbian filmmaker, has been an important area of film studies. Perhaps due to her leave from Hollywood in the 1940s, much of her work was all but forgotten until the 1970s, when she was rediscovered by feminist film theorists. Arzner's films inspired some of the earliest forms of feminist film criticism, including Claire Johnston's landmark 1973 essay, "Women's Cinema as Counter-Cinema". Arzner's films are notable for the depictions of women's relationships, with Arnzer typically reversing societal expectations of women, allowing them to find solidarity with one another. In addition to this, many of her films, such as Working Girls (1931), analyze the role of traditional femininity in women's lives, often criticizing the importance society places on it.

Since the resurgence of Arzner's films, they have been studied by feminist and gay theorists alike for their depictions of gender and female sexuality, as well as for Arzner's focus on the female relationship.

Tributes
For her achievements in the field of motion pictures, Arzner was awarded a star on the Hollywood Walk of Fame at 1500 Vine Street, the only award she received.

In 1972, the First International Festival of Women's Films honored her by screening "The Wild Party", and her oeuvre was given a full retrospective at the Second Festival in 1976. In 1975, the Directors Guild of America honored her with "A Tribute to Dorothy Arzner." During the tribute, a telegram from Katharine Hepburn was read: "Isn't it wonderful that you've had such a great career, when you had no right to have a career at all?"

In March 2018, Paramount dedicated its Dressing Room building to Arzner.

In popular culture
R.M. Vaughan's 2000 play, Camera, Woman depicts the last day of Arzner's career. In the play, Harry Cohn fires her over a kissing scene between Merle Oberon and fictitious actor Rose Lindstrom – the name of a character played by Isobel Elsom in Arzner's last film, First Comes Courage, in which Oberon starred – in a never-completed final film. The play also depicts Arzner and Oberon as lovers. It is told in a prologue, four acts, and an epilogue in the form of a post-show interview that contains actual quotations from Arzner.

S. Louisa Wei's 2014 feature documentary, Golden Gate Girls, compares the media representation of Arzner with that of Esther Eng, Hong Kong's first woman director who was a Chinese American. Judith Mayne, the author of Directed by Dorothy Arzner, is interviewed in the documentary, saying, "I love the fact that history of woman filmmakers now would include Dorothy Arzner and Esther Eng as the two of the real exceptions, who proved it was entirely possible to build a successful film career without necessarily being a part of mainstream identity."

In the 2022 film Babylon, which portrays a fictionalized, exaggerated version of 1920s Hollywood, the character of director Ruth Adler is mainly inspired by Arzner and her collaborations with Clara Bow.

title: Dorothy Arzner


text: User talk:68.104.82.86

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

title: User talk:68.104.82.86


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Wikipedia:Articles for deletion/Mrplowd

 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 deleted already. Mindspillage (spill yours?) 04:03, 15 Jun 2005 (UTC)

Mrplowd
Vanity article on a ten-yr-old forum member. Definitely not notable, and self-promotion. I have left a message on the anon's talk page telling them how to sign up. Harro5 06:24, May 31, 2005 (UTC)
 * Delete drini ☎ 17:12, 6 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.

title: Wikipedia:Articles for deletion/Mrplowd


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User talk:Shikhani

Desenvolvimento: Qual Desenvolvimento?

Um dos temas mais actuais nos media africanos é o Desenvolvimento, mas que desenvolvimento é este, como se pode defini-lo? Contrariamente ao que Marx e Engels analisaram e previram os países atrasados não foram arrebatados pela marcha do progresso. De facto, de acordo com David Landes (1989) in Repensado o Desenvolvimento.

“Duas gerações a mais de experiência colonialista foram suficientes para derrubar esse conceito simplório dos socialistas (e outros observadores). Os programas económicos das nações capitalistas visavam a promoção dos interesses domésticos. Poderiam também ajudar o desenvolvimento de suas colónias – na verdade, geralmente o fizeram – mas como um subproduto e, de qualquer modo, era sempre uma espécie de desenvolvimento bem diferente do que aquele que se dava na nação-mãe”.

Com o colapso do sistema colonial as ex-colónias continuaram na sua condição de subproduto com um “desenvolvimento” condicionado às necessidades dos estados mais desenvolvidos.

Outros pensadores aglutinados na corrente da Economia de Desenvolvimento consideram que ninguém tem condições de esperar enquanto as forças naturais de mercado produzem seus efeitos benéficos, com a agravante de produzirem efeitos colaterais como a especialização das economias, vantajosas mas desequilibradas e vulneráveis a oscilação de preços e a factores político-sociais, como por exemplo os países exportadores de um ou dois bens básicos (repúblicas de bananas, cacau ou café incluindo petróleo).

Nesta perspectiva, os modelos económicos de desenvolvimento devem ser repensados. Quando se fala de desenvolvimento no continente africano do que se fala exactamente? Da Nigéria com uma produção de milhões de barris de petróleo diários, um pib per capita elevadíssimo, mas com um índice de desenvolvimento humano baixo? De países como Zâmbia, Moçambique onde os programas de reajustamento estrutural recomendados pelo FMI e Banco Mundial provocaram descalabro nas suas fracas e afectadas economias?

O fracasso de muitos programas ambiciosos de desenvolvimento em grande parte do Terceiro Mundo leva à procura de explicações, onde de acordo com o paradigma o crescimento é um fenómeno natural e a estagnação consequência da interferência de forças não económicas e da exploração.

Alguns economistas, incluindo africanos, são famosos por apontar os erros da avaliação e desempenho e a corrupção dos planeadores dos governos e administradores, os mais radicais disparam no sentido da cobiça capitalista e das trocas desiguais.

É inegável que o colonialismo formal acabou, mas os laços económicos desiguais e a dominação sobreviveram ao fim da dependência política. Ultimamente floresce a ideia forte, principalmente vinda da América Latina do novo estágio do colonialismo (combatendo ferozmente a OMC, GATT etc.), com conceitos como: dependência, comércio desigual, enquanto que em África vinga a corrente da incapacidade política em todas as formas.

De uma ou de outra forma, estamos reféns de ideias ou correntes de fora, que analisam, estudam, concluem e criam modelos sobre a nossa produção, nosso peixe, nosso minério, nossas bananas e nosso algodão.

Neste contexto, como poderão, (ou se será possível através da) os media africanos (e não só) desenvolver um pensamento, positivista, favorável ao desenvolvimento económico, como a que se assiste em países como a Maurícias, África do Sul, Tunísia, com mais valia para os problemas e desafios económicos do continente. A ideia principal é que apesar de atrasado o continente não está condenado a ficar pobre para sempre, pois esta perspectiva de caso difícil leva a decisões políticas e económicas erradas de parte a parte, dos países doadores e dos próprios naturais e floresce a perspectiva de caos e caso perdido.

title: User talk:Shikhani


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Optional Protocol on the Sale of Children, Child Prostitution and Child Pornography

The Optional Protocol on the Sale of Children, Child Prostitution and Child Pornography is a protocol to the Convention on the Rights of the Child and requires parties to prohibit the sale of children, child prostitution and child pornography.

The Protocol was adopted by the United Nations General Assembly in 2000 and entered into force on 18 January 2002. As of April 2024, 178 states are party to the protocol.

According to the preamble, the protocol is intended to achieve the purposes of certain articles in the Convention on the Rights of the Child, where the rights are defined with the provision that parties should take "appropriate measures" to protect them. Article 1 of the protocol requires parties to protect the rights and interests of child victims of trafficking, child prostitution and child pornography, child labour and especially the worst forms of child labour.

The remaining articles in the protocol outline the standards for international law enforcement covering diverse issues such as jurisdictional factors, extradition, mutual assistance in investigations, criminal or extradition proceedings and seizure and confiscation of assets as well.

It also obliges parties to pass laws within their own territories against these practices "punishable by appropriate penalties that take into account their grave nature."

Definitions
The Protocol requires parties to prohibit the sale of children, child prostitution and child pornography. Article 2 defines the prohibition:
 * Sale of children – Any act or transaction whereby a child is transferred by any person or group of persons to another for remuneration or any other consideration.
 * Child prostitution – Use of a child in sexual activities for remuneration or any other form of consideration.
 * Child pornography – Any representation, by whatever means, of a child engaged in real or simulated explicit sexual activities or any representation of the sexual parts of a child for primarily sexual purposes.

The Convention generally defines a child as any human being under the age of 18, unless an earlier age of majority is recognized by a country's law.

Parties and reservations
List of countries that are parties to the protocol :

Afghanistan; Albania; Algeria; Andorra; Angola; Antigua and Barbuda; Argentina; Armenia; Australia; Austria; Azerbaijan; Bahamas; Bahrain; Bangladesh; Belarus; Belgium; Belize; Benin; Bhutan; Bolivia; Bosnia and Herzegovina; Botswana; Brazil; Brunei Darussalam; Bulgaria; Burkina Faso; Burundi; Cabo Verde; Cambodia; Cameroon; Canada; Central African Republic; Chad; Chile; China; Colombia; Comoros; Congo; Costa Rica; Côte d'Ivoire; Croatia; Cuba; Cyprus; Czech Republic; Democratic People's Republic of Korea; Democratic Republic of the Congo; Denmark; Djibouti; Dominica; Dominican Republic; Ecuador; Egypt; El Salvador; Equatorial Guinea; Eritrea; Estonia; Eswatini; Ethiopia; Fiji; Finland; France; Gabon; Gambia; Georgia; Germany; Ghana; Greece; Grenada; Guatemala; Guinea; Guinea-Bissau; Guyana; Haiti; Holy See; Honduras; Hungary; Iceland; India; Indonesia; Iran; Iraq; Israel; Italy; Jamaica; Japan; Jordan; Kazakhstan; Kenya; Kiribati; Kuwait; Kyrgyzstan; Lao People's Democratic Republic; Latvia; Lebanon; Lesotho; Liberia; Libya; Liechtenstein; Lithuania; Luxembourg; Madagascar; Malawi; Malaysia; Maldives; Mali; Malta; Marshall Islands; Mauritania; Mauritius; Mexico; Micronesia (Federated States of); Monaco; Mongolia; Montenegro; Morocco; Mozambique; Myanmar; Namibia; Nauru; Nepal; Netherlands; New Zealand; Nicaragua; Niger; Nigeria; North Macedonia; Norway; Oman; Pakistan; Panama; Paraguay; Peru; Philippines; Poland; Portugal; Qatar; Ireland; Republic of Korea; Republic of Moldova; Romania; Russian Federation; Rwanda; Samoa; San Marino; Saudi Arabia; Senegal; Serbia; Seychelles; Sierra Leone; Slovakia; Slovenia; Solomon Islands; South Africa; South Sudan; Spain; Sri Lanka; St. Lucia; St. Vincent and the Grenadines; State of Palestine; Sudan; Suriname; Sweden; Switzerland; Syrian Arab Republic; Tajikistan; Thailand; Timor-Leste; Togo; Tunisia; Turkey; Turkmenistan; Uganda; Ukraine; United Arab Emirates; United Kingdom of Great Britain and Northern Ireland; United Republic of Tanzania; United States of America; Uruguay; Uzbekistan; Vanuatu; Venezuela; Viet Nam; Yemen; Zambia; Zimbabwe

China
In China's ratification, the Hong Kong Special Administrative Region was excluded, but the Macao Special Administrative Region was included.

Denmark
On ratification on 24 July 2003, Denmark excluded the territories of the Faroe Islands and Greenland. This exclusion was withdrawn on 10 October 2016.

Netherlands
Initially the ratification only applied to the European part of the Netherlands. On 17 October 2006, it was extended to Aruba, on 10 October 2010, to the Caribbean part of the Netherlands (Bonaire, Sint Eustatius and Saba) and on 20 September 2022 to Curaçao. The convention does not apply to Sint Maarten.

New Zealand
New Zealand's ratification excluded the islands of Tokelau.

Qatar
Qatar added in its signing statement that it was "subject to a general reservation regarding any provisions in the protocol that are in conflict with the Islamic Shariah." Objections to this reservation were registered in the signing statements by Austria, France, Germany, Norway, Spain and Sweden. Qatar withdrew the reservation on 18 June 2008, and currently has no reservations to the Protocol.

United Kingdom
The United Kingdom's original ratification was only applicable to the UK and not the Crown dependencies or dependent territories. On 29 April 2014, the Bailiwick of Jersey and on 4 November 2020, Guernsey and Alderney were included.

Vietnam
On ratification, Vietnam included reservations regarding article 5 (1), (2), (3), and (4) of the protocol (which relate to the extradition of those who have offended under the protocol). The reservation were withdrawn on 26 March 2009.

Definitions of child pornography
Belgium and the US have defined child pornography in regards to the protocol as "visual representation of a child engaged in real or simulated sexual activities or of the genitalia of a child where the dominant characteristic is depiction for a sexual purpose".

Denmark and Malaysia's definition in their protocol declarations is "any visual representation".

Sweden has clarified its interpretation of child pornography as applying only to the visual representation of sexual acts with a minor, and not applying to adults acting, posing, or dressing, as a minor.


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Talk:Turner Classic Movies

Merger proposal of 31 Days of Oscar to here
I propose to merge 31 Days of Oscar into Turner Classic Movies. I think that the content in the article about 31 Days of Oscar can easily be explained in the context of Turner Classic Movies, and this article is of a reasonable size that the merging of the network's 31 Days of Oscar event will not cause any problems as far as the size of this article is concerned. Pahiy (talk) 17:42, 22 January 2020 (UTC)
 * Support The information in 31 Days of Oscar would really make sense in this article. ~ HAL  333  01:30, 6 April 2020 (UTC)

TCM is still owned by Turner Broadcasting System
I changed the Owner to Turner Broadcasting System with Warner Media in small letters. Look at the TCM.com website it clearly states "TM & © 2019 Turner Broadcasting System, Inc. A WarnerMedia Company. All Rights Reserved.". Nowhere on the site does it state that it's part of Warner Bros. or Warner Bros. Entertainment. Please DO NOT change this unless you can provide proof positive proof that Turner changed hands to a new division. Thank you. — Preceding unsigned comment added by MattNor91 (talk • contribs) 15:28, 9 April 2019 (UTC)
 * Currently says "TM & © 2019 Turner Classic Movies, Inc. A WarnerMedia Company. All Rights Reserved." It's probably safe to refer to it as a WarnerMedia channel. Trivialist (talk) 21:44, 11 April 2019 (UTC)

Semi-protected edit request on 3 October 2019
2600:100E:BE10:EC5:9863:B6DE:6CD2:9D6E (talk) 11:13, 3 October 2019 (UTC)

Add this under satellite availability
 * sat serv 4 = OrbyTV
 * sat chan 4 = Channel 135
 * Red information icon with gradient background.svg Not done: As OrbyTV doesn't have a Wikipedia article, I don't think it's eligible to be in the infobox. Sceptre (talk) 11:51, 3 October 2019 (UTC)

title: Talk:Turner Classic Movies


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2001 (Dr. Dre album)

2001 (also referred to as The Chronic 2001 or The Chronic II) is the second studio album by American record producer and rapper Dr. Dre. It was released on November 16, 1999, by Aftermath Entertainment and Interscope Records as the follow-up to his 1992 debut album, The Chronic. The album was produced mainly by Dr. Dre and Mel-Man, as well as Lord Finesse, and features several guest contributions from Hittman, Snoop Dogg, Kurupt, Xzibit, Eminem, and Nate Dogg.

2001 exhibits an expansion on Dre's debut G-funk sound and contains gangsta rap themes such as violence, crime, promiscuity, sex, drug use, and street gangs. The album debuted at number 2 on the U.S. Billboard 200 chart, selling 516,000 copies in its first week. It produced three singles that attained chart success and has been certified 6× Platinum by the Recording Industry Association of America (RIAA); as of August 2015 the album has sold 7,800,000 copies in the United States. 2001 received generally positive reviews from critics, many of whom praised the production and music, although some found the lyrics morally objectionable.

Title and release
In 1995, the original successor to The Chronic was to be titled The Chronic II: A New World Odor (Poppa's Got A Brand New Funk). However, this version of the album was scrapped after Dre departed from Death Row Records.

After the creation of Aftermath Entertainment, the album was initially titled Chronic 2000 until Priority Records, who had become Death Row Records' new distributor decided, in conjunction with Death Row's founder and then-CEO Suge Knight, to call their newest compilation album Chronic 2000. Death Row owned the trademark for The Chronic as did Interscope Records who previously distributed the Death Row catalogue. Knight became aware of the title of Dr. Dre's album when notification for the trademark use was required by his label, Aftermath Records. When Aftermath heard that Priority and Death Row planned to use the same name for their album, Dre sought legal action. According to his lawyer Howard King, "both sides agreed that we'd allow the other to use the title, and then let the public decide which one they preferred".

After the release of Death Row's Chronic 2000, Interscope announced that Dr. Dre's album would now be named Chronic 2001: No Seeds through teaser posters displaying a "Summer '99" release date. Amongst the roster of guests listed on the posters were rappers Sticky Fingaz and RBX, who neither were featured on the finished album. Years later, in an interview with Sticky Fingaz, he stated the song featuring himself and RBX was the Eminem song "Remember Me?", which, at Eminem's request, was put aside for his then-upcoming album, The Marshall Mathers LP. Shortly after, Interscope began the main promotional campaign displaying a new release date, "October 26th 1999", and a new logo that drops the subtitle No Seeds. At this point, Priority decided not to honor the original agreement and threatened to sue Dr. Dre if the Chronic trademark were to be used in any capacity. Dre eventually decided to release the album as simply 2001 on November 16, 1999

In an interview with The New York Times, Dr. Dre spoke about his motivation to record the album and how he felt that he had to prove himself to fans and media again after doubts arose over his production and rapping ability. These doubts came from the fact that he had not released a solo studio album since 1992's The Chronic. He stated:

"For the last couple of years, there's been a lot of talk out on the streets about whether or not I can still hold my own, whether or not I'm still good at producing. That was the ultimate motivation for me. Magazines, word of mouth, and rap tabloids were saying I didn't have it anymore. What more do I need to do? How many platinum records have I made? O.K., here's the album – now what do you have to say?"

The album was first intended to be released like a mixtape; with tracks linked through interludes and turntable effects, but it was changed to be set up like a film. Dr. Dre stated, "Everything you hear is planned. It's a movie, with different varieties of situations. So you've got build-ups, touching moments, aggressive moments. You've even got a 'Pause for Porno.' It's got everything that a movie needs." Speaking of how he did not record the album for club or radio play and that he planned the album simply for entertainment with comical aspects throughout, he commented "I'm not trying to send out any messages or anything with this record. I just basically do hard-core hip-hop and try to add a touch of dark comedy here and there. A lot of times the media just takes this and tries to make it into something else when it's all entertainment first. You shouldn't take it too seriously."

Recording
Some of the lyrics on the album used by Dre have been noted to be penned by several ghostwriters including Eminem, Jay-Z, and Hittman. Royce da 5'9" was rumored to be a ghostwriter on the album and though he was noted for writing the last track, "The Message", he is not credited by his legal name or alias in the liner notes. A track he recorded on the album, originally named "The Way I Be Pimpin'", was later retouched as "Xxplosive". "The Way I Be Pimpin'" has Dr. Dre rapping penned verses by Royce and features Royce's vocals on the chorus. Royce wrote several tracks such as "The Throne Is Mine" and "Stay in Your Place" which were later cut from the album. The tracks have been leaked later on several mixtapes, including Pretox.

The album's production expanded on that of The Chronic, with new, sparse beats and reduced use of samples which were prominent on his debut album. Co-producer Scott Storch talked of how Dr. Dre used his collaborators during recording sessions: "At the time, I saw Dr. Dre desperately needed something. He needed a fuel injection, and Dre utilized me as the nitrous oxide. He threw me into the mix, and I sort of tapped on a new flavor with my whole piano sound and the strings and orchestration. So I'd be on the keyboards, and Mike [Elizondo] was on the bass guitar, and Dre was on the drum machine." Josh Tyrangiel of Time has described the recording process which Dr. Dre employs, stating "Every Dre track begins the same way, with Dre behind a drum machine in a room full of trusted musicians. (They carry beepers. When he wants to work, they work.) He'll program a beat, then ask the musicians to play along; when Dre hears something he likes, he isolates the player and tells him how to refine the sound."

Production
The album primarily featured co-production between Dr. Dre and Mel-Man and was generally well-received by critics. AllMusic writer Stephen Thomas Erlewine noted that Dr. Dre had expanded on the G-funk beats on his previous album, The Chronic, and stated, "He's pushed himself hard, finding new variations in the formula by adding ominous strings, soulful vocals, and reggae, resulting in fairly interesting recontextualizations" and went on to say, "Sonically, this is first-rate, straight-up gangsta."

Entertainment Weekly's Tom Sinclair depicted the album as "Chilly keyboard motifs gliding across gut-punching bass lines, strings and synths swooping in and out of the mix, naggingly familiar guitar licks providing visceral punctuation". NME described the production as "patented tectonic funk beats and mournful atmospherics". PopMatters praised the production, stating that "the hip-hop rhythms are catchy, sometimes in your face, sometimes subtle, but always a fine backdrop for the power of Dre's voice." Jon Pareles of The New York Times mentioned that the beats were "lean and immaculate, each one a pithy combination of beat, rap, melody and strategic silences".

The album marked the beginning of Dr. Dre's collaboration with keyboardist Scott Storch, who had previously worked with The Roots and is credited as a co-writer on several of 2001's tracks, including the hit single "Still D.R.E.". Storch would later go on to become a successful producer in his own right and has been credited as a co-producer with Dr. Dre on some of his productions since.

Lyrics
The lyrics on the album received criticism and created some controversy. They include many themes associated with gangsta rap, such as violence, promiscuity, street gangs, drive-by shootings, crime, and drug usage. Stephen Thomas Erlewine said that the only subject matter on the album was "violence, drugs, pussy, bitches, dope, guns, and gangsters" and that these themes have become repetitive and unchanged in the last ten years. Critics noted that Dr. Dre had differed from his effort to "clean up his act" which he tried to establish with his 1996 single, "Been There, Done That" from Dr. Dre Presents...The Aftermath.

NME mentioned that the album was full of "pig-headed, punk-dicked, 'bitch'-dissing along with requisite dollops of ho-slapping violence, marijuana-addled bravado and penis-sucking wish fulfillment." Massey noted that the lyrics were overly explicit but praised his delivery and flow: "His rhymes are quick, his delivery laid back yet full of punch." The rhymes involve Dr. Dre's return to the forefront of hip hop, which is conveyed in the singles "Still D.R.E." and "Forgot About Dre". Many critics cited the last track, "The Message"; a song dedicated to Dr. Dre's deceased brother, as what the album could have been without the excessively explicit lyrics, with Massey calling it "downright beautiful" and "a classic of modern rap".

Singles
Three singles were released from the album: "Still D.R.E.", "Forgot About Dre" and "The Next Episode". Other tracks "Fuck You", "Let's Get High", "What's the Difference" and "Xxplosive" were not officially released as singles but received some radio airplay which resulted in them charting in the Hot R&B/Hip-Hop Singles & Tracks. "Still D.R.E." was released as the lead single in October 1999. It peaked at number 93 on the Billboard Hot 100, number 32 on the Hot R&B/Hip-Hop Singles & Tracks and reached number 11 on the Hot Rap Singles. It reached number six on the UK single charts in March 2000. The song was nominated at the 2000 Grammy Awards for Best Rap Performance by a Duo or Group, but lost to The Roots and Erykah Badu's "You Got Me".

"Forgot About Dre" was released as the second single in 2000 and like the previous single, it was a hit on multiple charts. It reached number 25 on the Billboard Hot 100, number 14 on the Hot R&B/Hip-Hop Singles & Tracks and number 3 on the Rhythmic Top 40. It reached number seven on the UK single charts in June 2000. The accompanying music video won the MTV Video Music Award for Best Rap Video in 2000. The song won Dr. Dre and Eminem Best Rap Performance by a Duo or Group at the 2001 Grammy Awards.

"The Next Episode" was released as the third and final single in 2000. It peaked at number 23 on the Billboard Hot 100, number 11 on the Hot R&B/Hip-Hop Singles & Tracks and number 2 on the Rhythmic Top 40. It peaked at number three on UK single charts in February 2001. It was nominated at the 2001 Grammy Awards for Best Rap Performance by a Duo or Group, but the award went to another single from the same album to Dr. Dre and Eminem for "Forgot About Dre".

Critical reception
2001 received generally positive reviews from critics. Stephen Thomas Erlewine of AllMusic stated, "2001 isn't as consistent or striking as Slim Shady, but the music is always brimming with character." Entertainment Weekly's Tom Sinclair praised the production, calling it "uncharacteristically sparse sound" from Dr. Dre and that it was as "addictive as it was back when over 3 million record buyers got hooked on The Chronic and Snoop Dogg's Dre-produced Doggystyle" and went on to commend Dr. Dre, stating, "If any rap producer deserves the title "composer", it's he." NME mentioned that Dr. Dre didn't expand the genre, but it was "powerful enough in parts, but not clever enough to give Will Smith the fear". PopMatters writer Chris Massey declared that "Musically, 2001 is about as close to brilliant as anyone gangsta rap album might possibly get." Christopher John Farley of Time stated that "The beats are fresh and involving, and Dre's collaborations with Eminem and Snoop Dogg have ferocity and wit." Although he was ambivalent towards the album's subject matter and guest rappers, Greg Tate of Spin was pleasantly surprised by "the most memorable MC'ing on this album com[ing] from Dre himself, Eminem notwithstanding" and stated, "Whatever one's opinion of the sexual politics and gun lust of Dre's canon, his ongoing commitment to formal excellence and sonic innovation in this art form may one day earn him a place next to George Clinton, if not Stevie Wonder, Duke Ellington, or Miles Davis."

In a negative review, Robert Christgau from The Village Voice found Dr. Dre's lyrics distastefully misogynistic, writing "It's a New Millennium, but he's Still S.L.I.M.E. ... For an hour, with time out for some memorable Eminem tracks, Dre degrades women every way he can think of, all of which involve his dick." Erlewine spoke of how the number of guest rappers affected the album and questioned his reasons for collaborating with "pedestrian rappers". He claimed that "the album suffers considerably as a result [of these collaborations]". Erlewine criticized the lyrics, which he said were repetitive and full of "gangsta clichés". Sinclair mentioned similar views of the lyrics, calling them "filthy", but noted "none of [this] should diminish Dre's achievement". NME spoke of how the lyrics were too explicit, stating, "As the graphic grooves stretch out, littered with gunfire, bombings and 'copters over Compton, and the bitch-beating baton is handed from Knock-Turnal to Kurupt, 2001 reaches gangsta-rap parody-level with too many tracks coming off like porno-Wu outtakes." Massey referred to the lyrics as a "caricature of an ethos [rather] than a reflection of any true prevailing beliefs."

In 2006, Hip Hop Connection ranked 2001 number 10 on its list of the 100 Best Albums (1995–2005) in hip hop. In a 2007 issue, XXL gave the album a retrospective rating of "XXL", their maximum score. In Rolling Stone's The Immortals – The Greatest Artists of All Time, where Dr. Dre was listed at number 54, Kanye West talked of how the track "Xxplosive" inspired him: "'Xxplosive', off 2001, that's [where] I got my entire sound from—if you listen to the track, it's got a soul beat, but it's done with those heavy Dre drums. Listen to 'This Can't Be Life,' a track I did for Jay-Z's Dynasty album, and then listen to 'Xxplosive'. It's a direct bite."

Commercial performance
During the hype of the nu metal era, the band Korn kept Dr. Dre from hitting number 1 in America's Billboard 200 with their album Issues, which sold 575,000 copies in its first week. As a result, the album debuted at number 2 on the chart, with first-week sales of 516,000 copies. It also entered at number one on Billboard's Top R&B/Hip-Hop Albums chart. The album was successful in Canada, where it reached number 2 on the charts. The record was mildly successful in Europe, reaching number 4 in the United Kingdom, number 7 in Ireland, number 15 in France, number 17 in the Netherlands and number 26 in Norway. It peaked at number 11 on the New Zealand album chart. Closing out the year 2000, the album was number 5 on the Billboard Top Albums and number one on the Billboard Top R&B/Hip-Hop Albums chart. It re-entered the charts in 2003, peaking on the UK Albums Top 75 at number 61 and on the Ireland Albums Top 75 at number 30. The album was certified six times Platinum by the Recording Industry Association of America (RIAA) on November 21, 2000. It is Dr. Dre's best selling album, as his previous album, The Chronic, was certified three times platinum. As of August 2015, the album has sold 7,800,000 copies in the United States.

Track listing
Credits adapted from liner notes. All songs produced by Dr. Dre and Mel-Man, except for "The Message" which is produced by Lord Finesse.

Notes
 * "The Watcher" contains additional vocals from Eminem and Knoc-Turn'al
 * "Still D.R.E" was written by Jay-Z.
 * "What's the Difference" contains additional vocals from Phish.
 * "The Next Episode" contains additional vocals from Kurupt and Nate Dogg.
 * "Some L.A. Niggaz" contains uncredited vocals from Hittman.
 * "Housewife" is also featured on Kurupt's album,"Tha Streetz Iz a Mutha"
 * "The Message" contains hidden vocals from Tommy Chong.

Sample credits
 * "Lolo (Intro)" contains a sample of "Deep Note" by James A. Moorer.
 * "Big Ego's" contains samples of "Theme from The Persuaders!" by John Barry and "Love Don't Live Here Anymore" by Rose Royce.
 * "Xxplosive" contains a sample of "Bumpy's Lament" by Soul Mann & the Brothers and interpolates "Ain't No Fun (If the Homies Can't Have None)" by Snoop Dogg.
 * "What's the Difference" contains a sample of "Parce Que Tu Crois" by Charles Aznavour.
 * "Bar One (Skit)" contains a sample of "Poundin'" by Cannonball Adderley.
 * "Light Speed" contains a sample of "I'm Still #1" by Boogie Down Productions.
 * "Forgot About Dre" contains a sample of "The Climb" by No Doubt.
 * "The Next Episode" contains replayed elements of "The Edge" by David McCallum.
 * "Let's Get High" contains samples of "Backstrokin'" by The Fatback Band and "High" by Skyy.
 * "Bitch Niggaz" contains a sample of "Top Billin'" by Audio Two.
 * "The Car Bomb (Skit)" contains a sample of "Time Is Passing" by Sun.
 * "Murder Ink" contains samples of "Halloween Theme" by John Carpenter and "Here Comes the Hotstepper" by Ini Kamoze.
 * "Ed-Ucation" contains samples of "Diamonds Are Forever" by Franck Pourcel.
 * "Housewife" interpolates "Bitches Ain't Shit" by Dr. Dre.

Personnel

 * Dr. Dre – executive producer, performer, producer, drums, mixer
 * Mel-Man – performer, producer, bass
 * Lord Finesse – producer
 * Eminem – performer, vocals, writer
 * Snoop Dogg – performer, vocals
 * Hittman – performer, writer
 * Xzibit – performer
 * Kurupt – performer, vocals
 * Ms. Roq – performer
 * Devin the Dude – performer, vocals
 * Nate Dogg – performer
 * Six-Two – performer
 * Royce da 5'9" – writer
 * MC Ren – vocals
 * Tommy Chong – vocals
 * Knoc-turn'al – performer, vocals
 * Defari – performer
 * Time Bomb – performer
 * King Tee – performer
 * Kokane – performer
 * Mary J. Blige – performer
 * Rell – performer
 * Jake Steed – performer
 * Eddie Griffin – performer
 * Charis Henry – collage concept, performer
 * The D.O.C. – writer, vocals
 * Ian Sanchez – performer
 * Colin Wolfe – bass
 * Mike Elizondo – bass
 * Preston Crump – bass
 * Sean Cruse – guitar
 * Camara Kambon – keyboards
 * Scott Storch – keyboards
 * Jason Hann – percussion
 * Taku Hirano – percussion
 * DJ Pen – scratches
 * Larry Chatman – production manager
 * Kirdis G. Tucker – Aftermath product manager
 * Charles "Big Chuck" Stanton – A&R director
 * Mike Lynn – A&R director
 * Damon "Bing" Chatman – Aftermath project coordinator
 * Michelle Thomas – Interscope product manager
 * Andrew Van Meter – Interscope production coordinator
 * Ekaterina Kenney – Interscope photo shoot coordinator
 * Richard "Segal" Huredia – collage photographer, engineer
 * Brian "Big Bass" Gardner – mastering
 * Paul Foley – album editor
 * Stan Musilik – photographer
 * Donn Thompson – photographer
 * Jason Clark – art director, designer
 * Jay-Z – writer
 * Crystal Johnson – writer

title: 2001 (Dr. Dre album)


text:
Wikipedia:Articles for deletion/Sodaical Liquid

 This page is an archive of the proposed deletion of the article below. Further comments should be made on the appropriate discussion page (such as the article's talk page or on a Votes for Undeletion nomination). No further edits should be made to this page.

The result of the debate was DELETE. -Splash 23:17, 12 September 2005 (UTC)

Sodaical Liquid
Completing vfd--Doc (?) 22:47, 4 September 2005 (UTC)

Apparently a neologism. Sodaical returns no google hits. →Iñgōlemo←  talk  06:29, 2005 May 31 (UTC)
 * Delete agreed --Doc (?) 22:47, 4 September 2005 (UTC)
 * Delete, cute but crap. Paul 01:36, 7 September 2005 (UTC)
 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in an undeletion request). No further edits should be made to this page.


text:
Bay Area News Group

Bay Area News Group (BANG) is the largest publisher of daily and weekly newspapers in the San Francisco Bay Area, including its flagship The Mercury News. A subsidiary of the Denver-based MediaNews Group, its corporate headquarters is in San Jose, California, and publication offices in San Jose. Since 2010, MediaNews Group has been controlled by Alden Capital. Previously known as ANG (Alameda News Group), the name changed to Bay Area News Group in 2006 after the MediaNews Group bought The Mercury News and Contra Costa Times from McClatchy Co. Most production aspects have now moved to The Mercury News facilities in San Jose, California.

Print
The company structure allows for the ability to share stories between its various newspapers, meaning one reporter can get the story for all the publications. Newspapers BANG publishes include:
 * East Bay Times
 * Marin Independent Journal
 * The Mercury News
 * Santa Cruz Sentinel
 * Vallejo Times Herald
 * Vacaville Reporter

2011 restructuring
On August 23, 2011, the company announced the reorganization of 11 of its newspapers, with shuttering of all of its East Bay nameplates under two new publications as of November 2, 2011. The planned merger and publication reorganization was modified in October 2011, when BANG decided to scrap plans to launch the East Bay Tribune and instead consolidate its East Bay newspapers under the Oakland Tribune name.

 * The Oakland Tribune, Alameda Times-Star, Hayward Daily Review, Fremont Argus and West County Times were scheduled to publish their last editions on November 1, 2011. The following day, subscribers were to get copies of the new East Bay Tribune; instead the mastheads were made local editions of the Oakland Tribune.
 * The Contra Costa Times, San Ramon Valley Times, East County Times, Tri-Valley Herald and San Joaquin Herald were scheduled to become the new The Times.
 * The San Mateo Times was scheduled to publish its last issue on November 1, 2011. As of November 2, 2011, subscribers were to get localized versions of the San Jose Mercury News.

2016 restructuring
In March 2016, BANG announced it would further consolidate its newspapers (other than the Marin Independent Journal) down to two: The East Bay Times and The Mercury News, eliminating the Oakland Tribune and the other papers.

title: Bay Area News Group


text:
Red edge

Red edge refers to the region of rapid change in reflectance of vegetation in the near infrared range of the electromagnetic spectrum. Chlorophyll contained in vegetation absorbs most of the light in the visible part of the spectrum but becomes almost transparent at wavelengths greater than 700 nm. The cellular structure of the vegetation then causes this infrared light to be reflected because each cell acts something like an elementary corner reflector. The change can be from 5% to 50% reflectance going from 680 nm to 730 nm. This is an advantage to plants in avoiding overheating during photosynthesis. For a more detailed explanation and a graph of the photosynthetically active radiation (PAR) spectral region, see.

The phenomenon accounts for the brightness of foliage in infrared photography and is extensively utilized in the form of so-called vegetation indices (e.g. Normalized difference vegetation index). It is used in remote sensing to monitor plant activity, and it has been suggested that it could be useful to detect light-harvesting organisms on distant planets.

title: Red edge


text:
Maryborough, Victoria

Maryborough is a town in Victoria, Australia, on the Pyrenees Highway, 58 km north of Ballarat and 168 km northwest of Melbourne, in the Shire of Central Goldfields. At the 2021 census, the urban centre had a population of 7,769 ., while the larger Level 2 Statistical Area which includes the urban fringe, had 8,160, both an increase of more than 3% since 2016.

History
The area was originally inhabited by the Dja Dja Wurrung people. The first Europeans to settle there were the Simson brothers, who established a sheep station, known as Charlotte Plains, in 1840. In 1854, gold was discovered at White Hill, four kilometres north of Maryborough, attracting a rush of prospectors to the area. At its peak, Maryborough reportedly had a population of up to 50,000. Hoever, the late historian Betty Osborn, of Maryborough-Midlands Historical Society Inc., using a range of contemporary newspapers and government reports, placed the peak population at closer to 30,000.

The town site was surveyed in 1854, with a police camp, Methodist church, and hospital amongst the first infrastructure. The post office opened on 19 October 1854.

The settlement, originally known as Simsons, was renamed Maryborough by gold commissioner James Daly after his County Cork,Ireland birthplace, which still retains that name. One of Victoria's earliest newspapers, The Maryborough Advertiser, was established in 1854. Land sales commenced in 1856, and Maryborough became the area's administrative and commercial centre. It became a Municipal Borough in 1857.

The last gold mine in Maryborough closed in 1918. In 1924 the Maryborough Knitting Mills opened, manufacturing whitewear (cotton underwear), gradually extending into a wider range of cotton, woollen and artificial fibre garments. The Borough of Maryborough became a City in 1961. In 1995 Maryborough became the administrative centre for the post-local government amalgamations Central Goldfields Shire of Victoria.

Climate
Maryborough enjoys a temperate climate with four distinct seasons and is typically dry and mild. The mean minimum January temperature 12.9 °C with the maximum a balmy 28.8 °C. Temperatures above 35 °C are commonly recorded during the summer months. The highest temperature ever recorded was 45.4 °C on 7 February 2009. The mean minimum temperature in July is 3.4 °C, with and average maximum of 12.2 °C. The lowest ever recorded minimum in the city was -4.6 °C on 21 July 1982. Although the city experiences little snow due to its low elevation, frosts are common during the colder winter months.

The city averages 528.1 mm rainfall annually, with a slightly more rainfall falling in the second half of the year, generally only experienced in short bursts of showers, rather than extended periods of rainfall. The dryness of the area, due to poor topographical features places significant pressure on water reserves. Maryborough ended of one of the longest droughts on record during the 2010/2011 summer when it experience some of the highest rainfall on recorded which caused flooding throughout the local area. The city is currently on permanent water restrictions.

Bushfires
Maryborough has been in or around several bushfires, most notably a January 1985 one which killed three people and burned 180 homes.

Demographics
At the 2016 census, 7,921 people resided in Maryborough. Like many regional centres, a high percentage of the population (83.1%) was born in Australia, followed by England (3.2%), New Zealand (0.7%) and the Netherlands (0.5%).

Technicians, trade workers and labourers are the bulk (34.4%) of the workforce. Professionals, salespeople and managers make up other large portions of the employment base.

Churches
Almost 20% of the people describe themselves as Anglican and a third claim no religious affiliation. Other Christian groups include Catholics, Presbyterians, the Salvation Army, Baptists and Australian Christian Churches.

Education
Maryborough has three schools:
 * Highview College
 * Maryborough Education Centre Years Prep–12 and specialist
 * St Augustine's Primary School Grades Prep–6

Culture
The town hosts a market on the first Sunday of each month, a Highland Gathering on New Year's Day (which has been held since 1857), the Golden Wattle Festival in August or September and the Australasian Goldpanning Championships in October or November.

Maryborough also plays host to the Energy Breakthrough in which thousands of students, teachers, parents and spectators from around Australia come to the town to witness a Human Powered Vehicle race where teams can complete up to 888 km in 24 hours.

Music
Maryborough has a number of community bands including the Maryborough City Brass Band, the Maryborough Big Band, the Maryborough and District Pipe Band and the well-known Maryborough Traditional Jazz Ensemble.

Media
The Maryborough Advertiser is the local newspaper in the Central Goldfields region, circulating to over 4000 homes. The 'Addy' as it's known locally, employs 13 local people. It is published every Tuesday and Friday. In 2015–2016 The Maryborough and District Advertiser celebrated 160 years as the printed voice of the community.

In early February 2007 radio transmission of Goldfields FM 99.1 commenced.

Maryborough receives all the major free-to-air television stations (ABC, Prime7, WIN, SC10 and SBS), as well as all new digital channels (ABC2, ABC3, ABC News 24, SBS2, One HD, GO!, 7Two, eleven, 7Mate and gem). Prime7 and WIN are simply the regional affiliates of Channels Seven and Nine, and re-broadcast their network signals. There are slight differences, as Prime7 and WIN each broadcast their own local news bulletins from the Bendigo or Ballarat stations. Both stations also make sure to watermark everything that airs with their own logos — at a larger scale than the Seven and Nine logos. The pay television service Austar is also available to the residents of Maryborough.

Sport
The town has an Australian Rules football team competing in the major Bendigo Football League and another team, Maryborough Giants, competing in the minor Maryborough Castlemaine District Football League.

Maryborough has a soccer club, with local teams competing in Under 9, Under 13, and Under 17 competitions, and a senior team that competes in the Ballarat & District Soccer Association. Social and competitive futsal competitions are held throughout the year.

Maryborough Harness Racing Club conducts regular meetings at its racetrack located at nearby Carisbrook.

Golfers play at the course of the Maryborough Golf Club on Park Road.

There are three cricket clubs in Maryborough. The Colts Phelans Cricket Club, the M.K.M. Cricket Club, and the Maryborough Cricket all compete in the Maryborough District Cricket Association.

Maryborough, after years of having a strong competition in grass hockey, folded in 2013, leaving them with only the one team competing in the B women level in the Hockey Central Vic in Bendigo. Maryborough were premiers 2011 and 2012.

In basketball, the Maryborough Blazers compete in the Country Basketball League North East league, with a team in both the men's and women's competitions. Australian NBA athlete, Matthew Dellavedova who currently plays for the Cleveland Cavaliers, grew up in Maryborough.

Notable people

 * Phillip Adams – Australian farmer, broadcaster, and public intellectual
 * Jed Adcock – professional footballer in the Australian Football League (AFL) for the Brisbane Lions
 * Ron Branton – professional footballer as player and captain in the VFL for Richmond Football Club
 * Karl Chandler – Standup Comedian, Podcaster, Comedy writer, cofounder of the Koh Samui international podcast festival
 * Troy Chaplin – professional footballer in the AFL for the Richmond Tigers
 * Stewart Crameri – professional footballer in the AFL for Essendon Football Club, Western Bulldogs and Geelong Cats
 * Matthew Dellavedova – professional basketball player in the National Basketball Association (NBA) for the Sacramento Kings, 2016 NBA Champion with the Cleveland Cavaliers
 * Charles Web Gilbert - internationally known sculptor
 * Edmund Herring – Lieutenant General in the Second Australian Imperial Force, Chief Justice of Victoria, and Lieutenant Governor of Victoria
 * John Nicholls – professional footballer as player and captain in the AFL for Carlton Football Club
 * Alfred Richard Outtrim – politician in the Parliament of Victoria from 1895 to 1920
 * Lauren Butler – professional footballer in the AFL Women's (AFL) for the Collingwood Magpies

Cemetery
The cemetery is on Wright Street.

Transport
Maryborough is connected to both Ararat and Elphinstone via the Pyrenees Highway, with connections to the capital Melbourne and Northern Victoria and beyond.

Maryborough station is located on the Mildura railway line. In 2007 the station underwent a $1.2 million upgrade to conduct vital repairs to the historic bell tower, clock and roof which was built in 1890.

In 1895 American writer Mark Twain visited the town and remarked about the station upon his visit.

"Don't you overlook that Maryborough station, if you take an interest in governmental curiosities. Why, you can put the whole population of Maryborough into it, and give them a sofa apiece, and have room for more. You haven't fifteen stations in America that are as big, and you probably haven't five that are half as fine. Why, it's perfectly elegant. And the clock! Everybody will show you the clock. There isn't a station in Europe that's got such a clock. It doesn't strike—and that's one mercy. It hasn't any bell; and as you'll have cause to remember, if you keep your reason, all Australia is simply bedamned with bells.''"

Daily train services to and from Ballarat, with onward connections to Melbourne's Southern Cross station commenced in 2010.

The Avoca railway line is to be reopened (as of 2017) ultimately to connect Mildura with Portland with standard gauge track.

The city also has coach and bus services that connect to various parts of the city with connections to Melbourne and other parts of Victoria.

The local library was fitted with a 30 kW solar system in late 2012.

title: Maryborough, Victoria


text:
Edward Fiennes-Clinton, 18th Earl of Lincoln

Edward Horace Fiennes-Clinton, 18th Earl of Lincoln (23 February 1913 – 7 July 2001) was an aristocratic Australian engineer, who succeeded to his family's earldom of Lincoln (cr. 1572) by primogeniture upon the death in 1988 of his 10th cousin, the last Duke of Newcastle.

Life
Born at Melbourne, Australia, in 1913, he was the elder son of Edward Henry Fiennes-Clinton, a Mate in the British Merchant Navy who emigrated to Australia in 1912 before serving with the 51st Battalion, Australian Imperial Force and being killed in action on 17 August 1916 during the First World War.

His mother, Edith Annie, daughter of Captain Horace Guest, brought him up before remarrying, in 1923, Robert Johnston Lynn, a cousin of Deputy Speaker of the Northern Ireland House of Commons, Sir Robert Lynn.

Educated at Hale School, an independent Anglican boarding school in Perth, Western Australia, Fiennes-Clinton then worked as a boilermaker, a welder's and machine-minder's assistant as well as a butcher at the Kalgoorlie Gold Mine.

Story
Fiennes-Clinton learned of his succession to the earldom of Lincoln during a telephone call from a journalist with The Daily Telegraph newspaper in London, who began "Lord Lincoln, if I may be the first to address you so..." He said he had known he might one day inherit the title, but had forgotten about it. Upon the journalist commenting that he seemed unexcited, Lincoln replied: "young man, I have lived for seventy-five years and I have learned to take things as they come". He did however seem disappointed to hear there was little else to inherit apart from the peerage itself.

The Australian press was much more excited by the news, and three camera crews appeared outside the new peer's flat at Elanora Villas, Bunbury, Western Australia, before more reporters arrived by helicopter. Soon after inheriting the Earldom, the new Lord Lincoln travelled to England, where he was warmly received by (among others) leading citizens of the City of Lincoln. The story was soon fictionalized as a storyline in the Australian soap opera Neighbours.

He later wrote an autobiography called Memoirs of an Embryo Earl, published in 1992, and set about putting on record his formal right to the peerage with a view to taking his seat in the House of Lords. After being briefed on the workings of the Upper House by Lord Deedes, and having been received at the College of Arms, Lincoln stated his intention of joining the Conservative benches in the House of Lords. However, there were delays in the process of claiming his seat, which was defeated by the reforms of the upper house in the House of Lords Act 1999. Lincoln thereafter had no automatic right to sit in the Lords, as all but 92 hereditary peers had been removed. His grandson, the 19th Earl, was later courted by New Labour.

Lord Lincoln died in Western Australia on 7 July 2001.

Family
In 1940, Fiennes-Clinton married Leila Ruth Fitzpatrick, née Millen, and they had two children, Patricia Ruth Fiennes-Clinton (born 1 February 1941, now Lady Patricia Elrick), and Edward Gordon Fiennes-Clinton (1943–99; styled Lord Fynes, by courtesy).

After his first wife died on 19 July 1947, Fiennes-Clinton on 3 December 1953 married Linda Alice, daughter of Rev Charles Creed and widow of James Anthony O'Brien; they had no children.

When his 10th cousin, the 10th and last Duke of Newcastle, died on Christmas Day 1988, Fiennes-Clinton succeeded to His Grace's subsidiary title of Earl of Lincoln. His ancestor, Sir Henry Clinton, of Kirkstead, Lincolnshire, was the 2nd Earl of Lincoln's elder son by his second marriage; the 2nd Earl's eldest son's descendants went on to become Dukes of Newcastle.

The family has served in public life since the 1st Baron Clinton was summoned to Parliament in 1299, and in the 18th century Thomas Pelham-Holles, 1st Duke of Newcastle twice-served as Prime Minister. The peerage of Baron Clinton, created by writ of summons, to which all descendants are in remainder, is now held by the Trefusis family.

Lincoln's grandson Robert Edward Fiennes-Clinton (born 19 June 1972) is the 19th and present earl. A fellow of the Zoological Society of London, he lives in Perth.


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Protocol to Prevent, Suppress and Punish Trafficking in Persons, Especially Women and Children

The Protocol to Prevent, Suppress and Punish Trafficking in Persons, Especially Women and Children (also referred to as the Trafficking Protocol or UN TIP Protocol) is a protocol to the United Nations Convention Against Transnational Organized Crime. It is one of the three Palermo protocols, the others being the Protocol Against the Smuggling of Migrants by Land, Sea and Air and the Protocol Against the Illicit Manufacturing of and Trafficking in Firearms.

The protocol was adopted by the United Nations General Assembly in 2000 and entered into force on 25 December 2003. As of November 2022, it has been ratified by 180 parties.

The United Nations Office on Drugs and Crime (UNODC) is responsible for implementing the protocol. It offers practical help to states with drafting laws, creating comprehensive national anti-trafficking strategies, and assisting with resources to implement them. In March 2009, UNODC launched the Blue Heart Campaign to fight human trafficking, to raise awareness, and to encourage involvement and inspire action.

The protocol commits ratifying states to prevent and combat trafficking in persons, protecting and assisting victims of trafficking and promoting cooperation among states in order to meet those objectives.

Content of the protocol
The protocol covers the following:

 * Defining the crime of trafficking in human beings; To be considered trafficking in persons, a situation must meet three conditions: act (i.e., recruitment), means (i.e., through the use of force or deception) and purpose (i.e., for the purpose of forced labour)

 * "Trafficking in persons" shall mean the recruitment, transportation, transfer, harbouring or receipt of persons, by means of the threat or use of force or other forms of coercion, of abduction, of fraud, of deception, of the abuse of power or of a position of vulnerability or of the giving or receiving of payments or benefits to achieve the consent of a person having control over another person, for the purpose of exploitation. Exploitation shall include, at a minimum, the exploitation of the prostitution of others or other forms of sexual exploitation, forced labour or services, slavery or practices similar to slavery, servitude or the removal of organs... The consent of a victim of trafficking in persons to the intended exploitation set forth [above] shall be irrelevant where any of the means set forth [above] have been used.

 * Facilitating the return and acceptance of children who have been victims of cross-border trafficking, with due regard to their safety
 * Prohibiting the trafficking of children (which is defined as being a person under 18 years of age) for purposes of commercial sexual exploitation of children (CSEC), exploitative labour practices, or the removal of body parts
 * Suspending parental rights of parents, caregivers, or any other persons who have parental rights in respect of a child should they be found to have trafficked a child
 * Ensuring that definitions of trafficking reflect the need for special safeguards and care for children, including appropriate legal protection
 * Ensuring that trafficked persons are not punished for any offences or activities related to their having been trafficked, such as prostitution and immigration violations
 * Ensuring that victims of trafficking are protected from deportation or return where there are reasonable grounds to suspect that such return would represent a significant security risk to the trafficked person or their family
 * Considering temporary or permanent residence in countries of transit or destination for trafficking victims in exchange for testimony against alleged traffickers, or on humanitarian and compassionate grounds
 * Providing for proportional criminal penalties to be applied to persons found guilty of trafficking in aggravating circumstances, including offences involving trafficking in children or offences committed or involving complicity by state officials
 * Providing for the confiscation of the instruments and proceeds of trafficking and related offences to be used for the benefit of trafficked persons

The convention and the protocol obligate ratifying states to introduce national trafficking legislation.

Regional action against trafficking in human beings
In Warsaw on 16 May 2005, the Council of Europe Convention on Action against Trafficking in Human Beings was opened for accession. The convention established a Group of Experts on Action against Trafficking in Human Beings (GRETA) which monitors the implementation of the convention through country reports. It has been ratified (as of January 2016) by 45 European states, while a further one state (Turkey) has signed but not yet ratified it.

Complementary protection is ensured through the Council of Europe Convention on the Protection of Children against Sexual Exploitation and Sexual Abuse (Lanzarote, 25 Oct 2007).

In addition, the European Court of Human Rights of the Council of Europe in Strasbourg has passed judgments involving trafficking in human beings which violated obligations under the European Convention on Human Rights: Siliadin v France, judgment of 26 July 2005, and Rantsev v Cyprus and Russia, judgment of 7 January 2010.

The Council of Europe co-operates closely with the United Nations.


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SA Unions

SA Unions (originally the United Trades and Labour Council of South Australia) is the peak body for trade unions in South Australia. It coordinates political, social, economic, and industrial campaigns between its affiliate members and implements the policies of the Australian Council of Trade Unions in South Australia.

Campaigns
As well as implementing policy within South Australia, SA Unions aims to maximise the union movement's effect in political, social, economic and industrial issues; defend and extend the rights of working people and all disadvantaged members of the community; increase the support and relevance of unions; and provide leadership and co-ordination in issues of broad concern to unions and the community.

During the 2014 state election, SA Unions ran a targeted campaign of over 190,000 robocalls against Nick Xenophon and his ticket, the Nick Xenophon Team, in response to their policy of reducing penalty rates for weekend workers.

Services
SA Unions operates two in-house legal services. The Workers Compensation Service provides free advocacy and dispute resolution to workers undergoing a workers compensation claim.

The Young Workers Legal Service provides free legal assistance to non-unionised workers under the age of 30 who are experiencing an industrial law dispute. The service is staffed by law student volunteers, and has recovered over $1 million in unpaid entitlements since it was created in 2003.

Affiliated organisations
SA Unions is affiliated with 27 unions within South Australia, including the Australian Education Union (AEU), Australian Manufacturing Workers Union (AMWU), Australian Services Union (ASU), Australian Workers' Union (AWU), Communications, Electrical, and Plumbing Union (CEPU), Community and Public Sector Union (CPSU), Construction, Forestry, Mining, and Energy Union (CFMEU), Maritime Union of Australia (MUA), United Firefighters Union (UFU), Shop, Distributive and Allied Employees Association (SDA) and United Voice (UV).

History
A United Trades and Labor Council meeting with the purpose of creating an elections committee was convened on 12 December 1890, and held on 7 January 1891. The elections committee was formed, marking the inception of what is today known as the Australian Labor Party (South Australian Branch). Originally known as the United Labor Party of South Australia, the party enjoyed immediate success, electing parliamentarians just four months later, and immediately held the balance of power with 10 of 54 seats resulting from the 1893 election, allowing radical liberal Charles Kingston to defeat the conservative John Downer government. Kingston served as Premier of South Australia for a then-record of six and a half years, usually implementing legislation with Labor support. Thomas Price formed the state's first Labor minority government and the world's first stable Labor Party government at the 1905 election with the support of several non-Labor MPs to form the Price-Peake administration, which was re-elected at the 1906 double dissolution election, with Labor falling just two seats short of a majority. So successful, John Verran led Labor to form the state's first of many majority governments at the 1910 election, just two weeks after the 1910 federal election where their federal counterparts formed Australia's first elected majority in either house in the Parliament of Australia, the world's first Labor Party majority government at a national level, and after the 1904 Chris Watson minority government the world's second Labor Party government at a national level. The Australian Labor Party at both a federal and state/colony level pre-dates, among others, both the British Labour Party and the New Zealand Labour Party in party formation, government, and policy implementation. In less than two decades the party in South Australia went from inception to majority government, and would continue to this day as one of the two major parties in the bicameral Parliament of South Australia, the other being the Liberal Party of Australia (South Australian Division) created in 1974, and its predecessors.

The United Trades and Labour Council was central to fundraising and building support for the creation of the Port Adelaide Workers Memorial. SA Unions continues to have representatives on the committee managing the memorial.

title: SA Unions


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Trichrome staining

Trichrome staining is a histological staining method that uses two or more acid dyes in conjunction with a polyacid. Staining differentiates tissues by tinting them in contrasting colours. It increases the contrast of microscopic features in cells and tissues, which makes them easier to see when viewed through a microscope.

The word trichrome means "three colours". The first staining protocol that was described as "trichrome" was Mallory's trichrome stain, which differentially stained erythrocytes to a red colour, muscle tissue to a red colour, and collagen to a blue colour. Some other trichrome staining protocols are the Masson's trichrome stain, Lillie's trichrome, and the Gömöri trichrome stain.

Purpose
Without trichrome staining, discerning one feature from another can be extremely difficult. Smooth muscle tissue, for example, is hard to differentiate from collagen. A trichrome stain can colour the muscle tissue red, and the collagen fibres green or blue. Liver biopsies may have fine collagen fibres between the liver cells, and the amount of collagen may be estimated based on the staining method. Trichrome methods are now used for differentiating muscle from collagen, pituitary alpha cells from beta cells, fibrin from collagen, and mitochondria in fresh frozen muscle sections, among other applications. It helps in identifying increases in collagenous tissue (i.e., fibrotic changes) such as in liver cirrhosis and distinguishing tumours arising from muscle cells and fibroblasts.

Procedure
Trichrome staining techniques employ two or more acid dyes. Normally acid dyes would stain the same basic proteins, but by applying them sequentially the staining pattern can be manipulated. A polyacid (such as phosphomolybdic acid or Phosphotungstic acid) is used to remove dye selectively. Polyacids are thought to behave as dyes with a high molecular weight: they displace easily removed dye from collagen.

Usually a red dye in dilute acetic acid is applied first to overstain all components. Then a polyacid is applied to remove the red dye from collagen and some other components by displacement. A second acid dye (blue or green) in dilute acetic acid is applied which, in turn, displaces the polyacid, resulting in collagen stained in a contrasting colour to the initial dye used. If erythrocytes are to be stained, a small molecular weight yellow or orange dye is applied before staining with the red dye. It is usually applied from a saturated solution in 80% ethanol and often in conjunction with picric acid (itself a dye) and a polyacid. The methods exploit minor differences in tissue reaction to dyes, density, accessibility and so on.

Trichrome stains in which dyes and a polyacid are applied sequentially are called multi-step trichromes. In "one-step" methods, all the dyes—with or without a polyacid—are combined in a single solution. One of the oldest single-step approaches to trichrome staining is van Gieson's method, which stains muscle and cytoplasm yellow, and collagen red. Another is the Gömöri trichrome stain, which closely mimics Masson's trichrome. In "yellowsolve" methods, a red dye in dilute acetic acid is first applied, then the section is very thoroughly dehydrated to ensure that no moisture remains. The red dye is then displaced by a yellow dye in a solvent, such as cellosolve (2-ethoxy-ethanol). The name yellowsolve is a blend of the terms yellow and cellosolve. Lendrum's phloxine-tartrazine for cell inclusions is one example of a yellowsolve stain.

Dyes
Among the dyes used for trichrome staining are:

 * Red
 * Acid fuchsin, xylidine ponceau, chromotrope 2R, Biebrich scarlet, ponceau 6R, phloxine

 * Blue and green
 * Light green SF yellowish, Fast Green FCF, methyl blue, water blue

 * Yellow
 * Picric acid, orange G, Martius yellow, tartrazine, milling yellow

title: Trichrome staining


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Category:Australian suffragists

Men and women involved in the women's suffrage movement in Australia.

title: Category:Australian suffragists


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William Bompas

William Carpenter Bompas (20 January 1834 – 9 June 1906) was a Church of England clergyman and missionary in northwestern Canada, first Anglican bishop of the Athabasca diocese, then of the Mackenzie River diocese and then of the Selkirk (Yukon) diocese as these dioceses were successively carved out of the original Rupert's Land diocese.

Born in London, England, he died in Carcross, Yukon. His wife Charlotte Selina (Cox) Bompas participated in his missionary work, and wrote Owindia: A True Tale of the Mackenzie River Indians, North-West America.

Early life
William Carpenter Bompas was born on January 20, 1834, at Regent's Park, London to father Charles and mother Mary Steele. It is thought that Charles Carpenter Bompas served as the inspiration for Charles Dickens' Buzfuz in The Pickwick Papers. It is thought that Bompas' heritage lay in France, although members of the extended family resided in the United States and the United Kingdom.

From 1844, a string of family deaths left the family in poor circumstances. When William was aged ten, in February 1844, his father Charles died, leaving his eight children. His eldest son, also named Charles, died in 1847.

William's early education was supplied by a graduate of Cambridge University. Partly due to his private tuition and a lack of socialisation, William was considered a shy boy, and in his spare time preferred to sketch buildings such as churches instead of participate in games. His tutor, a Mr Elliott, believed Bompas to be of high intellect, writing:

"I never had a pupil who made such acquisitions of knowledge in so short a time; his attainments in mathematics and classics are far beyond the majority of youths at his age, and would warrant anyone conversant with the state of education in the Universities in predicting a brilliant career for him, should he ever have that path open to him. I think, however, that the development of his mind is still more remarkable than the amount of his knowledge."

However, William Carpenter Bompas did not choose to pursue a university education, instead opting to become articled in the same law firm where his brother George C. Bompas was working. After his five years of service, he transferred to another company, which soon collapsed, causing great stress to Bompas. When his strength returned, Bompas decided to leave the Baptist denomination to join the Church of England, becoming confirmed in 1858 and ordained a deacon in 1859. He was appointed curate in a church at Sutton in the Marsh, which had not had a resident clergyman since the 16th century. The area did not have a school, and in the face of considerable opposition, Bompas had opened one within two years.

In 1861, Bompas' mother died, but undeterred, William transferred to another somewhat 'wild' parish in Nottingham. After a short stint in South Lincolnshire, Bompas returned to Alford, Lincolnshire, where he took up a curate position. Soon after, the Church Missionary Society granted him a post in Rupert's Land, Canada to relieve a bishop. Bompas was quickly ordained into the priesthood and sent away to Canada.

Arrival in Rupert's Land
Bompas' journey began on June 30, 1865, when he left London for Liverpool, from where he was to take a steamer to New York. From New York Bompas travelled to Niagara via the Hudson River and railway, subsequently making his way to Chicago, La Crosse and St. Paul. Upon reaching St. Cloud, a problem presented itself to Bompas' travelling party. In 1862, a Sioux massacre occurred, and the local Indians were wary of another attack. However, Bompas was advised that they would respect the English flag. Although the party did not have an English flag on hand, Bompas took initiative and crafted a banner for their ox-carts. This was just as well, as Indians who had ridden up in their horses to survey the ox-cart party left them alone once they spotted their flags.

Bompas eventually reached the Red River Colony, and from there, he was rowed by Salteaux Indians in Hudson's Bay Company boats. The Methye Portage was reached on October 12, too late to catch a boat going further north due to the ensuing winter. Bompas engaged a crew to row him further north, reaching Fort Chipewyan, Alberta after days of struggle against the cold. Although he was invited to stay the winter at Fort Chipewyan, this offer was rejected, Bompas preferring to push further ahead. When the river became frozen over, his party continued by land, reaching the safety of Fort Resolution mid-winter. After a month's stay there, he was dispatched from there armed with snowshoes and a strong party. Bompas was determined to reach Fort Simpson before Christmas Day, and that he did, drawing into the entrance to the Fort on Christmas morning.

Later life
Bompas was to remain at Fort Simpson only for a short while. After a brief education in the Indian language there, he continued on to Fort Norman and set up a school there, before returning to Fort Simpson in August 1866. It was decided that Bompas should not be given a post to tend to, rather he should be given a roving commission, which pleased him greatly. Returning to Fort Norman, Bompas began to learn the Slavey language before leaving for Fort Rae in January 1867. In August 1868, after over a year travelling around various Forts, Bompas returned to Fort Simpson to take charge of that mission post after the resignation of the previous missionary there.

In 1873, Bompas was nominated as the first bishop of the new diocese of Athabasca, in the northwest of his present diocese. Although he was not initially pleased at the prospect of presiding over such a large area, he was convinced otherwise, and in May 1874 Bompas was consecrated bishop of Athabasca at a church in London. He immediately returned to Canada. In 1884, his diocese was divided again, and Bompas became the first bishop of Mackenzie River. In 1891, Bompas moved into the Yukon with the creation of a new diocese, Selkirk. In 1905, he resigned from his position as bishop, and on June 9 the following year, he died at Carcross, Yukon.

title: William Bompas


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Criminon

Criminon is a program for rehabilitating prisoners using L. Ron Hubbard's teachings. Criminon International, a non-profit, public-benefit corporation managing the Criminon program, was spawned from Narconon International in 2000, and is part of Association for Better Living and Education's public outreach programs. Criminon is promoted by the Church of Scientology International. Independent experts contend that methods used by the program are not supported by any scientific studies.

Second Chance, another prison-based rehabilitation program for inmates, is closely related to Criminon, from which it licenses the techniques and materials used in its program.

Criminon is said to be a prison-based version of Narconon, as the Purification Rundown detoxification and training procedures are a part of both programs.

Criminon's program
Criminon originated in the mid-1970s as an alternative name for the committee to Re-Involve Ex-Offenders, a Scientology group. The program has used correspondence materials to treat hundreds of prisoners at the high security California State Prison, Corcoran, beginning in 1990. Criminon is administered by the Association for Better Living and Education (ABLE), a nonprofit organization that administers Criminon, Narconon, and other "social betterment" programs.

The program includes courses with questions requiring written answers. The responses are evaluated by volunteers and the materials are donated, so the program is provided free to the state. Included in one pamphlet is an essay in which Scientology founder L. Ron Hubbard writes, "There is not one institutional psychiatrist alive who by ordinary criminal law could not be arraigned and convicted of extortion, mayhem, or murder."

Hubbard's 1981 booklet, The Way to Happiness, is an integral part of the program, setting forth precepts such as "Do not take harmful drugs", "Be faithful to your sexual partner", "Do not tell harmful lies", "Don't do anything illegal", "Do not steal", and "Do not murder".

Criminon is also available under the name Second Chance, which licenses the Criminon materials.

Controversies
Some critics question the long-term success of Criminon's program citing a lack of independent, peer-reviewed studies. As Criminon's website notes, the core of the prison program is the booklet The Way to Happiness.

In 1997, Judge Stephen Rushing, a Pinellas County, Florida, judge, was criticized by other judges when he began sentencing defendants to a program called "Impulse Control" that was run by Criminon. Rushing said the people running the course promised they would not try to convert anyone. However the paper noted that many critics have suggested that Criminon was being used as a recruiting tool. Rushing stated that if the program turned out to be nothing but a ploy to promote Scientology, "I owe an apology to the people I put in that program."

Criminon has also been criticized for promoting Scientology's hostile view of psychiatry. A Criminon instruction manual found at California's Corcoran Prison in 2005 instructs the supervisors who are supposed to be helping the inmates to encourage them to stop taking any psychiatric medication. "Most jails and prisons have a staff psychiatrist that goes in daily and gives dosages of various and sundry mind-altering drugs to the inmates. Most of the time this is a ploy to keep the inmates sedated so that they don't cause trouble", the manual stated. While Criminon claimed that this manual was "outdated", the replacement manual still advised that if inmates seemed angry, it may be because "some of them are on psychiatric drugs and have strange side effects as a result." Professor Stephen A. Kent said that Scientology's goal "is to destroy psychiatry and replace it with Scientology's own treatments. Criminon is simply one of many Scientology organizations that hope to see this goal realized."

In 2006, in New Mexico, government funding for the Second Chance program was cut when information on the program and its connections came to light.

Then-Nevada assembly member Sharron Angle supported the use of "Second Chance Program" in 2003. Angle sponsored legislation aimed at placing this program in women's prisons in Nevada.

title: Criminon