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Finborough Theatre

The Finborough Theatre is a fifty-seat theatre in the West Brompton area of London (part of the Royal Borough of Kensington and Chelsea) under artistic director Neil McPherson. The theatre presents new British writing, as well as UK and world premieres of new plays primarily from the English speaking world including North America, Canada, Ireland, and Scotland including work in the Scots language, alongside rarely seen rediscovered 19th and 20th century plays. The venue also presents new and rediscovered music theatre.

The Finborough Arms
The Finborough Arms was built in 1868 to a design by George Godwin and his younger brother Henry. It was one of five public houses built by Corbett and McClymont in the Earls Court area during the West London development boom of the 1860s. The pub opened in 1871. The ground floor and basement of the building was converted into The Finborough Road Brasserie from 2008 to 2010 and The Finborough Wine Cafe from 2010 to 2012. The pub reopened under its original name of The Finborough Arms in February 2014.

1980s
June Abbott opened the theatre above the Finborough Arms Public House in June 1980. In its first decade, artists working at the new theatre included Clive Barker, Kathy Burke, Ken Campbell, Mark Rylance, and Clare Dowie who appeared in the world première of her own play Adult Child/Dead Child.

1990s
From 1991 to 1994, the theatre was best known for new writing with Naomi Wallace’s first play The War Boys; Rachel Weisz in David Farr’s Neville Southall's Washbag, Elton John’s Glasses; Holding Back the Ocean by Godfrey Hamilton; and three plays by Anthony Neilson: The Year of the Family; Normal: The Düsseldorf Ripper; and Penetrator, which transferred from the Traverse and went on to play at the Royal Court Upstairs. From 1994, the theatre was run by The Steam Industry under Artistic Director Phil Willmott. Productions included new plays by Tony Marchant, David Eldridge, Mark Ravenhill, and Phil Willmott. New writing development included Mark Ravenhill's Shopping and F*cking (Royal Court, West End and Broadway) and Naomi Wallace's Slaughter City (Royal Shakespeare Company), the UK première of David Mamet’s The Woods, and Anthony Neilson's The Censor, which transferred to the Royal Court.

2000s
Productions since 2000 have included the UK premières of Brad Fraser’s Wolfboy; Lanford Wilson’s Sympathetic Magic; Tennessee Williams’ Something Cloudy, Something Clear; and Frank McGuinness’ Gates of Gold with William Gaunt and the late John Bennett in his last stage role which transferred to the West End; the London première of Sonja Linden’s I Have Before Me a Remarkable Document Given to Me by a Young Lady from Rwanda; the specially commissioned adaptation of W.H. Davies’ Young Emma by Laura Wade and directed by Tamara Harvey; the first London revival for more than 40 years of Rolf Hochhuth’s Soldiers; Keith Dewhurst's Lark Rise to Candleford, performed in promenade and in repertoire; the Great War drama Red Night, and five first plays by new writers: Jason Hall's Eyes Catch Fire; Chris Dunkley’s Mirita; Dameon Garnett's Break Away , Simon Vinnicombe's Year 10, Joy Wilkinson's Fair which transferred to the West End; Waterloo Day with Robert Lang; Sarah Phelps’ Modern Dance for Beginners, subsequently produced at the Soho Theatre; Carolyn Scott-Jeffs'  comedy Out in the Garden, which transferred to the Assembly Rooms, Edinburgh; the London premiere of Larry Kramer's The Destiny of Me ; The Women's War – an evening of original suffragette plays; Steve Hennessy’s Lullabies of Broadmoor (about the Finborough Road murder of 1922); the Victorian era comedy Masks and Faces; Etta Jenks with Clarke Peters and Daniela Nardini; The Gigli Concert with Niall Buggy, Catherine Cusack and Paul McGann which transferred to the Assembly Rooms, Edinburgh);  Hortensia and the Museum of Dreams with Linda Bassett, Albert's Boy by James Graham starring Victor Spinetti, Peter Oswald’s Lucifer Saved with Mark Rylance, Blackwater Angel, the UK debut of Irish playwright Jim Nolan with Sean Campion, the first London revival for over seventy years of Loyalties by John Galsworthy, the world premiere of Plague Over England by Nicholas de Jongh which subsequently transferred to the West End at the Duchess Theatre, the first revival of Hangover Square, adapted by Fidelis Morgan from the novel by Patrick Hamilton, the UK premiere of the musical Ordinary Days by Adam Gwon and a season of plays by William Saroyan.

2010s
In March 2010 the theatre presented the world premiere of A Day at the Racists, a new piece of political theatre by Anders Lustgarten, charting the rise of the BNP in Barking. In 2011 productions included a critically acclaimed production of Mixed Marriage by St John Ervine, as well as Dawn King's Foxfinder, as well as revivals of Emlyn Williams's Accolade and Caryl Churchill's Fen. Air conditioning was also installed in 2011. In 2012 productions at the theatre included John McGrath's Events While Guarding the Bofors Gun and revivals of Arthur Miller's The American Clock and J. B. Priestley's Cornelius which subsequently transferred Off-Broadway. In November 2012, the theatre presented twelve new plays as part of its fourth annual Vibrant – A Festival of Finborough Playwrights. The plays include The Andes by Alexandra Wood, The Sugar-Coated Bullets of the Bourgeoisie by Anders Lustgarten and Pig Girl by Colleen Murphy. 2012 saw transfers of London Wall by John Van Druten to St James' Theatre, and Cornelius by J.B. Priestley to Off-Broadway. From 2009–12, the Finborough Theatre awarded the Leverhulme Emerging Directors Bursary in collaboration with the National Theatre Studio. The recipients of the award were Blanche McIntyre, Ria Parry and Andrea Ferran.

2020s
Productions in 2020:

7 January – 1 February 2020. Scrounger by Athena Stevens. Directed by Lily McLeish. World premiere.

4 February – 29 February 2020. On McQuillan's Hill by Joe Crilly. Directed by Jonathan Harden. English premiere.

3 March – 15 March 2020. Not Quite Jerusalem by Paul Kember. Directed by Peter Kavanagh. First new UK production in 40 years.

As a result of the COVID-19 pandemic in the United Kingdom, the Finborough Theatre temporarily closed, cancelling its remaining productions for 2020.

From May 2020, the Finborough Theatre began its #FinboroughForFree programme of archive productions streamed online:

7 May – 7 July 2020. It Is Easy To Be Dead by Neil McPherson. Directed by Max Key. World premiere production from 2016.

18 May – 31 December 2021. Continuity by Gerry Moynihan. Directed by Shane Dempsey. World premiere production from 2017.

5 June – 5 August 2020. Jane Clegg by St John Ervine. Directed by David Gilmore. First London production in over 75 years from 2019.

2 July – 2 September 2020. Blueprint Medea by Julia Pascal. Directed by Julia Pascal. World premiere production from 2019.

1 – 3 and 31 August 2020. Scrounger by Athena Stevens. Directed by Lily McLeish. World premiere production from January 2020.

7 September – 7 October 2020. Death of a Hunter by Rolf Hochhuth. Directed by Anthony Shrubsall. UK and English language premiere production from 2018.

1 October – 12 November 2020. Adding Machine (musical) by Jason Loewith and Joshua Schmidt. Directed by Josh Seymour. UK premiere production from 2016.

1 November – 31 December 2020. I Wish To Die Singing – Voices From The Armenian Genocide by Neil McPherson. Directed by Tommo Fowler. World premiere production from 2015.

1 December 2020 – 1 February 2021. S-27 by Sarah Grochala. Directed by Stephen Keyworth. The world premiere of the winner of Amnesty International’s first Protect The Human Playwriting Competition.

From January 2021 the Finborough Theatre began to produce new original online content as part of its #FinboroughForFree programme:

1 February – 30 April 2021. Late Night Staring At High Res Pixels by Athena Stevens. Directed Lily McLeish. The world premiere of a new play repurposed for online viewing.

1 April – 8 April 2021. Playfight by Julia Grogan. Directed by Blanche McIntyre. The world premiere rehearsed reading of the winner of the 2020 ETPEP Competition.

24 May – 20 June 2021. A Brief List of Everyone Who Died by Jacob Marx Rice. Directed by Alex Howarth. The world premiere rehearsed reading.

22 June – 20 July 2021. Leather by Peter Scott-Presland. Directed by Patrick Kealey. The first production in more than thirty years.

28 July – 25 August 2021. Masks and Faces or, Before and Behind the Curtain by Charles Reade and Tom Taylor. Directed by Matthew Iliffe. The online premiere of a unique rediscovery.

In September 2021, the Finborough Theatre reopened for live performances:

28 September – 23 October 2021. How To Survive An Apocalypse by Jordan Hall. Directed by Jimmy Walters. UK premiere production from 2016.

26 October – 20 November 2021. The Sugar House by Alana Valentine. Directed by Tom Brennan. The European Premiere.

23 November – 18 December 2021. Yes So I Said Yes by David Ireland. Directed by Max Elton. The Great Britain premiere.

28 January – 25 February 2022. An Earl's Court Miscellany devised and directed by Catherine Harvey. The online world premiere.

31 January – 28 February 2022. How To Make A Revolution by Einat Weizman with Issa Amro. Directed by Tommo Fowler. The online world premiere.

1 March – 2 April 2022. Bacon by Sophie Swithinbank. Directed by Matthew Iliffe. The world premiere.

19 April – 14 May 2022. The Straw Chair by Sue Glover. Directed by Polly Creed. The English premiere.

17 May – 11 June 2022. Bliss by Fraser Grace. Directed by Paul Bourne. The world premiere.

Online from Monday, 30 May 2022. #FinboroughFrontier: Otvetka by Neda Nezhdana. Translated by John Farndon. The online premiere.

Online from Monday, 6 June 2022. #FinboroughFrontier: The Peed-Upon Armored Personnel Carrier by Oksana Gritsenko. Translated by John Freedman. The online premiere.

Online from Monday, 13 June 2022. #FinboroughFrontier: A Dictionary of Emotions in a Time of War by Yelena Astasyeva. Translated by John Freedman. The online premiere.

14 June - 9 July 2022. Darkie Armo Girl by Karine Bedrossian. Directed by Anastasia Bunce. The world premiere.

Online from Monday, 4 July 2022. #FinboroughFrontier: Stand Up For Ukraine Written and Performed by Bréon Rydell. The online premiere.

9 August - 3 September 2022. Two Ukrainian Plays. Take The Rubbish Out, Sasha by Natal’ya Vorozhbit. Directed by Svetlana Dimcovic. The English Premiere. Pussycat in Memory of Darkness by Neda Nezhdana. Directed by Polly Creed. The first production outside Ukraine.

Online from Monday, 29 August 2022. #FinboroughFrontier: Tatiana Voltskaya Poems by Tatiana Voltskaya. Translated by John Farndon with Larissa Itina. The online premiere.

Online from Thursday, 1 September 2022. #FinboroughFrontier: Director Polly Creed interviews Tetyana Filevska and Karina Sabri.

6 September - 1 October 2022. Distinguished Villa by Kate O'Brien. Directed by Hugh Fraser. The first London production since 1926.

4 October - 29 October 2022. The Coral by Georg Kaiser. Directed by Emily Louizou. The first UK production in 100 years.

1 November - 26 November 2022. Not Now by David Ireland. Directed by Max Elton. The English premiere.

29 November - 21 December 2022. 12:37 by Julia Pascal. Directed by Julia Pascal. The world premiere.

3 January - 28 January 2023. Salt-Water Moon by David French. Directed by Peter Kavanagh. The UK premiere.

31 January - 25 February 2023. One Who Wants To Cross by Marc-Emmanuel Soriano. Directed by Alice Hamilton. The UK premiere.

28 February - 25 March 2023. The Journey To Venice by Bjørg Vik. Directed by Wiebke Green. The UK premiere.

28 March - 22 April 2023. Pussycat in Memory of Darkness by Neda Nezhdana. Directed by Polly Creed.

15 April 2023. Belly of the Beast by Saana Sze. Directed by Lakesha Arie-Angelo.

25 April - 13 May 2023. The Retreat by Jason Sherman. Directed by Emma Jude Harris. European premiere.

15 May - 15 June 2023. An Earl’s Court Miscellany devised and directed by Catherine Harvey. Online world premiere.

16 May - 10 June 2023. A Brief List of Everyone Who Died by Jacob Marx Rice. Directed by Alex Howarth. World premiere.

13 June - 8 July. The Return of Benjamin Lay by Naomi Wallace and Marcus Rediker. Directed by Ron Daniels. World premiere.

11 July – 5 August 2023.The Wind and the Rain" by Merton Hodge. Directed by Geoffrey Beevers. The first London production in 80 years.

8 August – 2 September 2023. Makeshifts and Realities. A triple bill of one-act plays featuring Makeshifts and Realities by Gertrude Robins, and Honour Thy Father by H. M. Harwood. The first London productions in more than 100 years. Directed By Melissa Dunne.

5 September - 30 September 2023, Birthright by T. C. Murray. Directed by Scott Hurran. The First London production in over 90 years.

3 October - 28 October 2023, Dead Dad Dog by John McKay (director). Directed by Liz Carruthers. The first London production in 35 years.

31 October - 25 November 2023, Knocking on the Wall by Ena Lamont Stewart. Directed by Finlay Glen. The first UK production in over 35 years.

28 November - 22 December 2023, £1 Thursdays by Kat Rose-Martin. Directed by Vicky Moran. World premiere.

2 January - 28 January 2024, 1979 by Michael Healey. Directed by Jimmy Walters. European premiere.

20 February - 16 March 2024, Jab by James McDermott. Directed by Scott Le Crass. World Premiere.

19 March - 13 April 2024, Foam by Harry McDonald. Directed by Matthew Iliffe. World premiere.

16 April - 11 May 2024, Banging Denmark by Van Badham. Directed by Sally Woodcock. European premiere.

14 May - 8 June 2024, The Tailor of Inverness by Matthew Zajac. Directed by Ben Harrison. London premiere.

Musical theatre
The Finborough Theatre has also presented musical theatre, including Schwartz It All About which transferred to Edinburgh and the King's Head Theatre, the world premiere of Charles Miller and Kevin Hammonds' When Midnight Strikes, the UK premieres of Lucky Nurse and Other Short Musical Plays by Michael John LaChuisa, Darius Milhaud’s opera Médée, Myths and Hymns by Adam Guettel, John and Jen by Andrew Lippa and Three Sides by Grant Olding, and an acclaimed series 'Celebrating British Musical Theatre' from the Victorian and Edwardian era with Florodora, Our Miss Gibbs, The Maid of the Mountains and A Gilbert and Sullivan Doublebill featuring Sweethearts, a play by W.S. Gilbert, The Zoo, an operetta by Arthur Sullivan and Bolton Rowe, the opera The Boatswain's Mate by Ethel Smyth and two rare musicals by Rodgers and Hammerstein – the UK premiere of State Fair which transferred to the West End, and the European premiere of Me and Juliet.

Awards
The Finborough Theatre has won the Pearson Award bursary for playwrights nine times for Chris Lee in 2000, Laura Wade in 2005, James Graham in 2006, Al Smith in 2007, Anders Lustgarten in 2009, Simon Vinnicombe in 2010, Dawn King in 2011, Shamser Sinha in 2013 and Chris Thompson in 2014 – as well as the Pearson Award for Best Play for Laura Wade in 2005 and – under its new name – the Catherine Johnson Best Play Award in 2007 for James Graham and for Anders Lustgarten in 2010. Anders Lustgarten also won the inaugural Harold Pinter Playwrights Award for the same play, A Day at the Racists, in 2011.

The Finborough Theatre won the Empty Space Peter Brook Award in 2010 and for a second time in 2012. It was also the inaugural winner of the Empty Space Peter Brook Award's Dan Crawford Pub Theatre Award in 2005 which it also won again in 2008. It has also won the Empty Space Peter Brook Mark Marvin Award in 2004. The Finborough Theatre won four awards in total at the 2011 Off West End Awards, and at the 2012 Off West End Awards, the Finborough Theatre won eight awards in total including Best Artistic Director and Best Director for the second year running, and Best Production, Best Male Performance and Most Promising New Playwright.

The Finborough Theatre was awarded The Stage 100's inaugural Fringe Theatre of the Year award in 2011.

Neil McPherson was named as Best Artistic Director in the 2009 Fringe Report Awards and both the 2011 and 2012 Off West End Awards, and won an award for the Encouragement of New Writing from the Writers Guild of Great Britain in 2010.

Artistic directors

 * June Abbott (1980–1982)
 * Mike McCormack (1982–1988)
 * Jessica Dromgoole (1988–1991)
 * Cathryn Horn and Mary Peate (1991–1994)
 * Phil Willmott (1994–1999)
 * Neil McPherson (1999–)

title: Finborough Theatre


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User talk:Smitty2k55

Welcome!
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title: User talk:Smitty2k55


text:
Wikipedia:Policy enforcement log/Sam Spade

 * 1) - lack of neutrality at anti-gay slogan - Uncle Ed 00:12, July 17, 2005 (UTC)

? thats outrageous. ¸,ø¤º°`°º¤ø,¸¸,ø¤º°`°º¤ø,¸¸,ø¤º°`°º¤ø,¸ 00:26, 17 July 2005 (UTC)

applicable links:

 * User_talk:Ed_Poor

 * anti-gay slogan history

 * Talk:Anti-gay_slogan

 * User_talk:Sam_Spade

 * Talk:Emo

 * Blocking policy

¸,ø¤º°`°º¤ø,¸¸,ø¤º°`°º¤ø,¸¸,ø¤º°`°º¤ø,¸ 00:39, 17 July 2005 (UTC)

 * I have to say, while Sam's problems remaining neutral on articles relating to homosexuality are well documented and constant, I find this proposal by Ed Poor (whose own neutrality on the subject is questionable) a little odd, and I don't--yet--support it since, while he's certainly been doing some questionable things, at least he's refraining from revert warring--for now.

 * I do think, however, that this is a perfect opportunity to give Sam an official warning about his edits to said articles. Sam consistently refuses to follow Wikipedia's guidelines on gay-related topics and the suggestions and consensus of other editors, and inserts blantantly non-neutral claims into articles and/or makes subtle edits to insert his point of view.  This is small-scale, but exceedingly detrimental to Wikipedia.  I have long been considering starting an RFC and even an RFA to outright ban Sam from editing gay-related topics.  In the meantime, I think a warning to change his editing habits on such articles is a start.  Exploding Boy 01:11, July 17, 2005 (UTC)

I don't agree with you assessment of my editing (as ed's talk page displays), but I will say that I intend to avoid gay topics even more, due to this incident (and especially anti-gay slogan, obviously). I have been successfully driven off. Hooray for personal attacks and POV lobbying. Jeers for wiki-process resulting in article quality. And not for the 1st time. ¸,ø¤º°`°º¤ø,¸¸,ø¤º°`°º¤ø,¸¸,ø¤º°`°º¤ø,¸ 01:19, 17 July 2005 (UTC)

 * Sam, who are you trying to fool? It can only be yourself, as the reaction to your edits and suggestions on myriad talk pages demonstrates that you are very much in the minority in your assesment of the relative neutrality of articles you get upset about.  Frankly, it's not only in articles on "gay topics" that your edits are problematic.  Your recent edits to Emo, for example, show a complete lack of knowledge on sexuality and a definite bias against non-heterosexuality.  I've been watching your contributions and following your edits to a wide variety of articles recently.  Your edits show a disticnt pattern, so please, once and for all, drop the facade; the one who engages in the most "personal attacks and POV lobbying" is you.  Exploding Boy 01:30, July 17, 2005 (UTC)

 * I've looked over some of the edits, and while I don't agree with them, I wouldn't like to see Sam blocked for making them. SlimVirgin (talk) 01:33, July 17, 2005 (UTC)

The question is, what am I supposed to do about this? Complaining about ed is useless, he's a bureaucrat,and upstanding community member. Altho I don't feel I am in the wrong, I already plan to avoid this article, and those directly related. The edit I made to Emo supported NPOV IMO, and was made before I was aware of this whole mess, btw. I'm certainly on no rampage of anti-gay bias, as my contributions will point out. ¸,ø¤º°`°º¤ø,¸¸,ø¤º°`°º¤ø,¸¸,ø¤º°`°º¤ø,¸ 01:37, 17 July 2005 (UTC)

What you're supposed to do is generally refrain from making edits related to sexuality, and particularly to homosexuality. I don't think Ed will block you, and if he does it will only be temporary anyway. Your edits to Emo were made on the 16th and 17th, at which point the whole Anti-gay slogan debate was well underway; dozens of comments about your lack of neutrality on sexuality topics have been made to you already. Please note that I never said you were on a "rampage," but I do stand by my assertion that you have an anti-gay bias, a bias to which you've conceded yourself. Sam, in all honesty I think you can be a valuable editor, but you need to distance yourself from sexuality-related topics in general, and if you see something you disagree with in such an article I strongly suggest you float it on the appropriate talk page before making any changes. Exploding Boy 01:44, July 17, 2005 (UTC)

 * I'm not sure I saw anything wrong with Sam's edits to Emo, though I don't claim to be any great expert on sexuality myself. ;-) SlimVirgin (talk) 01:50, July 17, 2005 (UTC)

In essence, Sam made subtle changes that suggested, among other things, that women do not find homosexuality or bisexuality erotic. Exploding Boy 01:55, July 17, 2005 (UTC)

 * Actually I took out a suggestion that women found male-on-male homoeroticism attractive, because on average they don't. If they do, I'd like to see a cite for it, I certainly can't find one. I left in however the idea that emo girls have such a fetish, as I know it to be true, and it was cited. ¸,ø¤º°`°º¤ø,¸¸,ø¤º°`°º¤ø,¸¸,ø¤º°`°º¤ø,¸ 02:00, 17 July 2005 (UTC)

Sam cannot be censured for editys saying most women don't find gay men erotic, or not without wikipedia losing any sense of NPOV in a desire to promote a pro gay agenda, SqueakBox 02:12, July 17, 2005 (UTC)

 * The Emo article said: "Though it is common in Western culture for men to find lesbianism erotic, females finding homo- or bi-sexuality erotic is erroneously thought to be a trend largely peculiar to the emo trend and sub-culture." The word "erroneously" here is POV, because it states as a fact, with no attribution, that women finding homosexual male sex erotic are not largely confined to the emo sub-culture.

 * Sam changed the sentence to: "Though it is common in Western culture for men to find lesbianism erotic, females finding homo- or bi-sexuality erotic is an unusual trend largely peculiar to the emo sub-culture." Sam is also stating as a fact, without attribution, that women who find homosexual male sex erotic are largely part of the emo sub-culture.

 * The problem is a lack of sources, not rampant POV pushing, and both versions need a source, in my opinion, not just Sam's. SlimVirgin (talk) 02:23, July 17, 2005 (UTC)

I'm ok w the current version tho, which allows for the male-on-male erotism being enjoyed by females of othjer subcultures. I admit my edit wasn't perfect, but its a difficult matter to claify. It probably should be cited, as slim says, I just can't find a cite. I know from being a pscye student that girl-on-girl is the number one male fantasy, but that male-on-male sex is considered repulsive by most women. Thats obviously not a cite, just my personal knowledge, but whatever. ¸,ø¤º°`°º¤ø,¸¸,ø¤º°`°º¤ø,¸¸,ø¤º°`°º¤ø,¸ 02:50, 17 July 2005 (UTC)

 * I put a note @ Talk:Emo. ¸,ø¤º°`°º¤ø,¸¸,ø¤º°`°º¤ø,¸¸,ø¤º°`°º¤ø,¸ 03:02, 17 July 2005 (UTC)

Sam: No original research (and please invest in a spell-checker!). For examples of women finding male-on-male homoeroticism attractive, see slash fiction, Yaoi, and Shōnen-ai. Kasper Gutman 04:45, 17 July 2005 (UTC)
 * Indeed. It's relatively common, in my experience, for women to find male/male sexual beheviour erotic james gibbon

 * OK, we've all got our original research, but how about some citations, this being an encyclopedia and all? Also, what does this all have to do w me being potentialy blocked? ¸,ø¤º°`°º¤ø,¸¸,ø¤º°`°º¤ø,¸¸,ø¤º°`°º¤ø,¸ 18:18, 17 July 2005 (UTC)

 * How about this: eroticism is erotic. Anyone can be sexually attracted by other people having sex, or even just turning each other on.

 * If you think this may be possible, google up some references, read them, and summarize what they say in the relevant articles. Uncle Ed 10:31, July 17, 2005 (UTC)

How about you explain why I should be banned, instead of making inane suggestions about research? As far as I can tell, your completely disinterested in improving the articles in question, and focused rather on behaving in a bizaree and controversial manner. Maybe this is some oddball attempt at mediation? Frankly I have no idea what your doing ed, or why. ¸,ø¤º°`°º¤ø,¸¸,ø¤º°`°º¤ø,¸¸,ø¤º°`°º¤ø,¸ 15:28, 17 July 2005 (UTC)

 * 1) I can't explain it, because it isn't true: I never said you should be banned.
 * 2) I agree that inane suggestions aren't helpful, though. Please responed only to my useful ones and just ignore the inane ones.
 * 3) You mean uninterested - disinterested means "neutral" and "unbiased", which is the way I want you to write when you contribute to Wikipedia articles
 * 4) If you can't or won't conform to NPOV, you should take a break. There's is nothing bizarre or controversial in this suggestion; it's actually quite ordinary and mild. Uncle Ed 12:01, July 18, 2005 (UTC)

Look, if you think I have violated the NPOV policy, explain to me where. Give specific links. I don't see it. In any case, the way NPOV disputes are handled is by soliciting outside input (as I did, filing an RfC and so forth) and comparing evidence on the talk page. NPOV is never supposed to reflect the majority opinion of wikipedians (as you made sure it did in this case), but rather the concensus based on the facts, a concensus which all reasonable, informed parties can accept. Your descision to remove me from the equation was far more a violation of the NPOV process than any edit I made to that page. So assuming I was way out of line w my POV, you still handled the situation in a manner harmful to the article, and in rejection of the wiki-process. Frankly, you let me, and the readers down. They deserve to have access to those studies I cited.

¸,ø¤º°`°º¤ø,¸¸,ø¤º°`°º¤ø,¸¸,ø¤º°`°º¤ø,¸ 17:31, 18 July 2005 (UTC)

 * Your constant protestations of neutrality are beginning to annoy me. Your lack of neutrality has been pointed out to you on countless occasions.  Only the threat of blocking has made you demonstrate even the most grudging willingness to acknowledge it.  Exploding Boy 20:00, July 18, 2005 (UTC)

 * Are you trying to say I'm not neutral? Have a look @ User:Sam Spade/Theoretical Biases, I obviously have opinions. Hating others based on homosexual sex acts they may perform is not on there. If you think I edit in such a manner as to warrant blocking, please take the matter up a ArbCom. I'd rejoice in the opportunity to clear my name in an open manner, after all this behind-closed-doors ugliness. ¸,ø¤º°`°º¤ø,¸¸,ø¤º°`°º¤ø,¸¸,ø¤º°`°º¤ø,¸ 14:21, 19 July 2005 (UTC)

How many times? How many different ways? Once and for all, your edits to sex-related articles, particularly those related to homosexuality, are too often non-neutral. Exploding Boy 15:42, July 19, 2005 (UTC)

 * As you surely are aware, I feel that you are worse than biased on articles of that subject, I feel you are an agenda driven POV inforcer w a page owner mentality. I further feel that Ed has chosen to enable you in this, for know reason I can readilly discern. But who cares what we think about each other? Isn't our job as wikipedians to focus on the facts (like the quote and links I tried to cite in the article) rather than each other? ¸,ø¤º°`°º¤ø,¸¸,ø¤º°`°º¤ø,¸¸,ø¤º°`°º¤ø,¸ 16:00, 19 July 2005 (UTC)

Yeah, I'm quite aware. On the other hand, you're one of the very few who think so, and I'm one of many who find that your edits lack neutrality and are indeed often factually inaccurate. Whatever. I'm not discussing it any more since you still, incredibly, refuse to acknowledge your problematic editing. I'll be watching your contributions. Exploding Boy 16:07, July 19, 2005 (UTC)

 * Cool, thanks. Now how about you ed, what do you and I need to accomplish so as to end this? Or are you simply making use of this farce to sit back and laugh? ¸,ø¤º°`°º¤ø,¸¸,ø¤º°`°º¤ø,¸¸,ø¤º°`°º¤ø,¸ 21:10, 19 July 2005 (UTC)


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User talk:Abhijitb

Welcome!
Hello, Abhijitb, and welcome to Wikipedia! Thanks for your contributions; I hope you like it here and decide to stay. We're glad to have you in our community! Here are a few good links for newcomers:

 * If you haven't already, drop by the new user log and tell others a bit about yourself.
 * Always sign your posts on talk pages with  so others will know who left which comments.
 * The Five Pillars of Wikipedia
 * Our policies, guidelines, and simplified ruleset
 * How to edit a page and write a great article
 * The Wikipedia tutorial and picture tutorial
 * The handy Manual of Style
 * And finally, remember to be bold in updating pages!

I hope you enjoy editing and being a Wikipedian. Although we all make mistakes, please keep in mind what Wikipedia is not. If you have any questions or concerns, don't hesitate to see the help pages or add a question to the village pump. The Community Portal can also be very useful.

Happy editing!

-- Sango  123  03:14, July 17, 2005 (UTC)

P.S. Feel free to leave a message on my talk page if you need help with anything or simply wish to say hello. :)

title: User talk:Abhijitb


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Virgin Lake

Virgin Lake is a small lake with moderately clear water, located at the edge of the Henry M. Jackson Wilderness Area along the Blanca Lake Trail in Washington, United States. The lake is 4,577 ft. (1,395 m) above sea level.

Fauna
The lake contains several species of fish, including muskellunge, panfish, several species of bass, northern pike, and walleye.

title: Virgin Lake


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Marshal of the Diplomatic Corps

His Majesty's Marshal of the Diplomatic Corps is a senior member of the Royal Household of the Sovereign of the United Kingdom. He is the King's link with the diplomatic community in London, arranges the annual diplomatic corps reception by the Sovereign, organises the regular presentation of credentials ceremonies for ambassadors and high commissioners, as well as supervises attendance of diplomats at state events. Marshals generally hold office for ten-year terms and were formerly retired senior military officers, though the last three marshals have been diplomats. The marshal is assisted by the Vice-Marshal of the Diplomatic Corps, the First Assistant Marshal, in addition to other assistant marshals.

The office was created as recently as 1920 to replace the former Master of the Ceremonies, an office dating from c.1620. Before 1920, the Vice-Marshal was known as the Marshal of the Ceremonies. The Marshal of the Diplomatic Corps wears a distinctive two-sided 17th-century badge of office, hung from gold chains (which was previously worn by the Master of Ceremonies): in times of peace the picture seen is an olive branch, together with the motto Beati Pacifici (the personal motto of James I); in times of war the medal is reversed, to show the image of a brandished sword and the motto Dieu et mon droit.

The Marshal of the Diplomatic Corps is, along with the King's Equerry, expected to walk backwards discreetly when leaving the presence of the monarch. They are the only two visitors who are expected to do this today, as the ancient tradition that all who had the honour of a meeting with the monarch were expected to walk discreetly backwards when leaving the Sovereign's presence has been dropped for health and safety reasons. These two senior members of the Royal Household are expected to walk backwards leaving the room when they have either been summoned to see the King personally or they are introducing others – such as senior foreign diplomats – for audiences with the King.

List of Marshals of the Diplomatic Corps

 * 1920–1934: Major-General Sir John Hanbury-Williams
 * 1934–1945: Lieutenant-General Sir Sidney Clive
 * 1945–1950: Sir John Monck
 * 1950–1961: Major-General Sir Guy Salisbury-Jones
 * 1962–1971: Rear-Admiral The Rt Hon The Earl Cairns
 * 1972–1981: Major-General Lord Michael Fitzalan-Howard
 * 1982–1991: Lieutenant-General Sir John Richards, Royal Marines
 * 1992–2001: Vice-Admiral Sir James Weatherall
 * 2001–2008: Sir Anthony Figgis
 * 2008–2014: Charles Gray
 * 2014–present: Alistair Harrison

List of Vice-Marshals of the Diplomatic Corps

 * 1936–1945: Sir John Monck
 * 1946–1957: Sir Marcus Cheke
 * 1957–1965: Captain Dugald Malcolm
 * 1965–1972: Sir Lees Mayall
 * 1972–1975: Sir John Curle
 * 1975–1982: Sir Roger Du Boulay
 * 1982–1986: Sir Eustace Gibbs
 * 1986–1991: Sir Roger Hervey
 * 1991–1996: Sir Anthony Figgis
 * 1996–1999: Philip Astley
 * 1999–2001: Kathryn Colvin
 * 2001–2006: Charles de Chassiron
 * 2006–2009: Sarah Gillett
 * 2009–2012: Simon Martin
 * 2012–2014: Anna Clunes
 * 2015: Catherine Nettleton
 * 2015–2017: Julian Evans
 * 2017–2020: Neil Holland
 * 2020–present: Victoria Busby

title: Marshal of the Diplomatic Corps


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Burmese cuisine

Burmese cuisine encompasses the diverse regional culinary traditions of Myanmar, which have developed through longstanding agricultural practices, centuries of sociopolitical and economic change, and cross-cultural contact and trade with neighboring countries at the confluence of Southeast Asia, East Asia, and South Asia, such as modern-day nations of Thailand, China, and India, respectively. Mohinga, a savory fish soup with lemongrass and banana leaves are eaten for breakfast with rice noodles, lunch is rice accompanied with small side dishes of vegetables, a small soup and a meat or fish dish. Dinner is consumed in a similar fashion to lunch. Burmese stews or curries are not Indian curries but milder with reliance on the trio of onion garlic and ginger to create savory gravies. Burmese food does not rely heavily on coconut such as in Thai cuisine. Burmese however enjoy spicy food with addition of chilis mixed into the dishes.

Burmese cuisine is typified by a wide-ranging array of dishes, including traditional stews Burmese curries, Burmese salads, accompanied by soups and a medley of vegetables that are traditionally eaten with white rice. Burmese cuisine also features Indian breads as well as noodles in many forms, such as fried, in soups, or as most popularly consumed as salads. Street food and snack culture has also nurtured the profuse variety of traditional Burmese fritters and modern savory and sweet snacks labeled under the umbrella of mont.

The contrasting flavor profile of Burmese cuisine is broadly captured in the phrase chin ngan sat (MY ချဉ်ငံစပ်), which literally means "sour, salty, and spicy." A popular Burmese rhyme — "of all the fruit, the mango's the best; of all the meat, the pork's the best; and of all the vegetables, lahpet's (tea leaves are) the best" — sums up the traditional favourites.

History

Rice is the principal staple in Burmese cuisine, reflecting several millennia of rice cultivation, which first emerged in the country's Chindwin, Ayeyarwady, and Thanlwin river valleys between 11,000 and 5000 BCE. By 3000 BCE, irrigated rice cultivation flourished in the region, paralleled by the domestication of cattle and pigs by inhabitants.

In addition to rice, tea originated in the borderlands separating Myanmar from China, precipitating a longstanding tradition of tea consumption and the development of pickled tea known as laphet, which continues to play a pivotal role in Burmese ritual culture. This longstanding history is reflected in the Burmese language, which is among the few world languages whose word for "tea" is not etymologically traced back to the Chinese word for "tea" (see etymology of tea).

Agrarian settlements were settled by ancestors of Myanmar's modern-day ethnolinguistic groups. From these settlements emerged a succession of Burmese, Mon, Shan, Rakhine-speaking kingdoms and tributary states that now make up contemporary Myanmar. Paddy rice cultivation remains synonymous with the predominantly Buddhist Bamar, Mon, Shan, and Rakhine peoples who inhabit the country's fertile lowlands and plateaus.

Burmese cuisine has been significantly enriched by contact and trade with neighboring kingdoms and countries well into modern times. The Columbian exchange in the 15th and 16th centuries introduced key ingredients into the Burmese culinary repertoire, including tomatoes, chili peppers, peanuts, and potatoes. A series of Burmese–Siamese wars between the 16th to 19th centuries resulted in the emergence of Thai-inspired delicacies, including khanon dok, shwe yin aye, mont let hsaung, and Yodaya mont di.

While record-keeping of pre-colonial culinary traditions is scant, food was and remains deeply intertwined with religious life, especially among Buddhist communities, exemplified in the giving of food alms (dāna), and communal feasts called satuditha and ahlu pwe (အလှူပွဲ). One of the few remaining pre-colonial cookbooks is the Sadawhset Kyan (MY စားတော်ဆက်ကျမ်း, lit. 'Treatise on Royal Foods'), written on a palm leaf manuscript in 1866 during the Konbaung dynasty. By the Konbaung dynasty (16th to 19th centuries), elaborate preparations of food played a central role in key court ceremonies (e.g., naming ceremonies, wedding ceremonies, etc.), including as ritual offerings to Hindu and indigenous deities, and as celebratory meals for attendees. By the Konbaung period, 126 distinct varieties of rice were cultivated in the country.

British rule in Burma between the 19th and 20th centuries led to the establishment of Burmese Indian and Sino-Burmese communities that introduced novel cooking techniques, ingredients, food vocabulary, and fusion dishes that are now considered integral parts of Burmese cuisine. These range from Indian breads such as naan and paratha to Chinese stir frying techniques and ingredients like tofu and soy sauce.

Dining

Traditionally, the Burmese eat meals from plates on a low table or daunglan, while sitting on a bamboo mat. Dishes are simultaneously served and shared. A traditional meal includes steamed white rice as the main dish accompanied by Burmese curries, a light soup or consommé, and other side dishes, including fried vegetables, Burmese fritters, and ngapi yay gyo (ငါးပိရည်ကျို), a plate of fresh and blanched vegetables served with pickled fish dip. The meal is then finished with a piece of palm sugar or laphet (fermented tea leaves).

Out of respect, the eldest diners are always served first before the rest join in; even when the elders are absent, the first morsel of rice from the pot is scooped and put aside as an act of respect to one's parents, a custom known as u cha (MY ဦးချ, lit. 'first serve').

The Burmese traditionally eat with their right hand, forming the rice into a small ball with only the fingertips and mixing this with various morsels before popping it into their mouths. Chopsticks and Chinese-style spoons are used for noodle dishes, although noodle salads are more likely to be eaten with just a spoon. Western-style utensils, especially forks and knives, have gained currency in recent years.

In traditional Burmese eateries, green tea and numerous side dishes are served complimentary alongside the main dishes and rice.

Religious practices
The country's diverse religious makeup influences its cuisine, as Buddhists and Hindus traditionally avoid beef and Muslims pork. Beef is considered taboo by devout Buddhists and farmers because the cow is highly regarded as a beast of burden. Vegetarianism is commonly practiced by Buddhists during the three-month Vassa (ဝါတွင်း) between July and October, as well as during Uposatha days, reflected in the Burmese word for "vegetarian," thet that lut (သက်သတ်လွတ်, lit. 'free of killing'). During this time, devout Buddhists observe eight or more precepts, including fasting rules that restrict food intake to two daily meals (i.e., breakfast and lunch) taken before noon.

Beef taboo
The beef taboo is fairly widespread in Myanmar, particularly in the Buddhist community. In Myanmar, beef is typically obtained from cattle that are slaughtered at the end of their working lives (16 years of age) or from sick animals. Cattle is rarely raised for meat; 58% of cattle in the country is used for draught animal power. Few people eat beef, and there is a general dislike of beef (especially among the Bamar and Burmese Chinese), although it is more commonly eaten in regional cuisines, particularly those of ethnic minorities like the Kachin. Buddhists, when giving up meat during the Buddhist (Vassa) or Uposatha days, will forego beef first. Butchers tend to be Muslim because of the Buddhist doctrine of ahimsa (no harm).

During the country's last dynasty, the Konbaung dynasty, habitual consumption of beef was punishable by public flogging. In 1885, Ledi Sayadaw, a prominent Buddhist monk wrote the Nwa-myitta-sa (MY နွားမေတ္တာစာ), a poetic prose letter which argued that Burmese Buddhists should not kill cattle and eat beef, because Burmese farmers depended on them as beasts of burden to maintain their livelihoods, that the marketing of beef for human consumption threatened the extinction of buffalo and cattle, and that the practice was ecologically unsound. He subsequently led successful beef boycotts during the colonial era, and influenced a generation of Burmese nationalists in adopting this stance.

On 29 August 1961, the Burmese Parliament passed the State Religion Promotion Act of 1961, which explicitly banned the slaughtering of cattle nationwide (beef became known as todo tha (MY တိုးတိုးသား); lit. 'hush hush meat'). Religious groups, such as Muslims, were required to apply for exemption licences to slaughter cattle on religious holidays. This ban was repealed a year later, after Ne Win led a coup d'état and declared martial law in the country.

Food theories
In traditional Burmese medicine, foods are divided into two classes: heating (MY အပူစာ, apu za) or cooling (MY အအေးစာ, a-aye za), based on their effects on one's body system, similar to the Chinese classification of food. Examples of heating foods include chicken, bitter melon, durian, mango, chocolate, and ice cream. Examples of cooling foods include pork, eggplant, dairy products, cucumbers, and radish.

The Burmese also hold several taboos and superstitions regarding consumption during various occasions in one's life, especially pregnancy. For instance, pregnant women are not supposed to eat chili, due to the belief that it causes children to have sparse scalp hairs.

Cooking techniques
Burmese dishes are not cooked with precise recipes. The use and portion of ingredients used may vary, but the precision of timing is of utmost importance. Burmese dishes may be stewed, boiled, fried, roasted, steamed, baked or grilled, or any combination of the said techniques. Burmese curries use only a handful of spices (in comparison to Indian ones) and use more fresh garlic and ginger.

Regional cuisines

Broadly speaking, Burmese cuisine is divided between the culinary traditions of Upper Myanmar, which is inland and landlocked; and Lower Myanmar, which is surrounded by numerous rivers, river deltas, and the Andaman Sea. Variations between regional cuisines are largely driven by the availability of fresh ingredients. Myanmar's long coastline has provided an abundant source of fresh seafood, which is particularly associated with Rakhine cuisine. Southern Myanmar, particularly the area around Mawlamyaing, is known for its cuisine, as the Burmese proverb goes: "Mandalay for eloquence, Yangon for boasting, Mawlamyaing for food."

Cuisine in Lower Myanmar, including Yangon and Mawlamyaing, makes extensive use of fish and seafood-based products like fish sauce and ngapi (fermented seafood). The cuisine in Upper Myanmar, including the Bamar heartland (Mandalay, Magway, and Sagaing Regions), Shan State, and Kachin States, tends to use more meat, poultry, pulses and beans. The level of spices and use of fresh herbs varies depending on the region; Kachin and Shan curries will often use more fresh herbs.

Fusion Chettiar (MY ချစ်တီးကုလား) cuisine, originating from Southern Indian cuisine, is also popular in cities.

Dishes and ingredients
Burmese cuisine incorporates numerous local ingredients that are less frequently used in other Southeast Asian cuisines, among them sour roselle leaves, astringent pennywort leaves, goat, mutton, and dried beans and lentils.

Because a standardised system of romanisation for spoken Burmese does not exist, pronunciations of the following dishes in modern standard Burmese approximated using IPA are provided (see IPA/Burmese for details).

Preserved foods
Myanmar is one of very few countries where tea is not only drunk but eaten as lahpet, pickled tea served with various accompaniments. The practice of eating tea dates in modern-day Myanmar back to prehistoric antiquity, reflecting the legacy of indigenous tribes who pickled and fermented tea leaves inside bamboo tubes, bamboo baskets, plantain leaves and pots. Tea leaves are traditionally cultivated by the Palaung people. Pickled tea leaves continue to play an important role in Burmese culture today.

Ngapi (MY ငါးပိ), a fermented paste made from salted fish or shrimp, is considered the cornerstone of any Burmese traditional meal. It is used to season many soups, salads, curries and dishes, and condiments, imparting a rich umami flavor. The ngapi of Rakhine State contains no or little salt, and uses marine fish. Meanwhile, ngapi made with freshwater fish is common in Ayeyarwady and Tanintharyi regions. Ngapi yay (MY ငါးပိရည်) is an essential part of Karen and Bamar cuisine, in which a sauce dip of ngapi cooked in various vegetables and spices is served with blanched and fresh vegetables, similar to Thai nam phrik, Indonesian lalab, and Malay ulam. Pickled fish, called ngachin, is also used in Burmese cooking.

Shan cuisine traditionally uses fermented beans called pè ngapi (MY ပဲငါးပိ; lit. 'bean ngapi'), in lieu of ngapi, to impart umami. Dried bean ngapi chips (MY ပဲပုပ်; lit. 'spoiled beans') are used as condiments for various Shan dishes.

Pon ye gyi (MY ပုံးရည်ကြီး), a thick salty black paste made from fermented beans, is popular in the Bamar heartland. It is used in cooking, especially with pork, and as a salad with peanut oil, chopped onions and red chili. Bagan is an important pon ye gyi producer.

Burmese cuisine also features a wide variety of pickled vegetables and fruits that are preserved in oil and spices, or in brine and rice wine. The former, called thanat (သနပ်), are similar to South Asian pickles, including mango pickle. The latter are called chinbat (ချဉ်ဖတ်), and include pickles like mohnyin gyin.

Rice

The most common staple in Myanmar is steamed rice, called htamin (MY ထမင်း). Burmese varieties of rice are typically starchier than jasmine or basmati rice. Fragrant, aromatic varieties of white rice, including paw hsan hmwe (MY ပေါ်ဆန်းမွှေး), are popular. Lower-amylose varieties of glutinous rice, which are called kauk hnyin (MY ကောက်ညှင်း), also feature in Burmese cuisine, including a purple variety called ngacheik (ငချိပ်). Consumers in the northern highlands (e.g., Shan State) prefer stickier, lower-amylose varieties like and kauk sei, while consumers in lower delta regions preferring higher-amylose varieties like  and. Lower-amylose varieties of rice are commonly used in traditional Burmese snacks called mont. While rice is traditionally eaten plain, flavored versions like buttered rice and coconut rice are commonplace festive staples.

 * Htamin gyaw (MY ထမင်းကြော် ) – fried rice with boiled peas, sometimes with meat, sausage, and eggs.
 * San byok (MY ဆန်ပြုတ် ) – rice congee with fish, chicken or duck often fed to invalids.
 * Danbauk (MY ဒံပေါက်, from Persian dum pukht) – Burmese-style biryani with either chicken or mutton served with mango pickle, a fresh salad of sliced onions, julienned cabbage, sliced cucumbers, fermented limes and lemons, fried dried chilies, and soup
 * Htamin jin (MY ထမင်းချဉ် ) – a rice, tomato and potato or fish salad kneaded into round balls dressed and garnished with crisp fried onion in oil, tamarind sauce, coriander and spring onions often with garlic, Chinese chive roots, fried whole dried chili, grilled dried fermented bean cakes and fried dried tofu  on the side
 * Thingyan rice (MY သင်္ကြန်ထမင်း ) – fully boiled rice in candle-smelt water served with pickled marian plums

Noodles

Burmese cuisine uses a wide variety of noodles, which are prepared in soups, salads, or other dry noodle dishes and typically eaten outside of lunch, or as a snack. Fresh, thin rice noodles called mont bat (MY မုန့်ဖတ်) or mont di (MY မုန့်တီ), are similar to Thai khanom chin, and feature in Myanmar's national dish, mohinga. Burmese cuisine also has a category of rice noodles of varying sizes and shapes called nan, including nangyi (MY နန်းကြီး), thick udon-like noodles; nanlat (MY နန်းလတ်), medium-sized rice noodles; nanthe (MY နန်းသေး), thinner rice noodles; and nanbya (MY နန်းပြား), flat rice noodles. Cellophane noodles, called kyazan (MY ကြာဆံ, lit. 'lotus thread') and wheat-based noodles called khauk swe (MY ခေါက်ဆွဲ), are often used in salads, soups, and stir-fries.

Dry or fried noodle dishes include:

 * Kat kyi kaik (MY ကတ်ကြေးကိုက်, lit. 'bitten with scissors') – a southern coastal dish (from the Dawei area) of flat rice noodles with a variety of seafood, land meats, raw bean sprouts, beans and fried eggs, comparable to pad thai
 * Meeshay (MY မြီးရှည် ) – rice noodles with pork or chicken, bean sprouts, rice flour gel, rice flour fritters, dressed with soy sauce, salted soybean, rice vinegar, fried peanut oil, chilli oil, and garnished with crisp fried onions, crushed garlic, coriander, and pickled white radish/mustard greens
 * Mont di – an extremely popular and economical fast-food dish where rice vermicelli are either eaten with some condiments and soup prepared from ngapi, or as a salad with powdered fish and some condiments.
 * Panthay khao swè (MY ပန်းသေးခေါက်ဆွဲ ) – halal egg noodles with a spiced chicken curry. The dish is associated with Panthay community, a group of Burmese Chinese Muslims.
 * Sigyet khauk swè (MY ဆီချက်ခေါက်ဆွဲ ) – wheat noodles with duck or pork, fried garlic oil, soy sauce and chopped spring onions. The dish originated from with the Sino-Burmese community

Noodle soups include:

 * Mohinga (MY မုန့်ဟင်းခါး ) – the unofficial national dish, made with fresh thin rice noodles in a fish broth with onions, garlic, ginger, lemon grass and tender banana stem cores, served with boiled eggs, fried fishcake and Burmese fritters
 * Ohn-no khauk swè (MY အုန်းနို့ခေါက်ဆွဲ ) – curried chicken and wheat noodles in a coconut milk broth. It is comparable to Malaysian laksa and Northern Thai khao soi
 * Kyay oh (MY ကြေးအိုး ) – rice noodles in a broth of pork offal and egg, traditionally served in copper pot
 * Kawyei khao swè (MY ကော်ရည်ခေါက်ဆွဲ ) – noodles and duck (or pork) curried with five-spice powder in broth with eggs, comparable to Singaporean/Malaysian lor mee
 * Mi swan (MY မြူစွမ် ) – thin wheat noodles, known as misua in Singapore and Malaysia. It is a popular option for invalids, usually with chicken broth.
 * Shan khauk swé (MY ရှမ်းခေါက်ဆွဲ ) – rice noodles with chicken or minced pork, onions, garlic, tomatoes, chili, crushed roasted peanuts, young snowpea vine, served with tofu fritters, and pickled mustard greens

Salads

Burmese salads (MY အသုပ်; transliterated athoke or athouk) are a diverse category of indigenous salads in Burmese cuisine. Burmese salads are made of cooked and raw ingredients that are mixed by hand to combine and balance a wide-ranging array of flavors and textures. Burmese salads are eaten as standalone snacks, as side dishes paired with Burmese curries, and as entrees.
 * Lahpet thoke (MY လက်ဖက်သုပ် ) – a salad of pickled tea leaves with fried peas, peanuts and garlic, toasted sesame, fresh garlic, tomato, green chili, crushed dried shrimps, preserved ginger and dressed with peanut oil, fish sauce and lime
 * Gyin thoke (MY ချင်းသုပ် ) – a salad of pickled ginger with sesame seeds
 * Khauk swè thoke (MY ခေါက်ဆွဲသုပ် ) – wheat noodle salad with dried shrimps, shredded cabbage and carrots, dressed with fried peanut oil, fish sauce and lime
 * Let thoke son (MY လက်သုပ်စုံ ) – similar to htamin thoke with shredded green papaya, shredded carrot, ogonori sea moss and often wheat noodles
 * Nan gyi thoke (MY နန်းကြီးသုပ် ) or Mandalay mont di, thick rice noodle salad with chickpea flour, chicken, fish cake, onions, coriander, spring onions, crushed dried chilli, dressed with fried crispy onion oil, fish sauce and lime
 * Samusa thoke (MY စမူဆာသုပ် ) – samosa salad with onions, cabbage, fresh mint, potato curry, masala, chili powder, salt and lime
 * Kya zan thoke – glass vermicelli salad with boiled prawn julienne and mashed curried duck eggs and potatoes

Curries

Burmese curry refers to a diverse array of dishes in Burmese cuisine that consist of protein or vegetables simmered or stewed in an base of aromatics. Burmese curries generally differ from other Southeast Asian curries (e.g., Thai curry) in that Burmese curries make use of dried spices, in addition to fresh herbs and aromatics, and are often milder. The most common variety of curry is called sibyan (MY ဆီပြန်; lit. 'oil returns'), which is typified by a layer of oil that separates from the gravy and meat after cooked. Pork, chicken, goat, shrimp, and fish are commonly prepared in Burmese curries.

 * Pork sibyan (MY ဝက်သားဆီပြန်) – classic Burmese curry with fatty cuts of pork
 * Chicken sibyan (MY ကြက်သားဆီပြန်) – the classic Burmese curry, served with a thick gravy of aromatics
 * Bachelor's chicken curry (MY ကြက်ကာလသားချက်) – a red and watery chicken curry cooked with calabash
 * Goat hnat (MY ဆိတ်သားနှပ်) – a braised goat curry spiced with masala, cinnamon sticks, bay leaf, and cloves
 * Nga thalaut paung (MY ငါးသလောက်ပေါင်း ) – a curry of hilsa fish and tomatoes, which is slowly simmered to melt the fish bones
 * Egg curry (MY ဘဲဥချဥ်ရည်ဟင်း) – a sour curry made with hardboiled duck or chicken eggs, cooked in tamarind paste and mashed tomatoes

Soups
In Burmese cuisine, soups typically accompany meals featuring both rice and noodles, and are paired accordingly to balance contrasting flavors. Lightly flavored soups, called (MY ဟင်းချို) are served with saltier dishes, while sour soups, called  (MY ချဉ်ရည်ဟင်း), are paired with rich, fatty Burmese curries.

Thizon chinyay (MY သီးစုံချဉ်ရည်, lit. 'sour soup of assorted vegetables'), cooked with drumstick, lady's finger, eggplant, green beans, potato, onions, ginger, dried chilli, boiled eggs, dried salted fish, fish paste and tamarind, is an elevated version of chinyay hin, and served during festive occasions.

Other grains and breads

Indian breads are commonly eaten for breakfast or teatime in Myanmar. Palata (MY ပလာတာ), also known as htattaya (ထပ်တစ်ရာ), a flaky fried flatbread related to Indian paratha, is often eaten with curried meats or as dessert with sprinkled sugar, while nanbya (MY နံပြား), a baked flatbread, is eaten with any Indian dishes. Other favorites include aloo poori (MY အာလူးပူရီ), chapati (ချပါတီ), and appam (အာပုံ).

Other dishes include:

 * Burmese tofu (MY ရှမ်းတို့ဟူး ) – a tofu of Shan origin made from chickpea flour, eaten as fritters, in a salad, or in porridge forms
 * A sein kyaw (MY အစိမ်းကြော် ) – cabbage, cauliflower, carrot, green beans, baby corn, corn flour or tapioca starch, tomatoes, squid sauce
 * Ngapi daung (MY ငါးပိထောင်း) – a spicy Rakhine-style condiment made from pounded ngapi and green chili
 * Nga baung htoke (MY ငါးပေါင်းထုပ် ) – a Mon-style steamed parcel of mixed vegetables and prawns, wrapped in morinda and banana leaves
 * Wet tha chin (MY ဝက်သားချဉ် ) – Shan-style preserved minced pork in rice

Snacks

Burmese cuisine has a wide variety of traditional snacks called mont, ranging from sweet desserts to savory food items that are steamed, baked, fried, deep-fried, or boiled. Traditional Burmese fritters, consisting of vegetables or seafood that have been battered and deep-fried, are also eaten as snacks or as toppings.

Savory snacks include:

 * Hpet htok (lit. 'leaf wrap', MY ဖက်ထုပ် ) – meat, pastry paper, ginger, garlic, pepper powder, and salt. Usually served with soup or noodles.
 * Samusa (MY စမူဆာ ) – Burmese-style samosa with mutton and onions served with fresh mint, green chilli, onions and lime
 * Burmese pork offal skewers (MY ဝက်သား တုတ်ထိုး ) – pork offal cooked in light soy sauce, and eaten with raw ginger and chili sauce.
 * Htamane (MY ထမနဲ ) – dessert made from glutinous rice, shredded coconuts and peanuts

Sweet snacks include:

 * Mont let hsaung (MY မုန့်လက်ဆောင်း ) – tapioca or rice noodles, glutinous rice, grated coconut and toasted sesame with jaggery syrup in coconut milk
 * Sanwin makin (MY ဆနွင်းမကင်း ) – semolina cake with raisins, walnuts and poppy seeds
 * Shwe yin aye (MY ရွှေရင်အေး ) – agar jelly, tapioca and sago in coconut milk
 * Pathein halawa (MY ပုသိမ်ဟာလဝါ ) – a sticky sweetmeat made of glutinous rice, butter, coconut milk, inspired by Indian halwa
 * Hpaluda (MY ဖာလူဒါ ) – rose water, milk, coconut jelly, coconut shavings, sometimes served with egg custard and ice cream, similar to Indian falooda
 * Ngapyaw baung (MY ငှက်ပျောပေါင်း) – A Mon-style dessert of bananas stewed in milk and coconut, and garnished with black sesame
 * Saw hlaing mont (MY စောလှိုင်မုန့်) – a Rakhine-style baked sweet, made from millet, raisins, coconut and butter

Fruits and fruit preserves
Myanmar has a wide range of fruits, mostly of tropical origin. Fruit is commonly eaten as a snack or dessert. While most fruits are eaten fresh, a few, including jengkol, are boiled, roasted or otherwise cooked. Popular fruits include banana, mango, watermelon, papaya, jujube, avocado, pomelo, and guava. Others include marian plum, mangosteen, sugar-apple, rambutan, durian, jackfruit, lychee, and pomegranate. Some fruits, including green mangoes, plums, and guavas, are traditionally eaten before they ripen, often mixed with chili powder and salt.

Burmese fruit preserves, called yo (MY ယို), are also commonly eaten as standalone snacks. Common ones include fruit preserves made from fig, jujube, marian plum, citrus, mango, pineapple, and durian.

300 cultivars of mango are grown in Myanmar, including seintalon (MY စိန်တစ်လုံး, lit. 'one diamond'), Ma Chit Su (MY မချစ်စု), and mya kyauk (MY မြကျောက်, lit. 'emerald stone'). 13 species of banana are locally cultivated in Myanmar, including the following cultivars:

 * red - locally called shweni (MY ရွှေနီ, lit. 'golden red')
 * Dwarf Cavendish - locally called htawbat (MY သီးမွှေး, lit. 'fragrant fruit')
 * Mysore - locally called Rakhine (MY ရခိုင်), sweet and rounder in shape
 * Latundan - locally called htawbat (MY ထောပတ်, lit. 'butter')

Beverages
Tea is the national drink of Myanmar, reflecting the influence of Buddhism and its views on temperance. Tea is central to Burmese dining culture; complimentary green tea is customarily served to diners at restaurants and teashops alike. Various liquid concoctions made from fruits and coconut milk, including sugarcane juice, and mont let hsaung (MY မုန့်လက်ဆောင်း) are also popular. Indigenous fermented drinks like palm wine are also found across the country. During a traditional Burmese meal, drinks are not often served; instead, the usual liquid refreshment is a light broth or consommé served from a communal bowl.

Burmese tea

Plain green tea, yay nway gyan (MY ရေနွေးကြမ်း, lit. 'crude tea water'), is a popular form of tea drunk in Myanmar. Tea leaves are traditionally cultivated in Shan State and Kachin State. Milk tea, called laphet yay cho (လက်ဖက်ရည်ချို), made with strongly brewed black tea leaves, and sweetened with a customized ratio of condensed milk and evaporated milk, is also popular.

Alcohol

Palm wine, called htan yay (MY ထန်းရည်), made from the fermented sap of the toddy palm, is traditionally consumed in rural parts of Upper Myanmar Ethnic communities, including the Kachin and Shan, also brew local moonshines. Several ethnic minorities traditionally brew alcoholic beverages using rice or glutinous rice called (MY ခေါင်ရည်). The khaung of the Chin peoples is brewed using millet seeds. Locally brewed beers include Irrawaddy, Mandalay, Myanmar, and Tiger.

Restaurants
Dine-in restaurants that serve steamed rice with traditional Burmese curries and dishes are called htamin hsaing (MY ထမင်းဆိုင်; lit. 'rice shop'). At traditional curry shops, soup is typically served complimentary, alongside pickled and raw vegetables, chutneys and various seasonings.

Tea shops
During British rule in Burma, Burmese Indians introduced tea shops to the country, first known as kaka hsaing, which later evolved into teashops called laphet yay hsaing (MY လက်ဖက်ရည်ဆိုင်) or kaphi (ကဖီး), the latter word from French café. Burmese tea shop culture emerged from a combination of British, Indian, and Chinese influences throughout the colonial period. Teashops are prevalent across the country, forming an important part of communal life. Typically open throughout the day, some Burmese tea shops cater to locals, long distance drivers and travellers alike. The Burmese typically gather in tea shops to drink milk tea served with an extensive array of snacks and meals.

Street food
Street food stalls and hawkers are a feature of the Burmese urban landscape, especially in major cities like Yangon. Burmese salads, snacks, and fritters are especially popular street foods. In recent years, some major cities have clamped down on street food vendors. In 2016, Yangon banned the city's 6,000 street vendors from selling food on major thoroughfares, and relocated them to formal night markets set up by the city.

Night markets, called nya zay (MY ညဈေး), are a feature of many Burmese towns and cities. Colonial observers as early as 1878 noted Burmese street hawkers selling delicacies, such as fruits, cakes, and laphet during "night bazaars." The streets surrounding major daytime markets, such as Zegyo Market in Mandalay, typically double as makeshift night markets during the evenings.

title: Burmese cuisine


text:
Neil McPherson (artistic director)

Neil McPherson (born London, 7 October 1969) is an artistic director and playwright.

Artistic directing
He was Artistic Director of the New End Theatre, Hampstead, from 1996 to 1997, and has been the Artistic Director of the Finborough Theatre, London, since January 1999.

Acting
He trained as an actor at the Central School of Speech and Drama and was a member of the National Youth Theatre for seven years. His acting roles included John Osborne in A Better Class of Person for Thames TV.

Playwriting
As a playwright, his plays include a documentary drama on the Armenian genocide, the award-winning I Wish To Die Singing – Voices From The Armenian Genocide which played at the Finborough Theatre in April 2015 while an excerpt was also produced in Los Angeles concurrently, and It Is Easy To Be Dead, based on the life of Charles Hamilton Sorley which played at the Finborough Theatre in May 2016, and transferred to Trafalgar Studios, London, in November 2016 where it was nominated for an Olivier Award. It also went on tour to Aberdeen and Glasgow in 2018.

I Wish To Die Singing – Voices From The Armenian Genocide and It Is Easy To Be Dead are both published by Oberon Books.

title: Neil McPherson (artistic director)


text:
Talk:The Common Man

WikiProject class rating
This article was automatically assessed because at least one WikiProject had rated the article as stub, and the rating on other projects was brought up to Stub class. BetacommandBot 20:07, 9 November 2007 (UTC)

title: Talk:The Common Man


text:
File:Davidusher-ifgodhadcurves.jpg

Fair use rationale in If God Had Curves
It is contended that the use of this album cover in If God Had Curves qualifies as fair use for the following reasons:
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 * 4) It does not limit the copyright owner's rights to market or sell the album in any way.
 * 5) The image is of lower resolution than the original cover.
 * 6) The image is being used in an informative way and does not detract from sales of the album.
 * 7) No free or public domain images have been located for this album.

Fair use rationale in Love Will Save the Day (2005 song)
It is contended that the use of this album cover in Love Will Save the Day (2005 song) qualifies as fair use for the following reasons:
 * 1) This image illustrates the cover of the album or associated single that is discussed in the article.
 * 2) The image is only a small portion of the overall product.
 * 3) This image can be used to identify the album or associated single that is the subject of this article.
 * 4) It does not limit the copyright owner's rights to market or sell the album in any way.
 * 5) The image is of lower resolution than the original cover.
 * 6) The image is being used in an informative way and does not detract from sales of the album.
 * 7) No free or public domain images have been located for this album.

title: File:Davidusher-ifgodhadcurves.jpg


text:
User talk:Noattention

Welcome!
Hello, Noattention, and welcome to Wikipedia! Thanks for your contributions; I hope you like it here and decide to stay. We're glad to have you in our community! Here are a few good links for newcomers:

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I hope you enjoy editing and being a Wikipedian. Although we all make mistakes, please keep in mind what Wikipedia is not. If you have any questions or concerns, don't hesitate to see the help pages or add a question to the village pump. The Community Portal can also be very useful.

Happy editing!

-- Sango  123  03:16, July 17, 2005 (UTC)

P.S. Feel free to leave a message on my talk page if you need help with anything or simply wish to say hello. :)

Image Tagging Image:Bauernorth.jpg
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List of United States military leaders by rank
Welcome, and thank you for experimenting with Wikipedia. Your test worked, and it has been reverted or removed. Please take a look at the welcome page to learn more about contributing to this encyclopedia. If you would like to experiment further, please use the sandbox. here. — MrDolomite • Talk 18:34, 14 October 2008 (UTC)

title: User talk:Noattention


text:
NBA 2K6

NBA 2K6 is a 2005 basketball simulation video game developed by Visual Concepts and published by 2K. It is the seventh installment in the NBA 2K franchise and the successor to ESPN NBA 2K5. It was released in 2005 for PlayStation 2, Xbox, and Xbox 360. Shaquille O'Neal of the Miami Heat is the cover athlete of the game. NBA 2K6 is the predecessor to NBA 2K7 in the NBA 2K series and is the first NBA 2K title to be released by 2K Sports. This is the first game in the series to be released for the Xbox 360.

NBA 2K6 simulates the experience of the National Basketball Association. Players mostly play NBA games with any real-world team, and may customize various aspects. Players play basketball games in a variety of modes, such as quick play, online, and Association. Unlike the other games in the series, the soundtrack does not feature licensed music, and instead features songs made by various artists exclusively for the game. Cover athlete Shaquille O'Neal helped in the marketing and development aspects of the game. O'Neal, among other things, provided the motion capture for several of the in-game animations.

NBA 2K6 received positive reviews from critics upon release. Most positive comments were concerning the player designs, commentary, overall gameplay, and soundtrack, but negative comments were directed at the controls, menus, and the lack of drastic improvements.

Gameplay
NBA 2K6 is a basketball video game that strives to simulate the experience of the National Basketball Association. Players mostly play NBA games with any real world team, and may customize certain aspects, such as the camera angle, sound levels, and sliders, which adjust the realism. Players can play quick games, as well as other game modes, including Association, where players select a team, and play through NBA seasons, customizing various aspects. Players act as the manager of the team, trading players, drafting college players, firing coaches, and playing NBA games of various levels (playoffs, regular season, practice, etc.).

Gameplay-wise, players may play basketball games with the whole team or one player, and will perform all the basic basketball moves that the individual player can perform. The player can dunk, pass, play in the post, run plays, call timeouts, and blocks shots (etc.). The game features many visual and presentation elements that help improve the realism; the game includes commentary, crowd animations, lighting effects, sound effects, and other small details. Kevin Harlan is the play-by-play commentator, Kenny Smith is the colour commentator, and Craig Sager is the sideline reporter.

Development
Shaquille O'Neal is the cover athlete of the game. As well as being the cover athlete, O'Neal also helped with the development of the game's low post gameplay. O'Neal worked with the design teams to help create new animations, providing the motion capture for some of the pump-fakes, drop-steps, and blocks the players in the game perform. O'Neal was once again the cover athlete for NBA 2K7.

Unlike the other games in the series, NBA 2K6's songs aren't licensed and are made exclusively for the game.

NBA 2K6 was released on September 26, 2005 for PlayStation 2 and Xbox, and November 16, 2005 for Xbox 360. This is the first game in the NBA 2K series to be released on the Xbox 360. It is also the first game in the series to be published by 2K and not Sega.

Reception
NBA 2K6 received "favorable" reviews on all platforms according to the review aggregation website Metacritic.

Matt Leone of 1UP.com complained of the Xbox 360 version's "biggest setback -- it doesn't have the instant visual appeal, next-gen look, or out-and-out raw emotion that gamers want to see in a next-gen sports game. The actual mechanics of the game are quite strong (the shot stick and free throw system are perhaps the best mechanics we've seen in a basketball game to date), and it has all the depth and options we've come to expect from a veteran basketball series. If you're an optimist, NBA 2K6.feels like a natural evolution of the franchise more than something that makes you want to rush out and buy it to show off your shiny new console. If you're a pessimist, well, the game isn't much more than a high-definition port of its excellent current-gen counterparts. Shouldn't we expect more out of a next-gen sports game?" Matt Martin of Eurogamer thought the PlayStation 2 version's soundtrack was "excellent", praised the gameplay for its refinements and additions, liked the Association for its depth, and said the designs of the players are "very realistic". He said that even though some visual aspects are "blocky and rough", such as the crowd, the motion capture and animation is "top notch", which in turn allows players to move like their real life counterpart. Martin did, however, dislike the introduction of a new control scheme, calling it "unnecessary", and said the menus were "ugly" and "broken", wishing there was a more simple system in place.

IGN's Jonathan Miller said of the Xbox 360 version: "In the end, NBA 2K6 is a solid basketball title that really rests on the laurels of its predecessors. Even though the game can look absolutely amazing at time, it's still, at its heart, the same exact game that we saw in the current generation. While 2K6 was a very good game on those consoles, we want to be blown away by our next-generation games. Someone who already owns the current-gen version will be hard pressed to drop $59.99 on this version, but those new to the series may want to look into it. It's still the best basketball title on the 360. Unfortunately, that isn't saying too much." Ronnie Hobbs of GameZone felt the gameplay of the same console version was good, but could have been better, thought the player's designs were "unbelievably life-like", but other visuals, such as the court, were lacking, praised the commentary, calling it "perfection", and liked the "fun" online modes, even if partially plagued by technical issues. Hobbs summed up the review by saying: "In my opinion NBA 2K6 is the best basketball game available on the 360, but whether it's worth the $59.99 price tag is going to be up to you. The decision is a no-brainer for people who don't already own it on the Xbox or PS2, but for those who have played it before, the slick presentation just might not be enough to warrant an upgrade."

Bob Colayco of GameSpot said of the PlayStation 2 and Xbox versions: "NBA 2K6 isn't for the casual basketball fan who doesn't know a pick and roll from picking his nose. The difficulty of the game, and new interface nuances, may be a little overwhelming for someone who's more attuned to something like NBA Jam or NBA Street. But for those looking for a quality simulation basketball experience, NBA 2K6 is a resounding slam dunk and is easily recommendable to any fan of the series or to any hardcore basketball fan in general." VideoGamer.com's Greg Vallentin praised the simulation gameplay and the amount of content, but criticized the Xbox 360 version for not offering enough improvements. He stated: "NBA 2K6, like its predecessors, delivers a solid simulation basketball game that's worth picking up if you've got a hankering for the sport, not to mention the fact that's it's incredibly affordable."

During the 9th Annual Interactive Achievement Awards, the Academy of Interactive Arts & Sciences nominated NBA 2K6 for "Sports Game of the Year", which was ultimately awarded to SSX On Tour.

title: NBA 2K6


text:
Cintia Dicker

Cintia Schneider Dick (born 6 December 1986), known as Cintia Dicker, is a Brazilian model and actress.

Career
She has appeared in advertisements for Ann Taylor, Macy's, L'Oréal, American Eagle Outfitters, Tom Ford, Wildfox Couture, and Yves Saint Laurent, and in catalogs for Victoria's Secret, H&M, Gap, bebe stores, and Lands' End. She has been on the covers of French Marie Claire, Elle, Madame Figaro and Brazilian Vogue/Teen Vogue, and was featured in the Sports Illustrated Swimsuit Edition in 2009, 2010, 2011, 2012 and 2013. Dicker has walked fashion shows including Gucci, Anna Sui, Peter Som, Matthew Williamson, Tommy Hilfiger, DSquared², Lanvin, and Dolce & Gabbana.

Her career modeling and acting for Sports Illustrated and other high paying clients has allowed her to support children's charities in Brazil and she also hopes it will allow her to start her own businesses in the future. She is ranked as one of the "Top Sexiest" models in the industry.

She has described herself as spiritualist. In 2014, she was given the role of Milita in the Brazilian telenovela Meu Pedacinho de Chão.

In 2015, she performed in the 100 Years of Beauty series of the WatchCut Video YouTube Channel, representing her home country Brazil.

title: Cintia Dicker


text:
King (Tekken)

King (キング) is a title used by two characters in the Tekken fighting game series created by Bandai Namco Entertainment. The characters were inspired by Japanese pro wrestler Satoru Sayama, as well as Mexican wrestler Fray Tormenta, a Catholic priest who became a luchador in order to support an orphanage. The character, King, has been present in all the main Tekken installments to date, with King I present in Tekken and Tekken 2, and King II debuting in Tekken 3 and returning for the following main games since.

Characteristics
King is widely recognized for the jaguar mask that hides his true identity. Throughout his appearances in the virtual realm, the face beneath his jaguar mask remains a mystery, shrouded in secrecy. Interestingly, the physical portrayal of King's movements was done by the Japanese professional wrestler Minoru Suzuki, who lent his expertise to the character's motion capture sessions. King is a Mexican luchadore and series' one of two luchadores overall (the other being Armor King). Fray Tormenta, a Mexican Catholic priest, served as an initial influence on King's character and backstory. King is seen to be mostly growling throughout the Tekken series; however, according to Japanese video game director Katsuhiro Harada, King is capable of speaking Spanish, but he prefers not to. Harada also revealed that King is the most popular Tekken character in Japan over the complete span of the Tekken series.

King is known for his professional wrestling attacks and has an arsenal of huge amounts of moves on his command list. King holds the record for having the most moves in the Tekken series, notably in Tekken Tag Tournament 2 and Tekken 7. King has been able to perform the Sharpshooter since Tekken 2. Other moves he uses include the "Frankensteiner", while his "Muscle Buster" pays homage to Suguru Kinniku's "Kinniku Buster." In Tekken 3, the King moveset got even more detailed with more chain throws, and King received additional new wrestling moves such as Rolling Death Cradle, Winding Nut, Stretch Buster, and many others. Benjamin Turner from GameSpy described King's chain throws in Tekken 5 as "ridiculously intricate". In Tekken 8, King gained some additional moves inspired by famous pro-wrestlers, such as Triple H's Pedigree and Randy Orton's RKO.

Tekken—Tekken 2
King I

The first King was used to being a brawling orphan. He was later adopted by a respectful family. He then became a masked wrestler, entered the tournament, and with the intention of preventing them from turning into the type of person he once was, he thought of building an orphanage for orphans. In King of Iron Fist Tournament 2, King I encounters fellow wrestler Armor King, who convinced him to return to wrestling once again and to continue participating in tournaments to help the orphanage. King I was later killed by Ogre.

Tekken 3—Tekken 8
King II

The second King was a street urchin who was brought up in the first King's orphanage. Until the age of 24, this wrestler worked hard with King until one day, news broke of the first King's death at the hands of Ogre. Seeing that the orphanage would crumble into ruin, this man donned the mask of King and imitated his style. However, since his technique was learned just from watching King, not training with him, he lost every competition he entered. One day, however, a stranger with a black jaguar mask visited the new King, introducing himself as an old friend. This man revealed himself to be Armor King, who was interested in finding out if the rumors of a new King were true. For four years, the two of them trained, and the new King learned quickly, maturing into a forceful wrestler with extreme power, known as King II. By this time, the now 28-year-old wrestler was a worthy heir to the throne, however, he longed to punish the one responsible for the original King's death.

After the third King of Iron Fist Tournament, King II discovered that his master, Armor King, had been killed in a bar fight. The murderer, Craig Marduk, had been arrested in Arizona and was sent to prison. After being released from prison, Marduk challenged King II to a tournament in Tekken 4. King II won. King II then followed him to the hospital to finish him, but decided to spare Marduk after feeling cruel for killing him because of his desire for revenge. However, King II discovered that Marduk in a black jaguar mask, resembling the original Armor King, had challenged King II on television. King II accepted the challenge and defeated Marduk, leading to their friendship. Later, Marduk revealed that he was attacked by the man he was convicted of killing, Armor King. Determined to uncover the truth, King II and Marduk entered the King of Iron Fist Tournament 6. They discovered that the other Armor King was the younger brother of the original.

King II returns as a playable character in Tekken 7, with an alternate costume based on New Japan Pro-Wrestling wrestler "Rainmaker" Kazuchika Okada being available for him in 2017. King II enters the tournament to pay for the hospital bills of Marduk and Armor King II and to reconcile with them and his old orphanage. The next tournament's host Kazuya Mishima reveals himself as a devil and announces the King of Iron Fist tournament 8. King II joins Jin Kazama side after learning about Kazuya's evil plans. Later, King and other fighters help restore Manhattan while celebrating freedom from G Corporation's tyranny. In his Tekken 8 ending, King II battles a British boxer named Steve Fox in the quarterfinals.

Other games
King appears in the non-canon Tekken games such as Tekken Tag Tournament, Tekken Card Challenge, Tekken Advance, Tekken Resolute, Tekken Tag Tournament 2, Tekken 3D: Prime Edition, Tekken Arena and Tekken Revolution. King appears as a playable character in crossover fighting game Street Fighter X Tekken. King also made an appearance in the Namco crossover Namco × Capcom with Felicia from the Darkstalkers series as his fighting partner. King appears as a Spirit in the Nintendo crossover video game Super Smash Bros. Ultimate. King appears as a playable character in Fist of the North Star Legends ReVIVE. Namco High, a browser-based dating game, features King in the role of a detention officer.

Animations
King I makes a cameo appearance in Tekken: The Motion Picture as one of the tournament competitors. He has no spoken lines, and it is unknown how he progresses through the tournament. He is last seen being carried by Armor King I off the exploding Mishima resort. King II's images are briefly seen in the CGI film Tekken: Blood Vengeance when an Irish woman, Anna Williams, opens a file containing images of various persons of interest.

King II appears in the anime Tekken: Bloodline as a competitor in the King of Iron Fist Tournament. He was an orphan under the original King before his death by Ogre. King II is seen as intimidating due to his animalistic nature. However, his noble side is shown when he visits a Chinese girl, Ling Xiaoyu, in the hospital after their match. Rumors about King II are cleared up when the tournament's participant, Julia Chang, reveals his good nature to the tournament's winner Jin Kazama. Despite his defeat by Jin in the finals, Jin gifts the prize money to King II.

Merchandise
Epoch Co. released a 1/10 scale King action figure, based on his appearance in Tekken 3. The figure comes with a removable champion belt. Epoch Co. also released a 12-inch King action figure based on his Tekken 4 appearance. In 2017, King was one of the five Tekken characters to receive a Funko Pop. King's Player 2 t-shirts and pants were part of the initial wave of Esther Ng's PRIX line of Tekken 3-inspired merchandise. The date of availability of these items was January 18, 2023.

Storm Collectibles, a Hong Kong-based manufacturer of action figures, released a 1/12 scale King action figure based on his Tekken 7 iteration with interchangeable wrestling capes and pairs of hands. A 17 centimeters King action figure was produced by Game Dimensions with a few additional items, such as a stand to carry a "FIGHT" sign, an extra pair of hands, and a white energy buildup. In 2023, Bandai Namco Toys & Collectibles America revealed two action figures, King and Jin Kazama, each in their Tekken 8 outfit, available later in 2024.

Critical reception
King is one of the most popular Tekken characters, receiving praise by critics. King was recognized by IGN, with author Bill Barnwell noting the realism of his mask. Henry Gilbert of GamesRadar+ stated about King that "King is notable because he gives the developers an excuse to animate almost every single wrestling move known to man. Watch as King smoothly transitions through accurate recreations of power bombs, surfboards, spinning toe holds, and muscle busters with ease, all leading up to the ultimate move, the Rolling Death Cradle. King is like a walking Wikipedia of moves, all lovingly recreated by developers who clearly care about wrasslin' as much as any fan."

King holds the Guinness World Records title for the "Most moves for a Tekken character" as of the 2011 video game Tekken Tag Tournament 2, with King having 176 amounts of different moves. Although this record was again broken by King himself, with him having 186 different moves in Tekken 7. Tizoc, a character from The King of Fighters, takes inspiration from King and shares similarities with his appearance. Tizoc wears an eagle mask as opposed to King's jaguar mask, which is a clear distinction between the two. In the study titled "Digital Mexican: Visual Representation In Video Games," author Angel Martin Palomares asked participants to discuss how King and King II represent their cultures. Most of the participants rated King as a medium representation; some participants were surprised that King was a part of their culture, while one of the participants stated, "King, being an animal, did not reflect their cultural background." However, in the case of King II, he received overall positive comments from participants. The majority of the participants rated him as a positive representation.

In his examination of Digital Narratives and Linguistic Articulations of Mexican Identities in Emergent Media: Race, Lucha Libre Masks and Mock Spanish, author Daniel Calleros Villarreal discussed the manner in which King and Armor King are being portrayed. He noticed a notable absence of verbal communication and the faceless presentation of these characters in the game. Through his analysis, Villarreal pointed out that the depictions of Mexican subjects in Tekken appear dehumanized due to the absence of speech and the strange facial expressions. Villarreal drew attention to the use of realistic feline wrestling masks as a symbol of the characters' inability to communicate verbally, comparing this depiction to similar sub-human anthropomorphic figures.

title: King (Tekken)