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School of Paris

The School of Paris (École de Paris) refers to the French and émigré artists who worked in Paris in the first half of the 20th century.

The School of Paris was not a single art movement or institution, but refers to the importance of Paris as a centre of Western art in the early decades of the 20th century. Between 1900 and 1940 the city drew artists from all over the world and became a centre for artistic activity. School of Paris coined by André Warnod, was used to describe this loose community, particularly of non-French artists, centered in the cafes, salons and shared workspaces and galleries of Montparnasse. Many artists of Jewish origin formed a prominent part of the School of Paris and later heavily influenced art in Israel.

Before World War I the name was also applied to artists involved in the many collaborations and overlapping new art movements, between Post-Impressionists and Pointillism and Orphism (art), Fauvism and Cubism. In that period the artistic ferment took place in Montmartre and the well-established art scene there. But Picasso moved away, the war scattered almost everyone, by the 1920s Montparnasse had become a centre of the avant-garde. After World War II the name was applied to another different group of abstract artists.

Early artists

Before World War I, a group of expatriates in Paris created art in the styles of Post-Impressionism, Cubism and Fauvism. The group in its broader sense included artists like Pablo Picasso, Marc Chagall, Amedeo Modigliani and Piet Mondrian. Associated French artists included Pierre Bonnard, Henri Matisse, Jean Metzinger and Albert Gleizes. Whilst in its more narrow description described Chagall and Modigliani. Picasso and Matisse have been described as twin leaders (chefs d'école) of the school before the war.

La Ruche
Many École de Paris artists lived in the iconic La Ruche, a complex of studio apartments and other facilities in Montparnasse on the Left Bank, at 2 Passage Dantzig, built by a successful sculptor, Alfred Boucher, who wanted to develop a creative hub where struggling artists could live, work and interact. Built from materials dismantled from the Medoc Wine Pavilion from the 1900 Paris World's Fair, it comprised 50 modest studios with large windows that let in a lot of light, with nearby buildings providing 50 more studios for the overflow of artists. Boucher called the complex La Ruche – French for "beehive" – because he wanted the artists to work like bees in a beehive; he dedicated a large room in the complex where the poorer artists could draw a model that he paid for, and included a small theater space for plays and concerts. La Ruche opened in 1902, with the blessing of the French government. It was often the first destination of émigré artists who arrived in Paris eager to join the art scene and find affordable housing. Living and working in close quarters, many artists forged lasting friendships, e.g., Chaïm Soutine with Modigliani, Chagall and poet Blais Cendrars, and influenced each other's works. Artists who lived and worked in La Ruche include Amedeo Modigliani, Yitzhak Frenkel, Diego Rivera, Tsuguharu Foujita, Jacob, Soutine, Michel Kikoine, Moïse Kisling, Pinchus Krémègne, Ossip Zadkine, Jules Pascin, Marc Chagall, Amshey Nurenberg, Jacques Lipchitz, and more.

After World War I
The term "School of Paris" was used in 1925 by André Warnod to refer to the many foreign-born artists who had migrated to Paris. The term soon gained currency, often as a derogatory label by critics who saw the foreign artists—many of whom were Jewish—as a threat to the purity of French art. Art critic Louis Vauxcelles, noted for coining the terms "Fauvism" and "Cubism" (also meant disparagingly), called immigrant artists unwashed "Slavs disguised as representatives of French art". Waldemar George, himself a French Jew, in 1931 lamented that the School of Paris name "allows any artist to pretend he is French...it refers to French tradition but instead annihilates it."

School of Paris artists were progressively marginalised. Beginning in 1935, articles about Chagall no longer appeared in art publications (other than those published for Jewish audiences), and by June 1940 when the Vichy government took power, School of Paris artists could no longer exhibit in Paris at all.

The artists working in Paris between World War I and World War II experimented with various styles including Cubism, Orphism, Surrealism and Dada. Foreign and French artists working in Paris included Jean Arp, Joan Miró, Constantin Brâncuși, Raoul Dufy, Tsuguharu Foujita, artists from Belarus like Michel Kikoine, Pinchus Kremegne, the Lithuanian Jacques Lipchitz and Arbit Blatas, who documented some of the greatest representatives of the School of Paris in his oeuvre, the Polish artists Marek Szwarc and Morice Lipsi and others such as Russian-born prince Alexis Arapoff.

A significant subset, the Jewish artists, came to be known as the Jewish School of Paris or the School of Montparnasse. The "core members were almost all Jews, and the resentment expressed toward them by French critics in the 1930s was unquestionably fueled by anti-Semitism." One account points to the 1924 Salon des Indépendants, which decided to separate the works of French-born artists from those by immigrants; in response critic referred to them as the School of Paris. Jewish members of the group included Emmanuel Mané-Katz, Abraham Mintchine, Chaïm Soutine, Adolphe Féder, Marc Chagall, Yitzhak Frenkel Frenel, Moïse Kisling, Maxa Nordau and Shimshon Holzman.

The artists of the Jewish School of Paris were stylistically diverse. Some, like Louis Marcoussis, worked in a Cubist style, but most tended toward expression of mood rather than an emphasis on formal structure. Their paintings often feature thickly brushed or troweled impasto. The Musée d'Art et d'Histoire du Judaïsme has works from School of Paris artists including Pascin, Kikoine, Soutine, Mintchine, Orloff and Lipschitz.

France
Artists of Jewish origin had a marked influence in the École de Paris. Paris the capital of the art world attracted Jewish artists from Eastern Europe, several of them fleeing persecution, discrimination and pogroms. Many of these artists settled in Montparnasse. Several Jewish painters were notable in the movement; these include Marc Chagall and Jules Pascin, the expressionists Chaïm Soutine and Isaac Frenkel Frenel as well as Amedeo Modigliani and Abraham Mintchine. Many Jewish artists were known for depicting Jewish themes in their work, and some artists' paintings were imbued with heavy emotional tones. Frenkel described the artists as "members of the minority characterized by restlessness whose expressionism is therefore extreme in its emotionalism".

The term l'École de Paris coined by the art critic André Warnod in 1925 in the magazine Comœdia, was intended by Warnod to negate xenophobic attitudes towards the foreign artists, many of whom were Jewish Eastern European. Louis Vauxcelles wrote several monographs for the publisher Le Triangle, a prolific critic of Jewish painters. In a 1931 monograph, he wrote: "like a swarm of locusts, an invasion of Jewish colorists fell on Paris – on the Paris of Montparnasse. The causes of this exodus: the Russian revolution, and all that it brought with it of misery, pogroms, exactions, persecutions; the unfortunate young artists take refuge here, attracted by the influence of contemporary French art.... They will constitute [an element of] what the young critic will call the School of Paris. Many talents are to be considered in this crowd of metèques."

Following the Nazi occupation of France; several prominent Jewish artists died during the holocaust, leading to the dwindling of the Jewish School Of Paris. Others managed to left or fled Europe, mostly to Israel or the US.

Israel
Israeli art was dominated by the École de Paris inspired art between the 1920s and 1940s, with French art continuing to strongly influence Israeli art for the following decades. This phenomenon began with the return of École de Paris Isaac Frenkel Frenel to Mandatory Palestine in 1925 and his opening of the Histadrut Art Studio. His students were encouraged to continue their studies in Paris, and upon their return to Pre-Independence Israel amplified the influence of the Jewish artists of the School of Paris they encountered.

These artists, centered in Montparnasse in Paris and in Tel Aviv and Safed in Israel, tended to portray humanity and the emotion evoked through human facial expression. Furthermore, characteristically of Jewish Parisian Expressionism, the art was dramatic and even tragic, perhaps in connection to the suffering of the Jewish soul. During the 1930s several such painters would paint scenes in Israel in an Impressionist style and a Parisian light, greyer dimmer compared to the powerful Mediterranean sun.

Artists Quarter of Safed
Safed, a city in the mountains of the Galilee and one of the four holy cities of Judaism, was a Centre of École de Paris artists during the mid and late 20th century. Artists were attracted there by the romantic and mystical qualities of the Kabbalistic mountain city. The artists' quarter founded in 1949 was formed at first by Moshe Castel, Shimshon Holzman, Yitzhak Frenkel and other artists, many of them influenced by or part of the School of Paris. Though not united by a common artistic trope, it was a clear bastion of École de Paris in the country.

The painters of the community who were influenced by the Ecole de Paris attempted to express or reflect the mystics of Tzfat. Painting with colors that reflect the dynamism and spirituality of the ancient city, painting the fiery or serene sunsets over Mt Meron. Marc Chagall would walk the streets and paint portraits of religious children. Several of these artists would commute between Safed and Paris.

Musicians
In the same period, the School of Paris name was also extended to an informal association of classical composers, émigrés from Central and Eastern Europe to who met at the Café Du Dôme in Montparnasse. They included Alexandre Tansman, Alexander Tcherepnin, Bohuslav Martinů and Tibor Harsányi. Unlike Les Six, another group of Montparnasse musicians at this time, the musical school of Paris was a loosely-knit group that did not adhere to any particular stylistic orientation.

After World War II
In the aftermath of the war, "nationalistic and anti-Semitic attitudes were discredited, and the term took on a more general use denoting both foreign and French artists in Paris". But although the "Jewish problem" trope continued to surface in public discourse, art critics ceased making ethnic distinctions in using the term. While in the early 20th century French art critics contrasted The School of Paris and the École de France, after World War II the question was School of Paris vs School of New York.

New School of Paris
Post-World War II (Après-guerre), the term "New School of Paris" often referred to tachisme, and lyrical abstraction, a European parallel to American Abstract Expressionism. These artists include again foreign ones and are also related to CoBrA. Important proponents were Jean Dubuffet, Jean Fautrier, Pierre Soulages, Nicolas de Staël, Hans Hartung, Wols, Serge Poliakoff, Bram van Velde, Simon Hantaï, Gérard Schneider, Maria Helena Vieira da Silva, Zao Wou-Ki, Chu Teh-Chun, Georges Mathieu, André Masson, Jean Degottex, Pierre Tal-Coat, Jean Messagier, Alfred Manessier, Jean Le Moal, Olivier Debré, Zoran Mušič, Jean-Michel Coulon and Fahrelnissa Zeid, among others. Many of their exhibitions took place at the Galerie de France in Paris, and then at the Salon de Mai where a group of them exhibited until the 1970s.

In 1996, UNESCO organized the 50th anniversary of the School of Paris (1954-1975), bringing together "100 painters of the New School of Paris." Notable artists included Arthur Aeschbacher, Jean Bazaine, Leonardo Cremonini, Olivier Debré, Chu Teh-Chun, Jean Piaubert, Jean Cortot, Zao Wou-ki, François Baron-Renouard, among others. This grand exhibition featured a hundred painters from 28 different countries at the UNESCO headquarters in Paris. The exhibition's curators were the art critics Henry Galy-Carles and Lydia Harambourg.

Art Critics
Art critics and renowned writers have written prefaces, books, and articles regarding the painters of the School of Paris, notably in periodicals such as Libération, Le Figaro, Le Peintre, Combat, Les Lettres françaises, Les Nouvelles littéraires. Among these writers and critiques were Waldermar George, Georges-Emmanuel Clancier, Jean-Paul Crespelle, Arthur Conte, Robert Beauvais, Jean Lescure, Jean Cassou, Bernard Dorival, André Warnod, Jean-Pierre Pietri, George Besson, Georges Boudaille, Jean-Albert Cartier, Jean Chabanon, Raymond Cogniat, Guy Dornand, Jean Bouret, Raymond Charmet, Florent Fels, Georges Charensol, Frank Elgar, Roger Van Gindertael, Georges Limbour, Marcel Zahar.

Selected artists

 * Constantin Brâncuși, Romanian-born sculptor, considered a pioneer of modernism, arrived in Paris in 1904
 * Bernard Cathelin
 * Pierre Palué (1920-2005), French painter, recognized as part of the New School of Paris
 * Marc Chagall lived in Paris from 1910 to 1914 then again after his exile from the Soviet Union in 1923; Jewish; was arrested in Marseilles by the Vichy government but escaped to the US with help from Alfred H. Barr Jr., director of the Museum of Modern Art, and collectors Louise and Walter Arensberg, among others
 * Giorgio de Chirico, an Italian who showed the first signs of magical realism later highlighted in Surrealist works, lived in Paris 1911–1915 and again in the 1920s
 * Jean-Michel Coulon, French painter, had the particularity of having kept his work almost secret over his lifetime
 * Robert Delaunay, French painter, co-founder of Orphism with his wife Sonia
 * Sonia Delaunay, wife of Robert, born Sarah Stern in the Ukraine
 * Isaac Dobrinsky
 * Jean Dubuffet
 * François Zdenek Eberl, a naturalised French painter, a Catholic born in Prague
 * Tsuguharu Foujita, Japanese-French painter
 * Boris Borvine Frenkel a Jewish painter from Poland
 * Yitzhak Frenkel Frenel, father of modern Israeli art, Jewish, Israeli French artist. Sent his students to learn in Paris. Carried the influence of the School Of Paris to pre-independence Israel which up to that point was dominated by Orientalism.
 * Leopold Gottlieb, Polish paintier
 * , a Ukrainian-born painter associated with the Ballets Russes
 * Max Jacob
 * Wassily Kandinsky, Russian abstract artist, arrived in 1933
 * Georges Kars, Czech painter
 * Moïse Kisling, lived at La Ruche
 * Pinchus Krémègne Jewish artist
 * Michel Kikoine, Jewish artist, born in Belarus
 * Jacques Lipchitz, lived at La Ruche; Jewish cubist sculptor; took refuge from the Germans in the US
 * Morice Lipsi, Jewish sculptor of Polish origin
 * Jacob Macznik (1905–1945), born in Poland, arrived in Paris in 1928, died at the hands of the Nazis 1945.  A young and highly regarded member of the École de Paris in the 1930s, prior to its decimation by the Reich.
 * Louis Marcoussis, had a studio in Montparnasse
 * Zygmunt Menkes, a Polish-Jewish painter who later moved to the U.S.
 * Adolphe MIlich, born and trained in Poland and Germany, arrived in Paris 1920, had a studio in Montparnasse
 * Abraham Mintchine lived in Paris from 1926, then intermittently from 1930 after René Gimpel encouraged him to discover the south of France. Died in 1931
 * Yervand Kochar
 * Amedeo Modigliani, Jewish Italian artist, arrived in Paris in 1906, lived at La Ruche
 * Piet Mondrian, a Dutch abstract artist, moved to Paris in 1920
 * Elie Nadelman, lived in Paris for ten years
 * Amshey Nurenberg, born in Elisavetgrad (Ukraine) in 1887, arrived in Paris in 1910, lived at La Ruche
 * Chana Orloff, Jewish portrait sculptor worked in Montparnasse
 * Jules Pascin, Bulgarian-born Jew
 * Zinaida Serebriakova, Russian painter, arrived in Paris in 1905
 * Chaïm Soutine, Jewish artist, born in a shtetl near Minsk, was unable to get a US visa when the German Army invaded, and lived in hiding under the occupation until he died in 1943 at age 50. Soutine, a friend of Modigliani, arrived in Paris in 1913 and lived at La Ruche
 * Avigdor Stematsky, Israeli, student of Isaac Frenkel, especially notable in his later abstract and cubist art
 * was born in Russia and arrived in Paris in 1920, where he was part of the Montparnasse émigré group.
 * Maurice Utrillo
 * Aleksander Vardi, Estonian painter, arrived in Paris in 1925
 * Kuno Veeber, Estonian artist, arrived in Paris in 1924
 * Max Weber, German artist, arrived in Paris in 1905
 * Ossip Zadkine, born in Belarus and lived at La Ruche
 * , born in Belarus, friend of Soutine
 * born in 1889 in Russia, died in France in 1977. Arrived in Paris in 1908. Volunteered for the French Foreign Legion in World War I, became a naturalised French citizen in 1938
 * Fahrelnissa Zeid

Associated with artists

 * Albert C. Barnes, whose buying trip to Paris gave many School of Paris artists their first break
 * Waldemar George, unfriendly art critic
 * Paul Guillaume, art dealer introduced to de Chirico by Apollinaire
 * Jonas Netter, an art collector
 * Madeline and Marcellin Castaing, collectors
 * André Warnod, a friendly art critic
 * Léopold Zborowski, art dealer, represented Modigliani and Soutine

title: School of Paris


text:
Willie Anderson

Willie Anderson may refer to:

 * Willie Anderson (golfer) (1879–1910), Scottish golfer
 * Willie Anderson (rugby union, born 1955), rugby union coach and former Ireland international
 * Willie Anderson (rugby union, born 1967), Scotland rugby union player
 * Willie Anderson (American football) (born 1975), American football player
 * Willie Anderson (basketball) (born 1967), former professional basketball player and 1988 Olympic bronze medalist
 * Willie Anderson (footballer) (born 1947), former Portland Timbers NASL soccer player
 * Willie "Flipper" Anderson (born 1965), American football player

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

title: Willie Anderson


text:
Lithium (disambiguation)

Lithium is a chemical element with symbol Li and atomic number 3.

Lithium may also refer to:

In science

 * Lithium (wasp), a genus of wasps
 * Lithium-ion battery, a battery used in electronics
 * Lithium (medication), mood-stabilizing drugs

In music

 * "Lithium" (Nirvana song), a 1992 single from Nirvana's second album, Nevermind
 * "Lithium" (Evanescence song), a song from Evanescence's 2006 album, The Open Door
 * Lithium (Sirius XM), also known as Lithium 34, a 1990s alternative music station offered by SIRIUS Satellite Radio
 * Lithium (label), a defunct indie-rock French label

Other

 * Lithium Technologies, an online customer support and brand loyalty company
 * Lithium, Missouri, a village in the United States
 * Lithium (PHP framework), a PHP framework inspired and staffed by some members of the CakePHP project

title: Lithium (disambiguation)


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Bizcochito

The bizcochito or biscochito (diminutive of the Spanish bizcocho) is a New Mexican crisp butter cookie made with lard, flavored with sugar, cinnamon, and anise. The dough is rolled thin and cut into the shape of the fleur-de-lis, the Christian cross, a star, or a circle, symbolizing the moon.

The cookie was developed in New Mexico over the centuries from the first Spanish colonists of what was then known as Santa Fe de Nuevo México. The roots of this pastry date back as far as the Battle of Puebla in 1862, where French Emperor Maximilian was overthrown by the Mexicans. This date is now famously recognized in the United States as Cinco de Mayo, literally the "Fifth of May".

Biscochitos are commonly served during celebrations such as wedding receptions, baptisms, and religious (especially Catholic) holidays, and frequently during the Christmas season. They are also usually served with coffee.

State cookie
In 1989, the U.S. State of New Mexico made the bizcochito its official state cookie, making New Mexico the first U.S. state to have an official state cookie. It was chosen to help maintain traditional home-baked cookery. To date, New Mexico remains one of only two states with a state cookie, alongside Massachusetts' chocolate-chip cookie. Lupe Jackson, a New Mexican native, won first prize in a New England cookie contest in 2008 for her Bizcochito recipe—overcoming the Huckabees' snickerdoodles and the Romneys' Welsh skillet cakes.

title: Bizcochito


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British South Africa Police

The British South Africa Police (BSAP) was, for most of its existence, the police force of Southern Rhodesia and Rhodesia (renamed Zimbabwe in 1980). It was formed as a paramilitary force of mounted infantrymen in 1889 by Cecil Rhodes' British South Africa Company, from which it took its original name, the British South Africa Company's Police. Initially run directly by the company, it began to operate independently in 1896, at which time it also dropped "Company's" from its name. It thereafter served as Rhodesia's regular police force, retaining its name, until 1980, when it was superseded by the Zimbabwe Republic Police, soon after the country's reconstitution into Zimbabwe in April that year.

While it was in the main a law enforcement organisation, the line between police and military was significantly blurred. BSAP officers trained both as policemen and regular soldiers until 1954. BSAP men served in the latter role during the First and Second World Wars, and also provided several support units to the Rhodesian Bush War of the 1960s and 1970s.

During the Bush War, the BSAP operated several anti-guerrilla units, most prominently the Police Anti-Terrorist Unit, which tracked and engaged Communist guerrillas; the Support Unit, which was a police field force, nicknamed the "Black Boots" because of the colour of their footwear; and the Civilian African Tracking Unit, composed mostly of black Rhodesian trackers using traditional skills.

By 1980, the BSAP comprised about 46,000 personnel; 11,000 professionals (about 60% black), and the remainder reservists (mostly white). The organisation's rank structure was unique, with different levels of seniority existing for black and white officers respectively. Until 1976, black officers could rise no further than sub-inspector, while the commissioned ranks were all-white. Limitations on black aspirations were removed in 1976. The first promotion of African members to previously European-only ranks occurred on 21 October 1976 with 23 Sub-Inspectors and 8 Detective Sub-Inspectors, a week later, being promoted to Patrol Officers.

Under Robert Mugabe, the Zimbabwe Republic Police immediately adopted a policy whereby senior whites were forced into retirement at the earliest opportunity and replaced by black officers.

Under the British South Africa Company

The organisation was formed by the BSAC in 1889 as a paramilitary, mounted infantry force in order to provide protection for the Pioneer Column of settlers which moved into Mashonaland in 1890. In common with several colonial police forces such as the Royal Canadian Mounted Police (RCMP), it was modelled on the Royal Irish Constabulary (RIC), and its early officers were trained at the Police Depot in the Phoenix Park in Dublin. The unit played a central role in both the First Matabele War (1893) and the Second Matabele War (1896/97) with many troopers serving in the Jameson Raid. Until 1896 the force was called the British South Africa Company's Police.

The BSAP operated originally in conjunction with the Southern Rhodesia Constabulary (SRC), the town police force for Salisbury (now Harare) and Bulawayo, but amalgamated with the SRC in 1909.

First and Second World Wars
As a paramilitary unit, the BSAP fought in the Second Boer War and in German East Africa during the First World War, while some members were seconded to the Rhodesia Native Regiment. From 1923, Southern Rhodesia was a self-governing colony of the British Empire, but the BSAP retained its title and its position as the senior regiment of the Southern Rhodesian armed forces.

One of the first casualties of the BSAP in the Second World War was Keppel Bagot Levett, born in 1919, who died in active service with the BSAP in March 1941.

Between the World Wars, the Permanent Staff Corps of the Rhodesian Army consisted of only 47 men. The BSAP were trained as both policemen and soldiers until 1954.

The Rhodesian Bush War
During the period of the Rhodesian Bush War in the late 1960s and 1970s, the BSAP formed an important part of the white minority government's fight against Communist guerrillas. The force formed a riot unit; a tracker combat team (later renamed the Police Anti-Terrorist Unit or PATU); a police field force Support Unit (who were distinguished by wearing black boots), an Urban Emergency Unit, a Police Reserve Air Wing or PRAW, and a Marine Division, and from 1973 offered places to white conscripts as part of Rhodesia's national service scheme. At independence, the force had a strength of approximately 11,000 regulars (about 60% black) and almost 35,000 reservists, of whom the overwhelming majority were white. A former BSAP officer, Daniel Carney, wrote a book titled Whispering Death about the BSAP in anti-terrorist operations which was later made into the film Albino.

After independence
The BSAP's name remained unchanged by the Unilateral Declaration of Independence, although following the declaration of a republic by Ian Smith's government in 1970, the St Edward's Crown was removed from the BSAP's badge, and the appointment of Her Majesty The Queen Mother as Honorary Commissioner was suspended. In place of St. Edward's Crown, the Zimbabwe Bird was displayed on cap badges.

Renaming
The British South Africa Police was renamed the Zimbabwe Republic Police in July 1980 following the installation of Robert Mugabe as Prime Minister of Zimbabwe.

Capabilities and departments
A Criminal Investigation Department (CID) was founded in 1923; a Women's Section in 1941, and a Dog Unit in 1945. From 1957, the Police Reserve also had an airborne wing.

Prior to the use of motor vehicles, extended rural patrols were carried out on horseback, and right up until the Force was renamed all white male officers were taught equitation as part of their basic traíning. Selected officers were retained in Morris Depot after "passing out" and tasked with training remount horses for future use by recruits and on ceremonial duties. Mounted Escorts were provided for occasions such as the State Opening of Parliament. Generally speaking, the force was the 'Senior Service' and performed ceremonials such as those allocated to the RCMP today. As such, discipline, presentation, and parade drill were of a very high standard.

The Support Unit (known as the "Black Boots" due to their footwear) was a Police field force staffed by about 50 white and 1700 ( 1980) black regular and national servicemen.

In the late 1970s a Civilian African Tracking Unit (C.A.T.U.) was added, to relieve the professional trackers in the pursuing of the enemy infiltrators into Rhodesia. Their tracking methods were based on the traditional skills and techniques of the Rhodesian Shangaan tribe. Their formations were called 'sticks', and consisted of a couple of white Rhodesian 'Patrol Officers', or 'Section Officers', and six to eight black Rhodesian trackers. Police Reservists and regular police officers organised in a similar way were called the Police Anti Terrorist Unit or PATU.

Police of all ranks to chief inspector, were obliged to perform PATU secondment on a regular rotation basis, and deployed to operational areas. Riot standby units were also maintained to deal with urban civil disorder on the same basis. Counter insurgency and advanced weapons training were mandatory by the 1970s in anticipation of PATU and district duties.

The BSAP also oversaw the intelligence collection function of the Selous Scouts. That function was performed by an embedded element of the BSAP's Special Branch (SB), commanded by Chief Superintendent Michael "Mac" McGuinness; the SB liaison team conducted interrogations of captured guerrillas, reviewed captured documents, and collated and disseminated intelligence. The SB team also oversaw the production and insertion of poisoned clothing, food, beverages, and medicines into the guerrilla supply chain. The use of contaminated supplies resulted in the reported deaths of over 800 guerrillas, and the likely death toll probably reached well over 1,000.

Rank structure
Until the late 1970s, black Rhodesians could not hold ranks higher than Sub-Inspector in the BSAP, and only white Rhodesians could gain commissioned rank. This changed after 1976 and after moderate black leader Bishop Abel Muzorewa was elected in the 1979 elections the promotion of African members hastened. After Robert Mugabe took power, the force followed a racial policy "Africanisation", in which senior white officers were forcibly retired and their positions filled by black officers.

The rank structure was unique; black policemen (known colloquially as "Mapolisa") were Constables, Sergeants, Senior Sergeants, Sergeant Majors, and Sub Inspectors.

The white police (known colloquially as 'Majoni') ranks began at Patrol Officer (single gold bar on each shoulder), proceeding to Senior Patrol Officer (two gold bars), Section Officer (three gold bars), and thereafter to Inspector, Chief Inspector and commissioned ranks, etc., as per UK police rank structures. There was also a training depot rank designation of Staff Lance Section Officer (also denoted by three gold bars).

White officers were assigned separate mess facilities to the black police and were obliged to employ black 'batmen'. The batmen were skilled at presenting and maintaining several police uniform 'dress orders' worn throughout any given day, all of which were expected to be immaculate at all times.

The responsibilities of these Caucasian police officers, once trained, were broadly the same as those of UK police officers. Black officers engaged in operational police work worked alongside their white colleagues on investigations and patrols, necessarily acting as interpreters with the indigenous population, as well as patrolling alone and conducting their own crime investigations or as otherwise directed. Black "ground coverage" officers acted as undercover plainclothes intelligence gatherers in both rural and urban areas.

A district (rural) police station with a strength of anything from a dozen to forty personnel was often required to 'fly the flag' over an area comprising several hundred sq. kilometres.

On 18 December 1978, Equitation Squad 14/78–the first multi-racial recruit squad-began training at Morris Depot in Salisbury (now Harare). Prior to this date, Black recruits were trained at Tomlinson Depot, while White officers were trained at Morris Depot. Included in this historic intake was Patrol Officer Sinclair Roberts, the first mixed-race Police Officer accepted to the Force, 89 years after it was founded.

Commissioners
The following is a list of commissioners of the British South Africa Police from the force's amalgamation in 1909 until its dissolution in 1980.

 * Lt. Col. J. H. Fuller (18 April 1909 – 1 April 1911)
 * Maj. Gordon Vallancy Drury (1 April 1911 – 28 January 1913)
 * Maj. Gen. Sir Alfred Hamilton Mackenzie Edwards (28 January 1913 – 23 January 1923)
 * Col. Algernon Essex Capell (1 February 1923 – 11 February 1926)
 * Alfred James Tomlinson (12 February 1926 – 12 May 1926; acting)
 * Col. George Stops (13 May 1926 – 14 February 1933)
 * Brig. John Sidney Morris (15 February 1933 – 24 April 1945)
 * Brig. John Ellis "Jack" Ross (24 April 1945 – 6 December 1950)
 * Col. James Appleby (7 December 1950 – 2 June 1954)
 * Col. Arthur Selwyn Hickman (3 June 1954 – 5 November 1955)
 * Col. Harold Jackson (6 November 1955 – 12 March 1958)
 * Basil Gordon Spurling (13 March 1958 – 25 April 1963)
 * Frank Eric Barfoot (26 April 1963 – 2 January 1968)
 * James Spink (3 January 1968 – 26 June 1970)
 * Sydney Frederick Samuel Bristow (27 June 1970 – 6 February 1974)
 * Peter Dennis Wray Richard Sherren (7 February 1974 – 6 February 1978)
 * Peter Kevin Allum (7 February 1978 – 6 February 1982)

Selection and training
From early 1978 to 1980, support, training, and selection consisted of 3 phases, culminating latterly in 6 months/24 weeks training, with the first phase lasting as long as 11 weeks (the RLI's first phase was 6 weeks). Emphasis in selection depended on extreme physical fitness and aggression (running at an excess of 120 kilometres per week), mental strength in decision making and problem solving under extreme duress. The selection course consisted of a junior leader assessment in all areas concerning leadership. All Counter Operations Insurgency (COIN) battle drills were held in battle camps at Concession and Shamva. The pass rate among recruits amounted to only 30%. On passing out, recruits were deployed to one of 13 and latterly 14 troops (Troop company strength being 120 men; Mantle Mounted and November Troop being new additions in 1981). The Support Unit supported the Police in rural problem areas (latterly dissidents), as well as in urban emergencies. In November 1980, during the Entumbani I uprising, two sections of 60 men each from 5 Support Unit Troops (Mantle Echo, Mantle Charlie, Mantle Juliet, Mantle Hotel, Mantle Lima, 300 men in all), travelled from all over Zimbabwe to reach Bulawayo in 11 hours. Due to the Support Unit Troops being independent with their own vehicles, stores, ammunition, medical supplies, tents etc., they could deploy anywhere at a moment's notice all over Zimbabwe. During the Bush War, the Support Unit's primary task was to patrol the long distances in the Tribal Trust Lands and to maintain and reinstate order in the kraals (native villages).

title: British South Africa Police


text:
Boston and Providence Railroad

The Boston and Providence Railroad was a railroad company in the states of Massachusetts and Rhode Island which connected its namesake cities. It opened in two sections in 1834 and 1835 - one of the first rail lines in the United States - with a more direct route into Providence built in 1847. Branches were built to Dedham in 1834, Stoughton in 1845, and North Attleboro in 1871. It was acquired by the Old Colony Railroad in 1888, which in turn was leased by the New Haven Railroad in 1893. The line became the New Haven's primary mainline to Boston; it was realigned in Boston in 1899 during the construction of South Station, and in Pawtucket and Central Falls in 1916 for grade crossing elimination.

The line became part of the Penn Central system in 1969; the section in Massachusetts was purchased by the state in 1973, while Amtrak acquired the Rhode Island section in 1976. The line was electrified in 2000; it is now the far northern leg of Amtrak's Northeast Corridor, used by high-speed Acela Express service, intercity Northeast Regional service, and MBTA Commuter Rail Providence/Stoughton Line local service. The rapid transit MBTA Orange Line shares the right-of-way for several miles in the 1987-built Southwest Corridor section in Boston. The Stoughton Branch is also used for Providence/Stoughton Line service, and the northern section of the Dedham Branch is used by the Needham Line.

History
The Boston and Providence Railroad was incorporated June 21, 1831, and chartered to build a railroad between Boston and Providence, Rhode Island. Construction began in late 1832. The first section, from Boston to Canton with a branch to Dedham, opened in 1834, and the rest on July 28, 1835 with the completion of the Canton Viaduct. Stations in Jamaica Plain allowed the development of one of the first commuter suburbs in America.

The line was originally single track. A second track was extended from Boston to Roxbury in 1839 and to Readville in 1845. Double track was built between Sharon and Mansfield in 1846–47; it was extended north to Readville in 1860 and south to Providence in 1865. In May 1869, the state legislature authorized the railroad to build a third track from Boston to Readville. It was completed as far as Forest Hills in late 1871, allowing for an increase in service. The section between Hyde Park and Readville was increased to four tracks in 1873; the third track was extended south from Forest Hills to Mount Hope later in the 1870s. It was completed between Mount Hope and Hyde Park in 1882, finishing triple-tracking between Boston and Readville.

In 1887, the railroad's Bussey Bridge collapsed while a morning commuter train was passing over it. The train was carrying about 300 passengers at the time, of which 24 died and 125 were seriously injured. Henry Austin Whitney was the president of the railroad at the time.

Until 1899, when South Station opened, the Boston terminal was at Park Square, with a crossing at grade of the Boston and Worcester Railroad at the current merge at Back Bay station (also opened in 1899, serving only the B&P). The original Providence terminal was at Fox Point, from which it ran east along the Seekonk River shore and over the river via the India Point Railroad Bridge into East Providence (then part of Seekonk, Massachusetts) before turning north towards Boston. A ferry across the Providence River connected Fox Point to the South Providence terminal of the New York, Providence and Boston Railroad (opened 1837). The former mainline became the primarily-freight East Junction Branch.

In 1847, the Providence and Worcester Railroad opened between downtown Providence and Worcester, Massachusetts. At the same time, the B&P built a connection west from its main line in southern Attleboro to the P&W in Central Falls. The B&P and P&W jointly owned the line south of Central Falls into downtown Providence. (In 1848, the NYP&B connected its line south of downtown Providence to downtown, removing the gap through Providence.)

On April 1, 1888, the Old Colony Railroad leased the B&P for 99 years. The New York, New Haven and Hartford Railroad leased the Old Colony on March 1, 1893, and assumed the lease. The New Haven used the B&P as part of its main Boston - New York City Shore Line.

When Boston's South Station opened in 1899, a new line was built along the south side of the Boston and Albany Railroad to it, near the B&A's terminal. The old line to Park Square was abandoned.

The East Side Railroad Tunnel opened in 1908 between the East Side of Providence, Rhode Island and downtown Providence. This provided a second route into Providence, using the old alignment to East Providence and the Crook Point Bascule Bridge over the Seekonk River leading to the tunnel. The tunnel is no longer in use, having been disconnected on the downtown side, with its entrance underneath the What Cheer Building, owned by RISD.

In 1939, the railroad filed with the Interstate Commerce Commission for reorganization in the New Haven rail system or operation as an independent line.

Current status
The Penn Central Transportation Company was created in 1968 through a merger that included the New York, New Haven and Hartford Railroad. The Penn Central bankruptcy in the early 1970s coincided with the creation of Amtrak. Penn Central merged the Boston and Providence Railroad into itself in 1972.

The New Haven's former B&P Boston-New York City main line was included with the former Pennsylvania Railroad's New York City-Washington, D.C. main line as a new high-speed passenger route for Amtrak, the Northeast Corridor. It hosts the Acela, the only high-speed rail service in North America.

In 1973, the MBTA purchased the portion of the B&P main line in Massachusetts, including the Stoughton Branch, forming what is now the Providence/Stoughton Line. The portion in Rhode Island was sold to Amtrak in 1976.

Branches

 * Dedham

The first branch was the Dedham Branch to Dedham from Readville, opened in 1834 with the first section of the railroad. The Norfolk County Railroad opened in 1849, continuing from Dedham to the southwest. In 1850, a second branch to Dedham opened from Forest Hills, forming a loop. Another outlet for the Dedham Branch opened in 1906, with a connection west to the New England Railroad at Needham Junction. The Dedham Branch from Forest Hills to that connection is still in use as the Needham Branch of the MBTA Commuter Rail, but the rest of the Dedham loop has been abandoned.

The Stoughton Branch Railroad was incorporated April 16, 1844 as a branch of the B&P from Canton Junction to Stoughton. It opened in early 1845, and is still in use for passengers as a branch of the main line to Attleboro and Providence.
 * Stoughton

The Easton Branch Railroad was incorporated in 1854 and opened in 1855 as a continuation of the Stoughton Branch beyond Stoughton. In 1865, the Old Colony and Newport Railway bought the line and incorporated the majority of it into its main line.
 * Easton

The Taunton Branch Railroad was incorporated in 1835 to build a branch from the B&P in Mansfield to Taunton, opening in 1836. The branch was operated by the B&P until 1840, when the New Bedford and Taunton Railroad opened, continuing the line past Taunton.
 * Taunton

In 1870, the Mansfield and Framingham Railroad opened, continuing the Taunton Branch northwest on the other side of the B&P. A connection between the Taunton Branch northwest of Taunton and the B&P in Attleboro opened in 1871, built by the Taunton Branch.

The Attleborough Branch Railroad opened in 1870, running from the B&P in Attleboro northwest to North Attleborough. It was leased to the B&P, and was connected to a branch of the Old Colony Railroad in 1890.
 * Attleborough

The Moshassuck Valley Railroad was chartered in 1874 and opened in 1876 as a branch from the joint B&P/P&W at Woodlawn, Rhode Island north to Saylesville. The company remained independent until 1981, when it was bought by the P&W.
 * Moshassuck Valley

The Seekonk Branch Railroad was a short spur on the east side of the Seekonk River, from the B&P south to a dock on the river. It was incorporated in 1836 and opened soon after, with the hope that it would run its own trains over the B&P, as with a highway. As a result of this, the Massachusetts State Legislature passed a law that a railroad company could refuse any traffic on its road, and the company was a failure. The B&P bought it in 1839, and the Providence, Warren and Bristol Railroad built a line from it in 1855.
 * Seekonk

The Providence and Bristol Railroad was incorporated in 1850 and 1851, and reorganized in 1852 as the Providence, Warren and Bristol Railroad. It opened in 1855 from the old Seekonk Branch in East Providence southeast to Warren and south to Bristol. It was owned by the B&P through a majority of stock, and leased the Old Colony Railroad in 1891.
 * Warren, Bristol and Fall River

The Warren and Fall River Railroad was incorporated in Rhode Island in 1856, and the Fall River and Warren Railroad in Massachusetts in 1857. In 1860 the two were merged to form the Fall River, Warren and Providence Railroad, opening later in 1860 from Warren east to Somerset, across the Taunton River from Fall River. In 1875, the Boston and Providence Railroad Bridge opened, connecting to the Old Colony Railroad in Fall River. At that time, the company was leased by the Old Colony; before that it had been controlled by the B&P.

Main line
This listing includes all stations that have existed along the post-1847 B&P alignment from Park Square, Boston to Providence. Mileage is from Park Square; distances to South Station are 0.8 miles longer. These mileages reflect the pre-realignment routings in Pawtucket and Providence. Some stations were not opened until after the B&P had merged into the Old Colony. Currently open stations are lightlighted.

title: Boston and Providence Railroad


text: Talk:Charlie Kaufman

title: Talk:Charlie Kaufman


text:
Minnamurra railway station

Minnamurra railway station is a single-platform intercity train station located in Minnamurra, New South Wales, Australia, on the South Coast railway line. The station serves NSW TrainLink trains traveling south to Kiama and north to Wollongong and Sydney.

While the railway line through Minnamurra opened in 1887, the station didn't open until four years later. In 1943, it moved to its present location. The station has no platform building and is not staffed. Electric multiple unit trains began to service the station from November 2001.

Despite some interest from local politicians, a perennial proposal to close Minnamurra and Bombo stations in favour of a new stop in the centre of Kiama Downs has not progressed.

title: Minnamurra railway station


text:
The Fireship

The Fireship is one of a series of nautical novels by C. Northcote Parkinson. It is set in the late 18th century, when Britain was at war with Revolutionary France. Parkinson's hero is a junior naval officer. Unlike many fictional officers Parkinson's hero, Richard Delancey, does not have any powerful patrons to ease his way to promotion.

In The Devil to Pay, the first novel Parkinson wrote about Delancey, his hero goes through a long series of adventures before he can find himself an appointment. In The Fireship Delancey has a position. He is the second lieutenant of HMS Glatton, a converted vessel from the British East India Company, fitted with an experimental armament consisting of all short-range, large-caliber carronades.

HMS Glatton is part of Admiral Adam Duncan's fleet blockading the Batavian Republic.

Plot summary
In 1797, the year the novel begins, the Royal Navy was beset by two serious mutinies.

The main grievance of the mutineers were over pay and working conditions. The sailors hadn't received a raise in decades, whereas the soldiers had just received a significant raise. Discipline was harsh and most of the seamen were conscripts. Unsurprisingly, Admiral Duncan's fleet was seriously affected.

Quick thinking on the part of the first lieutenant of Delancey's ship prevents the mutiny from taking hold, and the Glatton is able to join Admiral Duncan's ship, and bluff until the rest of the fleet joins him. But he had to shoot a mutineer to do so.

Since the mutineer's death occurred in port, the first lieutenant has to stay ashore, and Delancey has to assume his duties. He is acting first lieutenant when the Dutch fleet leaves port and is engaged by Admiral Duncan's fleet.

The Battle of Camperdown is a decisive victory. Every ship's first lieutenant is to be promoted to commander. But Delancey's colleague has been acquitted, and the Captain wants him to receive the promotion, not Delancey. The Captain wants to make sure the trial does not put a black mark against this loyal officer's career — And the first lieutenant, after all had the primary responsibility for training the crew so that their performance was exemplary.

Delancey is bitter, but he does receive command of a fireship. He makes the most of this, by researching the history of fireships. Fire was a very serious danger aboard sailing ships. Their upper works could be bone dry, and very highly flammable materials, like pitch, were used in their construction. Fireships were ships intended to be sailed against enemy fleets at anchor, loaded with incendiaries. Big hooks are hung from her upper works, to entangle with the enemies ship's rigging. When they get close to the enemy fleet, the incendiaries are set alight.

Delancey learns that if his vessel is destroyed while burning an enemy vessel, he can count on promotion.

It seems a long shot. But a French expedition to stir up sedition in rural Ireland provides him with his opportunity.

title: The Fireship


text:
W. D. Snodgrass

William De Witt Snodgrass (January 5, 1926 – January 13, 2009) was an American poet who also wrote under the pseudonym S. S. Gardons. He won the 1960 Pulitzer Prize for Poetry.

Life
Snodgrass was born on January 5, 1926, in Beaver Falls, Pennsylvania, to Bruce De Witt, an accountant, and Jesse Helen (Murchie) Snodgrass. The family lived in Wilkinsburg, but drove to Beaver Falls for his birth since his grandfather was a doctor in the town. Eventually the family moved to Beaver Falls and Snodgrass graduated from the local high school in 1943. He then attended Geneva College until 1944 when he was drafted into the United States Navy. After demobilization in 1946, Snodgrass transferred to the University of Iowa and enrolled in the Iowa Writers' Workshop, originally intending to become a playwright but eventually joining the poetry workshop which was attracting as teachers some of the finest poetic talents of the day, among them John Berryman, Randall Jarrell and Robert Lowell. He received a Bachelor of Arts degree in 1949, a Master of Arts degree in 1951, and a Master of Fine Arts degree in 1953.

Snodgrass was known to friends throughout his life as "De", pronounced "dee", but only published using his initials. He had a long and distinguished academic career, having taught at Cornell (1955-57), Rochester (1957-58), Wayne State (1959–68), Syracuse (1968-77), Old Dominion (1978-79), and the University of Delaware. He retired from teaching in 1994 to devote himself full-time to his writing. This included autobiographical sketches, essays, and the critical verse "deconstructions" of De/Compositions. He died in his home in Madison County, New York, aged 83, following a four-month battle with lung cancer, and was survived by his fourth wife, writer Kathleen Snodgrass.

Snodgrass had married his first wife, Lila Jean Hank, in 1946, by whom he had a daughter, Cynthia Jean. Their marriage ended in divorce in 1953 and it was the separation from his daughter as a result that became the subject of his first collection, Heart's Needle. The following year Snodgrass married his second wife, Janice Marie Ferguson Wilson. Together they have a son, Russell Bruce, and a stepdaughter, Kathy Ann Wilson. Divorcing again in 1966, he married his third wife, Camille Rykowski in 1967 but this ended in 1978. His fourth marriage to Kathleen Ann Brown was in 1985.

Literary career
Snodgrass's first poems appeared in 1951, and throughout the 1950s he published in some of the most prestigious magazines: Botteghe Oscure, Partisan Review, The New Yorker, The Paris Review and The Hudson Review. However, in 1957, five sections from a sequence entitled "Heart's Needle" were included in Hall, Pack and Simpson's anthology, New Poets of England and America, and these were to mark a turning-point. When Lowell had been shown early versions of these poems, in 1953, he had disliked them, but now he was full of admiration.

By the time Heart's Needle was published, in 1959, Snodgrass had already won The Hudson Review Fellowship in Poetry and an Ingram Merrill Foundation Poetry Prize. However, his first book brought him more: a citation from the Poetry Society of America, a grant from the National Institute of Arts, and, most important of all, 1960's Pulitzer Prize in Poetry. It is often said that Heart's Needle inaugurated confessional poetry. Snodgrass disliked the term. The genre he was reviving here seemed revolutionary to most of his contemporaries, reared as they had been on the anti-expressionistic principles of the New Critics. Snodgrass's confessional work was to have a profound effect on many of his contemporaries, amongst them, most importantly, Robert Lowell.

Being tagged with this label affected his work and its reception and forced him into small-press publication for many years. Two new themes (eventually) restored his reputation, although at the time they first began to appear there was a perception by some that Snodgrass had "wrecked his career". One was The Führer Bunker cycle of poems, monologues by Adolf Hitler and his circle in the closing days of the Third Reich, a "poem in progress" that began to appear from 1977 onwards and was finally completed in 1995. An adaptation of these for the stage was performed in the 1980s. The other theme was the series written in response to DeLoss McGraw's surrealistic paintings, which eventually grew into a partnership. In these poems, often uproariously rhymed, Snodgrass stood his former confessional style on its head at the same time as satirizing contemporary attitudes.

title: W. D. Snodgrass


text:
Category talk:Christian philosophy

Christian doctrine
Should we rename this category "Christian doctrine"? Nathan Larson 04:29, 2 Jun 2005 (UTC)

 * No. Although, if you wish, you may create Category: Christian doctrine.  -Seth Mahoney 14:12, Jun 2, 2005 (UTC)

title: Category talk:Christian philosophy


text:
Willie Anderson (American football)

Willie Aaron Anderson (born July 11, 1975) is an American former football offensive tackle who played for the Cincinnati Bengals and Baltimore Ravens of the National Football League (NFL). He played college football for the Auburn Tigers and was selected by the Bengals 10th overall of the 1996 NFL draft. A four-time Pro Bowler and three-time first-team All-Pro selection, Anderson played his first 12 seasons with the Bengals.

The 11 quarterback pressures Anderson allowed in 2006 were the fourth-fewest pressures allowed by an offensive tackle in a season between 2006 and 2019. He was the first right tackle to be named a first-team All-Pro in three straight seasons since Dan Dierdorf, Ron Yary, and Rayfield Wright all did it in the 1970s, and the first right tackle to be named to the Pro Bowl in four straight seasons since Jackie Slater; no right tackle has accomplished those feats since Anderson.

In 2021, Willie Anderson was inducted into the Alabama Sports Hall of Fame.

That following year, he became a member of the Ring of Honor induction class of 2022 for the Bengals, joining Paul Brown, Anthony Muñoz, Ken Anderson and Ken Riley.

He trains offensive linemen from high school to the NFL at the Willie Anderson Lineman Academy.

College career
Anderson attended Auburn University, where he played for the Auburn Tigers football team from 1993 to 1995. He majored in marketing education.

Anderson started as a freshman at guard during the Tigers undefeated season in 1993. He switched to offensive tackle the next year.

He was honored as a 2nd-Team All-American after his Junior year at Auburn.

Cincinnati Bengals

Anderson was selected by the Cincinnati Bengals in the first round (10th overall) of the 1996 NFL draft. He made Dr. Z's Sports Illustrated All-Pro team in 1999 and was a first alternate to the Pro Bowl in the 2001 and 2002 seasons. He was selected to represent the AFC in the 2003, 2004, 2005, and 2006 Pro Bowl.

Anderson was a road-grading run blocker, helping Corey Dillon break two NFL rushing records: Jim Brown’s rookie single-game rushing record and Walter Payton’s single-game rushing record of 275 yards. He also helped Rudi Johnson break the Bengals single-season rushing record that still stands today. He started 116 consecutive games in a row from 1999 to 2007.

In his rookie season, it was said that he was able to bench press 675 pounds. Anderson received a five-year, $30 million contract extension after the 1999 season, his fourth season. He also received a five-year, $32 million contract extension, with $20 million guaranteed, prior to the 2006 season, his eleventh season with the Bengals. Anderson was cut by the Bengals on August 30, 2008 after he refused to take a pay cut.

In 2017, Anderson was named by the Bengals as one of their top 50 players to celebrate their 50th season.

Baltimore Ravens
On September 4, 2008, Anderson signed a three-year, $11 million deal with the Baltimore Ravens. Anderson started 10 games for the Ravens, helping them reach the AFC Championship Game in coach John Harbaugh’s first season.

On May 13, 2009, the Ravens placed him on the reserved-retired list. The Ravens asked Anderson to reconsider his retirement, but he retired after the 2008 season.

Personal life
Anderson's son, Jair Hawkins-Anderson, played college football for the Georgia Tech Yellow Jackets.

title: Willie Anderson (American football)


text:
Talk:Nintendo Space World

Spaceworld 2005?
(70.244.100.3) has stated that there will be a Spaceworld 2005. I can't find anything online besides speculation on forums (Nintendo hasn't posted any press releases on the topic yet). No doubt that this will be confirmed (or denied) in the near future. -JJLeahy 04:31, 2 Jun 2005 (UTC)

The Wii wasn't revealed at a SpaceWorld!!
So I am going to remove it from the list of systems that have been revealed at a SpaceWorld.--Dexter111344 20:29, 27 July 2006 (UTC)

last spaceworld 2000?
the last spaceworld was 2001 not 2000.its when they 1st reveled mario sunshine & zelda:the wind waker.

Any connection to the Nintendo World 2006 trade show?
Both Spaceworld and the current Nintendo World 2006 are very similar, since they are revealing new games during the fall season.

Another meaning
SpaceWorld is also the name of a Norwegian electronics store chain. --Ifrit 13:51, 25 December 2006 (UTC) http://www.spaceworld.no/

Shoshinkai
Prior to 2000, the SpaceWorld expo was known as the Shoshinkai show. I think this article should make note of that, and correct the bit that says "SpaceWorld 1995" when it should be "1995 Shoshinkai" —Preceding unsigned comment added by 64.28.254.26 (talk) 22:40, 5 May 2008 (UTC)

1995 N64 and SM64 demo footage
There are new videos up on YouTube that you guys might find useful for citation: For full disclosure I am affiliated with the publication. BcRIPster (talk) 19:02, 10 November 2015 (UTC)
 * Shoshinkai 1995, Nintendo President Yamauchi's opening remarks
 * Shoshinkai 1995, Nintendo 64 and Super Mario 64 Demonstrations

External links modified
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Shouldn't it be written "Spaceworld"?
All the official references to the name I could find (the Nintendo website and the posters at the events) write it out as "NINTENDO SPACEWORLD". --86.18.248.75 (talk) 12:51, 2 October 2016 (UTC)

Past Tense Phrasing
This event has not occurred in over 15 years, but this page still says "Nintendo Space World is" instead of "Nintendo Space World was". Should this phrasing be changed to past tense so that people can understand that, at this time, this event is no longer happening?Latitude23n (talk) 19:59, 2 February 2018 (UTC)

Subjective Language
There's a bit of subjective language in the first 2 paragraphs that seems somewhat out of place on a Wikipedia page, specifically this sentence:

"Some major exhibits would be teased and then never seen again, leaving fans and press to maintain hype and inquiry for years, as with the spectacular Super Mario 128 demo, the controversial Wind Waker teaser video, Mother 3 (EarthBound 64), and a litany of lost 64DD games."

Opinions such as "spectacular" and "controversial" seem very out of place, as does "maintain hype and inquiry for years"

Just a thought I was having while reading. Could this be reworded to seem less subjective? Yokai64 (talk) 12:16, 7 December 2022 (UTC)

 * Those are not subjective or opinion at all, but objective fact. The WP:LEAD section exists only as a summary of what is already reliably sourced in the body, which it is, because it's true. You didn't even name a reason why you thought it was subjective, but you definitely misread it and projected your mistaken view onto it. The whole point of the extraordinary subject of an entertainment trade show is to create spectacle, and spectacles are spectacular. It's often vaporware though I simply didn't find a source with that particular slang yet. That's not an opinion at all, as the lead already made perfectly clear. An encyclopedic context isn't the hyperbole of an entertainment industry. It doesnt even necessarily mean "good". Words don't get much more inherently neutral than "controversial", as is advised in countless Wikipedia policies. The only thing subjective here is a failure of reading comprehension, sorry. — Smuckola(talk) 12:59, 7 December 2022 (UTC)
 * Sorry, I'm a new contributer to Wikipedia and I'm still learning. I'll take your kind recommendations and go back to my English class. Yokai64 (talk) 13:14, 7 December 2022 (UTC)
 * Ok cool. I tweaked it slightly plus wikilinks, if that broadens the understanding. I'm not sure if I can find the Wikipedia guideline offhand about "describe the controversy" as a basic tenet of neutrality, but maybe WP:NPOVT. That's one of the more advanced ideas for cases where there is no simple right or wrong. Here, it's just basically a wildly mixed reception of love, hate, confusion, and skepticism. In any case, the lead section isn't even meant to be directly cited (WP:LEADCITE) and is just a gross summary of why a person should just read the body, and it isn't responsible if they don't. ;) Thus, the lead is probably the closest thing Wikipedians can get to original prose. Also, Spaceworld is insane. — Smuckola(talk) 14:16, 7 December 2022 (UTC)

Should Kotora get its own wiki page?
Kotora is an electric tiger that was in the prototype of both Pokémon Red & Blue and Pokémon Gold & Silver, but ultimately scrapped in the final version. Many fans has wished this creature would makes a return in the main series due to its round shaped design on top of being cute. It is probably the most known of the unused design, so that makes me wonder if a wiki page would be necessary. Thanzonomo (talk) 09:07, 23 March 2023 (UTC)
 * Probably not. WP:N WP:RS — Smuckola(talk) 17:48, 23 March 2023 (UTC)

title: Talk:Nintendo Space World