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Parade (musical)

Parade is a musical with a book by Alfred Uhry and music and lyrics by Jason Robert Brown. The musical is a dramatization of the 1913 trial and imprisonment, and 1915 lynching, of Jewish American Leo Frank in Georgia.

The musical premiered on Broadway in December 1998 and won Tony Awards for Best Book and Best Original Score (out of nine nominations) and six Drama Desk Awards. After closing on Broadway in February 1999, the show has had a US national tour and a few professional productions in the US and UK. Its 2023 Broadway staging was nominated for six Tony Awards, winning two, including Best Revival of a Musical.

Background and genesis
The musical dramatizes the 1913 trial of Jewish factory manager Leo Frank, who was accused and convicted of raping and murdering a thirteen-year-old employee, Mary Phagan. The trial, sensationalized by the media, aroused antisemitic tensions in Atlanta and the U.S. state of Georgia. When Frank's death sentence was commuted to life in prison by the departing Governor of Georgia, John M. Slaton, in 1915 due to his detailed review of over 10,000 pages of testimony and possible problems with the trial, Leo Frank was transferred to a prison in Milledgeville, Georgia, where a lynching party seized and kidnapped him. Frank was taken to Phagan's hometown of Marietta, Georgia, and he was hanged from an oak tree. The events surrounding the investigation and trial led to two groups emerging: the revival of the defunct KKK and the birth of the Jewish Civil Rights organization, the Anti-Defamation League (ADL).

Director Harold Prince turned to Jason Robert Brown to write the score after Stephen Sondheim turned the project down. Prince's daughter, Daisy, had brought Brown to her father's attention. Book writer Alfred Uhry, who grew up in Atlanta, had personal knowledge of the Frank story, as his great-uncle owned the pencil factory run by Leo Frank.

The musical's story concludes that the likely killer was the factory janitor Jim Conley, the key witness against Frank at the trial. The villains of the piece are the ambitious and corrupt prosecutor Hugh Dorsey (later the governor of Georgia and then a judge) and the rabidly anti-semitic publisher Tom Watson (later elected a U.S. senator). Prince and Uhry emphasized the evolving relationship between Frank and his wife Lucille. Their relationship shifts from cold to warm in songs like "Leo at Work/What am I Waiting For?," "You Don't Know This Man," "Do it Alone," and "All the Wasted Time". The poignancy of the couple, who fall in love in the midst of adversity, is the core of the work. It makes the tragic outcome – the miscarriage of justice – even more disturbing.

The show was Brown's first Broadway production. His music, according to critic Charles Isherwood, has "subtle and appealing melodies that draw on a variety of influences, from pop-rock to folk to rhythm and blues and gospel."

Act I
The musical opens in Marietta, Georgia, in the time of the American Civil War. The sounds of drums herald the appearance of a young Confederate soldier, bidding farewell to his sweetheart as he goes to fight for his homeland. The years pass and suddenly it is 1913. The young soldier has become an old one-legged veteran who is preparing to march in the annual Confederate Memorial Day parade ("The Old Red Hills of Home"). As the Parade begins ("The Dream of Atlanta"), Leo Frank, a Yankee Jew from Brooklyn, New York, is deeply uncomfortable in the town in which he works and resides, feeling out of place due to his Judaism and his college education ("How Can I Call This Home?"). His discomfort is present even in his relationship with his wife Lucille, who has planned an outdoor meal spoiled by Leo's decision to go into work on a holiday. Meanwhile, two local teens, Frankie Epps and Mary Phagan, ride a trolley car and flirt. Frankie wants Mary to go to the picture show with him, but Mary playfully resists, insisting her mother will not let her ("The Picture Show"). Mary leaves to collect her pay from the pencil factory managed by Leo.

While Leo is at work, Lucille bemoans the state of their marriage, believing herself unappreciated by a man so wrapped up in himself. She reflects on her unfulfilled life and wonders whether or not Leo was the right match for her ("Leo at Work" / "What Am I Waiting For?"). Mary Phagan arrives in Leo's office to collect her paycheck. That night, police Detective Starnes and Officer Ivey rouse Leo from his sleep, and without telling him why, demand he accompany them to the factory, where Mary has been found raped and murdered in the basement. The police immediately suspect Newt Lee, the African-American night watchman who discovered the body ("Interrogation"). Throughout his interrogation, Lee maintains his innocence, but he inadvertently directs Starnes' suspicion upon Leo, who did not answer his telephone when Lee called him to report the incident. Leo is arrested, but not charged, and Mrs. Phagan, Mary's mother, becomes aware of Mary's death.

Across town, reporter Britt Craig is informed about Mary's murder and sees the possibility of a career-making story ("Big News"). Craig attends Mary's funeral, where the townspeople of Marietta are angry, mournful, and baffled by the tragedy that has so unexpectedly shattered the community. ("There is a Fountain" / "It Don't Make Sense"). Frankie Epps swears revenge on Mary's killer, as does Tom Watson, a writer for The Jeffersonian, an extremist right-wing newspaper ("Tom Watson's Lullaby") who has taken a special interest in the case. Governor John Slaton pressures the local prosecutor Hugh Dorsey to get to the bottom of the whole affair. Dorsey, an ambitious politician with a "lousy conviction record", resolves to find the murderer. Dorsey, Starnes and Ivey interrogate Newt Lee, but they receive no information. Dorsey releases Newt, reasoning that "hanging another Nigra ain't enough this time. We gotta do better." He then attaches the blame to Leo Frank and sends Starnes and a reluctant Ivey out to find eyewitnesses ("Something Ain't Right"). Craig exalts in his opportunity to cover a "real" story and begins an effective campaign vilifying Leo. ("Real Big News").

Leo meets with his lawyer Luther Z. Rosser, who vows to "win this case, and send him home". Meanwhile, Dorsey makes a deal with factory janitor and ex-convict Jim Conley to testify against Leo in exchange for immunity for a previous escape from prison. Lucille, hounded by reporters, collapses from the strain and privately rebukes Craig when he attempts to obtain an interview ("You Don't Know This Man"). She tells her husband that she cannot bear to see his trial, but he begs her to stay in the courtroom, as her not appearing would make him look guilty.

Leo's trial begins, presided over by Judge Roan. A hysterical crowd gathers outside the courtroom, as Watson spews invective ("Hammer of Justice") and Dorsey begins the case for the prosecution ("Twenty Miles from Marietta"). The prosecution produces a series of witnesses, most of whom give trumped evidence which was clearly fed to them by Dorsey. Frankie Epps testifies, falsely, that Mary mentioned that Leo "looks at her funny" when they last spoke, a sentiment echoed verbatim by three of Mary's teenage co-workers, Iola, Essie and Monteen ("The Factory Girls"). In a fantasy sequence, Leo becomes the lecherous seducer from their testimony ("Come Up to My Office"). Testimony is heard from Mary's mother ("My Child Will Forgive Me") and Minnie McKnight before the prosecution's star witness, Jim Conley, takes the stand. He claims that he witnessed the murder and helped Leo conceal the crime ("That's What He Said"). Leo is desperate. As Dorsey whips the observers and jurors at the trial into a frenzy, Leo is given the opportunity to deliver a statement. Leo offers a heartfelt speech, pleading to be believed ("It's Hard to Speak My Heart"), but it is not enough. He is found guilty and sentenced to hang. The crowd breaks out into a jubilant cakewalk as Lucille and Leo watch, terrified ("Summation and Cakewalk").

Act II
It's now 1915 and Leo is in his process of appeal. The trial has been noted by the press in the north, and the reaction is strongly disapproving of the way in which it was conducted, but the African-American domestics wonder if the reaction would have been as strong if the victim had been Black ("A Rumblin' and a Rollin'"). Lucille tries to help Leo with his appeal, but reveals crucial information to Craig, provoking an argument between Leo and Lucille ("Do it Alone"). Lucille finds Governor Slaton at a party ("Pretty Music") and attempts to advocate for Leo. She accuses him of either being a fool or a coward if he accepts the outcome of the trial as is. Meanwhile, Watson approaches Dorsey and tells him that he will support his bid for governor should he choose to make it. Dorsey and Judge Roan go on a fishing trip, where they discuss the political climate and the upcoming election ("The Glory").

The governor agrees to re-open the case, and Leo and Lucille rejoice ("This Is Not Over Yet"). Slaton visits the factory girls, who admit to their exaggeration (“Factory Girls" (reprise)), and Minnie, who claims that Dorsey intimidated her and made her sign a statement (“Minnie McKnight's Reprise”). Slaton also visits Jim Conley, who is back in jail as an accessory to the murder. Conley refuses to change his story despite the noticeable inconsistencies with the evidence, and along with his Chain Gang, does not give any information, much to the chagrin of Slaton ("Blues: Feel the Rain Fall"). A year later, after much consideration, he agrees to commute Leo's sentence to life in prison in Milledgeville, Georgia, a move that effectively ends his political career. The citizens of Marietta, led by Dorsey and Watson, are enraged and riot ("Where Will You Stand When the Flood Comes?").

Leo has been transferred to a prison work-farm. Lucille visits, and he realizes his deep love for his wife and how much he has underestimated her ("All the Wasted Time"). After Lucille departs from the prison, a party of masked men (including Starnes, Ivey, Frankie Epps, and the Old Confederate Soldier) arrives and kidnaps Leo. They take him to Marietta and demand he confess to the murder on pain of death. Leo refuses, and although Ivey is convinced of his innocence, the rest of group is determined to kill him. As his last request, Leo has a sack tied around his waist, since he is wearing only his nightshirt, and gives his wedding ring to Ivey to be given to Lucille. The group hangs him from an oak tree ("Sh'ma"). In 1916, a remorseful Britt Craig gives Leo's ring, which has been delivered to him anonymously, to Lucille. He is surprised to discover that she has no plans to leave Georgia, which is now governed by Dorsey, but she refuses to let Leo's ordeal be for nothing. Alone, she gives in to her grief, but she takes comfort in believing that Leo is with God and free from his ordeal. The Confederate Memorial Day Parade begins again ("Finale").

 * Note: In the 2023 Broadway revival, an epilogue is projected on the stage stating that Frank's case was reopened in 2019 and is still ongoing.

Musical numbers

 * Act I
 * Prologue: "The Old Red Hills of Home" – Young Soldier, Old Soldier, Ensemble
 * Anthem: "The Dream of Atlanta" – Townspeople
 * "How Can I Call This Home?" – Leo and Townspeople
 * "The Picture Show" – Mary and Frankie
 * "Leo At Work" / "What Am I Waiting For?" – Leo and Lucille
 * "Interrogation: "I Am Trying to Remember..." – Newt Lee
 * "Big News!" – Britt Craig
 * Funeral: "There is a Fountain" / "It Don't Make Sense" – Frankie and Townspeople
 * "Watson's Lullaby" – Tom Watson
 * "Somethin' Ain't Right" – Hugh Dorsey
 * "Real Big News" – Britt Craig and Townspeople
 * "You Don't Know This Man" – Lucille
 * "People of Atlanta" – Fiddling John, Tom Watson and Townspeople
 * "Twenty Miles From Marietta" – Hugh Dorsey
 * "Frankie's Testimony" – Frankie and Mary
 * "Factory Girls / Come Up to My Office" – Iola, Essie, Monteen / Leo
 * "Newt Lee's Testimony" – Newt Lee
 * "My Child Will Forgive Me" – Mrs. Phagan
 * "That's What He Said" – Jim Conley and Townspeople
 * "Leo's Statement: It's Hard to Speak My Heart" – Leo
 * "Closing Statements and Verdict" – Jurors and Townspeople

 * Act II
 * "It Goes On and On" - Britt Craig
 * "Rumblin' and a Rollin'" – Riley, Angela, Jim Conley and Newt Lee
 * "Do It Alone" – Lucille
 * "Pretty Music" – Governor Slaton
 * "Letter to the Governor" – Judge Roan
 * "This Is Not Over Yet" – Leo and Lucille
 * "Factory Girls" (reprise) – Leo, Lucille, Iola and Factory Girls
 * "Newt Lee's Reprise" – Leo, Lucille and Newt
 * "Blues: Feel the Rain Fall" – Jim Conley and Chain Gang
 * "Where Will You Stand When the Flood Comes?" – Tom Watson, Hugh Dorsey, and Townspeople
 * "All the Wasted Time" – Leo and Lucille
 * "Sh'ma" – Leo
 * Finale: "The Old Red Hills of Home" – Lucille, Leo, Frankie, and Full Company

 * Notes
 * A Cut for the Donmar Warehouse production and the 2023 Broadway revival.
 * B Replaced with "Hammer of Justice" in the Donmar Warehouse production and the 2023 Broadway revival.
 * C Replaced with "Minnie McKnight's Testimony" in the Donmar Warehouse production and the 2023 Broadway revival.
 * D Cut for the 2000 U.S. Tour, the Donmar Warehouse production and the 2023 Broadway revival.
 * E Replaced with "The Glory" in the Donmar Warehouse production and the 2023 Broadway revival.
 * F Replaced with "Minnie McKnight's Reprise" in the Donmar Warehouse production and the 2023 Broadway revival.

Broadway
The musical premiered on Broadway at the Vivian Beaumont Theater at Lincoln Center on December 17, 1998, and ended its limited run on February 28, 1999, after 39 previews and 85 regular performances. Directed by Harold Prince, it starred Brent Carver as Leo Frank, Carolee Carmello as Lucille Frank, and Christy Carlson Romano as Mary Phagan. Judith Dolan designed costumes for the production.

Most critics praised the show, especially the score. However, the public and some critics received the show coolly. When the show closed, co-producer Livent had filed for bankruptcy protection (Chapter 11). Lincoln Center was the other producer solely responsible for covering the weekly running costs.

First US national tour
A US national tour, directed by Prince, started at the Fox Theatre in Atlanta, Georgia. It ran from June to October 2000, with Jason Robert Brown conducting at some venues. It starred David Pittu as Leo, Andrea Burns as Lucille, Keith Byron Kirk as Jim and Kristen Bowden as Mary.

London
The first major production in the United Kingdom played at the Donmar Warehouse from September 24 to November 24, 2007. It was directed by Rob Ashford and starred Lara Pulver as Lucille, Bertie Carvel as Leo, Jayne Wisener as Mary and Stuart Matthew Price as Young Soldier/Frankie. Pulver was nominated for the 2008 Laurence Olivier Award for Best Actress in a Musical and Carvel was nominated for Best Actor in a Musical. A double-CD cast recording of this production has been released by First Night Records. The recording includes new material written by Brown for the production and contains all songs and dialogue from the Donmar production. The large Broadway orchestration was reduced by David Cullen and Brown to a nine piece ensemble consisting of two pianos, accordion, percussion, clarinet, horn and strings.

Another off-West End production opened on August 10, 2011 for a 6-week engagement ending September 17, at the Southwark Playhouse's Vault Theatre. It was directed by Thom Southerland, with musical staging by Tim Jackson. Alastair Brookshaw played Leo, Laura Pitt-Pulford was Lucille, Simon Bailey was Tom and Mark Inscoe was Hugh.

2023 Broadway revival
The City Center production started previews at Broadway's Bernard B. Jacobs Theatre on February 21, 2023 and opened on March 16. Platt and Diamond reprised their roles as Leo and Lucille Frank. The revival completed its limited run on August 6, 2023, with 21 preview performances and 169 regular performances. Platt and Diamond appeared on MSNBC's Morning Joe to announce the transfer. Reprising their City Center roles were Krill, Nolan, Johnson, Feliciano and Doyle. Joining them were Kelli Barrett as Mrs. Phagan, Howard McGillin, who played Luther Rosser at City Center, as Old Soldier/Judge Roan, and Jake Pedersen as Frankie Epps. A cast album for the production was released by Interscope Records on March 23, 2023. The recording was nominated for a Grammy Award for Best Musical Theater Album.

The revival received mostly positive reviews, including those in The New York Times ("well-judged and timely"), Time Out New York ("cause for celebration"), The Guardian ("dynamic and moving"), Entertainment Weekly ("more poignant and powerful than ever"), The New York Post ("Brown's finest music, and Platt's most heart-wrenching work ... Diamond, whose combination of fragility and power is thrilling for an actress so young, brings an electricity to her duets with Platt"), Variety ("theatrically thrilling"), New York Stage Review ("beautifully executed"), New York Theatre Guide ("uniformly terrific cast ... [Platt and Diamond] deliver"); Charles Isherwood dissented in The Wall Street Journal, writing: "Even a first-rate Parade cannot disguise the conceptual problems". The production was nominated for six Tony Awards, winning two for Best Musical Revival and Best Direction of a Musical.

On the night of the show's first preview, members of the neo-Nazi group National Socialist Movement protested against the production outside the theater.

Planned US national tour
A national tour of the 2023 production is planned to open at Proctor's Theatre in Schenectady, New York in January 2025, with an official opening at the Orpheum Theatre in Minneapolis, Minnesota. Arden's direction and the production's creative team will be retained.

Concerts
On February 16, 2015, a concert production of Parade was staged at Avery Fisher Hall in Lincoln Center by Manhattan Concert Productions, directed by Gary Griffin and conducted by composer Jason Robert Brown. Jeremy Jordan and Laura Benanti starred as Leo and Lucille, with Ramin Karimloo as Tom, Joshua Henry as Jim, Andy Mientus as Britt, Emerson Steele as Mary, Katie Rose Clarke as Mrs. Phagan, John Ellison Conlee as Hugh, Davis Gaines as Judge Roan/Old Soldier, Eric Anderson as Detective Starnes, and Alan Campbell as Governor Slaton.

New York City Center staged Parade as the gala concert presentation of its 2022/2023 season, with a benefit performance on November 1 and a run continuing through November 6, 2022. Ben Platt and Micaela Diamond played Leo and Lucille Frank. Michael Arden directed and incorporated projections and photography of the real-life trial in the production. Other notable cast members included John Dossett as Old Soldier/Judge Roan, Manoel Felciano as Tom Watson, Jay Armstrong Johnson as Britt Craig, Sean Allan Krill as Governor Slaton, Jennifer Laura Thompson as Sally Slaton, Erin Mackey as Mrs. Phagan, Gaten Matarazzo as Frankie Epps, Erin Rose Doyle as Mary Phagan, Howard McGillin as Luther Rosser and Paul Alexander Nolan as Hugh Dorsey. Jason Robert Brown conducted the onstage orchestra. Script and score changes from the 2007 Donmar production were retained. Reviews for the run were strongly favorable, with Steven Suskin giving it 5 out of 5 stars and writing in New York Stage Review: "Rather than leaving its audience suitably impressed but emotionally unmoved as in prior viewings, Michael Arden’s spare but meticulous production unleashes the gripping theatricality of the writing that has heretofore been trapped within." Juan A. Ramírez wrote in The New York Times that Platt and Diamond's rendition of "This is Not Over Yet" was a "powerhouse for the ages. Their commanding vocals are matched by a confident production that revives the best of the original while pointing at the possibility of growth, and hope."

Other productions
Parade was staged in May 2003 at the Orange County School of the Arts in Santa Ana, California, in a production directed by Ryan Mekenian and produced by Susan Egan. It was mounted at the Neighborhood Playhouse in Palos Verdes Estates, California, from July 9, 2008. The production was directed by Brady Schwind. The production starred Craig D'Amico as Leo, Emily Olson as Lucille and Alissa Anderegg as Mary.

The Donmar production transferred to the Mark Taper Forum, Los Angeles, California, in September 2009, for a run through November 15, 2009. Pulver reprised her role as Lucille opposite T. R. Knight as Leo. The cast also included Michael Berresse, Christian Hoff, Hayley Podschun, Rose Sezniak and Phoebe Strole.

A German language production of the musical at the Theater Regensburg in Regensburg, Germany, played for a dozen performances from April to July 2023. It was directed and choreographed by Simon Eichenberger with translations by Wolfgang Adenberg and starred Alejandro Nicolás Firlei Fernández as Leo and Fabiana Locke as Lucille.

title: Parade (musical)


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Wikipedia:Articles for deletion/Mixedfolks

 This page is an archive of the discussion about the proposed deletion of the article below. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was DELETE. Golbez 06:35, Jun 18, 2005 (UTC)

Mixedfolks
Appears to be an ad. Intresting site, though. ConeyCyclone 21:41, 12 Jun 2005 (UTC)
 * Delete - unless notability can be established beyond being yet another site for people to talk to one another. 3,000 Google hits, many of which are Wikimirrors. Mere forums are not of encyclopedic importance unless they've made some wider impact. --FCYTravis 22:41, 12 Jun 2005 (UTC)
 * Delete - advertising but not spam. Jamyskis 07:48, 13 Jun 2005 (UTC)
 * Delete - not notable and advertising Tobycat 00:08, 14 Jun 2005 (UTC)
 * Delete advertising. JamesBurns 06:43, 14 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 .

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


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Mongolian finch

The Mongolian finch (Bucanetes mongolicus), also known as the Mongolian trumpeter finch, is a small passerine bird in the finch family Fringillidae.

Description
The Mongolian finch is a small, long-winged bird. It has a large head and short, thick greyish-yellow bill. In breeding plumage, males have a pink flush to their face and underparts, and there are extensive white and pink areas in the wings, a pattern that is also present but less marked in non-breeding plumage.

Distribution and habitat
This bird is a resident from eastern Turkey, across the Caucasus, east into Central Asia and on to western China and Mongolia and south into the Kashmir. Mountainous areas of stony desert or semi-arid scrub and rocky slopes are favoured for breeding. It is native to Afghanistan, Armenia, Azerbaijan, China, Pakistan, Iran, Kazakhstan, Kyrgyzstan, Mongolia, India, Nepal, Russia, Tajikistan, Turkey and Uzbekistan. It is a vagrant in Bahrain.

Armenia
The first record for Armenia was in 2001 near Vedi. Further birds were seen here in 2002.

Azerbaijan
It was first recorded in Azerbaijan at Bulgan in early May 1912 (Beme 1926) Bulgan is in the Nakhchivan region, which is separated from the main part of the country by a strip of Armenian territory; Kirwan & Konrad (1995) incorrectly list this site as being in Armenia. Beddard et al. (2002) were unaware of any records from the main part of the country.

Turkey
In Turkey, the species' occurrence in the far east of the country is well documented, e.g. Kirwan & Conrad (1995), Roselaar (1995).

Kirwan et al. (2000) published information suggesting that the species' Turkish range may be more extensive, including a record in 1999 from Sivrikaya in the Pontic Mountains, 100 km northwest of the core Turkish range, and one in 1982 from Sultanbabadagi, Tunceli, 200 km west of its core range. They also suggest that an adult with a fledged juvenile seen on the eastern side of Lake Tuz in 1967, and identified at the time as desert finches, may actually have been Mongolian finches.

title: Mongolian finch


text: User talk:84.154.73.254

title: User talk:84.154.73.254


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Dean Collins (dancer)

Dean Collins (born Sol Ruddosky; May 29, 1917 – June 1, 1984) was an American dancer, instructor, choreographer, and innovator of swing dance. He is often credited with bringing the Lindy Hop from New York to southern California and influencing the development of West Coast Swing. Collins worked in over thirty films and performed live and on television.

Biography
Collins grew up in Newark, New Jersey, and at age 13 learned to dance from his two older sisters. He participated in amateur dance contests in New Jersey. He danced at the Savoy Ballroom in Harlem, New York. In 1935, he was named Dancer of the Year by The New Yorker magazine.

Collins moved to Los Angeles in 1936. During the day he worked as a janitor at Simon's Drive-In Diner, and at night he danced at the Diana Ballroom and Casino Gardens. Worried that his Jewish name would hinder his career, he adopted the name "Dean Collins" from a wallet he found. He won his first major dance contest in California at the Palomar Ballroom with his Savoy dance style. The Savoy style of Swing was virtually unknown to Californians. The local dances of the day were the Camel Hop and Balboa, but their popularity quickly waned to Dean Collin's style of the East Coast Jitterbug. He started teaching his version of Savoy Style Lindy which lead the way for what is called West Coast Swing (today's Modern swing.) West Coast Swing later went on to become the Official State Dance of California which Dean is given credit as to inadvertently creating. To distinguish the difference between the original style and modern style of West Coast Swing, the original form is at times being called "Hollywood Style" which is hugely based on the original 'Movie style' of Dean's and others however, most the movie billings would call it 'Rock and Roll' in the 1950s. His contest-winning style was frequently spotted at the “Casino Gardens” and the “Diana Ballroom” and was quickly known throughout Los Angeles.

His career began when he was hired by RKO pictures to choreograph the dancing in Let's Make Music, a movie filmed in 1939 and released in 1940. In 1942 he appeared in the Soundies The Chool Song released March 23, 1942. He and his partner were billed "Collins and Colette", and music was recorded by Spike Jones. He danced in or choreographed nearly forty Hollywood movies, including an appearance in Hellzapoppin' (1941), “Dance Hall” (1941), “Playmates” (1941), “Buck Privates” (1941),”Ride Em’ Cowboy” (1942), “Springtime in the Rockies” (1942), “The Talk of the Town” (1942), “Always a Bridesmaid” (1943), “Kid Dynamite” (1943), “Junior Prom” (1945), and “Living It Up” (1954).

In the 1950s and 1960s, he taught swing dancing in Los Angeles. His students included Shirley Temple, Joan Crawford, Cesar Romero, Abbott and Costello, Jonathan Bixby, Sylvia Sykes, Lila Desatoff and Arthur Murray.

Collins's wife, Mary, believes that he contributed a smoothed out style that eliminated the bounce. According to jazz dance researcher Peter Loggins, Dean's style changed over decades, returning toward the end of his life to the Lindy Hop he learned in the Savoy Ballroom in the 1930s. The Collins style seen in Hollywood films was the source for what became known in the 1990s as Hollywood-style Lindy Hop.

Dean Collins and his style of Lindy Hop would help elaborate and define other styles like Houston Push, Dallas Whip, St. Louis Imperial Swing, Washington D.C. Hand Dancing, Carolina Shag, Collegiate Shag, St. Louis Shag, Balboa and Bal-Swing, Ballroom Swing, East Coast Swing, Jitterbug, Jive and Ballroom Jive. He created a version of the Shim Sham which was meant as a three-man performance and was not taught or shared. Jack Arkin and Johnny Mattox were the performers with Collins. Later, Bobby Hefner and Bart Bartolo performed it as well.

Jewel McGowan, who was called by her contemporaries the "greatest female swing dancer", was his dance partner for eleven years. She appeared with him in Buck Privates (1941) and Ride 'Em Cowboy (1942). Together, they were known as “Fred and Ginger of Lindy Hop.” In the 1960s and 1970s, they danced to all styles of music, just as long as it “Swung.”

Dean married and moved to Glendale, California where he was very active in the Swing Dance Community right up until his death in 1984. Dean Collins married his wife, Mary, who believes that he contributed a smoothed-out style that eliminated the bounce. When Mary Collins was asked if her husband was responsible for the emergence of West Coast Swing, she replied, “Dean insisted that there were only two kinds of Swing dancing – good and bad.” According to jazz dance researcher Peter Loggins, Dean's style changed over decades, returning toward the end of his life to the Lindy Hop that he learned in the Savoy Ballroom in the 1930s. The Collins style seen in Hollywood films was the source for what became known in the 1990s as Hollywood-style Lindy Hop. Another quote from Dean Collins is “Young people in those days took their dancing very seriously. They spent much time with their partner, learned the steps, invented new ones. It was more than a hobby; it was a real passion.”

title: Dean Collins (dancer)


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Karl Friedrich von Savigny

Karl Friedrich von Savigny (19 September 1814 – 11 February 1875) was a Prussian diplomat, politician, and a leading member of the Centre Party.

Early life
Savigny was born in Berlin on 19 September 1814. His father was the jurist Friedrich Carl von Savigny, who was then privy councillor of the court of appeals, member of the Prussian council of State, and professor at the University of Berlin, and his mother was Kunigunde Brentano, sister of the poet Clemens Brentano. His father was a Protestant, but his mother was a Catholic, and their children were raised Catholic.

Karl Friedrich was first taught at home, then attended the French Gymnasium at Berlin, the Collegium Romanum at Rome, and the Collegium Sebastianum at Naples. He studied law at Berlin, Munich, and Paris.

Career
In 1836 he became an auscultator at Berlin; in 1837 he was a referendar in the court at Aachen, in 1840 secretary of legation at London and Dresden, in 1842 at Lisbon, in 1848 at London. In 1849 he was Councillor of legations and member of the Ministry of Foreign Affairs, and in 1850 ambassador at Karlsruhe (the capital of the Grand Duchy of Baden). While there he was able to win over the Baden Government for the Prussian policy, and, as Bismarck testified, "by cautious and tactful bearing to win a commanding position at Karlsruhe for the Prussian government."

From 1859 Karl Friedrich was Prussian ambassador at Dresden (to the Kingdom of Saxony), from 1862 at Brussels (to Belgium), and from 1864 he was minister with full powers at the Diet of the German Confederation at Frankfurt. In 1866 he offered at the Diet the Prussian motion for the reform of the German Confederation, and when it was rejected on 14 June 1866, he declared the withdrawal of Prussia, after which the Austro-Prussian War began. Later in connection with Bismarck he was plenipotentiary in making a treaty of peace with the states of southern Germany and Saxony. He was the presiding officer of the government conferences for the drafting of a constitution for the North German Confederation, and was a plenipotentiary at the Reichstag which decided the constitution.

He partially retired in 1868 before fully retiring from government positions in 1871 in order to become one of the parliamentary leaders of the Catholics. From 1867 he was a member of the House of Representatives of the Prussian Diet, from 1868 a member of the Lower House of the Diet of the North German Confederation, and later of the German Reichstag, or Parliament of the German Empire. In 1871 he took part in the founding of the Centre Party. He was not particularly distinguished as a speaker, but his knowledge, distinguished personality, and connections were of much benefit to the Catholic cause. He believed that "laws are not made but found".

Personal life
In Boitzenburg in 1853 Savigny was married to Countess Freda Sophie Karoline Marie von Arnim-Boitzenburg, a daughter of Count Adolf Heinrich von Arnim-Boitzenburg, the 1st Minister President of Prussia (under King Frederick William IV) and Countess Anna Caroline von der Schulenburg. Among her siblings were Count Adolf von Arnim-Boitzenburg, governor of Silesia who was president of the Reichstag in 1880. Together, they were the parents of four sons and five daughters, including:
 * Leo von Savigny (1863–1910), professor of law in Marburg and Münster; he married Baroness Maria von Amelunxen.
 * Karl von Savigny (1855–1928), member of the Prussian House of Representatives and the Reichstag; he married his brother's widow, Baroness Maria von Amelunxen in 1912.
 * Adolf von Savigny (1857–1920), Prussian court trainee.
 * Elisabeth von Savigny (1856–1902), who married Baron Rudolf von Buol-Berenberg, President of the Reichstag.
 * Maria Freda von Savigny (1859–1890), Sister of Mercy of St. Borromeo in Osnabrück.
 * Friedrich von Savigny (1861–1891)
 * Helene von Savigny (1864–1908), nun of the Sacré Coeur Graz, superior in Graz.
 * Hedwig von Savigny (1867–1898), nun of the Sacré Coeur Graz.
 * Josepha von Savigny (1874–1945), who married Baron Adolf von Schönberg.

Savigny died in Frankfurt on 11 February 1875.

title: Karl Friedrich von Savigny


text:
Category:Philosophers by century

A more simple division than philosophers by era, philosophers by century is a categorization based on in which centur(ies) the philosopher was alive and contributing to the field.

title: Category:Philosophers by century


text:
Talk:Inquisitorial system

Prologue
In what countries is the inquisitorial system used? —Preceding unsigned comment added by 210.54.53.14 (talk • contribs) i have no idea but i would like to know also. —Preceding unsigned comment added by 66.68.24.242 (talk • contribs)

This page needs to be sourced or removed for copyright violations. —Preceding unsigned comment added by 71.87.99.14 (talk • contribs)

 * It still looks only partially sourced. Seahen 23:54, 7 May 2006 (UTC)

The question of how to translate juge d'instruction (a French title) in English is often raised. The preferred translation is examining magistrate. I suggest it should be included in the prologue (Quaeitur (talk) 09:48, 5 August 2008 (UTC))

Check for correctness
This is incorrect. International tribunals almost universially use an inquistiorial system in which the judges ask most of the questions and there isn't a separate jury. Roadrunner 06:17, 7 November 2006 (UTC)

 * Although international tribunals intended to try crimes against humanity, such as the Nuremberg Trials and the International Criminal Court, have generally used a version of the adversarial system, they have also incorporated some key features of the inquisitorial system, such as the use of professional judges, and in the case of the International Criminal Court, the use of a screening pre-trial chamber. See the Rome Statute of the International Criminal Court for examples.

You are confusing the differences between trial by jury and trial by the court with the adversarial versus inquisitorial system. Adversarial systems need not have juries: consider Japan. In a true inquisitorial system, the court begins and conducts an investigation on its own. A good example would be the Mexican judicial police. Yet in no international tribunals has the court had power to begin an investigation; only the prosecutor has this power, which is distinctly adversarial, and is one of the most important differences. This was true at Nuremberg and is true of the ICC. See Article 15 of the Rome Statute (the prosecutor has the authority to initiate investigations himself, and only needs authorization of a pre-trial chamber when he has to go out and collect evidence; essentially a warrant-type procedure). Or consider the fact that, under ICC Article 66(2), the onus is on the prosecutor to prove the guilt of the accused - distinct from inquisitorial systems, where the court proves guilt to itself. The fact that judges ask questions isn't surprising either, as that is a common feature of the inquisitorial and adversarial systems, see (US) Federal Rule of Evidence 614 (esp. comments of the advisory committee), and control of witness interrogation has always been with the court in adversarial systems, see (US) Federal Rule of Evidence 611 (esp. comments of the advisory committee). Moreover, the proceedings at Nuremberg contained none of the inquisitorial procedures that the ICTR, ICTY, or especially the ICC have incorporated, and flexible rules of evidence and lack of juries were all that marked them out from English or American trials. See See Telford Taylor, The Anatomy of the Nuremberg Trials: A Personal Memoir (1992). Danculley 21:24, 11 December 2006 (UTC)

Distinguish criminal from civil matters
I would only like to caution that the crude distinction between adversarial anglo-saxon models and inquisitorial continental-European models applies only to criminal proceedings -- which an uninformed reader may not realized from the article.

In civil matters, the question is much more complex and may well cut the other way round: Civil law systems hardly ever use discovery. Systems in the common law tradition rely heavily on it in complex litigation. Discovery is, essentially, an "inquisitorial" court order that allows a claimant to make a case against the defendant on the basis of material that is in the possession of the defendant. The reason is, again fully in the inquisitorial tradition, that proceedings should represent a quest for truth.

This is simply not the case in continental systems. Here, the assumed facts are simply what adversarial proceedings may be able to prove. If a claimant cannot prove a point, it cannot rely on the state (judge) to help it find material to prove his point. Rather, he will lose on grounds of burden of proof. —The preceding unsigned comment was added by 68.9.133.10 (talk) 02:53, 22 January 2007 (UTC).

What, no criticism?
I have no formal background in law, however it seems odd to me that the Adversarial system has several paragraphs of criticism, however there appears to be none on this page. Because I lack the background, I am not comfortable adding that section to this article, but I did dig up somewhere to start: Critics argue that the inquisitorial system places too much unchecked power in the examining magistrate and judge, who both investigate and adjudicate (legally determine) the case. I found this at Bhutanese Government Trial Systems page. I don't have anything else to add here, but I hope someone who knows this subject does. - JustinWick 23:29, 21 October 2007 (UTC)

Exact same comment. It seems a bit biased that we have a lot of critique of the Adversarial system and very little of the Inquisitorial System, when both certainly have critiques. 12.151.41.2 (talk) 00:31, 25 January 2008 (UTC)

 * Gordon Tullock wrote an article arguing for the superiority of inquisitorial system . He says the maindrawback is the judge/jury's lack of motivation. II  | (t - c) 17:48, 11 August 2009 (UTC)

without juge d'instruction?
In jurisdictions with an inquisitorial system, what happens in minor criminal cases when juge d'instruction are not used? Does the law enforcement carry out summary justice, or otherwise? – Kaihsu (talk) 23:08, 21 May 2008 (UTC)

 * Law enforcement (in the case of minor dismeanors, such as traffic offenses) or the public prosecutor bring the case before the courts, after investigating the case. In the case of minor traffic offenses, the accused is proposed to pay a fixed fine instead of going to court. David.Monniaux (talk) 22:01, 3 December 2014 (UTC)

Name of court
Can anyone tell me what is typically the name of the court in which an investigating magistrate sits? Is is called a Court of Instruction, or something else? 78.16.224.127 (talk) 01:20, 9 June 2009 (UTC)

 * If you're still looking for this information, please consider the Reference_desk/Humanities. The article talk pages are really supposed to be for discussing work on the article.  -- Kraftlos  (Talk | Contrib) 19:39, 11 August 2009 (UTC)

Although international tribunals intended to try crimes against humanity have generally used a version of the adversarial system
This statement seems

1. Very doubtful.

2. Not supported by the links.

I removed it. I am sure the Nuremberg trials were conducted in line with civil law (traditional to Germany, France and USSR), and not common law.--MathFacts (talk) 11:44, 14 November 2010 (UTC)
 * Would have seemed logical, but the Nuremberg trials actually were conducted by common law. They pleaded "not guilty", to begin with, and so on.--93.135.42.249 (talk) 20:16, 8 June 2013 (UTC)

The adversarial principle that a person could not be tried until formally accused
This is not "adversarial principle". This is principle of any civilized state. For example, here in Russia also nobody can be tried without being formally accused. Do you know any state where it is not the case? Complete bullshit.--MathFacts (talk) 11:53, 14 November 2010 (UTC)

Removal of non-neutral and poorly written paragraph
I've removed as non-neutral and poorly written the following language, which sounds like someone from an inquisitorial-system country defending its system. Perhaps if cleaned up it would be appropriate in a "Criticism and responses" or "Advantages and disadvantages" section, but it does not belong where it is or in its current form.

 * "Also, when judges are all professional judges, there is no limit on the length of a trial as in a jury system or lay judges system, so a trial could go on for years — even more than a decade. The rules of admissibility of evidence may also allow the judge to act more like an inquisitor than an arbiter of justice. And when handing out verdict and sentences, they must publish their reasoning. Therefore, while appeal in adversarial system could be done only on procedural ground that the contest between prosecutor and defence were unfair (which may include missing evidence), in inquisitorial system, defence and prosecutor challenge ruling on the ground of reasoning of verdict and sentencing, which are made public. Therefore, all appeal process at higher court are essentially redoing of trials by higher court. However, because judge rule both verdict and sentence, it is possible for the trial at higher court to be essentially about sentencing if the guilt of accused is settled but sentence, especially for death penalty, is not. Defence could appeal to get death sentence reduced to life imprisonment or, conversely, prosecutor could appeal to change life imprisonment to death penalty."

— Preceding unsigned comment added by Antediluvian67 (talk • contribs) 2 October 2016, 06:31) (UTC)
 * I think the first part of the paragraph, about very long trials, would be a disadvantage of inquisitorial systems, if true (as far as I know, countries with both systems can have very long procedures, especially when all separate procedures in a certain case are counted together, but this depends from country to country). So I wonder why you think it is all from someone defending this system. That both defence and prosecutor can appeal decisions on the ground of reasoning of verdict and sentencing is an important aspect of the (or most?) inquisitorial systems, which should be mentioned somewhere. Bever (talk) 17:45, 27 October 2016 (UTC)

Unsourced history section
The current section is entirely unsourced. There's a good source for this here and the required pages in the book (pp. 7–9) are in the visible portion of the google books excerpt. Would be great if someone could verify or rewrite the history section, starting with this source as a basis. Please beware of just slapping this reference onto the end of the section, which would be worse than leaving it unreferenced; the point is to find out what content in that section is accurate (if any) and verifiable. Here are some links which may help in finding other good references: The Qwant links in particular look pretty good. I'd do it myself, and may yet do so at some point if no one else does, but I'm snowed under on other projects at the moment, so any help offered here would be appreciated as I won't be able to get to it for some time. Thanks, Mathglot (talk) 21:07, 2 March 2023 (UTC)

Odd Overview Section
The "Overview" section seems oddly focused on the adversarial legal system for this article. It is not necessary to compare the systems so much. I am considering editing down for clarity. Thoughts? — Preceding unsigned comment added by Flubberpuff (talk • contribs) 07:01, 23 January 2024 (UTC)

Flubberpuff (talk) 02:03, 23 January 2024 (EST)
 * , I agree that adjusting the Overview section to concentrate more on the inquisitorial system, since that is what this article is about would be a good idea. However, rather than simply remove the information, I would move the content about the adversarial system to a new section comparing the two systems. The fact is, for many readers a comparative approach will be the most informative and helpful in understanding the inquisitorial system; even a table could work well for this, with one column for adversarial, and one for inquisitorial. As an additional point: while such refactoring would help, it's far from the most important issue with this article, the lack of sufficient sourcing throughout is a much bigger deal, and that's really crying out for improvement, since WP:Verifiability is policy, and questions about refactoring the Overview is a nice-to-have, but not crucial, as there is no policy violation by leaving it as it is, even if your suggestion is a better way to do it. But it's a volunteer project, so you get to work on what you want to work on, so either way, it would improve the article. Thanks, Mathglot (talk) 19:00, 23 January 2024 (UTC)

Large addition to History section
, in this edit you added 8.5 kb to the section, with only two references. In addition, both sources are foreign: one Italian, one Romanian. While the use of a foreign source is acceptable when no equally good English source is available, there are dozens of good sources in English about this topic and per WP:NONENG English sources are preferred. Also, the great majority of your edit was unsourced. Can you redo your addition using English sources instead? Thanks, Mathglot (talk) 19:43, 23 January 2024 (UTC)
 * I've reverted the large addition. Given that it was added sixteen minutes after a 3kb addition at another article, something dodgy is going on; maybe machine translation, maybe use of an LLM, maybe copy-paste. And that's on top of the strange sourced here, the dodgy sourcing elsewhere, and their one-day wiki career in which they added 25kb of text to seven articles in two sessions of about 45 minutes each. Mathglot (talk) 09:12, 24 January 2024 (UTC)

title: Talk:Inquisitorial system


text:
Michael Wisher

Andrew Michael Wisher (19 May 1935 – 21 July 1995) was an English actor. He is perhaps best remembered for his various roles on Doctor Who, most notably originating the part of Davros.

Life and career
After struggling to find a job, Wisher settled on becoming an actor, and made his Doctor Who debut in The Seeds of Death providing a radio voiceover. His first onscreen appearance was as John Wakefield in The Ambassadors of Death in 1970. The following year he played Rex Farrel in Terror of the Autons, who he felt deserved to be manipulated by the Master. In 1973 he began voicing the Daleks with Frontier in Space, after being asked to imitate a Dalek by Barry Letts. His favourite non-Dalek role was as Kalik in Carnival of Monsters that same year.

In 1975, Wisher became the first actor to play Davros in Genesis of the Daleks, for which he provided uncredited Dalek voices, being the only time he had to act with himself. He portrayed the role of Morelli in Planet of Evil. He was booked to reprise his role as Davros in 1984's Resurrection of the Daleks but after multiple curtailments he became unavailable, and considered Terry Molloy’s mask to look like Ena Sharples. Outside of Doctor Who, Wisher voiced many commercials as well as narration of Horizon. He died of a heart attack on 21 July 1995.

title: Michael Wisher


text:
User talk:Sonofparker

Welcome!

Hello,, and welcome to Wikipedia! Thank you for your contributions. I hope you like the place and decide to stay. Here are a few good links for newcomers: I hope you enjoy editing here and being a Wikipedian! Please sign your name on talk pages using four tildes (~~); this will automatically produce your name and the date. If you need help, check out Where to ask a question, ask me on my talk page, or place  on your talk page and someone will show up shortly to answer your questions. Again, welcome! Qwghlm 21:47, Jun 12, 2005 (UTC)
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title: User talk:Sonofparker


text:
Jan Kiepura

Jan Wiktor Kiepura ( Polish : ; May 16, 1902 – August 15, 1966) was a Polish opera singer (lyric tenor / lirico spinto, Heldentenor) and actor. He enjoyed a successful international career and performed at leading concert halls around the world including La Scala, Metropolitan Opera, Royal Opera House, Opéra-Comique, La Fenice and Teatro Colón. He was the recipient of numerous national and international distinctions and honours including Poland's Order of Polonia Restituta, France's Legion of Honour and Sweden's Order of the Polar Star.

Life and career
Jan Kiepura was born in Sosnowiec, Poland, the son of Maria « Miriam » (née Neuman), a former professional singer, and Franciszek Kiepura, a baker and grocery owner. His mother came from a Jewish family but converted to Christianity. He had a brother, Władysław. During 1916–1920, he attended the Junior School in Sosnowiec where he graduated from high school. In 1921 he studied law at the University of Warsaw. He learned singing from Wacław Brzeziński and Tadeusz Leliwa. In 1923 he performed his first concert in the Sphinx cinema in Sosnowiec. In 1924, Jan Kiepura was admitted by Emil Młynarski to the local choir. He played the role of Góral in Moniuszko's opera Halka. He also took part in a production of Gounod's Faust in the Polish city of Lwów (now Lviv, Ukraine).

In 1926, Jan Kiepura left Poland for an international career in Germany, Hungary, France, and England. When he returned to Poland, with the money he had earned from his performances, he built the well-known hotel Patria in the Polish border town of Krynica-Zdrój, which cost him about US$3 million. Some Polish movies were made there. Kiepura played in twelve Polish musicals, including O czym się nie myśli (1926), Die Singende Stadt (Neapol, śpiewające miasto) (1930), Tout Pour L'amour (Zdobyć cię muszę) (1933), and Mon coeur t'appelle (1934).

Return to Warsaw
Kiepura's return to Warsaw in 1934 caused a sensation in the Polish capital, and his musical shows were received with huge enthusiasm. Apart from his performances in concert halls, he also sang to a crowd gathered under the balcony of the Warsaw hotel "Bristol". He also sang while standing on the roof of his car, or from the window of a carriage, and also spoke to the audience. Kiepura introduced himself as "The Great Kiepura", to the annoyance of similarly temperamental individuals. However, he was not a frequent guest in Poland. He signed contracts with Covent Garden in London, Opéra Comique in Paris and National Opera in Berlin. Kiepura also started a film career, working with Berlin's UFA and then with the Motion Picture Industry in Hollywood. He played in many films, of which the most famous are: The Singing City, The Song of Night, Ich liebe alle Frauen, The Charm of La Boheme, The Land of Smiles.

Marriage
On October 31, 1936, Kiepura married the Hungarian-born lyric soprano Marta Eggerth (1912–2013). The two often sang together in operettas, in concerts, on records, and in films until his death. In 1937 Kiepura and Eggerth were forced to flee Europe due to the rise of German Nazism and the onset of World War II. They emigrated to the United States.

Death
He died at the age of 64 in New York and was buried in Powązki Cemetery, Warsaw.

Chronology

 * 1927: performances in Budapest, Berlin, Vienna, London (Royal Albert Hall), Stuttgart, Munich and Prague. Faust, Calaf, and Stranger ("Miracle Heliana" Korngold) in Vienna. Concerts in Warsaw, Lvov, Gdansk.
 * 1928: performances in Budapest, a three-year contract with La Scala, debut in the role of Calaf, and then he sings well and Mario Cavaradossi, the premiere of Le Preziose ridicole of Lattuada under the baton of Arturo Toscanini. Cavaradossi in Paris with a team of the Vienna Staatsoper. Cavaradossi in Warsaw and Poznan. Concerts in Kraków, Warsaw and Poznan.e
 * 1929: performances in Budapest (Calaf), Rio de Janeiro, Buenos Aires (Cavaradossi, the Duke of Mantua, Alfredo in La Traviata), Montevideo, Frankfurt. Cavaradossi, the Duke of Mantua, Rodolfo (La Bohème Puccini) and a concert in Warsaw.
 * 1930: The throat disease reduces for some time his performances at opera houses. Film career, becoming one of the first European cinema idols sound. The film The Singing City (Die singende Stadt) (London). Cavaradossi in.
 * 1931: Knight des Grieux in Manon Massenet's La Scala in Milan. He sang in Hamburg and Chicago. Cavaradossi in Warsaw. Concerts in Warsaw, Poznan and Lvov.
 * 1932: the movie The Song of Night (Berlin), concerts in Warsaw and Poznan.
 * 1933: The film I need to get you (Berlin). Calaf in Warsaw. Opens Hotel Patria in Krynica.
 * 1934: The movie My Song for You (London), Cavaradossi in Berlin, Warsaw Faust, Cavaradossi, Knight des Grieux and Rodolfo at the Paris Opera Comique, in Krynica concert for flood victims.
 * 1935: Cavaradossi in Kraków, a concert in Berlin, the film I love all women (Ciné-Alliance for UFA), awarded the Polish Gold Cross of Merit and the Knight's Cross of the French Legion of Honour.
 * 1936: Movies Love Song (USA) and sunshine (Vienna), married Oct 30 in Katowice, Martha Eggerth, a Hungarian actress and singer, has performed for the construction of the National Museum in Kraków, awarded the Officer's Cross, Order of Polonia Restituta and the Belgian Order of Leopold I.
 * 1937: concerts in Kraków and Paris, the film The Charm of La Boheme (Vienna), Swedish Cross North, Warsaw Philharmonic concerts in the winter to help the poor population.
 * 1938: Debut at New York's Metropolitan Opera (from February 10 to April 9 there occurred 13 times in the office and at the venue the band in Boston and Cleveland, he sang Rodolfo (4 times), Don José in Carmen by Bizet (4 times) Duke of Mantua (4 times) and participated in a concert gigs in Warsaw (Don José).
 * 1939: from February 10 to April 10 there are 15 times at the Metropolitan Opera and the guest appearances of this syndrome in Boston, Cleveland, Dallas and Rochester, he sang Rodolfo (5 times), Chevalier des Grieux (5 times), Duke of Mantua (2 times) Cavaradossi (once) and participated in two concerts, summer concerts in Cieszyn, Poznan, Gdynia, and after World War II in Paris and France Polonia centers.
 * 1940: Germans place him in the Lexikon der Juden in der Musik (Lexicon of Jewish musicians), he returned to America, giving concerts to Poles in Montreal (to 1944 associated with the Civic Opera of Chicago).
 * 1942: the switch. February and March, again appeared with the New York Metropolitan Opera, singing there for only five: Don José Cavaradossi (2 times), Duke of Mantua's aria in a concert and a show lounge Rodolfo team in Philadelphia (in total for the years 1939–1942 he sang with MET 1922 Times in New York and 11 times during the performances in other cities).
 * 1943: the movie My song for you (USA), he rented the Majestic Theater on Broadway, where he and his wife took part as Danilo in The Merry Widow Lehar who is extremely popular, he made the presentation to tour other U.S. cities And after the war, Britain, France, Italy and Germany, singing widow in four languages).
 * 1946: exhibited at the Majestic Theater musical Polonaise Bronislaw Kapera the recitals of Chopin's music.
 * 1948: he returned with his family to Europe and settled for six years in Paris, the new version of the movie The Charm of La Boheme (Rome).
 * 1949: The film Valse brillante (Paris), performing with his wife in Czardas Princess on stage Kálmán Théâtre de Paris.
 * 1952: the movie Land of Smiles (West Berlin), re-settled in America, buying property in Rye, New York, which did not interrupt his performances in Europe.
 * 1954: The title role in Der Zarewitsch Lehar's Viennese Raimundtheater on stage.
 * 1955: The Merry Widow: Palace Theatre, London London: produced by Henry Kendall, on behalf of Peter Daubeny
 * 1956: title role in Paganini Lehar's Viennese Raimundtheater on stage.
 * 1958: visited Poland twice, performed in Bydgoszcz, Gdansk, Lodz, Katowice, Kraków, Poznan, Warsaw and Wroclaw.
 * 1959: re-sung in Poland, he returned to the role Danilo in the Merry Widow on stage in New York.
 * 1960: concerts in West Berlin.
 * 1965: Danilo in The Merry Widow in West Berlin.
 * 1966: last appearance (August 13) in Port Chester for the Polish American community.

Filmography

 * The Unthinkable (1926, Polish)
 * The Singing City (1930, German)
 * City of Song (1931, British)
 * The Song of Night (1932, German)
 * Tell Me Tonight (1932, British)
 * All for Love (1933, French)
 * One Night's Song (1933, French)
 * A Song for You (1933, German)
 * My Heart Calls You (1934, German)
 * My Heart Is Calling You (1934, French)
 * My Song for You (1934, British)
 * My Heart is Calling (1935, British)
 * I Love All the Women (1935, German)
 * J'aime toutes les femmes (1935, French)
 * Thank You, Madame (1936, Austrian)
 * Give Us This Night (1936, American)
 * The Charm of La Boheme (1937, Austrian)
 * Das Abenteuer geht weiter (1939, German)
 * Addio Mimí! (1949, Italian)
 * Brilliant Waltz (1949, French)
 * Unknown Sender (1950, German)
 * The Land of Smiles (1952, German)

title: Jan Kiepura


text:
User talk:Fonzie Fan SUCKS

I do not -

(note: image added by User:Rickyrab, not User:Fonzie Fan)204.52.215.107 02:24, 11 February 2006 (UTC)

title: User talk:Fonzie Fan SUCKS


text:
Talk:Mock turtle soup

Commments
I can't find any reference to this being of Chinese origin?

 * Ah yes, it's actually a mock of a French or Russian cuisine. This's slip. :) -- Jerry Crimson Mann 07:49, 13 Jun 2005 (UTC)

 * I think not. As far as I know, this is an English dish. See: and . Burschik 08:05, 13 Jun 2005 (UTC)

 * I see... -- Jerry Crimson Mann 08:50, 13 Jun 2005 (UTC)

Mock Turtle Band
I am deleting the bit about the Mock Turtle Band. Please provide proof of notability here. Thanks. --Lord Voldemort 30 June 2005 18:31 (UTC)
 * Anyway, it would seem more appropriate to mention a band with such a name under Mock Turtle than here under the soup.--BillFlis 12:01, 10 April 2006 (UTC)

Mock Turtle Soup, 1820 Menu, Mountain Lake Lodge
I have photos of the menu KimFromVirginiaUSA (talk) 01:09, 15 July 2022 (UTC)

title: Talk:Mock turtle soup


text:
Richard Estes

Richard Estes (born May 14, 1932, in Kewanee, Illinois) is an American artist, best known for his photorealist paintings. The paintings generally consist of reflective, clean, and inanimate city and geometric landscapes. He is regarded as one of the founders of the international photo-realist movement of the late 1960s, with such painters as John Baeder, Chuck Close, Robert Cottingham, Audrey Flack, Ralph Goings, and Duane Hanson. Author Graham Thompson writes "One demonstration of the way photography became assimilated into the art world is the success of photorealist painting in the late 1960s and early 1970s. It is also called super-realism or hyper-realism and painters like Richard Estes, Denis Peterson, Audrey Flack, and Chuck Close often worked from photographic stills to create paintings that appeared to be photographs."

Early life
At an early age, Estes moved to Chicago with his family, where he studied fine arts at The School of the Art Institute of Chicago (1952–56). He frequently studied the works of realist painters such as Edgar Degas, Edward Hopper, and Thomas Eakins, who are strongly represented in the Art Institute's collection. After he completed his course of studies, Estes moved to New York City and, for the next ten years, worked as a graphic artist for various magazine publishers and advertising agencies in New York and Spain. During this period, he painted in his spare time. He had lived in Spain since 1962 and, by 1966, was financially able to paint full-time.

Work
Estes stayed true to the photographs he used: when his paintings include stickers, signs, and window displays, they are always depicted backwards because of the reflection. His work rarely included litter or snow around the buildings because he believed these details detract from the buildings themselves. The paintings are always in daylight, suggesting "vacant and quiet Sunday mornings." Estes' works strive to create convincing three-dimensionality on a two-dimensional canvas. His work has been described in terms ranging from super-realism, sharp-focus realism, neo-realism, photo-realism, to radical realism. The most common one is super-realism. Estes' paintings from the early 1960s are typically city dwellers engaged in everyday activities. Around 1967, he began to paint storefronts and buildings with glass windows and their reflected images. The paintings were based on Estes' color photographs, which captured the evanescence of the reflections, changing with the lighting and the time of day. Estes paintings were based on multiple photographs of the subject. He avoided famous New York landmarks. His paintings provided fine details that were invisible to the naked eye, and gave "depth and intensity of vision that only artistic transformation can achieve." While some alteration was done for the sake of aesthetic composition, it was important to Estes that the central and the main reflected objects be recognizable, and that the evanescent quality of the reflections be preserved. He had a one-man show in 1968 at the Allan Stone Gallery. His works have been exhibited at the Metropolitan Museum of Art, the Whitney Museum, the Thyssen-Bornemisza Museum, and the Solomon R. Guggenheim Museum. In 1971, Estes was granted a National Council for the Arts fellowship. The same year, he was elected into the National Academy of Design as an Associate member, and he became a full Academician in 1984.

Public collections
Estes is represented in several leading public collections, including the Metropolitan Museum of Art, in New York, the Museum of Modern Art, in New York, the Solomon R. Guggenheim Museum, in New York, the Whitney Museum of American Art, in New York, the National Gallery of Art, in Washington, D.C., the Smithsonian American Art Museum, in Washington, D.C., The Art Institute of Chicago, the Cleveland Museum of Art, the Detroit Institute of Arts, the High Museum of Art, in Atlanta, the Ludwig Museum of Contemporary Art, in Budapest, the Centre national des arts plastiques, in Paris, the Museo Botero, in Bogota, the Tate collections, in England, and the Thyssen-Bornemisza Museum, in Madrid.

title: Richard Estes


text:
Talk:Ali al-Tamimi

Biography assessment rating comment
The article may be improved by following the WikiProject Biography 11 easy steps to producing at least a B article.

"Islamic scholar"
While he did apparently teach at an Islamic center, what exactly qualifies him to be included in the Muslim scholars category? I am not that familiar with him but from what I have read here his formal education was in biology, not religion. MezzoMezzo 02:26, 26 March 2007 (UTC)

Ali Al-Tamimi or Ali Al-Timimi?
News reports seem to use the two spellings interchangeably. It does appear that the "Al" should be capitalized, which makes sense for the last name of an American. The website altimimi.org uses the "Al-Timimi" spelling exclusively; it seems to me like the "Al-Tamimi" spelling is used more in more negative news reports — but that's not to say it's the wrong spelling. In any event, the page should move somewhere more correct: Ali Al-Tamimi or Ali Al-Timimi. Discuss. --Quuxplusone 21:51, 12 Jun 2005 (UTC)

 * I have no real opinion. I just wrote the article as it was a red link on Current Events. Evil Monkey∴Hello 00:27, Jun 13, 2005 (UTC)

Court records spell the name Al-Timimi.
 * The man's name is Tamimi and the "al" should not be capitalized. I've always seen/heard him reffered to as Tam. and the al is never capitalized in any arabic to english writing. On the other hand it doesnt make much difference... freestylefrappe 22:23, Jun 14, 2005 (UTC)

It was requested that this article be renamed but there was no consensus for it to be moved. violet/riga (t) 18:51, 21 Jun 2005 (UTC)

Comment
In the name of God the Merciful The Compassionate

Hello. Peace be upon on the followers of guidance.

You find in this case, as well as some others, that he was targetted and discriminated against. Normally, a crime occurs, and then the person is charged with the crime that he did. The person is targetted, and then a crime is searched for on the person. A person or group should not be targetted, and charged because of animosity and zealousness against the person or the group, but the whole population must be looked at equally, and people charged according to the seriousness of their crimes. He believes in the afterlife and that all grudges will be settled in front of God in the afterlife. He believes that people should not transgress and in this world's life, and that people should keep patient until the afterlife. That is what he tells others. He teaches the congregation about the greatness of the afterlife. He teaches them to keep it in mind, and that the justice will occur on the day of judgement, where He God alone will repay everyone their just due.

Islam is the belief in One God, and obeying the commands of God, and abstaining from His prohibitions. The wrongs that people do are not from the teachings of Islam, but the actions of a few extremists that do not reflect the teachings of Islam or its followers. These wrong doers do not follow the imams and the scholars, but follow their own thinking and ideologies.

Muslims believe in the afterlife and keep in mind that everyone will be in front of God on the day of judgement, and He will repay everyone for their deeds. With this belief, we keep patient and tolerant of others, that might have done wrong. Everyone will have to meet their Creator, and He will give people what they deserve. The life of this world is short compared to the next life, which is eternal. God will give the full, complete and just accounting.

Do you have a point related to the article? or are u just upset because he was arrested...freestylefrappe 18:58, July 17, 2005 (UTC)

NPOV
How does being found guilty of inciting terrorism with little evidence make one a convicted terrorist? No terrorist act was committed. Even the judge felt the federal sentencing guidelines were draconian. Including "convited terrorist" in the introduction makes this article non neutral. Why is removing this described as vandalism? Without an explanation, I will have to dispute NPOV. freestylefrappe, if you disagree with some content, please do not continue to mark it as vandalism. --Tamil 04:24, 12 August 2005 (UTC)

Paradox
Weird that the article says he was convicted for terrorism and yet again describing him as being against terrorism in private and public. Clearly something is wrong.The Sphinx (talk) 23:12, 13 December 2007 (UTC)

That's because he was convicted of the trumped up charges, but on flimsy grounds with an exceedingly unjust punishment. Though he was convicted in the American court, his own words (public and private) indicate, to anyone with half a brain, what he believed concerning "terrorism". Conviction doesn't prove actual association with a belief/deed, and we have several examples in American history where African-Americans and others have been similarly charged (even executed) on equally ridiculous grounds. In fact, that's one of the reasons that opponents of the death penalty cite against it (that there is no surety in many court procedures). 75.165.27.11 (talk) 11:19, 10 September 2008 (UTC) محمد (Sept 10, 2008) 75.165.27.11 (talk) 11:19, 10 September 2008 (UTC)

 * No, the charges we not trumped up at all. Yes, it's true that a conviction does not mean someone is necessarily guilty -- it only means they're guilty in the eyes of the court. So, now, the question is as follows: is he really guilty or was he wrongly convicted. Well, in this case, there isn't much of a gray area. The evidence against him is OVERWHELMING. Unfortunately, though, the government was too stupid to follow the law through the entirety of its investigation -- the investigators performed an illegal wiretap. And their misjudgement may now foul up everything they've done so far. At the very least, it'll screw up the preceptions of the case in the eyes of the public. But, as far as the man's guilt is concerned, there's little doubt of that -- he promoted terrorism and the evidence supports that. For better or worse, the flawed legal system does not exonerate him. In fact, everything points to the fact that the system did its job correctly -- there is a mountain of reasonable evidence against the man. And, even without that lamentable wiretap, the rest of the evidence points clearly to his guilt. If there was evidence to the contrary, than the situation would be different. Then there would be a chance that he was actually innocent. But, as of now, everything points in the other direction. So it seems that this wasn't a case of wrongful conviction. ask123 (talk) 17:46, 8 December 2008 (UTC)

Stance on terrorism
We don't know if he is for or against terrorism. All we know is what he has said. So I removed the sentence saying that he "was noted for being against terrorism, both in public and in private." "Noted" by whom? That's a bit of a weasel word. And what does that say about how he really feels? Not much. It's like quoting a politicians speech -- is it what he really feels or what he wants to say? A person will say all kinds of things to shape others perceptions of him/her. Only he can know his true feelings on the matter. ask123 (talk) 17:27, 8 December 2008 (UTC)

Links screwed up
Most of the links are news articles. Those articles should be incorporated into the references. They should be used to back up the material. The External Links section is for other things, like links to the person's homepage or, in this case, links to his lectures. ask123 (talk) 18:16, 8 December 2008 (UTC)
 * I just removed the section per WP:EL. I'll post what I removed here in case anybody wants to use the sources to build up the article.

 * Download Sheikh Ali al-Tamimi Lectures
 * Ali al-Tamimi Audio and Video lectures
 * "14 year flashback: Accusations of "Fundamentalism" and "Terrorism"
 * April 2004 Dept of Justice Press Release
 * "The Education of Ali Al-Timimi" (Registration required) by Milton Viorst, The Atlantic Monthly, June 2006
 * Ali al-Tamimi Audio Lectures
 * Muslim man convicted of urging holy war
 * Prosecution Called 'Overzealous'
 * Muslim cleric convicted
 * Spreading Saudi Fundamentalism in the US
 * Muslim lecturer fits easily in two worlds
 * "Prosecuted, Not Persecuted: Why a Muslim scholar probably crossed the First Amendment line" - by Rod Smolla, Slate.com, July 27, 2005
 *  Them From  Space  01:45, 20 August 2009 (UTC)

Copyright problem removed
Prior content in this article duplicated one or more previously published sources. The material was copied from: here and here. Copied or closely paraphrased material has been rewritten or removed and must not be restored, unless it is duly released under a compatible license. (For more information, please see "using copyrighted works from others" if you are not the copyright holder of this material, or "donating copyrighted materials" if you are.) For legal reasons, we cannot accept copyrighted text or images borrowed from other web sites or published material; such additions will be deleted. Contributors may use copyrighted publications as a source of information, but not as a source of sentences or phrases. Accordingly, the material may be rewritten, but only if it does not infringe on the copyright of the original or plagiarize from that source. Please see our guideline on non-free text for how to properly implement limited quotations of copyrighted text. Wikipedia takes copyright violations very seriously, and persistent violators will be blocked from editing. While we appreciate contributions, we must require all contributors to understand and comply with these policies. Thank you. Diannaa (talk) 21:27, 23 February 2014 (UTC)

title: Talk:Ali al-Tamimi


text:
Talk:Lisa Leslie

Siblings
How can she have four and a half brothers? 66.191.231.116 (talk)

Statistics
How tall is she? 6ft 5in. tall when did she retire? she is currently still playing for the Los Angeles Sparks.

photo
isn't there a better one in the public domain? the one currently in use is not flattering of LL and may be a vanity photo of the fan. Decafdyke 23:36, 18 September 2007 (UTC)

WikiProject class rating
This article was automatically assessed because at least one WikiProject had rated the article as start, and the rating on other projects was brought up to start class. BetacommandBot 08:16, 10 November 2007 (UTC)

University
This article sat for a long time saying she attended the University of Framingham. Recently, people keep pointing to USC, instead. Does anyone have a source?Kww (talk) 22:02, 13 December 2007 (UTC)

gold medal stand at Bejing
There have been several attempts to include the following into the article. I tried once to "neutralize" it according to WP:NPOV, but it was altered and then finally removed. In the state here, it needs either to remove words like "embarrassed" and "antics" or have citations to show they apply.

 * Leslie embarrassed American women's basketball with her antics at the medal awards during the 2008 Beijing Olympics. Despite being requested by officials to act in the Olympic spirit, during medal presentations Leslie insisted on wearing gold medals from 3 past Olympics whilst being awarded her teams current win. Leslie not only upstaged second and third placed competitors but distracted attention from her fellow team mates. Leslie's antics were viewed as grandiose and poor sportsmanship.

I've reverted it once again. Please discuss here.

(forgot to sign a while ago): (John User:Jwy talk) 23:12, 26 January 2009 (UTC)

 * I support it, 2-0. It goes in.JJJ999 (talk) 22:37, 26 January 2009 (UTC)

 * That is not how I understand "consensus" to work, so I won't ask where you got the "score." I would expect a conversation/debate about my concerns mentioned above:  the "embarrassment" and "antics" are not neutral and un-sourced.  They are still not neutral and un-sourced.  WHO was embarrassed and where is this documented?  WHO determined them to be grandiose?  It is a VERY strong consensus on wikipedia that articles must be WP:NPOV and properly sourced.  I don't think that unreasonable.  (John User:Jwy talk) 04:36, 27 January 2009 (UTC)

 * Sorry, I thought you were in favour, and bearing in mind nobody else has commented I simply assumed there was no contention about this (and hence consensus). You are opposed?JJJ999 (talk) 06:46, 27 January 2009 (UTC)

Sorry I wasn't clear. I'm sure the lack of signature caused confusion.

I am against it as I quote it above for the reasons I mention. The recent additions are a great improvement, but: (John User:Jwy talk) 16:14, 27 January 2009 (UTC)
 * Embarrassed is still an issue.
 * The sources only mention that the Olympic officials did not want her to wear the other medals, not that they thought it grandiose or unsportsman-like.

Leslie's 100 point game
Overall context: this is an incomplete article with a "start quality" rating. Obviously more needs to be done to make this article 1st class, and considerably more detail added.
 * Point 1) It is one of the most famous events in her career. A paragraph (and a short one at that) does not seem excessive.  It still receives coverage today, and Leslie admits to always being asked about it.  Indeed, an argument could be made (probably unsuccessfully) that the game is notable in and of itself to get a page of its own.
 * Point 2) Period of time it took is irrelevant- Ron Artest's actions at the Palace are a good example (which does have a page of its own btw). Saying it took "only one hour" is not a reason to make it less than a paragraph.  I'd be inclined to add more criticism throughout the article btw, since it is so utterly absent.  The rivalry with Lauren Jackson is probably worthy of comment also, and the hair extension incident.  It's not even "critical" per se, it simply makes the article 3 dimensional, and not simply about how awesome Lisa Leslie is, which is what the article was before given the strong justifications which had been included for why her 100 point game was acceptable in context, and nothing in response to that (even though the opposite opinion was the majority one in the sources).
 * Taking that together, there is no reason to change the length of what I have written. I could maybe see my way to lopping off the last sentence as superflous, but the rest is clearly relevant to the incident.  In fact, the 100 point game should maybe have a section of its own.JJJ999 (talk) 23:03, 26 January 2009 (UTC)

 * I have not argued that the circumstances of the 100 point game be removed and in the minimal space of an edit summary I could not explain myself more, so I'll take the opportunity here. I meant to indicate that the importance of that event seemed to be getting much more attention compared to the rest of the article.  The paragraph is significantly larger than any other and that seems disproportional.  I attempted to keep the sense of what you had, but shorten it.  I'm not trying to clean up the woman's (or her coach, or whom ever) acts at that time.  It seems, to put it politely, "over-competitive" and that should be indicated.  But I disagree about how much detail needs to be included.  If people want the detail, they can go into the sources.

 * I have no trouble with the Jackson rivalry, except I don't see anything that says it was "accidental" and the sentence seems to indicate the hair thing started the rivalry when it appears to have already have already been in motion. I was unaware of that rivalry, so I don't know more details than what you reference - but the article should be consistent with the sources. (John User:Jwy talk) 04:47, 27 January 2009 (UTC)

 * I think the argument that the paragraph is larger than any other paragraph in the article is an argument for one of the following:
 * a) lengthen other paragraphs so they have more detail, something the rating of the article as "starting quality" clearly endorses, or
 * b) Create a separate paragraph for the 101 point game.
 * I don't really think an article should not be descriptive of events. If we took the attitude that people should "go follow the links to find out more" then we could just have a page full of links, and not bother with descriptive information.  Reading other good articles you often find lengthly descriptions of events.  As I said, I'm not opposed to maybe moving a sentence, but I'm doubtful that such a pivotal and notable event in her career doesn't merit a (short) paragraph.  The fact that the article at present is overly short isn't an argument for shortening well sourced and useful material.  I mean, we're basically agreeing violently here, with the difference being a few sentences or so.  I really don't see the harm in keeping them.  It makes it a better article, more in line with what you find on other top notch articles (see for example Tim Duncan which is a featured article).
 * As for the hair extension thing, I'm not fussed.JJJ999 (talk) 06:42, 27 January 2009 (UTC)
 * PS- I have now tried a new paragraph out to see how it looks. Much better I think... Wilt Chamberlain's 100 point game has a page (http://en.wikipedia.org/wiki/Wilt_Chamberlain%27s_100_point_game), and this section is comprable to the section in Wilt's article about his "20,000 women claim", a one off claim which generated enough media interest to easily be worthy of a paragraphJJJ999 (talk) 06:47, 27 January 2009 (UTC)

The alternative to an "all links" article is equally absurd: We could describe every shot/rebound/foul/block in all her games as long as they were sourced. My hope is that whatever level the article is, it covers topics with the appropriate amount of focus on each issue. I still believe the criticism of the 101 game, while important to the article, is given undue weight as the article currently stands. - and a source for her continued "pride" of the slaughter would be in order. (John User:Jwy talk) 16:09, 27 January 2009 (UTC)

I took a shot at it. Turns out to be about the same length and contains the facts as I could find them in the sources - and fewer quotes to make it flow. okay? (John User:Jwy talk) 02:42, 29 January 2009 (UTC)

Tone of article
I thought the overall tone was over familiar in part because of calling her "Lisa" throughout. It is customary to use the person's last name, so I have changed that. Also the passage about her mother sounded judgmental and, in any case, some of the information in it was irrelevant. I have modified the tone throughout to read more like a typical encyclopedia entry. For comparison, see "Larry Summers." Ms. Leslie deserves an entry that is respectful. Eperotao (talk) 17:33, 5 July 2009 (UTC)

Image size discussion
Lilwun92 changed the size of Lisa Leslie from 250px to 200px without an edit summary.

I reverted, with an edit summary.

After reverting, I decided to see if there were guidelines for image size.

WP:IMAGE does say:

As a rule, images should not be set to a larger fixed size than the 180px default.

However, I decided to look at some featured Articles, assuming those have been checked carefully, and provide guidance for image size.

The first two I checked each had an image wider than 250px
 * Matthew Brettingham 300px
 * Bruce Castle 280px

Arguably, both are images that are horizontally oriented. So I decided to look at the sports category and select an article with a person’s image:

 * Damon Hill 240 px

I’m not claiming this is a scientifically rigorous study, but I’ve found three FA’s with images wider than the “suggested” 180px. Given that reducing the Leslie image makes it look small within the infobox, I think it looks better to roughly fill the info box, so I reverted to the 250px size. -- SPhilbrick  T  18:44, 21 April 2010 (UTC)

Separate Section heading
Why are International and Olympic accomplishments listed separately from USA Basketball? USA Basketball was the organization that selected Leslie for the international teams. — Preceding unsigned comment added by Absurdist1968 (talk • contribs) 23:39, 31 December 2010 (UTC)

External links modified
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Fav color
What is Lisa leslies fav color 2600:387:B:982:0:0:0:13 (talk) 01:37, 10 February 2022 (UTC)

title: Talk:Lisa Leslie