text:
Talk:The Rockettes

"Most-watched live show in the USA"
I thought I'd insert a comment here asking if anyone could perhaps make this more specific. "Live show" to me could include, among other things, Superbowl halftime. Perhaps this was one reason the article was recently source-flagged? --70.33.38.76 04:17, 9 December 2006 (UTC)
 * You are right. It should be changed to "Most-watched show in person in the US" or something like that.

Appropriateness of Picture
Is the picture here really appropriate? Notice the left (his left) arm of the sailor on the left (our left). It's pretty clear that he is feeling the behind of that rockette. Maybe it should be removed? KingOfAfrica 02:05, 29 July 2006 (UTC)

Take another look - it is her own hand that is by her side. Given the perspective of the picture that couldn't possibly be his arm, unless he has a freakishly large arm! Omgplz (talk) 15:05, 29 July 2008 (UTC)

Past Tense
Why is this article in the past tense? The Rockettes are still very much around in the present.
 * It isn't past tense except where it has to be... Trekphiler 07:22, 21 December 2005 (UTC)
 * I originally made the comment about past tense when I was a "newbie" and didn't know about signing one's comments. I disagree, however, that the usage of past tense is "where it has to be." The sentence beginning, The Rockettes performed annually at the Macy's Thanksgiving Day Parade, for example, is in the past tense and there is no reason it should be. When I have a minute and am not so tired, I'll do a quick copy edit. David Hoag 03:02, 5 February 2006 (UTC)

"Best-known precision dance company in the world"
This was removed as a biased statement, but now that I really consider it, I don't think it is one. Can amyone name a precision dance company that's even one-tenth as known in the world today?--Pharos 14:27, 21 December 2005 (UTC)
 * Without a randomized survey which representatively samples people from around the World, no one can say exactly how well-known this or any other dance company is. Even mining data on ticket sales and attendance won't reveal how well-known they are in general worldwide. — Preceding unsigned comment added by 24.223.130.32 (talk) 01:29, 23 February 2017 (UTC)
 * I figure the statement is true but not provable, important, or necessary. Jim.henderson (talk) 01:37, 23 February 2017 (UTC)

Reaching new heights?
Can somebody confirm the min height req? I've seen 5'5.5" someplace.... Trekphiler 05:53, 23 December 2005 (UTC) It is 5"6-5"10 1/2  —Preceding unsigned comment added by 24.178.83.3 (talk) 22:18, 15 December 2009 (UTC)

Hepzibuh (talk) 20:54, 26 November 2022 (UTC)Yes, I was hoping for the history of the height qualifications. Instead, I get a huge paragraph about the President Trump Inauguration. Hepzibuh (talk) 20:54, 26 November 2022 (UTC)

Current and Former Rockettes
Not all Rockettes are notable...for those that are at least a stub should be created first and then the name can be moved to the article. To have such a long string of red linked names does not look well on the page. The external links should be on the individual article pages, not in a list. Doc 06:15, 15 June 2006 (UTC)
 * Rosalie Bowers Amoroso
 * Cheryl Homan Anderson
 * Berlinda Artzner Gordon
 * Abby Arauz
 * Eleanor Aetisse
 * Evelyn Rakovich Ashley
 * Patricia Clark Asmann
 * Lindsay Flora Babich
 * Mary Lee Dewitt Baker
 * Millie Pratt Balint
 * Linda Bartle
 * Lenore Lortz Beetar
 * Andrea Clifford Bekkenhuis
 * Dottie Belle
 * Barbara Baxter Benjamin
 * Kiki Bennett
 * Linda Berres
 * Lorraine Berry profile
 * Emma Stiffer Bishop
 * Sandy Harvey Bloomberg
 * Pokie Powers Bookless
 * Lisa Lewis Basi
 * Darla Bradle
 * Katy Braff
 * Dorothy Meachen Breen
 * Peggy Burke Brennan
 * Dee Dee Knapp Brody
 * Mary Limbach Burg
 * Linda Deacon Burrington
 * Deidre Caroll
 * Diann Mac Donald Catino
 * Kathleen Rudolph Cezer
 * Elizabeth Chanin
 * Stephanie Chase
 * Barbara Ann Cittadino
 * Barbara Reid Coburn
 * Kelli Coleman
 * Jacqueline Collins
 * Lillian Colon
 * Helen Conklin
 * Holly Copeland
 * Barbara Boho Creighton
 * Alzine Straub Cuppett
 * Mary Ann Strilka Cusimana
 * Cathy Dacey
 * Vickie Daigle
 * Betty Silva Dammert
 * Darlene Wendy
 * Cheryl Davidson-Steinthal
 * Sandy Deel profile
 * Prudence Grey Demmler
 * Irene Guerreiro Diamante
 * Cathy Beatty Di Marco
 * Gretchen Green Dodd
 * Susanne Doris
 * Becky Downing
 * Beverly Browne Duke
 * Beth Dukleth
 * Cookie Franzese Dutch
 * Carolyn Dutra
 * Jenny Eakes
 * Betty Dedrick Eckhardt
 * Rosemary Rickerhauser Elsegood
 * Gretchen Esch
 * Holly Evans
 * Angie Everett
 * Jeanne Remy Evers
 * Carrie Evers Messing
 * Dotty Hoarton Eyl
 * Janice Dinkins Ferguson
 * Betty White Fernandez
 * Patricia Linn Fischer
 * Barbara Parkhurst Forgue
 * Christina Fortenbaugh
 * Linda Christ Gache
 * Mary Anne Fiordalisi Garretson
 * Barbara DiMateo Gasser
 * Dianne Gauroy
 * Fern Dion Gedney
 * Jody Erickson Ghanem
 * Joy Wheeler Gibbons
 * Glenda Guilfoyle Vosberg
 * Heather Ginther
 * Darcy Gloria
 * Heather Goelz
 * Eileen Grace
 * Jeanne Spooner Gracey
 * Pat De Carlo Grantham
 * Mary Ellen Scilla Greco
 * Shelly Speas Green
 * Troy Greenfield
 * Leslie Guy
 * Charles Hacker
 * Nanette Brousseau Hackett
 * Joy Shelby Hairston Ward
 * Tamara Halenda Dobias
 * Michelle Hammer
 * Jackie Sloan Hanson
 * Cheryl Hebert
 * Susan Henderson
 * Ellie Thies Hevel
 * Sandie Summer Hilliard
 * Janice Davis Himler
 * Betty Hunt Holding
 * Kathy Maier Horan
 * Michelle Imor
 * Lorraine Monty Johnson
 * Linda Johnston
 * Temple Kane
 * Jerry Karsus
 * Jeri Kansas Jandrok
 * Jennifer Jiles profile
 * Mary Louise Fidmik Kaufmann
 * Sue Kays profile
 * Mary Lou Barnes Kennedy
 * Sharlene Curley Kessler
 * Natalie King
 * Bernice Hess Klebaur
 * Corinne Lawton Klemmer-Allaire
 * Bette Lou "Belle" Daley Koblentz
 * Judy Goodman Koch
 * Debby Kole
 * Laurie Kotecki
 * Barbara Kraemer Renna
 * Amy Krawcek
 * Edith Karen Kusik
 * Sandra Scilla La Maina
 * Cindy Pierce Lee
 * Liane Neumann-Pruzan
 * Eleanor Russell Leight
 * Joanne Lentino
 * LuAnn Leonard-Johns
 * Barbara Yula Levy
 * Lisa Lewis-Basi
 * Sabra Lewis
 * Arnelle Mauer Liblit
 * Eleanor Leight
 * June Anne Loesch
 * Mary Lillygren
 * Kimberly Louwsma
 * Adele Harper Lyttle
 * Linda Muhrcke Lynch
 * Elaine Bahr MacDonald
 * Anne Fair MacLean
 * Peggy Morrison Macherey
 * Melissa Mahon
 * Flip Butterfield Manne
 * Geri Marcolina
 * Jean Radzik Martin
 * Setsuko Maruhashi
 * Lisa Matsuoka
 * Elizabeth Maurer
 * Florence Kimball May
 * Barbara Vaughan McCabe
 * Mary McCatty
 * Patrice McConachie
 * Julie McDonald
 * Lori McMacken
 * Laraine Memola
 * Pat Merl profile
 * Stevie Van Meter
 * Angela Mezzacapa
 * Sarah Misiano
 * Marquis Monday
 * Sue Bono-Moore
 * Marion Block Moriarty
 * Betty Vincent Moritz
 * Harriet Rover Muller
 * Catherine Madigan Murray
 * Janet Murphy
 * Anne Murphy
 * Lucille Naar
 * Darcy Natalie
 * Kathy Westlund Nelson
 * Nancy Walker Nesbitt
 * Dorothy Laxson Nesholm
 * Liane Neumann-Pruzan
 * Jennifer Newman
 * Betty Ann Warshauer Nice
 * Peggy Fears Noble
 * Beth Woods Nolan
 * Joyce Nolen
 * Rosemary Posillico Noviello
 * Gail Paduani Oldfield
 * Eileen O'Rourke Liese
 * Pat Tully Osborn
 * Lillian Hodulick Oswald
 * Cathy Dunsmore Oswandel
 * Jill Owens
 * Dani Parish
 * Viva Reynolds Pastor
 * Jyl Perry
 * Cynthia Petrone
 * Pam Stacey Pasqualino
 * DoDo Wicker Parmenter
 * Keisa Parrish
 * Margaret Morley Pearsall
 * Keri Pearsall
 * Rita Iacurto Pelletier
 * Louise Arthur Penn
 * Susan Kingsland Peterson
 * Sandra Simpson Philpott
 * Anita Sowa Pokrassa
 * Maureen Stevens-Pollack
 * Liane Neumann-Pruzan
 * Kerri Quinn
 * Tara Radcliffe
 * Dorothy "Candy" Hart Ratcliff
 * Erica Reed
 * Carol Kaufman Reilly
 * Laureen Repp-Russell
 * Loraine Brown Rinaldi
 * Jody Robinson Buckelew
 * Sheila Phillips Rodriguez
 * Kara Marie Sandberg
 * Kathryn Kehrle Ryan
 * Lorraine Holscher Sarek
 * Patsy Brady Scalise
 * Kim Leslie Schwab
 * Tara Bradley Schweitzer
 * Melanie Seymour
 * Diane Brisson Sheehan
 * Tamlyn Shusterman
 * Marjorie Helen Siegfried profile
 * Susan Alai Sinibaldi
 * Helene Grethlein Smith
 * Amber Smith
 * Barbara Speedling Gatti
 * Jean Spouswell
 * Elizabeth Sprei
 * Katherine Steers
 * Twila Saylor Stern
 * Leslie Stroud
 * Carole Roth Sullivan
 * Lyn Sullivan-Bowers
 * Fern Fitzgerald Sweet
 * Romaine Strilka Switch
 * Carol Wilcox Tarallo
 * Jeanette Dix Tarrand
 * Nancy Bryan Taylor
 * Eileen Thomas
 * Adriene Thorne
 * Tammy Tipton Nay
 * Joan Swack Tipton
 * Linda Gumiela Toliver
 * Michelle Tolson
 * Karyn Tomzak
 * Betty Brady Walters
 * Eva Ward
 * Sara Weber
 * Carla Drumm Webber
 * Barbara Warren Anzalone
 * Darlene Wendy
 * Susan Medler Wershing
 * Marilyn Westlake
 * Tiffany Whitaker
 * Corliss Fyfe Whitney
 * Gertrude Fryer Wylie
 * Kathleen O'Connor Williams
 * Dorothy "Dottie" Williams Hunt-Kleeb
 * Laura Williams
 * Jaime Windrow
 * Suzanne Sibilio Winn
 * Sally Wong
 * Verna Pharo Yezo
 * Amy York
 * Carole Calibani Zablocki
 * Terry Burke Zukowski
 * Genevieve Connors
 * Constance Waunchope —Preceding unsigned comment added by 72.224.25.216 (talk) 01:22, 11 December 2008 (UTC)

Rockettes work year
The Rockettes women have performed 5 shows a day, 7 days a week, 365 days a year for more than 75 years.

I don't feel this is accurate. Several sources including this one from the NY Times state that although they have year-long health benefits, they only work steadily during the holidays. If I am wrong please correct me.

"This is high season for the Rockettes, three solid months of steady work, solid pay, grateful audiences and all the excitement of dancing in New York with a world-famous company. But it's also a time of gruelingly hard work, of seven dance numbers and six costume changes per show, as many as five shows in a 13-hour day, and as many as six days of work a week."

http://www.nytimes.com/2005/11/20/arts/dance/20domi.html

Random mom (talk) 18:09, 11 December 2007 (UTC)

 * Not every worker works every shift every day; same as any other high-demand job. -- Orange Mike  |   Talk  17:34, 17 December 2009 (UTC)
 * I would also imagine that when they're not busy performing and rehearsing, they are busy training, doing choreography, and other related activities. Jedikaiti (talk) 18:37, 8 October 2010 (UTC)

Image removal
This image which was removed by  is a composite of two approved images, namely  (public domain) and  (ccsa2.0). The image stays.--Tomwsulcer (talk) 14:50, 28 January 2017 (UTC)

Heat Street / "boycott" claims
I have removed a part of the lead section that says that there have been "calls via social media for boycotting the Rockettes..." My rationale is as follows:

 * 1) The controversy is already mentioned in both lead section & body. Additional coverage, particularly in the lead, would be undue weight.
 * 2) The article subject is a a 92-year old troupe, so to give a fairly minor controversy last month extended coverage in the lead section recentistic and, again, undue weight.
 * 3) The source—"HeatSt.com"—is a low-quality blog.
 * 4) The source's claims of a "boycott" stem only from an collection of Tweets (apparently random—no figures on how widespread they were). There is no indication that there actually was a boycott, or even an organized movement toward that end.

If we absolutely must mention "social media" in the lead (and again, I think it's unnecessary to do so, given that we already mention the controversy in the lead, and give details in the body) I would accept the following, from a much higher-quality source:

 * ...the Rockettes' decision to perform caused some, including a dancer, to express objections on social media.

--Neutralitytalk 19:30, 5 February 2017 (UTC)

 * Like it or not, a boycott is in effect, and this is clearly notable and belongs in the lede. HeatStreet is not a blog.--Tomwsulcer (talk) 22:15, 5 February 2017 (UTC)

 * (1) Do you have a source to support the idea that a "boycott is in effect"? Not "calls for a boycott," but an actual boycott?
 * (2) Just because something is noteworthy does not mean it belongs in the lead section. See Lead section: "emphasis given to material should reflect its relative importance to the subject, according to published reliable sources..." The inauguration controversy is already mentioned in the lead. Adding more material would unduly inflate its importance relative to the century-long history of the troupe.
 * (3) Regardless of whether we call it a blog or not, it's a not a reliable source. It is, in fact, an opinion-laden source that shouldn't be relied upon for statements of fact.
 * Neutralitytalk 22:23, 5 February 2017 (UTC)

Trump inauguration in lead?
I'm not sure the Trump inauguration performance has long term notability regarding the Rockettes' entire history. They have been around for almost a century, and yet I find it hard to believe that this is the most important thing they have ever done—which is implied by the statement's position in the lead. epicgenius (talk) 17:35, 21 November 2017 (UTC)
 * The Rockettes have been a New York tradition for years, and sometimes earned local attention, but their decision to dance and sing at the Trump inauguration brought them huge national attention, not only with the controversy with several Rockettes boycotting the performance, but the fact that most other musical groups said no. Performing for a president is huge news. ′Given the extensive and well-sourced treatment in the controversies section, a simple sentence in the lede paragraph is warranted.--Tomwsulcer (talk) 22:43, 21 November 2017 (UTC)
 * Thanks for the explanation, but I'm still not sure if the controversy itself passes the ten-year test. I boldly removed the content from Radio City Music Hall's article because it was only tangentially related because of the Rockettes, and also because of this doubt I still have. I agree that performing for the president's inauguration is very notable, especially if the president is controversial, but the Rockettes have been around for much longer than that, hence my doubts. epicgenius (talk) 20:31, 22 November 2017 (UTC)
 * Yes thank you for your explanation. Remember that the ten-year test is not official policy, but even if it was, I think their performance for Trump, a controversial president, will still be relevant 10 years from now. How many other presidents have they performed for? I don't see any other such performances; their performance for Trump was a first. That Trump has been accused repeatedly of being a sexual predator, and here the Rockettes are putting on a Christmas show for children and young families -- in effect honoring a man who says "grabs 'em by the pussy" -- can you see how their performance attracted national attention? And really hit a nerve? And why the Rockettes publicity people are trying very hard to downplay their choice? The line in the lede is ONLY one non-POV-ish statement that they performed at the inauguration, and doesn't even hint at the huge controversy section below. Plus the lede has lots of other spammy un-referenced stuff like what was just added so it sure looks like this article is turning into a puff piece.--Tomwsulcer (talk) 21:17, 22 November 2017 (UTC)
 * I see, thanks. I could understand how few groups would actually have the privilege to perform for any president, much less a controversial one. However, regarding the lead, it's okay to not have references if all the lead information is also referenced in the body. I do agree that this article needs a lot of work to even get to that non-biased state. epicgenius (talk) 21:33, 22 November 2017 (UTC)

External links modified
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RFC about including Trump in lead

 * The following discussion is closed. Please do not modify it. Subsequent comments should be made on the appropriate discussion page. No further edits should be made to this discussion.

Should the fact that they performed at Trump's inauguration be included in the lead? JDDJS (talk) 22:22, 16 January 2018 (UTC)

Survey

 * Oppose per WP:RECENT. They have been around for over 90 years. This single performance doesn't matter in their long term notability. JDDJS (talk) 22:22, 16 January 2018 (UTC)
 * Support. How many dance companies do you know who have performed at a presidential inauguration? It's the only dance company that I know of. Not only that, their performance was accompanied by huge controversy about whether they should have performed, along with some members refusing to perform. All of this attracted national attention. As per WP:MOS, the lede should summarize what's in the body of the article, and there's plenty of well-referenced material in the body of the article about their performance. And it's ONLY one innocuous sentence -- that the company performed at the inauguration of Donald Trump -- that's all it says in the lede. What's the big deal here? Unless, perhaps now the Rockettes public relations people have changed their mind, and maybe think that now this was a mistake, to have kicked up their heels for a man who is increasingly hated worldwide? Is that what's going on here? Is the Rockettes trying to distance themselves from bad publicity? And the "been around for 90 years" argument -- well most of those 90 years were generally non-notable in terms of national attention, a NYC-local company performing around Christmastime.--Tomwsulcer (talk) 22:30, 16 January 2018 (UTC)--Tomwsulcer (talk) 23:05, 16 January 2018 (UTC)

 * Do Not Include - that material is overkill WP:OFFTOPIC for the article which is supposed to be about the dance group not about Trump. That whole section is largely political stuff and should be moved to Inauguration of Donald Trump, with any mention here limited to WP:DUE WP:PROPORTION to the bulk of the performing history.  That seems more like whole sections for repeated events like the Christmas Spectacular and the Easter extravaganza, the summer dance schools, their USO tours and TV.  The individual performances of note would be a simple list of events -- the Macys parade, the Vegas tour, the GW Bush inauguration (2001), the GW Bush inauguration (2005), and finally the Donald Trump Inauguration (2017).   Should be similar to the handling of the inauguration performance at Mormon Tabernacle Choir.  Markbassett (talk) 00:49, 18 January 2018 (UTC)

 * Please remember that it was the decision of The Rockettes to perform at Trump's inauguration, a decision which brought huge national attention to the company -- much more than their Radio City performances. The Rockettes supported Trump, and benefited from huge publicity from their choice, as evidenced here and here and here and here and here and here and here and here and here, for starters. It's a little bit late for the Rockettes publicity people to try to bury this clearly notable support of Trump. Rockettes = Trump supporters.--Tomwsulcer (talk) 00:04, 19 January 2018 (UTC)

 * (Via RFC) Weak Oppose Whilst I think it's relevant material for the article and I think the decision of The Rockettes' management to be involved in the inaguration is notable, I think the current state of the article gives WP:UNDUE weight to the political controversy and doesn't highlight the history of The Rockettes in general. Right now, with the lead being all of three sentences I don't think it's relevant, but with a potentially more in-depth article/lead I would likely support the inclusion of a sentence such as "In 2016, the group controversially performed at the inauguration of President Donald Trump" -- Cheers, Alfie. (Say Hi!) 13:26, 23 January 2018 (UTC)

 * Oppose. I agree with Alfiepates. If we had a nice, thorough lead that went into some detail about the Rockettes' history, it might well be appropriate to include a sentence about the Trump inauguration. But we don't currently have a lead like that, and tacking on a sentence about Trump to the current very short lead would be undue weight. It would look strange and non-neutral to highlight that one incident without mentioning anything about their history between 1932 and 2015. —Granger (talk · contribs) 02:20, 25 January 2018 (UTC)

 * Oppose per the two above me. Given the current state of the article, it's undue weight. Argento Surfer (talk) 15:01, 25 January 2018 (UTC)
 * Oppose - Its certainly notable and worth mentioning in the body but would be WP:UNDUE for the lead. Meatsgains (talk) 03:06, 26 January 2018 (UTC)
 * Oppose - Imagine asking 100 people "Who are the Rockettes?" None of them would say, "Oh, yeah, um, they danced at Trump's inauguration." Instead, I'd expect to hear kick lines, Radio City Music Hall and New York City. In 10 years, this will be a mere blip in their 100 year history. - Sum mer PhD v2.0 05:30, 30 January 2018 (UTC)
 * Oppose per WP:RECENT. Summoned by bot. A notable performance, but not so notable that it merits inclusion in the lead. Chris vLS (talk) 20:34, 2 February 2018 (UTC)

 * The discussion above is closed. Please do not modify it. Subsequent comments should be made on the appropriate discussion page. No further edits should be made to this discussion.

Unsourced additions
Just a reminder to people that Wikipedia is not a publicity outlet.--Tomwsulcer (talk) 05:44, 20 October 2018 (UTC) A deluge of unsourced additions are a violation of Wikipedia's rules.--Tomwsulcer (talk) 05:54, 26 October 2018 (UTC)

Removal of references
It is one thing to shorten and condense information, keeping the gist of what happened, after the passage of time, but another to remove references, cutting three of them, which can gut an article. I support condensing information but please keep the references.--Tomwsulcer (talk) 11:36, 14 August 2020 (UTC)

Trump "the monster"
User:Tomwsulcer has added content which disrupts the WP:BALANCE of this article. Three out of 13 Rockettes chose not to perform for Trump (which means 10 out of 13 did perform). This fact has been elevated to a "controversy", and the lurid details of why those three chose not to perform for "this monster" have been included. The sources have been cherrypicked, and the tone and content violate WP:IMPARTIAL and WP:WEIGHT. User:Tomwsulcer has also forbidden other editors from removing their sources. The RfC above agreed that this should be included in the article, but did not specify how it should be included. The reasoned input of others would be appreciated. Magnolia677 (talk) 15:20, 14 August 2020 (UTC)

 * Nonsense. The article is balanced, well-sourced, with reliable sources. The RfC was about what should be included in the lede paragraph. That the Rockettes performed for Trump's inauguration was controversial in itself, and reasons why some Rockettes chose to perform and others didn't, are included for balance. User:Magnolia677 removed three reliable sources and chopped out much information; I do think it could be edited down a bit, but I object to the removal of sources.--Tomwsulcer (talk) 18:33, 14 August 2020 (UTC)
 * What if the unencyclopedic bits of the section are "edited down a bit", and one of the sources no longer supports any of the content? Magnolia677 (talk) 19:21, 14 August 2020 (UTC)
 * You need help with editing?--Tomwsulcer (talk) 21:59, 14 August 2020 (UTC)
 * It was a rhetorical question. Let me try again.  If you asked your barber to trim your salt-and-pepper hair, but said, "and just cut the greys", your barber would think you're a fool because both the grey and non-grey get cut.  The same is true with trimming an article; both the text and the sources which support the text (which is no longer there) get cut.  So when you agree the section can be "edited down a bit", but don't feel comfortable removing any of the sources, it seems kind of...awkward.  Get it? Magnolia677 (talk) 23:22, 14 August 2020 (UTC)
 * Except that the salty hairs are on the chin, and the pepper hairs are under the nose. Trim the salty, keep the pepper.--Tomwsulcer (talk) 00:53, 15 August 2020 (UTC)
 * So you agree the section can be trimmed, but all of the sources--even those that no longer support any text--need to remain. Is this correct? Magnolia677 (talk) 08:46, 15 August 2020 (UTC)
 * Keep the gist; shorten; keep the references.--Tomwsulcer (talk) 11:44, 15 August 2020 (UTC)

Height restriction
I’m curious as to why there is a height restriction for becoming a Rockette? Why aren’t shorter dancers with the same talent able to audition? I’m 5’3 and have all of the same other qualifications dance wise. 68.231.23.156 (talk) 04:10, 2 December 2021 (UTC)

Super Bowl halftime show
The article links the wrong Super Bowl halftime show. 97.119.167.88 (talk) 02:56, 8 April 2023 (UTC)
 * Thanks for pointing that out. I've fixed it. —Mx. Granger (talk · contribs) 03:38, 8 April 2023 (UTC)

title: Talk:The Rockettes


text:
Madame Xanadu

Madame Xanadu is a comic book mystic published by DC Comics. The character is identified with Nimue, the sorceress from Arthurian mythology made popular by Sir Thomas Malory's Le Morte d'Arthur.

The character was played by Jeryl Prescott in the television series Swamp Thing.

Publication history
Madame Xanadu debuted in Doorway to Nightmare #1 (February 1978). The character was designed by cover artist Michael William Kaluta at the request of editor Joe Orlando, based on Kaluta's unnamed host character (later known as Charity in the pages of Starman) from the DC Comics mystery title Forbidden Tales of Dark Mansion (seen only on that title's indicia page) and the person of Cathy Ann Thiele. The original storyline was developed by writer David Michelinie.

Doorway to Nightmare, introduced in 1978, was the last of the DC "Mystery" line of titles in the 1970s that became the forerunner of Vertigo. It did not have a consistent creative team - the intent was to create writer-artist pairings that had never occurred before, except for the cover art of Michael William Kaluta. Madame Xanadu, the star of the series, was not a host but an active participant, albeit never the main character in her stories. The Phantom Stranger was criticized heavily in letter columns for taking a similar approach. The Doorway to Nightmare strip lasted for ten issues: five in its own series, four in The Unexpected issues #190, #192, #194 and #195, and one issue of Madame Xanadu, which was DC's second direct sales only comic. Madame Xanadu was the first DC Comics publication exclusive to the direct market but the second overall due to a Superboy Spectacular release a year earlier. As explained by Paul Levitz: "In a further effort to find new distribution, a Superboy Spectacular was produced for Random House's in-school book club program and offered to comic shops but not newsstands". The first issue of Madame Xanadu bore little difference from an issue of Doorway to Nightmare. There were several requests to reprint it in letter columns of The Spectre, but they were refused because that issue gave little background as to her character, although it did introduce Ishtar to the DC Universe, who dated Destruction.

Madame Xanadu was a regular supporting cast member in volumes 2 and 3 of The Spectre, those versions written by Doug Moench (31 issues, 1987–1989) and John Ostrander (62 issues, 1993–1998).

A Madame Xanadu ongoing series from Vertigo was announced at the 2007 San Diego Comic Con and started in 2008. It was written by Matt Wagner, with art by Amy Reeder Hadley. The series also featured art stints by Kaluta, Joëlle Jones, Marley Zarcone, Laurenn McCubbin, Chrissie Zullo, Celia Calle, and Marian Churchland. The series was concluded after 29 issues, the final one dated January 2011. The series dealt with Madame Xanadu's early life from Arthurian times until the 1960s. Starting with issue #9, the book coincided with the events of the Golden Age DC Universe.

Story structure
The Doorway to Nightmare stories were typically structured around a protagonist stumbling upon Madame Xanadu's shop (stated to be on "Christy Street" in the East Village) (changed to Greenwich Village in The Unexpected #192) and deciding to enter. She (usually) or he would tell a story of romance that was frustrated by an outside element. Xanadu, through a tarot reading, always determined this element to be of an occult nature, then sent the protagonist to do some task in which she would intervene with the use of her powers. Upon concluding the story, the occult element would wind up in a mason jar in her back room. In the first issue, she apparently became trapped in a burning building. The central couple returns to her shop for nostalgia's sake and discovers her to be quite alive. This was a hint at the extent of her powers. The primary variation in the stories was what the occult threat actually was, be it demonic forces, Asian mummies, vampires, incubi, or other supernatural threats. In one story, she fought Azazel, but he looked nothing like in The Sandman.

When the title was moved from its own series to a revamped, 68 page and ad-free version of The Unexpected (the stories were actually expanded from 17 to 22 pages with the move, part of the DC Implosion), she was shown to be friendly with Abel in the inside front covers, which may or may not have been in continuity. She never met Abel in an actual story until DC Special Series #21, when she and the Phantom Stranger arrive at the House of Mystery with Christmas presents.

Origin
Madame Xanadu's origins were explored in the first few arcs of her Vertigo series. According to these stories, her full name was once Nimue Inwudu and she is the youngest sister of Morgana (to become Morgaine Le Fay) and Vivienne, the Lady of the Lake. The sisters are descendants of the Elder Folk, survivors of Atlantis who evolved into the race known as the Homo magi.

Xanadu is the same Nimue who casts an imprisoning spell on her former lover Merlin, blaming him for manipulating Camelot and the course of history for his own gain. Merlin has the last laugh, though, as he succeeds in stripping her magic away from her, forcing her to use potions to maintain her immortality. The mysterious Phantom Stranger influences her betrayal of Merlin and the two continue to meet throughout the centuries, sharing an ambivalent relationship. Shortly after this, either she or the Lady of the Lake (regardless, called "Nimue") bore a son to Kon-Sten-Tyne, an ancestor of John Constantine. The child was left with Kon-Sten-Tyne, who sacrificed the boy as a teenager to Eve.

Nimue wanders around the world for some time, becoming an advisor to many great rulers. She spends time in Kublai Khan's court at Xanadu, leading to her assumed name of "Madame Xanadu". While at the court, she came into contact with a mystical artifact, resulting in some of her magical powers returning to her. Again she meets the Phantom Stranger. It does not go as expected, for she learns the Stranger walks outside of the timestream. During the French Revolution, she attempts to advise Marie Antoinette. During this era, she is able to regain her immortality by besting Death in a card game. Other incidents in her long years of life include a doomed lesbian love affair during the Spanish Inquisition.

In the 1940s, she has a sexual relationship with John Zatara, who wishes to marry her, but she foresees his true love, and the later existence of his daughter, Zatanna, "a love with whom she could never compete". Despite this, she uses Zatara to trap and ensnare the Phantom Stranger, preventing him from witnessing, and affecting, the supernatural origins of the Spectre. This, in turn, prevents Madame Xanadu from interfering, despite having foreseen the potential menace the unchecked Spectre would have brought on Earth. It is revealed that Xanadu's later behavior stems from this earlier fault, her magic parlor being devised as a way to control the supernatural being, ultimately hoping to restrain and quell his rage.

Eventually, Xanadu decides that she wants to atone for her sins and begins operating the fortune-telling parlor out of "the Village". She, however, possesses limited real magic abilities of her own, but her mastery of the mystic arts has led her to manipulate various forces to gain great power. Having developed herself as an advisor, she now meets clientele plagued by supernatural problems. Although she can advise them, some force prevents her from directly interfering in solving their troubles. If one of her clients manages to conquer a supernatural force, she can contain that entity in jars within her fortune parlor to prevent it from causing any further trouble.

Later history
When the Spectre is destroyed by the Anti-Monitor, Xanadu performs a magic ritual that brings him back to existence. From that day forward she acts as the Spectre's spiritual advisor while he is bound to the soul of Jim Corrigan. At first, Xanadu tries to lead Corrigan astray to use the Spectre-Force for her own agendas. She is depicted in a nude love scene with the Spectre in the form of mist, although readers in the letters column did not find this clear and Xanadu's nudity gratuitous. Subsequent issues made clear that this was a romantic relationship, but no more nudity was used.

Over the course of their affiliation however, a strange form of friendship grows between Corrigan and Madame Xanadu. Over time, she is instrumental in ensuring the safety of Corrigan's soul, stopping the various rampages of the Spectre, and ultimately shows up at Jim Corrigan's funeral not as an advisor or enemy, but as his friend. She even sheds a tear as Jim Corrigan's soul leaves the mortal plane to go to Heaven.

She is also consulted by the Suicide Squad about the increasing difficulty of dealing with Enchantress. She provides the Squad with a ring and necklace that can harm the Enchantress if she tries to use her powers against the ring-bearers' wishes.

Madame Xanadu also gives Timothy Hunter a reading, helping him along his path as an emerging sorcerer. She also confronts Tim's companion John Constantine, whom she believes stole a magic artifact called the Wind's Egg from her.

Although Xanadu, among others, has no great love for or trust in the Phantom Stranger, she is a member of the Sentinels of Magic, a loose group of mages and mystics that are called upon to thwart Asmodel's uprising in Hell. Nonetheless, she prefers to operate alone and is one of the few heroes who outright refuses to ally herself with the Stranger.

To gain more power, Xanadu bartered her soul to the demon Neron, who gave her three loyal demons named Bathopet, Maw and Atopeh to do her commands. At first, the demons responded to her every whim and almost raged out of her control. Over time, as she controlled her own emotions, she became able to control the demons as well.

Day of Vengeance
In Day of Vengeance #2, an Infinite Crisis tie-in, the Spectre, then unstable and believing that magic equaled evil, disabled Madame Xanadu and took her eyes.

In the Day of Vengeance special it is revealed that Xanadu is still blind. She has regrown her eyes 14 times, only for them to be burned out again, because the Spectre's powers are beyond hers. However, Xanadu's abode would be the rallying point of the offense against the Spectre, gathering the Phantom Stranger, Zatanna, and Nabu.

Xanadu has also found a way around the Spectre's curse by training an adept, Daena, to read the cards for her. Through Daena, she sees the destruction of the world with the Spectre winning and destroying everything. It is at her place that Nabu begins his offense against the Spectre as well as the strategy for restoring the Rock of Eternity.

One Year Later
Madame Xanadu's standing in the new magic order has yet to be explored in detail, but it is known that she is still trying to cure her blindness. She assists the Shadowpact when members of their team were temporarily blinded by the mystical powers of the villains known as 'the Congregation'. It is the mystical aspect that allows her to help, though some of the group are able to heal the blindness on their own.

Madame Xanadu appears in Countdown #50, operating out of "Hokus & Pokus Occult Curiosities" in Greenwich Village. She is unable to help Mary Marvel locate Captain Marvel Jr. She does advise Mary to avoid Gotham City, because "it isn't safe for magic".

The New 52
In The New 52, Madame Xanadu has resurfaced as the result of Barry Allen's unintentional tampering with the timestream and the merging of the Vertigo, WildStorm and DC Universes.

In the new continuity, Xanadu is no longer blind and despite her past as Nimue still applying, she seems to have taken a more proactive stance during the Fall of Camelot. Instead of quietly observing like she did in her core miniseries, she staunchly opposed the surrendering of Excalibur to the Lady of the Lake, and then started traveling with Jason Blood, meeting other Dark Ages-based heroes and villains as Vandal Savage and the Shining Knight. Furthermore, the Dark Ages Xanadu is seen in a relationship with both Etrigan and Jason Blood, each one believing she was humoring the other for the sake of their forced merging.

The present-day Madame Xanadu is featured in the DC Universe reboot, in Justice League Dark, resuming her role as the keystone and supporter of the magical community in the DCU. Xanadu assists the 'Dark League' in various incidents, such as Zatanna vanishing and the House of Mystery letting loose demonic threats in Manhattan. She is at length revealed to be the mother of the supervillain Doctor Destiny.

National Comics, a revival of the anthology title, was launched in July 2012. The title expanded upon the New 52 universe by presenting single-issue stories about different DC characters, each by a different creative team. This includes Madame X #1 by Rob Williams and drawn by Trevor Hairsine and Fiona Staples.

Dawn of DC
In the pages of "The New Golden Age", Deadman and Detective Chimp brought the snow globe that was with the Huntress from an alternate future to her to get a reading off of it. It spouts cryptic information regarding Eclipso, Green Lantern helping Red Lantern, Sandman's nightmare wearing a mask, Flash finding joy again, and an advisory about Salem the Witch Girl. Afterwards, Xanadu advises Deadman and Detective Chimp to get the snow globe back to Huntress as Per Degaton will kill her if she doesn't have it with her. After Per Degaton is repelled, Xanadu appears at the Justice Society of America's headquarters with Deadman and Detective Chimp. She states that Per Degaton has made a deal with the Last Lord of Chaos and that he must be imprisoned soon or else the Justice Society of America will be erased. When asked by Green Lantern about Per Degaton's plot, Xanadu claims that he is planning on replacing the Justice Society of America with a "society of his own". Madame Xanadu, Deadman, and Detective Chimp accompany the JSA in catching up to Huntress who had met up with Batman. She explains that the snow globe is what's keeping Huntress alive and it's the same one containing the Flashpoint reality that Batman stole from the Time Masters. During an attack by Per Degaton and the versions of him throughout time, Madame Xanadu's head was briefly grabbed by Per Degaton as she has a vision of Per Degaton and his different versions around their version of the JSA table, killing the Justice League, and killing the Legion of Super-Heroes.

Appearance
She has the appearance of a stereotypical Romani fortune teller who wears dangly earrings and various purple dresses.

Powers and abilities
Madame Xanadu has a supernatural sensitivity to occult activities and mystic phenomena. She uses tarot cards to interpret what she senses, and is also able to tell the future of others. Xanadu can levitate objects, teleport herself, and banish demons. Xanadu's parlor is full of magical books and objects, as well as jars containing the essences of malevolent entities. She rarely uses these objects of power, merely acting as a guardian of them.

Xanadu is immortal, never aging and unable to die of natural causes thanks to her deal with Death. In the 2005 story Day of Vengeance, not even the Spectre could kill her, and instead blinded her to make her harmless.

Flashpoint
In the alternate timeline of Flashpoint, Madame Xanadu is still a fortune-teller. Traci Thirteen teleported to where Xanadu is located and discovers that she is dying. Before dying, Xanadu tells her to stop the instigated Doctor Thirteen.

Tangent Comics
In the Tangent Comics series Joker's Wild, a character named Madame Xanadu is one of three women who masquerade as Tangent's heroic version of the Joker.

Television

 * Madame Xanadu appears in the Young Justice episode "Denial", voiced by Cree Summer. This version is a New Orleans-based con artist who uses sleight of hand tricks to swindle customers. After witnessing Abra Kadabra abducting Kent Nelson, Xanadu is inspired to begin practicing actual magic.
 * Madame Xanadu appears in Swamp Thing, portrayed by Jeryl Prescott. She first appears in the episode "Worlds Apart", where she advises Maria Sunderland not to go after her daughter's spirit. Then Xanadu senses a disturbance between the light and the dark and begs Maria to put her regrets to rest. In the episode "He Speaks", Xanadu is visited by Daniel Cassidy who asks when it would be the right time to leave Marais. She reads that her cards are still the same, but a change is coming. In "Darkness on the Edge of Town", Xanadu feels that a storm is approaching Marais. In "Loose Ends", Madame Xanadu visits Maria at the asylum where she gives Maria closure at the cost of her sanity.
 * A television series adaptation of Madame Xanadu, set in the DC Extended Universe, was in development by 2021, before ultimately being cancelled in the following year.

Film

 * Madame Xanadu was going to be featured in Guillermo del Toro's adaptation of the Justice League Dark comics.

Video games

 * Madame Xanadu's Magic Shop appears in DC Universe Online. This version is located in Metropolis' Chinatown.

Collected editions

 * Madame Xanadu Vol. 1 Disenchanted (240 pages, collects Madame Xanadu #1-10)
 * Madame Xanadu Vol. 2 Exodus Noir (128 pages, collects Madame Xanadu #11-15)
 * Madame Xanadu Vol. 3 Broken House of Cards (200 pages, collects Madame Xanadu #16-21)
 * Madame Xanadu Vol. 4 Extra-Sensory (collects Madame Xanadu #22-29)

Awards

 * Madame Xanadu vol. 2 was nominated for a number of 2009 Eisner Awards: "Best New Series", "Best Penciller/Inker or Penciller/Inker Team" (Amy Reeder Hadley and inker Richard Friend) and "Best Cover Artist" (Hadley).
 * Eisner Award 2010 Nominee: "Best Penciller/Inker or Penciller/Inker Team" (Michael Kaluta), Madame Xanadu #11–15: "Exodus Noir" (Vertigo/DC).

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

title: Madame Xanadu


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title: User talk:168.212.247.2


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Ea Jansen

Ea Jansen (14 November 1921 Tallinn, Estonia – 20 April 2005 Tallinn, Estonia) was an Estonian historian of Finno-Ugric history. She was the daughter of the Estonian feminist Helmi Press-Jansen and painter August Jansen. Until her death, she worked for Tallinn Pedagogical University. She graduated from Tallinn 9th Secondary School in 1941 and studied at the University of Tartu from 1942 to 1949, where she graduated with a degree in history.

Selected works

 * 1998, "From an Ethnic Community to National Statehood: The Case of Estonians" (article)

title: Ea Jansen


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Catherine Mary Stewart

Catherine Mary Stewart (Catherine Nursall; born 22 April 1959) is a Canadian actress. Her film roles include The Apple, Night of the Comet, The Last Starfighter and Weekend at Bernie's. She was also the original Kayla Brady in Days of Our Lives.

Early life
Stewart was born on 22 April 1959, in Edmonton, Alberta, the daughter of Mary (Stewart) and John Ralph Nursall. Her parents taught at the University of Alberta, her mother a physiology teaching assistant and her father a biology professor. Stewart attended Strathcona Composite High School. She first took jazz dance lessons, and moved to London after high school to study dance and general performing arts, and where she passed the audition for her first movie, The Apple.

Career

In 1980, Stewart landed a role in The Apple, a musical science fiction cult film. During the production of The Apple, the director Menahem Golan took issue with her original name Mary Nursall and insisted she change it, which she did using her mother's maiden name.

After moving to Los Angeles, she obtained a role on the soap opera Days of Our Lives, playing the original Kayla Brady from January 1982 to December 1983. She also auditioned for projects like Death of a Centerfold: The Dorothy Stratten Story, against Jamie Lee Curtis. In 1984, she starred in two science fiction feature films, The Last Starfighter as Maggie Gordon and Night of the Comet as Regina Belmont. She later played a leading role in the teen comedy Mischief.

In the mid-1980s, Stewart appeared in two miniseries: Hollywood Wives (1985) and Sins (1986), where she played the younger version of Joan Collins's character. She made guest appearances on television series such as Knight Rider, Hotel, Alfred Hitchcock Presents and The Outer Limits. She starred in several made-for-TV movies such as Murder by the Book (1987), Passion and Paradise (1989), Perfect Harmony (1991) and Ordeal in the Arctic (1993). In 1989, she appeared as Gwen Saunders in the comedy film Weekend at Bernie's. She, too, had a small role on The A-Team, season 2 episode titled Steel.

Beginning in the mid-1990s, she scaled back her appearances while raising her family. After her children had grown, she again started appearing in television and film roles, and expressed an interest in directing. In 2010, she appeared in the film A Christmas Snow. In 2016, she directed the short movie A Walk to Remember. She starred in the Hallmark holidays movies Rock N' Roll Christmas in 2019 and A Christmas Comeback in 2020.

Personal life
She is the sister of Alan Nursall, a scientist and media personality who reports on science news for the Canadian TV series Daily Planet and the Discovery Channel. Another brother, John Nursall, is a freelance writer and TV/film documentary director and producer.

She was married to actor John Findlater in 1983 and divorced in 1985. She married Richard Allerton in 1992. She has a daughter and a son and lived in Brooklyn, New York, as of 2013.

title: Catherine Mary Stewart


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Alice, Sweet Alice

Alice, Sweet Alice (originally titled Communion) is a 1976 American psychological slasher film co-written and directed by Alfred Sole, and starring Linda Miller, Paula Sheppard, and Brooke Shields in her film debut. Set in 1961 New Jersey, the film focuses on a troubled adolescent girl who becomes a suspect in the brutal murder of her younger sister at her First Communion, as well as in a series of unsolved stabbings that follow.

Inspired by Nicolas Roeg's Don't Look Now (1973) and the films of Alfred Hitchcock, writer-director Sole devised the screenplay with Rosemary Ritvo, an English professor who was his neighbor. At the time, Sole had been working as an architect restoring historic buildings in his hometown of Paterson, New Jersey, and several properties he had worked on were used as shooting locations. Filming took place throughout the summer of 1975 in Paterson and Newark.

The film premiered at the Chicago International Film Festival under its original title, Communion, in November 1976, and was released under this title in London in September 1977. After being acquired by Allied Artists, it was re-titled Alice, Sweet Alice, and released in the United States on November 18, 1977. Another theatrical re-release occurred in 1981 under the title Holy Terror, which marketed the popularity of Shields after her performance in Louis Malle's Pretty Baby (1978). While not prosecuted for obscenity, the film was seized and confiscated in the UK under Section 3 of the Obscene Publications Act 1959 during the video nasty panic, and was controversial in Ireland due to its apparent anti-Catholic themes.

In the years since its release, Alice, Sweet Alice has gained a cult following and is considered a contemporary classic of the slasher subgenre in critical circles. It has also been the focus of scholarship in the areas of horror film studies, particularly regarding its depictions of Roman Catholicism, child emotional neglect, and the disintegration of the American nuclear family.

Plot
In 1961, in Paterson, New Jersey, divorced mother Catherine Spages visits Father Tom with her two daughters, nine-year-old Karen and twelve-year-old Alice, who both attend St. Michael's Parish Girls' School. Karen is preparing for her First Communion, and Father Tom gives her his mother's crucifix as a gift. A jealous Alice puts on a Halloween mask, frightening Father Tom's housekeeper, Mrs. Tredoni. Alice steals Karen's porcelain doll, scares her, and threatens her if she tells anyone.

On the day of her First Communion, Karen is strangled to death with her candle in the church transept by a person wearing a Halloween mask and a yellow raincoat; her crucifix is ripped from her neck and her body is set on fire. A nun makes the horrific discovery, disrupting the communion ceremony.

After Karen's funeral, Catherine's ex-husband Dominick begins to investigate her murder independently while Detective Spina handles the case formally. Catherine's sister Annie moves in to help her, though Alice and Annie despise each other. Catherine sends Alice to deliver a rent check to their landlord, the morbidly obese Mr. Alphonso, and he attempts to molest her. Annie is attacked by a masked figure. At the hospital, she claims that Alice tried to kill her. Alice is sent to a psychiatric institution for evaluation.

Dominick receives a hysterical phone call from someone claiming to be Annie's daughter Angela, saying that she has Karen's crucifix. Dominick agrees to meet her at an abandoned building. There, the figure stabs him before binding him with rope. Dominick sees that the killer is in fact Mrs. Tredoni, who chastises Dominick and Catherine as sinners because of their premarital sex and divorce. After Dominick bites Karen's crucifix off Mrs. Tredoni's neck, she pushes him out a window to his death.

Catherine goes to visit Father Tom. He is not home but Mrs. Tredoni invites her in. She explains that when her own daughter died on the day of her First Communion, she realized that children are punished for their parents' sins. In her grief and madness, she devotes herself to the church. Father Tom arrives and tells Catherine that Dom has died. During Dominick's autopsy, the pathologist finds Karen's crucifix in his mouth, and Alice is eliminated as a suspect. Father Tom and Catherine go get Alice from the institution.

Mrs. Tredoni sneaks into Catherine's apartment building. Mr. Alphonso wakes up screaming, as Alice had mischievously placed a jar of cockroaches on him while he slept. Mr. Alphonso encounters Mrs. Tredoni in the staircase and mistakes her for Alice. When he shoves her against a wall, grabs her as she tries to escape the stairs and takes her mask off, she stabs him to death and flees. Detective Spina witnesses her running out maskless through the back door.

Mrs. Tredoni rushes to the church, where the police are stationed. Spina arrives too late to save Mr. Alphonso. During Mass, Father Tom denies Mrs. Tredoni communion. She stabs the priest in the throat as the police rush in. While Father Tom bleeds to death, Alice walks out of the church with Mrs. Tredoni's shopping bag, and places the bloodstained butcher knife into it, implying that she will resume Mrs. Tredoni's killing spree someday.

Catholicism
Numerous film scholars have noted the film's hysterical portrayal of Catholicism and religious institutions to be in direct confluence with the motives of its villain, Mrs. Tredoni, whose ultimate goal is to "punish" the sinning members of her parish; this has resulted in some claiming the film to be overtly "anti-Catholic".

Writer-director Sole's own proclaiming of himself as an "ex-Catholic" supports this interpretation of the film's religious themes and undertones. Prior to writing and directing Alice, Sweet Alice, Sole had directed his debut feature, an adult film titled Deep Sleep, in 1972. The release of the film resulted in obscenity charges being brought against him in the state of New Jersey, as well as formal excommunication from the Roman Catholic Diocese of Paterson, New Jersey. This event has been credited as influential to the apparent anti-religious bent of Alice, Sweet Alice.

The murder scenes in the film in particular have been described by genre scholars such as John Kenneth Muir as "stark and shocking," and noted for their use of "powerful imagery" correlating with the film's religious overtones. Muir views the film as a precursor to such films as Seven (1995), which focus on individuals being punished by death for their sins and character flaws. Catholic iconography is featured prominently throughout the film, including votive candles, crucifixes, and rosaries, as well as artistic depictions of the Virgin Mary in sculptures and paintings.

Sheila O'Malley of Film Comment notes that: "From one scene to the next, religious iconography overwhelms the screen: paintings of Mary and Christ, marble statues, crosses on every wall, religion leering at the characters from behind. Parishioners kneel at the altar, pushing out fat tongues for communion (Communion was the film's original title), looking like a parade of aggressive Rolling Stones logos. Religion is not a refuge in Alice, Sweet Alice. It is a rejection of the body itself, but the body—its tongues, its teeth, its menstruation—will not be denied."

Additionally, Chuck Bowen of Slant Magazine observes that the presentation of the church sequences signifies a closed-in nature that "favors cramped medium shots and close-ups that induce claustrophobia. The characters always appear to be cramped together in the church, on top of one another, and their homes are composed of similarly small passageways." Despite this, Bowen asserts that the film is not "exactly an indictment of the church," but rather a "febrile portrait... of how society enables dysfunction on multiple fronts, from the domestic to the religious to the psychiatric."

Familial dissolution
Bowen notes familial dissolution as a theme in Alice, Sweet Alice, citing the backstory involving the Spages and Dominick's separation from Catherine: "Sole allows these reverberations, particularly the parallel bitterness existing between Catherine and Annie and Karen and Alice, both of which have been intensified by religion, to gradually assert themselves into our minds... Catherine and Dom's splintered relationship is also portrayed as a gateway to chaos, primarily for Catherine's distracted nature and unwillingness to face the truth of her family."

Scholar Claire Sisco King notes in a 2007 essay that the film is preoccupied with the theme of theatrical performativity perpetrated by children who are emotionally neglected by their parents. King suggests that the title character of Alice is ostracized by her mother and aunt, and lacking attention from her absent father, who only returns after Karen's murder. King elaborates on Alice's performativity: "Alice is driven by her own out-of-control desires, including her jealousy of her sister and her desire for attention. The identity of the killer, who is later revealed to be Mrs. Tredoni, the deranged housekeeper for the beloved local priest, remains concealed by a costume: a plastic Halloween mask and a yellow rain slicker. Suggesting an overt connection between performance and feminine monstrosity, the mask depicts an ornately made-up female face... By asserting such a strong and obvious link between female bodies and performance, this film attempts to cover over the extent to which masculine identity may also be dependent upon performance. The film continually asserts this association between female perversion and performance through its depictions of Alice's need to act up."

Writer David J. Hogan considers Alice, Sweet Alice among a series of films made between the 1970s and 1980s preoccupied with sibling rivalry, and which feature "violations of the integrity of the nuclear family." Hogan views the film as an extension of such features as What Ever Happened to Baby Jane? (1962), an earlier film that blended horror with familial drama between siblings.

Development
Director Alfred Sole began writing the film in 1974, collaborating with co-writer Rosemary Ritvo on the script. Ritvo, an English doctoral student at Fordham University, was Sole's neighbor, and the two often talked about films together. "She was a Catholic and we would talk about the Catholic church, religion and stuff like that. Then we started talking about films and theater and I discovered she had a great love of horror films," Sole recalled. The two began meeting during weekends and workshopping the screenplay together. At the time, Sole was working as an architect in New Jersey.

Sole was inspired to make the film after seeing Nicolas Roeg's 1973 psychological thriller, Don't Look Now, based on the novel by Daphne du Maurier. As a result, Alice, Sweet Alice makes several visual references to Don't Look Now, namely the usage of the raincoat which is featured on the villains in both films. In developing the character of Alice, Sole and screenwriter Ritvo aspired to create a "child who has been neglected, and who could go either way," dividing the audience in regards to her guilt or innocence in the crimes committed. Sole chose to set the film in 1960s-era Paterson, New Jersey, his hometown, and culled much of the family drama and dynamics from his own Italian-Catholic upbringing. The character of Mrs. Tredoni, the villain, was based on a woman who lived at the Catholic rectory next-door to his grandmother's house and looked after the clergy.

Sole was also influenced by the works of Alfred Hitchcock, as well as the 1955 French film Les Diaboliques, while assembling compositions in the film. Although many critics have drawn comparisons to Italian giallo films and the works of Dario Argento in particular, Sole claimed to have not seen Argento's work at the time. Nonetheless, the film's incorporation of subtle dark humor and its unsympathetic portrayal of religion—both motifs of giallo thrillers—led to the film's reputation as the most "gialloesque" American film in history.

Casting
Sole, at the time an inexperienced filmmaker, did not have a casting director to cast the film, and instead would approach various stage actors about playing the parts. "I didn't have a working knowledge of what an actor does," Sole recalled, so I started going to a lot of theater." Sole would approach actors after shows with his screenplay in hopes of casting them. Brooke Shields was the first to be cast in the film after auditioning in New York City in 1975; director Sole had seen her modeling in a Vogue advertisement, and contacted her mother about the film, expressing his interest in her playing the role of young Karen. For her audition, Shields was required to mime as though she were being strangled to death. Sole recalled that Shields's mother "bent over backwards to help me out." Sole cast Paula Sheppard, then a college student, as 12-year-old Alice, the protagonist suspected of her sister's murder. At the time of being cast, Sheppard was 18 years old, and had been discovered by Sole while working as a dancer in stage productions at Connecticut College. Though playing a 12-year-old, Sheppard celebrated her 19th birthday during the shoot in early July 1976. Linda Miller, an actress and daughter of Jackie Gleason, was cast in the role of Alice and Karen's mother, Catherine.

Of the supporting cast, Alphonso De Noble, a New Jersey native, was cast as the sleazy landlord after director Sole had seen him impersonating a priest in local cemeteries. Sole had originally sought veteran stage actress Geraldine Page for the role of Mrs. Tredoni; Page, however, could not due to obligations in a Broadway production, but recommended fellow stage actress Mildred Clinton, who played the role. Tom Signorelli, who played Detective Brennan, an officer investigating the crimes, was a New York stage actor. Lillian Roth, a former film actress-turned-Broadway performer, was cast in a minor role as the pathologist, marking her first film role in decades.

In the years after the film's release, Sole spoke favorably of Shields and Sheppard, though he recalled that much of the cast were "New York actors who were doing me a favor." He also commented that he and Miller clashed significantly, describing her as "really difficult to work with... A real nightmare." Despite this, he conceded: "Linda is an excellent actor; they all are."

Filming
The film was primarily shot on location in Paterson, New Jersey in the summer of 1975, with much of the crew being based out of New York City. While some newspaper sources stated the budget was $1 million, Sole claimed the film ultimately cost $350,000. To help finance the film, Sole refinanced his home and cleared his life savings. "My family was really supportive," he recalled, "and my mother cooked for the crew, my neighbors chipped in; everyone was just so kind and supportive of me that we eventually got it made." In addition to Paterson, some photography took place in the city of Newark.

Approximately 90% of the film was shot using a 16 mm camera, as Sole wanted the frames to have "wide" appearance with significant foreground. Sole's occupation as a local restorational architect in Paterson helped him secure several shooting locations, effectively lending the film a modern Gothic aesthetic. Among the Paterson locations was the historic Rogers Locomotive and Machine Works building, where several sequences were filmed. Exteriors of the church were shot at St. Michael's Parish in Newark and the First Presbyterian Church in Paterson (demolished two years after filming), while the church interiors were filmed inside a hospital chapel. Additional interior photography took place at the Governor Morris Hotel in Morris Township. The stairwell interiors of the Spages' apartment building were filmed inside the historic former home of manufacturer John Ryle.

The production was periodically postponed during filming, with Sole stating that sometimes two to four week breaks would be taken between filming sessions due to budget issues, during which the production sought out additional funding. On one occasion, filming was temporarily halted after actress Linda Miller attempted suicide by slitting her wrists while shooting the film's final sequence in the church. After a week of convalescing, Miller returned to the set and completed her scenes, though a bandage can be seen on her wrist in several sequences. Because of the repeated starts and stops, the production had to recurrently hire new cameramen; Sole estimated that a total of six different cameramen worked on the film. The total number of shooting days was around 20, as estimated by Sole.

For the film's special effects, which included multiple murder sequences by bludgeoning and stabbing, Sole hired friend William Lustig, who would later direct the cult horror film Maniac (1980). Lustig also worked as an assistant cameraman on the film. Dick Vorisek, who had previously worked on Dog Day Afternoon (1975) and Carrie (1976), was hired onto the film as chief sound engineer after Sole was put in contact with him through Technicolor. The special effects in the film were achieved via practical methods, such as the stabbing sequences, which were shot using a fake retractable knife designed by Sole's friend, an engineer.

Theatrical distribution
The film premiered under the title Communion at the Chicago International Film Festival in the fall of 1976, where it earned a Silver Medal award. Columbia Pictures signed on to distribute the film in the United States, and secured a book tie-in by author Frank Lauria, which was eventually published in 1977 by Bantam Books. The studio's chief stipulation was that Sole cut a total of three minutes out of the film, to which he agreed. However, following a monetary dispute between Columbia and producer Richard Rosenberg, Columbia ultimately dropped the film from their roster. In the United Kingdom, Hemdale Film Corporation purchased distribution rights to the film, premiering it in London on September 8, 1977, under its original Communion title.

Allied Artists subsequently purchased the film for North American distribution, and forced the filmmakers to change the title from Communion to Alice, Sweet Alice, out of fear that the public would perceive it to be a Christian film. Allied Artists' revised title, Alice, Sweet Alice, originated from a quote in Volume 16 of the Publications of the Catholic Truth Society, published in 1898, which reads: "Then there is Alice—sweet Alice—your eldest born, who leans over the back of your chair and sweeps your face with her brown curls." Director Sole reportedly fought Allied Artists on the changing of the title to no avail; the film was ultimately released as Alice, Sweet Alice in the United States on November 18, 1977. In some cities, such as Pensacola, Florida, the film was screened under the alternate title The Mask Murders.

Following the rising fame of Brooke Shields after her performance in Pretty Baby (1978), the film was released for a third time in 1981 under the title Holy Terror.

Critical response
Alice, Sweet Alice received mixed reviews from critics upon release. Roger Ebert gave the film a favorable review, stating: "Director Alfred Sole has a brilliant touch for the macabre and there are some splendidly chilling scenes," while US Magazine called the film a "superior modern Gothic thriller."

Daniel Ruth of The Tampa Tribune praised the screenplay, referring to it as "a tight, well-paced melodrama that keeps its audience guessing who the murderer is until the last possible moment," while Leonard Maltin awarded the film a mixed 2 out of 4 stars, calling it "[an] OK murder mystery."

Bill Brownstein of the Montreal Gazette deemed the film "a gory and effective" surprise, praising its cinematography despite its story having "gaps and inconsistencies."

Some critics, such as Vincent Canby of The New York Times, noted the authenticity of the film's characters and settings: "Mr. Sole, whose first feature this is, knows how to direct actors, how to manipulate suspense and when to shift gears: the identity of the killer is revealed at just that point when the audience is about to make the identification, after which the film becomes less of a horror film than an exercise in suspense. He also has a good feeling for the lower middle-class locale and the realities of the lives of the people who live in it."

Ernest Leogrande of the New York Daily News echoed Canby's sentiment, awarding the film two-and-a-half stars out of four and writing that it "has qualities that take it out of the usual run of sanguinary homicidal horror movies, an attention given to dialogue, to authenticity of setting and to revelatory and atmospheric touches."

Despite favorable reviews, numerous critics deemed the film obscene due to its violent and religious content, among them Linda Gross of the Los Angeles Times, who, though praising of Sheppard and Shields's performances, summarized the film as "foul... Alice, which offers 105 minutes of atrociousness and bloody homicides perpetrated upon children by other children and infirm adults, is an obscenity."

The Boston Globe's Michael Blowen similarly deemed the film a "gross vulgarity of an exploitation picture [that] begins as a slick, glossy thriller [but] gradually degenerates into a bloody mess... Sole employs craftsmanlike camerawork and swift editing in an attempt to gloss over the inconsistent script, but this film's complete lack of originality cannot be hidden."

William Whitaker of the Abilene Reporter-News similarly criticized the film's violence as "a little too much after awhile," but conceded that the "script has enough imagination and the direction enough insight to make it passable fare as far as these kind of films go." The film's depiction of Catholicism in an unfavorable light also drew ire from reviewers: Tom McElfresh of The Cincinnati Enquirer was particularly critical of this, describing the film as "wholly, totally terrible," and a "mishmash full of sexual innuendo and rage at the Catholic church." In Ireland, the film was notably controversial due to its perceived anti-Catholic themes.

Home media
During the changes in distributors and due to a myriad of legal problems, the film was not properly registered with the United States Copyright Office in 1975 during its production. As a result, the film became widely bootlegged in the following years. Some VHS versions of the film released in the 1980s feature a truncated 98-minute cut of the film, such as a release by Celebrity Home Entertainment in 1987.

In 1997, Anchor Bay Entertainment released the film on VHS in its 108-minute, fully uncut version, with remastering supervised by director Alfred Sole. A DVD edition was subsequently released by Anchor Bay in 1999. After this edition of the film became out of print, it was re-released on DVD by Hen's Tooth Video in 2007.

In the UK, the film has undergone controversy due to the Video Nasty debacle and never had a proper video release until 2003. The first UK release was by Video International on DVD, utilizing a NTSC-PAL converted 4:3 video master with BBFC cuts to the scene where a kitten is aggressively grabbed and thrown around the room (which eventually ended up getting waved with later DVD releases, as it was discovered the cat grabbing shot was a camera angle trick and that a stuffed toy kitten was used for the tossing shots).

In 2014, 88 Films had put out on the first ever anamorphic widescreen DVD in the UK, utilizing a digitally processed and noise reduced version of the 1997 Laserdisc master used for the Anchor Bay and Hens Tooth DVD releases. 88 Films then followed up with a UK premiere on Blu-ray on July 9, 2018. This release utilizes a 2k restoration of a 35mm print being the 1981 "Holy Terror" reissue and bearing said title card.

In May 2019, Arrow Films, in conjunction with Warner Home Video and director Alfred Sole, confirmed they will be releasing a North American Blu-ray edition of the film on August 6, 2019. Arrow's edition utilizes a 2K restoration of the camera negative, sporting both the original "Communion" and "Holy Terror" versions, along with several newly produced extras and the alternate "Alice, Sweet Alice" opening credits.

Legacy
In the years following its release, Alice, Sweet Alice garnered a reputation as a cult film. On the review aggregator website Rotten Tomatoes, Alice, Sweet Alice holds an 77% approval rating based on thirteen critic reviews, with an average rating of 6.60/10.

Patrick Legare of AllMovie called the film an "eerie, effective chiller," praising the film's cinematography, and awarding it four-and-a-half out of five stars, while TV Guide praised it as "an excellent low-budget horror film from director Sole, whose impressive grasp of filmmaking technique and eye for the grotesque keeps the viewer on edge throughout the movie." Ed Gonzalez of Slant Magazine noted in his 2005 review of the film: "Possibly the closest American relation to an Italian giallo, the film is head-trippingly hilarious (Jane Lowry, as Aunt Annie, may be the nuttiest screamer in the history of cinema) and features some of the more disquieting set pieces you'll ever see in a horror film." Time Out, London praised the film for constructing "a running commentary on the themes of Alfred Hitchcock: against a carefully evoked background of Catholicism emerge twin themes of repression and guilt."

Horror film scholar Scott Aaron Stine, in The Gorehound's Guide to Splatter Films of the 1960s and 1970s, notes the film as "Compelling, and not entirely predictable, Sole's first (and only truly worthwhile) effort is driven by strong anti-Catholic messages (á la Pete Walker) and—even more pertinent—littered with unflinchingly disturbing scenes of violence that are reminiscent of [Dario] Argento's earlier handling of brutality."

In 2005, Alice, Sweet Alice ranked #89 on Bravo's The 100 Scariest Movie Moments for the scene when Alice scares Karen in the warehouse. In 2017, the film was ranked the fourth-best slasher film of all time by Complex magazine.

Proposed remake
In 2007, director Dante Tomaselli announced his intent to direct a remake, confirmed that he had completed a script with Michael Gingold. Tomaselli intended to score the film using original music along with re-mastered and remixed music from the original film. In 2013 actress Kathryn Morris was cast in the role of Catherine Spages. The remake was to be set in the 1970s, as Tomaselli wanted to be "somewhat more recent while not at all losing its retro style." In May 2016, Tomaselli revealed that the film was delayed due to lack of funds, but also stated that he had been in recent contact with "solid prospects from European production companies and producers."

title: Alice, Sweet Alice


text:
User:Trashtalker

I'm a 25 year old Australian male who was born on December 14, 1979 in the city of Geelong, Australia, where I have lived ever since and can't see myself leaving anytime soon.

I currently work as a console operater at a service station, and my previous job was with the fast food company KFC. A life-long dream of mine is to one day join the Victoria Police Force.

In my spare time I enjoy collecting DVDs, watching World Wrestling Entertainment (WWE) wrestling, using the Internet, as well as catching up with friends.

Interests
Films Good Will Hunting, La Bamba, Fast Times at Ridgemont High, Jurassic Park, Forrest Gump and Catch Me If You Can.

TV Shows "RAW", SmackDown!, Desperate Housewives, Blue Heelers, Quantum Leap, He-Man and the Masters of the Universe, Viva La Bam, Jackass, Wildboyz, Hey Hey It's Saturday, The Flintstones, The Jetsons, The Simpsons, King of the Hill, Teenage Mutant Ninja Turtles, Family Guy, Aqua Teen Hunger Force, The Yearling, Agro's Cartoon Connection, All Aussie Adventures, Big Brother, Mother and Son, Kath & Kim, Rove Live and Without a Trace.

Bands / Artist 28 Days, AC/DC, Billy Idol, Blink 182, Bon Jovi, CKY, Crowded House, Dire Straits, Elvis Costello, Elvis Presley, Foo Fighters, Goo Goo Dolls, Good Charlotte, Green Day, Guns N' Roses, Hunters & Collectors, Jet, KISS, Lenny Kravitz, Metallica, Michael Buble, Michael Jackson, Midnight Oil, Mötley Crüe, Nirvana, Paul Kelly, Pearl Jam, Pink Floyd, Powderfinger, Red Hot Chilli Peppers, R.E.M., Rolling Stones, Silverchair, Simple Plan, Skyhooks, Slim Dusty, The Doors, The Drifters, The Go Set, The Kinks, U2, Velvet Revolver,

Food Subway, Krispy Kreme, Oporto

Drink Mountain Dew, A&W Root Beer, Cherry Coke, Dr. Pepper, Canadian Club, Red Stripe

Sports Teams / People Geelong Football Club, Liverpool Football Club, Mighty Ducks, New York Jets, Mark Webber, Valentino Rossi

Wikipedia Contributions
(still to update)

title: User:Trashtalker


text:
Amira Casar

Amira Casar is a French-British actress of Kurdish descent.

Early life
Amira Casar was born in London and was subsequently raised in England, Ireland, and France. She studied drama at the Conservatoire National d'Art Dramatique de Paris between 1991 and 1994. She is fluent in English, Persian, and French and has worked in German, Italian, and Spanish.

Career
Casar's first role was in the 1989 film  (Error of Youth) by. She played Sandra Benzakhem in the 1997 film La Vérité si je mens !, for which she was nominated for a César Award for Most Promising Actress. She later appeared in the film's two sequels, in 2001 and 2012.

Casar portrayed Myriem in How I Killed My Father (2001) by Anne Fontaine; Assia Wevill in Sylvia (2003) by Christine Jeffs; the lead role of The Woman in the Catherine Breillat erotic film Anatomy of Hell (2004); and Eva in To Paint or Make Love (2005) by Arnaud and Jean-Marie Larrieu, which was nominated for the Palme d'Or at the 2005 Cannes Film Festival.

Other roles include Marianne in Hypnotized and Hysterical (2002), a film by  which won the Grand Golden Rail at the 2002 Cannes Film Festival; Malvina van Stille in The Piano Tuner of Earthquakes by the Brothers Quay (2005); and Marie in Tony Gatlif's Transylvania in 2006.

In 2007, Casar appeared in installation artist Sophie Calle's Venice Biennale piece Prenez soin de vous (Take Care of Yourself).

In 2008, she played Dolorès in Laetitia Masson's , and portrayed Irene in Werner Schroeter's last film, Nuit de chien. Casar played the lead role of Anna Di Baggio in the Éléonore Faucher film  in 2009.

She won the Best Actress award at La Rochelle Television Film Festival for her portrayal of Dora Maar in  in 2010. In 2011, Casar played Irène in , and Deniz in Playoff. In 2013, she appeared in the Arnaud des Pallières film Michael Kohlhaas, and portrayed Anne-Marie Munoz in Bertrand Bonello's Saint Laurent in 2014.

In 2015, Casar appeared in The Forbidden Room by Canadian director Guy Maddin. and portrayed Béatrice, Madame de Clermont, in the TV series Versailles. In 2017, she played Annella Perlman in the film Call Me by Your Name. She also appeared in the 2019 Caroline Fourest film Sisters in Arms, about a team of female Kurdish soldiers and volunteers.

In 2022, Casar appeared in the film The Contractor. She portrayed Edith Frank, the mother of Anne Frank, in the 2023 Disney+ series A Small Light.

On stage, Casar's work includes the Almeida Theatre production of Aunt Dan and Lemon; the title role in Hedda Gabler at Le Petit Théâtre de Paris; and Olivier Py's 2009 production of Les Enfants de Saturne at the Theatre National de L'Odéon, Paris. In 2011, she appeared in the title role of Petra in The Bitter Tears of Petra von Kant, and received critical acclaim in Arthur Honegger's Jeanne d'Arc au bûcher at the Barbican Centre with the London Symphony Orchestra.

Casar also appeared in the 1995 Bryan Adams music video for "Have You Ever Really Loved a Woman?".

Accolades

 * 1998 – Nomination: César Award for Most Promising Actress for La Vérité si je mens !
 * 2016 – Chevalier of the Order of Arts and Letters

title: Amira Casar


text:
User:Bkkbrad

Lamest edit wars ever

/The Game (game)

/Sandbox

title: User:Bkkbrad


text: Category:Ukrainian film directors

title: Category:Ukrainian film directors


text:
Talk:South Korean web culture

This seems like such an interesting article, but an English speaker who knows the subject should clean it up.. There probably aren't too many that fall in this category though Freshraisin 12:04, August 5, 2005 (UTC)

We should really work on this article; it seems a bit too dull...how about some screenshots or pictures? Igob8a 02:15, 20 April 2007 (UTC)

There are a number of inline external links. Should these be changed in some manner? RJFJR (talk) 23:38, 14 February 2010 (UTC)

General Cleanup
I have gone ahead and been pretty bold in making changes. Using some Google-fu and my limited personal knowledge of the culture I have added sections, added citations and flagged the individual sections that need more attention. I have removed both of the flags at the top of the page as the sections in need have now been marked. If you disagree with my actions they can always be reverted. --Lord Matt (talk) 18:34, 29 December 2016 (UTC)

title: Talk:South Korean web culture


text:
Gay-friendly

Gay-friendly or LGBT-friendly places, policies, people, or institutions are those that are open and welcoming to gay or LGBT people. They typically aim to create an environment that is supportive, respectful, and non-judgmental towards the LGBT community. The term "gay-friendly" originated in the late 20th century in North America, as a byproduct of a gradual implementation of gay rights, greater acceptance of LGBT people in society, and the recognition of LGBT people as a distinct consumer group for businesses.

Businesses
Many businesses now identify as gay-friendly, allowing for a more diversified employee and customer base. The Human Rights Campaign works to achieve equality for gays, lesbians, and other marginalized minorities, and publishes a list of companies in relation to issues concerning LGBT people. Companies that are noted for gay-friendly work environments include Dell and Coca-Cola. Companies such as R Family Vacations, Manspray, Volkswagen, Ginch Gonch, and numerous others offer niche products and services for gay customers. Others, such as LOT Polish Airlines sends the message of gay-friendliness by offering travel to major gay destinations with a rainbow flag. Studies have shown that LGBT communities tend to favor gay-friendly businesses, even if the cost of a particular product or service is higher.

World
The Pew Research Center conducted a survey in 2019 to measure levels of acceptance of LGBT around the globe.

Researchers at the Williams Institute at UCLA released a report in 2021 after analyzing findings from different surveys to develop their own LGBTQ Global Acceptance Index (GAI).

The Spartacus International Gay Guide publishes the Gay Travel Index, a ranking of gay-friendly countries. Points are added to countries for anti-discrimination legislation, equal marriage, partnership and adoption laws, and LGBT marketing. Meanwhile, points are subtracted for anti-LGBT laws, HIV travel restrictions, religious influence; and prosecution, murders, and death sentences.

In 2024, the Spartacus Gay Travel Index featured a majority of Western European countries in the top 12 spots (Denmark, Germany, Iceland, Malta, Norway, Portugal, Spain and Switzerland), rounded out by Australia, Canada, New Zealand and Uruguay. The bottom 4 places went to Afghanistan, Chechnya, Iran and Saudi Arabia.

Not Included in Data

 * Abkhazia
 * 🇦🇸 American Samoa
 * East Timor
 * 🇾🇹 Mayotte
 * 🇳🇷 Nauru
 * 🇳🇺 Niue
 * Northern Cyprus
 * 🇲🇵 Northern Mariana Islands
 * Palestine
 * Somaliland
 * South Ossetia
 * Transnistria
 * 🇼🇫 Wallis and Futuna
 * 🇪🇭 Western Sahara

United States
Spartacus also publishes a Gay Travel Index for US states, listing the 50 states plus the District of Columbia with the same criteria as the country rankings. In 2024, the top spot went to New York while the bottom ten states were mainly the southern and the mountain states, with Oklahoma being the overall worst-ranked state for LGBT people.

 Notes

title: Gay-friendly


text: User talk:65.96.109.205

title: User talk:65.96.109.205


text:
Talk:Neath RFC

This looks suspicious to me
Sorry to the people who have been wikifying it, but the content which arrived on the 1st of January 2005 is from Neath RFC's history page and there's nothing about permission on it. I did try to revert it to the version from December 2004, but something is playing up: I can apparently edit any page in Wikipedia except the old one here. Grr. --Telsa 16:11, 8 Jun 2005 (UTC)

 * The site doesn't say that info is copyright and therefore it is not.GordyB 22:54, 10 August 2005 (UTC)

If you write something, you do not have to put "copyright J Bloggs" in order for it to be copyright. It is already. Someone had put the whole of that webpage in as the wikipedia article, removing only the name of the author of the original version. We can certainly use the information in it (point-of-view as it is :)), but at the time I commented, we didn't have a summary of the information in it. We had word-for-word copying right down to doubled spaces and exclamation marks. --Telsa 08:16, 11 August 2005 (UTC)

(As for the stuff about having trouble reverting, there was some kind of database corruption at the time I wrote that.) --Telsa 08:16, 11 August 2005 (UTC)

Be good if we could repopulate the history section, with summarised information from Neath RFC's website and other sources. For one of the most important rugby clubs in Wales with such a long and illustrious history this wiki page currently doesn't do it justice; particularly its successes in the latter half of the 20th century pre-regionalisation.146.90.139.197 (talk) 22:25, 2 November 2021 (UTC)

Fair use rationale for Image:Neath rfc badge.png
Image:Neath rfc badge.png is being used on this article. I notice the image page specifies that the image is being used under fair use but there is no explanation or rationale as to why its use in this Wikipedia article constitutes fair use. In addition to the boilerplate fair use template, you must also write out on the image description page a specific explanation or rationale for why using this image in each article is consistent with fair use.

Please go to the image description page and edit it to include a fair use rationale. Using one of the templates at Fair use rationale guideline is an easy way to insure that your image is in compliance with Wikipedia policy, but remember that you must complete the template. Do not simply insert a blank template on an image page.

If there is other fair use media, consider checking that you have specified the fair use rationale on the other images used on this page. Note that any fair use images uploaded after 4 May, 2006, and lacking such an explanation will be deleted one week after they have been uploaded, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you.

BetacommandBot 04:34, 7 November 2007 (UTC)

Club Symbol
Just a small point, but the club's symbol is a Cross pattée, not a Maltese Cross. The latter's arms have four sides and look somewhat like arrow heads, while the Cross pattée's arms are simple triangles.Scartboy (talk) 13:33, 27 August 2011 (UTC)
 * Well you learn something everyday. Changed. FruitMonkey (talk) 14:03, 27 August 2011 (UTC)

W. E. Jones?
The William Lewis Thomas article makes reference to "He was one half the then famous pre-war halfback partnership, alongside Welsh international outside half W. E. Jones", was this partnership at Ystradgynlais RFC, or Neath RFC? According to wru.co.uk, a William Jones played Flanker (not outside half (fly-half)) for Wales against Ireland on 8 March 1924. However, according to espnscrum.com, his full name is William John Jones, so not a W. E. Jones. The only other W. Jones mentioned on wru.co.uk, is a Windham Jones who played Half Back (scrum-half) way back in 1905, so a different era, and his full name is Anthony Windham Jones, so not a W. E. Jones either. So who is W. E. Jones? Best Regards. DynamoDegsy (talk) 14:57, 15 May 2012 (UTC)
 * See for further information, see Talk:William Lewis Thomas. Best Regards. DynamoDegsy (talk) 11:06, 13 February 2013 (UTC)

Is the Neath club genuinely the oldest in Wales now?
My understanding is that the original Neath Club went bust in the 1990s after profesionalisation, and that the current club was foundned by the WRU after then using the same name- so the current Neath is a new club dating from the 1990s, who happened to play at the same ground, in the same colour strip as the former club?

I vaguelly recall a story of a committee member literally having a debt collector on his doorstep and going to go to the building society to get cash to pay the debts off- which would make sense if the organisation was an unincorporated association- which rugby clubs often were in the amateur era. The article goes on to say that the Ospreys is half owned by the Neath RFC company- which does suggest that the legal entities have changed. In which case I would imagine that the old Neath has been overtaken by another club for the oldest club in Wales- (the WRU was foundned in 1881- less than 10 years after "Neath 1" was formed and other founding members included Swansea, Llanelli and Wrexham, which since it's now 20 years since Neath 1 folded they would have overtaken Neath. (In fact I think for a time the new and old Neath clubs co-existed- since although "Neath 2" were playing in the league etc etc, the old club still existed for the purpose of clearing up the affairs, I vaguely recall news reports of Special General Meetings and such like?)

In any case even if I've got the exact details wrong, I am sure there was definately something happened in the 1990s that merits mention. — Preceding unsigned comment added by 149.254.58.109 (talk) 01:16, 15 November 2013 (UTC)
 * Have you got any sources for this? Hamish59 (talk) 09:21, 15 November 2013 (UTC)
 * I think people put too much stock in business ownership of the club. Even if the company changed ownership / legal entity ended / was 'rebooted' etc... the name, ground, fans players etc were a continuation. That's what really matters: that the rugby team Neath RFC have existed since 1871. 146.90.139.197 (talk) 22:13, 2 November 2021 (UTC)

Oldest rugby club in wales
Machen rfc was also formed in 1871 2A00:23C4:E6A2:8C01:28F3:1AC5:A174:4659 (talk) 00:32, 22 November 2022 (UTC)

title: Talk:Neath RFC


text:
Disco Infiltrator

"Disco Infiltrator" is a song from the eponymous debut album by LCD Soundsystem. It was released on 6 June 2005 as the debut's sixth single. The song was written by LCD Soundsystem's frontman James Murphy and produced by Murphy and Tim Goldsworthy as The DFA. It contains a sample from Kraftwerk's "Home Computer".

The B-side of the 7" release is a cover version of Siouxsie and the Banshees' "Slowdive" from their 1982 album, A Kiss in the Dreamhouse. The cover was recorded during a live in-studio performance for XFM London.

title: Disco Infiltrator


text:
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