text:
Wikipedia:Requests for arbitration/Alfrem/Proposed decision

all proposed

Arbitrators should vote for or against each point or abstain.
 * Only items that receive a majority "support" vote will be passed.
 * Items that receive a majority "oppose" vote will be formally rejected.
 * Items that do not receive a majority "support" or "oppose" vote will be open to possible amendment by any Arbitrator if he so chooses. After the amendment process is complete, the item will be voted on one last time.

Conditional votes for or against and abstentions should be explained by the Arbitrator before or after his/her time-stamped signature. For example, an Arbitrator can state that she/he would only favor a particular remedy based on whether or not another remedy/remedies were passed.

On this case, 1 Arbitrators is recuse (automatical new arbitrator recusal of Fennec) and 3 are inactive (Nohat, Mav, Theresa), so 5 votes are a majority.

Proposed wording to be modified by Arbitrators and then voted on. Non-arbitrators may comment on the talk page.
 * For all items:

Motions and requests by the parties
Place those on the discussion page.

Proposed temporary injunctions
Four net "support" votes needed to pass (each "oppose" vote subtracts a "support") 24 hours from the first vote is normally the fastest an injunction will be imposed.

Template
1)

{text of proposed orders}

 * Support:

 * Oppose:

 * Abstain:

Alfrem banned from Libertarianism
1) Enacted on 19:58, July 13, 2005 (UTC) Pending resolution of this matter is banned from editing of Libertarianism. It shall be presumed that any user, such as  who makes Alfrem's trademark edit, removal of the phrase "Libertarianism is a political philosophy," from the article is a sockpuppet of Alfrem. Such sockpuppets may be banned indefinitely if practical.

 * Support:
 * Fred Bauder 13:08, July 13, 2005 (UTC)
 * sannse (talk) 19:15, 13 July 2005 (UTC)
 * David Gerard 19:44, 13 July 2005 (UTC)
 * →Raul654 19:57, July 13, 2005 (UTC)
 * ➥the Epopt 05:11, 14 July 2005 (UTC)
 * James F. (talk) 19:06, 22 July 2005 (UTC)

 * Oppose:

 * Abstain:

=Proposed final decision=

Edit warring
1) Edit wars are usually considered harmful, because they cause ill-will between users and negatively destabilize articles. Users are required to respect the three-revert rule and to avoid edit-warrior behavior, and are encouraged to explore alternate methods of dispute resolution, such as talk page discussion, negotiation, surveys, then requests for comment, mediation, or, finally, Arbitration.

 * Support:
 * Neutralitytalk 07:40, July 23, 2005 (UTC)
 * James F. (talk) 14:31, 23 July 2005 (UTC) (though I think "usually" is being overly kind :-); slight tweaks to wording)
 * Fred Bauder 18:38, July 23, 2005 (UTC)
 * Jayjg (talk) 20:37, 5 August 2005 (UTC)
 * →Raul654 21:12, August 11, 2005 (UTC)

 * Oppose:

 * Abstain:

Reasonableness and disruption/Ownership of articles
2) Editors are expected to behave reasonably with respect to editing and dealing to other users. Editing practices that cause disruption to the normal functioning of Wikipedia—such as the persistant removal of a phrase or sentence, and the reversion of its restoration—will not be tolerated. In addition Wikipedia articles, do not have 'owners' or 'custodians 'who control edits to them. Instead, they are "owned" by the community-at-large, and come to a consensus version by means of discussion, negotiation, and/or polling.

 * Support:
 * Neutralitytalk 07:40, July 23, 2005 (UTC)
 * James F. (talk) 14:31, 23 July 2005 (UTC) (voting -> polling, we don't do binding polls (a.k.a. "votes") on Wikipedia)
 * Fred Bauder 18:38, July 23, 2005 (UTC)
 * Jayjg (talk) 20:37, 5 August 2005 (UTC)
 * →Raul654 21:12, August 11, 2005 (UTC)

 * Oppose:

 * Abstain:

Removal of references, sources, and explanatory material
3) Removal of references, sources, and explanatory material from articles without a compelling reason, especially when other users object, is generally considered inappropriate.

 * Support:
 * Neutralitytalk 07:40, July 23, 2005 (UTC)
 * James F. (talk) 14:31, 23 July 2005 (UTC)
 * Fred Bauder 18:38, July 23, 2005 (UTC)
 * Jayjg (talk) 20:37, 5 August 2005 (UTC)
 * →Raul654 21:12, August 11, 2005 (UTC)

 * Oppose:

 * Abstain:

Use of sockpuppet accounts/IP adresses to evade blocks and bans
The use of sockpuppet accounts (including IP addresses), while not generally forbidden, is discouraged. Abuse of sockpuppet accounts (including IP addresses), such as using them to evade blocks and bans is strictly forbidden.

 * Support:
 * Neutralitytalk 07:40, July 23, 2005 (UTC)

 * Oppose:
 * James F. (talk) 14:35, 23 July 2005 (UTC) This is slightly the wrong way around; see below.
 * Fred Bauder 18:38, July 23, 2005 (UTC)
 * →Raul654 21:12, August 11, 2005 (UTC)

 * Abstain:

amended
Whilst using multiple accounts, including IP addresses, is not forbidden, "sockpuppeting", or the abuse of multiple accounts, such as in suggesting support from multiple people, or attempting to evade blocks and bans, is strictly forbidden.

 * Support:
 * James F. (talk) 14:35, 23 July 2005 (UTC)
 * Fred Bauder 18:38, July 23, 2005 (UTC)
 * Jayjg (talk) 20:37, 5 August 2005 (UTC)
 * →Raul654 21:12, August 11, 2005 (UTC)

 * Oppose:

 * Abstain:

Conflict with other editors
1) has come into conflict with multiple Wikipedians over his edits to libertarianism, Template:Elections, anarcho-capitalism, and non-aggression principle. These users include, , and.

 * Support:
 * Neutralitytalk 07:40, July 23, 2005 (UTC)
 * James F. (talk) 14:48, 23 July 2005 (UTC)
 * Fred Bauder 18:38, July 23, 2005 (UTC)
 * Jayjg (talk) 20:38, 5 August 2005 (UTC)
 * →Raul654 21:12, August 11, 2005 (UTC)

 * Oppose:

 * Abstain:

Inappropriate editing habits
2) has exhibited inappropriate editing habits on libertarianism, Template:Elections, anarcho-capitalism, and non-aggression principle, through a hostile attitude towards other users, the removal of endnotes and explanatory material, and many reverts.

 * Support:
 * Neutralitytalk 07:40, July 23, 2005 (UTC)
 * James F. (talk) 14:48, 23 July 2005 (UTC)
 * Fred Bauder 18:38, July 23, 2005 (UTC)
 * Jayjg (talk) 20:38, 5 August 2005 (UTC)
 * →Raul654 21:12, August 11, 2005 (UTC)

 * Oppose:

 * Abstain:

Violation of official policy/three-revert rule
3) has violated Wikipedia policies and guidelines, especially as it relates to the three-revert rule. This has led to his blocking on several occasions.

 * Support:
 * Neutralitytalk 07:40, July 23, 2005 (UTC)
 * James F. (talk) 14:48, 23 July 2005 (UTC)
 * Fred Bauder 18:38, July 23, 2005 (UTC)
 * Jayjg (talk) 20:38, 5 August 2005 (UTC)
 * →Raul654 21:12, August 11, 2005 (UTC)

 * Oppose:

 * Abstain:

Use of IP address to circumvent ban
4) has used the IP address  to circumvent a temporary Arbitration-ordered block on editing the libertarianism article.

 * Support:
 * Neutralitytalk 07:40, July 23, 2005 (UTC)
 * James F. (talk) 14:48, 23 July 2005 (UTC)
 * Fred Bauder 18:38, July 23, 2005 (UTC)
 * Jayjg (talk) 20:38, 5 August 2005 (UTC)
 * →Raul654 21:12, August 11, 2005 (UTC)

 * Oppose:

 * Abstain:

Proposed remedies
Note: All remedies that refer to a period of time, for example to a ban of X months or a revert parole of Y months, are to run concurrently unless otherwise stated.

Three-month ban on editing libertarianism-related articles
1) Due to a pronounced inability to work productively with other users, is hereby prohibited from editing libertarianism or libertarianism-related articles for three months. If Alfrem edits libertarianism or a libertarianism-related article, any administrator may block him for a period not less than one day and not exceeding two weeks. This does not include talk pages.

 * Support:
 * Neutralitytalk 07:45, July 23, 2005 (UTC)
 * Fred Bauder 18:38, July 23, 2005 (UTC)
 * James F. (talk) 18:47, 23 July 2005 (UTC)
 * Jayjg (talk) 20:39, 5 August 2005 (UTC)
 * →Raul654 21:12, August 11, 2005 (UTC)

 * Oppose:

 * Abstain:

Template
1) {text of proposed enforcement}

 * Support:

 * Oppose:

 * Abstain:

=Discussion by Arbitrators=

Motion to close
Four net "support" votes needed to close case (each "oppose" vote subtracts a "support") 24 hours from the first motion is normally the fastest a case will close.

 * Looks like everything likely to pass has passed. →Raul654 21:18, August 11, 2005 (UTC)
 * Close Fred Bauder 21:53, August 11, 2005 (UTC)
 * James F. (talk) 09:06, 12 August 2005 (UTC)
 * Jayjg (talk) 20:09, 12 August 2005 (UTC)


text:
Talk:OECD

Critics section needed?
I just had a look into this article to better inform myself about OECD. I have been surprised to notice that, compare to numerous aticles I have read on Wikipedia about global institutions, there is none "Critics" section. I am not an expert in OECD or global governance institutions, but there is certainly number of critics adressed to this institutions as any others. I don't feel myself qualified to do so, but I think it would be a pertinent addition to this article if anyone has some knowledge about OECD. — Preceding unsigned comment added by 183.182.116.245 (talk) 07:16, 22 February 2019 (UTC)

 * nice 178.58.43.16 (talk) 17:01, 5 June 2023 (UTC)

Yes. I find it amusing that NIEO have a 40% share of the text dedicated to a criticism seciton and this page doesn't have one at all.

 * Per WP:NOCRIT, in most cases separate sections devoted to criticism, controversies, or the like should be avoided in an article because these sections call undue attention to negative viewpoints. Articles should present the prevailing viewpoints from reliable sources fairly, proportionately, and without bias, whether positive or negative. Beagel (talk) 18:50, 20 September 2021 (UTC)

Covering main indicators
I would suggest to add a list of the main statistical indicators that the OECD publishes, such as the PISA studies, STRI, or Product Market Regulation indicators. These are regularly used in peer-reviewed economic research and policymaking. I would argue that they are of similar notability as the Doing Business index and other statistical indicators that have separate articles, so some of them should probably also have a separate page. EditingEconomist (talk) 09:34, 5 December 2023 (UTC)

Map
I've just removed the map from the infobox (shown at the top of this thread), as it's misleading. The key problem is that it defines the various countries as being either OECD members or OECD applicants. This isn't correct - as this article notes, there are actually several categories of non-members who are OECD partners, with only some of these countries having applied to join the organisation of which only a sub-set are going through the formal accession process. If a map showing non-members is included, it needs to reflect this diversity. The map was also flawed in that it included Malaysia as an applicant, where the reference to this in the article was very low quality (an old news story reporting that a low ranking Malaysian public servant had said that Malaysia was applying at a minor conference, with no follow up reporting I can see - OECD membership applications are actually announced by national leaders and attract lots of media attention). as the creator of this map. Nick-D (talk) 10:22, 29 February 2024 (UTC)

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

title: Talk:OECD


text:
Bernard B. Jacobs Theatre

The Bernard B. Jacobs Theatre (formerly the Royale Theatre and the John Golden Theatre) is a Broadway theater at 242 West 45th Street (George Abbott Way) in the Theater District of Midtown Manhattan in New York City. Opened in 1927, the theater was designed by Herbert J. Krapp in a Spanish style and was built for real-estate developer Irwin S. Chanin. It has 1,100 seats across two levels and is operated by The Shubert Organization. Both the facade and the auditorium interior are New York City landmarks.

The facade is designed in a Spanish style with golden brick, terracotta, and stone and is divided into two sections. The western portion of the facade contains the theater's entrance, with five double-height arched windows and a curved pediment above. The eastern portion is the stage house and is topped by a loggia. The auditorium contains Spanish-style detailing, a large balcony, and an expansive vaulted ceiling. The auditorium's interior features murals by Willy Pogany as well as several box seats.

The Royale, Majestic, and Masque (now John Golden) theaters, along with the Lincoln Hotel, were all developed by the Chanin brothers and designed by Krapp as part of a theater/hotel complex. The Royale was the first of the three theaters to be completed, opening on January 11, 1927. The Shubert family took over the Royale in 1930 but subsequently went into receivership, and producer John Golden leased the theater in 1932. Golden renamed the theater after himself in 1934, but the Shuberts took over in 1936 and leased the theater to CBS Radio. The Royale was restored as a legitimate theater under its original name in 1940. The theatre was renamed in 2005 after Bernard B. Jacobs (1916–1996), former president of the Shubert Organization.

Site
The Bernard B. Jacobs Theatre is at 242 West 45th Street, on the south side between Eighth Avenue and Broadway, near Times Square in the Theater District of Midtown Manhattan in New York City. The nearly rectangular land lot covers 9,275 ft2, with a frontage of 88.17 ft on 44th Street and a depth of 100.42 ft. The Golden Theatre shares the city block with the Row NYC Hotel to the west. It adjoins six other theaters: the Gerald Schoenfeld and Booth to the east, the Broadhurst and Shubert to the southeast, the Majestic to the south, and the Golden to the west. Other nearby structures include the Music Box Theatre and Imperial Theatre to the north; the New York Marriott Marquis to the northeast; One Astor Plaza to the east; and Sardi's restaurant, the Hayes Theater, and the St. James Theatre one block south.

The Jacobs is part of the largest concentration of Broadway theaters on a single block. The adjoining block of 45th Street is also known as George Abbott Way, and foot traffic on the street increases box-office totals for the theaters there. The Majestic, Masque (Golden), and Royale (Jacobs) theaters and the Lincoln Hotel (Row NYC Hotel) had all been developed concurrently. The site of all four buildings had previously occupied by twenty brownstone residences. The site was part of the Astor family estate from 1803 to 1922, when it was sold to Henry Claman. The plots collectively measured 200 ft wide along Eighth Avenue, 240 ft along 44th Street, and 250 ft along 45th Street.

Design
The Bernard B. Jacobs Theatre, originally the Royale Theatre, was designed by Herbert J. Krapp in a Spanish style and was constructed from 1926 to 1927 for the Chanin brothers. It was part of an entertainment complex along with the Lincoln Hotel and the Majestic and Masque theaters, which were also designed by Krapp in a Spanish style. The Royale was designed to be the medium-sized theater of the complex, with about 1,200 seats initially. The Chanin Realty and Construction Company constructed all four structures. The Jacobs is operated by the Shubert Organization.

Facade
The facade contains two sections. The western section is wider and is symmetrical, containing the auditorium entrance. The eastern section, which contains the stage house, is narrower and taller than the western section. In both sections, the ground floor is clad in rusticated blocks of terracotta above a granite water table. At ground level, the auditorium entrance includes five pairs of glass and aluminum doors, which lead to the ticket office and auditorium. There are also rectangular aluminum-framed sign boards beside the openings. The entrance is topped by a marquee. Four sets of aluminum doors lead from the stage house portion of the facade. A terracotta cornice runs above the base. The stage door is at 270 West 45th Street (next to the Golden Theatre) and is shared with the Majestic and Golden theaters.

The upper stories contain gold-colored, bonded Roman brick. The brick facade was designed to relate to the adjacent theaters and hotel. On the upper stories, the auditorium section has a set of five arches on the second and third stories. The arches rise above terracotta piers that contain Corinthian-style capitals. Each arch contains iron-framed sash windows with multiple panes, separated by horizontal transom bars. A similar, narrower arcade exists on the neighboring Golden Theatre. A sign with the theater's name is placed between the auditorium and stage sections. The parapet of the auditorium facade contains a terracotta coping. Above the center portion of the facade, there is a rounded pediment with finials and an ornamental lunette.

The stage house has five sash windows on each of the second through fifth stories. These windows contain sills made of terracotta. At the fifth story, the three center windows are placed within a loggia, which in turn is placed on brackets. The loggia has paired columns with decorative capitals, which support a Spanish tile roof. There is a pyramidal tile roof above the stage house. The Jacobs's loggia complements a similar one on the Golden Theatre.

Auditorium
The Jacobs's interior was designed with a red, orange, and gold color scheme. The layout was part of an effort by Irwin Chanin, one of the developers, to "democratize" the seating arrangement of the theater. The Jacobs was designed with a single balcony rather than the typical two, since Chanin had perceived the second balcony to be distant. The Chanin brothers wanted the three theaters' interior designs to be distinct while still adhering to a Spanish motif, in the belief that beautiful and comfortable theaters would be able to compete against other performing-arts venues. Roman Melzer was credited for the overall design, while Willy Pogany painted murals and Joseph Dujat created plasterwork. By the 2010s, the Jacobs was designed with a red and gray color palette.

The auditorium has an orchestra level, one balcony, boxes, and a stage behind the proscenium arch. The auditorium's width is greater than its depth, and the space is designed with plaster decorations in high relief. According to the Shubert Organization, the auditorium has 1,092 seats, while according to The Broadway League, there are 1,078 seats. The physical seats are divided into 636 seats in the orchestra, 168 at the front of the balcony, 252 at the rear of the balcony, and 16 in the boxes. There are 20 standing-only spots. Below the orchestra are restrooms and drinking fountains. The Jacobs and the neighboring Schoenfeld are two of the most desired theaters among producers because of their good sightlines from the seating areas.

Seating areas
The rear of the orchestra contains a promenade with two columns supporting the balcony level. The orchestra floor is raked. The orchestra and its promenade contain walls with paneled baseboards, above which are rough stucco blocks. The side walls contain doors, above which are exit signs within bracketed panels. The rearmost row has a standing rail behind it. Two staircases lead between the orchestra and the balcony. These staircases have metal railings and elaborate balustrades. In front of the orchestra level is an orchestra pit, which is placed below the stage. The orchestra level is wheelchair-accessible but there are no elevators to the balcony. The balcony level is divided into front and rear sections by an aisle halfway across the depth. The walls consist of paneled stucco blocks. Above the wall is a frieze with rosettes, which forms the wall's cornice. Light fixtures and square panels with arabesques are placed at the front of the balcony's soffit, or underside. Behind this, the center of the soffit is decorated with a medallion containing a light fixture and acanthus-leaf motifs. The outer portions of the soffit are divided into rhombus-shaped panels, which contain latticework and arabesques surrounded by acanthus-leaf and rope moldings. In front of the balcony are moldings of swags and rosettes. The soffit has been modified with the installation of air-conditioning grilles, while lights have been installed in front of the balcony.

On either side of the stage is an elliptically arched wall section with two boxes at the balcony level. The front box on either side is lower than the rear box. Each wall section is surrounded by a rope molding. In front of each box is a railing with shield motifs; the center motif is flanked by griffins. The underside of each box is decorated with a medallion containing a light fixture, as well as acanthus-leaf motifs. The coved ceilings above the boxes contain Spanish-inspired brass chandeliers.

Other design features
Next to the boxes is an elliptical proscenium arch. The archway is surrounded by rope moldings, above which is a wide band, consisting of four-part leaves surrounded by a guilloche motif. The proscenium measures about 24 ft high and 40 ft wide. A sounding board curves onto the ceiling above the proscenium arch. The sounding board has a large decorated latticework panel in the center, which is surrounded by a molding that depicts overlapping leaves. The rest of the sounding board was originally decorated with Spanish-style motifs and is surrounded by moldings on all sides. The depth of the auditorium to the proscenium is 26 ft, while the depth to the front of the stage is 30 ft.

The ceiling consists of a groin vault that extends over the balcony. The vault is surrounded by a molding with laurel leaves. The ceiling is divided into ribs, containing laurel-leaf and talon moldings. The center of the ceiling contains a latticework grille with arabesques, marking the convergence of the ribs. In addition, there are two arches along the walls on either side of the vault; they contain a set of murals by Willy Pogany, entitled Lovers of Spain. These arches each depict a woman in a procession of musicians. The arches are surrounded by molded acanthus leaves and shells, and there are square panels with rosettes on the arches' outer reveals. According to a contemporary account, the arches measured 45 by across.

History
Times Square became the epicenter for large-scale theater productions between 1900 and the Great Depression. During the 1900s and 1910s, many theaters in Midtown Manhattan were developed by the Shubert brothers, one of the major theatrical syndicates of the time. The Chanin brothers developed another grouping of theaters in the mid-1920s. Though the Chanins largely specialized in real estate rather than theaters, Irwin Chanin had become interested in theater when he was an impoverished student at the Cooper Union. He subsequently recalled that he had been "humiliated" by having to use a separate door whenever he bought cheap seats in an upper balcony level. By October 1926, the Chanins had decided to construct and operate a theatrical franchise "in New York and half a dozen other large cities in the United States". Herbert Krapp had already designed the 46th Street, Biltmore, and Mansfield theaters for the Chanins in 1925 and 1926.

Chanin operation
The Chanin brothers had acquired the Klaman site in May 1925. The Chanins planned to build a hotel on Eighth Avenue and three theaters on the side streets. In March 1926, Krapp filed plans with the New York City Department of Buildings for the hotel and theaters, which were projected to cost $4.5 million. Local news media reported that there would be a large theater on 44th Street and a medium-sized theater and a small theater on 45th Street. The brownstones on the site were razed starting in May, and the site was cleared by the next month. That July, the Chanin brothers received a $7.5 million loan for the four developments from S. W. Straus & Co. Irwin Chanin launched a competition the same month, asking the public to suggest names for the three theaters. The names of the three theaters were announced in December 1926. The large theater became the Majestic; the mid-sized theater, the Royale; and the small theater, the Masque. The following month, the Chanins gave A. L. Erlanger exclusive control over bookings at the three new theaters and their five existing houses.

The Royale Theatre was the first of the three theaters to open, showing the play Piggy on January 11, 1927. The opening of the Majestic, Masque, and Royale signified the westward extension of the traditional Broadway theater district, as well as an expansion of the Chanins' theatrical developments. Each of the Chanin theaters was intended for a different purpose: the 1,800-seat Majestic for "revues and light operas", the 1,200-seat Royale for "musical comedies", and the 800-seat Masque for "intimate" plays. By developing a small, medium, and large theater concurrently, the Chanins were able to lower their development costs. Burns Mantle wrote for the New York Daily News that the Royale had "a handsome auditorium with a Willy Pogany interior, well proportioned stage, and the established atmosphere of a hospitable and well-run theatre". Piggy (renamed mid-run to I Told You So ) had a weak script, but comedian Sam Bernard carried the show for 79 performances.

The Royale next hosted Judy with Queenie Smith. This was followed by the short-running Oh, Ernest!, though the Chanins unsuccessfully tried to prevent the producers from relocating prematurely. The Black revue Rang Tang also played at the Royale in 1927, as did three Gilbert and Sullivan works: The Mikado, Iolanthe, and The Pirates of Penzance. The Royale's productions in 1928 included The Madcap, as well as ''Sh! The Octopus'', its first straight play. Later that year, the Royale had its first major hit, the Mae West play Diamond Lil. It was followed in 1929 by the flop Woof, Woof, then by the moderately successful comedy Kibitzer. In July 1929, the Shubert brothers bought the Chanin brothers' half-ownership stakes in the Majestic, Masque, and Royale theaters for a combined $1.8 million. In exchange, the Shuberts sold a parcel of land on the Upper West Side to the Chanins, who bought several adjacent lots and developed the Century apartment building there.

Great Depression and ownership changes

The Shuberts obtained the exclusive rights to operate the Royale in 1930. Under Shubert management, the Royale hosted Second Little Show in 1930, which was followed by Lew Leslie's Blackbirds  and Stepping Sisters. Another Mae West play, Constant Sinner, was presented at the Royale in 1931, along with numerous unsuccessful productions. After West unsuccessfully tried to show a revival of Macbeth, the Royale hosted the Chicago Shakespeare Theater for two weeks in late 1931. By then, the Shuberts were in receivership and were forced to give up the Royale, though they kept the Majestic and Masque. In July 1932, producer John Golden granted the right to lease the Royale for 21 months, despite objections from Lee Shubert. That November, Golden officially signed a 21-month lease with the theater's receiver. At the time, Golden had recently lost the right to operate his eponymous theater on 58th Street.

The Royale hosted Golden's comedy When Ladies Meet in late 1932, and the Theatre Guild next hosted two productions: Both Your Houses (1933) and They Shall Not Die (1934). Otherwise, the Royale's productions during this time were largely flops. After the Royale hosted the comedy Every Thursday, Golden renewed his lease in September 1934 and renamed the Royale for himself. The first productions at the renamed theater included Small Miracle and Rain from Heaven. The Irish group Abbey Theatre Players started hosting repertory productions in November 1934, changing the shows every week. This was followed in 1935 by The Bishop Misbehaves and A Touch of Brimstone. Afterward, the Golden (Royale) hosted several short-lived productions in 1936, among them Three Wise Fools, Ghosts, and Double Dummy.

The Broadway theater industry declined during the Great Depression, and the Majestic, Masque, and Golden (Royale) were auctioned in November 1936 to satisfy a $2 million mortgage against the theaters. A representative of the Shubert family bought the rights to operate the theaters for $700,000, but the Bankers Securities Corporation retained a half interest. John Golden, undeterred by the auction proceeding, moved his production to the Masque and renamed that theater after himself. The Shuberts leased the former Royale to CBS Radio the following month, and CBS started operating the studio in January 1937 as CBS Radio Theatre No. 1. At the time, CBS had converted several theaters around Times Square into broadcast studios. The studio closed in May 1940 due to a lack of programming, and the theater reverted to the Shuberts. The Magoro Operating Corporation, on behalf of the Shuberts, took over the Royale in October 1940 after CBS's lease ended, and the theater assumed its previous name.

1940s to 1970s
The Royale Theatre reopened on October 21, 1940, with Du Barry Was a Lady. The Royale subsequently hosted several productions relocated from other theaters, including Flight to the West and The Corn Is Green in 1941. Some of the subsequent productions were hits with several hundred performances, including Counsellor-at-Law in 1942, as well as Ramshackle Inn with ZaSu Pitts; School for Brides with Roscoe Karns; and Catherine Was Great with Mae West in 1944. Less successful were the 1945 productions of Good Night, Ladies and Strange Fruit, which both ran for less than a hundred performances before ending. In addition, the Shubert brothers bought the Majestic, John Golden (Masque), and Royale theaters from the Bankers Securities Corporation in 1945, giving the family full ownership of these theaters.

The productions in 1946 included The Magnificent Yankee, featuring Louis Calhern and Dorothy Gish; The Glass Menagerie; The Front Page;  and Fatal Weakness, featuring Ina Claire. Subsequently, The Importance of Being Earnest, Love for Love,  and Medea were all produced in 1947. The comedy Light Up the Sky ran over 200 performances in 1948, and The Madwoman of Chaillot played the Royale the next year. The following decade began with productions of The Devil's Disciple and The Lady's Not for Burning in 1950, as well as a relocated production of Darkness at Noon in 1951. Following that was Borscht Capades and a series of short-lived productions. The Royale then hosted New Faces of 1952, which turned out to be the last popular Broadway revue for several years due to the growing popularity of television.

The Immoralist played at the Royale in 1954, as did The Boy Friend, the latter of which featured Julie Andrews's Broadway debut. The same year saw the shortest production at the Royale on record: a single performance of The Starcross Story, which had premiered just before The Immortalist. In 1955, the Royale featured The Matchmaker, which was adapted from a flop but had 486 performances. Other popular productions during the decade were The Tunnel of Love in 1957 and The Entertainer in 1958. Following a screening of the film Gigi in May 1958, the Royale again hosted theatrical productions that November with La Plume de Ma Tante, which ran over 800 performances.

In the early 1960s, the Royale hosted numerous productions including Becket in 1960, From the Second City in 1961, The Night of the Iguana in 1961, and Lord Pengo in 1962. The Royale additionally presented a four-week engagement of the Karmon Israeli Dancers in May 1963. Following were The Rehearsal in 1963 and The Chinese Prime Minister, The Subject Was Roses, and Hughie in 1964. For much of the rest of the decade, the Royale was taken up by Cactus Flower, which premiered in 1965 and ran for 1,234 performances. Man in the Glass Booth, which premiered in 1968, was the Royale's last major production of the 1960s. The Royale hosted Child's Play in 1970 and Moonchildren in 1972. From 1972 to 1980, the Royale hosted the musical Grease. The production became the longest-running show on Broadway, and the set was peeling by the time Grease stopped playing at the Royale.

1980s and 1990s
In February 1980, Whose Life is it Anyway? opened at the Royale, with Mary Tyler Moore playing what had previously been a male starring role. This was followed the same year by A Day in Hollywood / A Night in the Ukraine, a double bill with 588 performances. The Royale then hosted Duet for One with Anne Bancroft and Max von Sydow for a month, followed by Joseph and the Amazing Technicolor Dreamcoat, which also ran for over a year. Besides Broadway productions, the Royale also held college commencements.

In the mid-1980s, the Royale had some brief runs, including The Human Comedy in 1984 and Home Front and Pack of Lies in 1985. The Royale next presented the two-act show Song and Dance in 1985, which ran for 474 performances. This was followed by a four-performance revival of the play Broadway in 1987 to celebrate George Abbott's 100th birthday. Other flops included Roza in 1987 and the New York Shakespeare Festival's off-Broadway production Serious Money in 1988. The decade ended with two hits: Speed-the-Plow, which opened in 1988 and played 287 performances, and Lend Me a Tenor, which ran for over a year following its opening in 1989. During the 1980s, the Shuberts renovated the Royale as part of a restoration program for their Broadway theaters.

The New York City Landmarks Preservation Commission (LPC) had started considering protecting the Royale as a landmark in 1982, with discussions continuing over the next several years. The LPC designated the Royale's facade and interior as a landmark in December 1987. This was part of the LPC's wide-ranging effort in 1987 to grant landmark status to Broadway theaters. The New York City Board of Estimate ratified the designations in March 1988. The Shuberts, the Nederlanders, and Jujamcyn collectively sued the LPC in June 1988 to overturn the landmark designations of 22 theaters, including the Royale, on the merit that the designations severely limited the extent to which the theaters could be modified. The lawsuit was escalated to the New York Supreme Court and the Supreme Court of the United States, but these designations were ultimately upheld in 1992.

The first hit at the Royale in the 1990s was the 1992 play Conversations with My Father, which ran for over a year. London's Royal National Theatre presented An Inspector Calls in 1994, which ran 454 performances. The National Actors Theatre was the next occupant of the Royale, presenting a revival of Inherit the Wind. The Royal National Theatre also produced Skylight at the Royale in 1996, and Triumph of Love premiered in 1997. The play Art opened in 1998, running through the following year with 600 performances. The Royale's final production of the 1990s was a revival of The Price in 1999.

2000s to present
The Royale hosted a revival of the play Copenhagen in 2000, which ran 326 performances. The theater then staged One Flew Over the Cuckoo's Nest and John Leguizamo's solo show Sexaholix in 2001, as well as The Elephant Man and Jackie Mason's solo comedy Prune Danish the next year. As part of a settlement with the United States Department of Justice in 2003, the Shuberts agreed to improve disabled access at their 16 landmarked Broadway theaters, including the Royale. Also in 2003, the Royale hosted the short-lived revivals Ma Rainey's Black Bottom and "Master Harold"...and the Boys, as well as the more successful Anna in the Tropics. The next year, the Royale held the productions A Raisin in the Sun and 'night, Mother.

In September 2004, the Shubert Organization's board of directors voted to rename the Royale for its longtime president Bernard B. Jacobs (1916–1996), as well as the neighboring Plymouth for then-current president Gerald Schoenfeld. The two theaters were officially renamed with a marquee replacement ceremony on May 9, 2005. While Jacobs's family was "thrilled", the renaming was controversial among producers and theatrical fans, despite the longstanding tradition of renaming Broadway houses after their producers. The play Glengarry Glen Ross opened just before the renaming and had 137 performances. This was followed in 2006 by the short-running drama Three Days of Rain and Martin Short's biographical revue Fame Becomes Me; the Jacobs also hosted a memorial for Lloyd Richards the same year. Further productions of the late 2000s included Frost/Nixon and Rock 'n' Roll in 2007; The Country Girl and 13 in 2008; and God of Carnage in 2009.

The Jacobs hosted Bloody Bloody Andrew Jackson in 2010, as well as That Championship Season and The Mountaintop in 2011. The musical Once opened at the Jacobs in 2012 and was a hit, running for nearly three years. Once was followed by the comedy It's Only a Play in 2015. The Jacobs hosted two musicals over the following two years: The Color Purple (2015) and Bandstand (2017). Following were the dramas The Iceman Cometh and The Ferryman in 2018, as well as Betrayal in 2019. The theater closed on March 12, 2020, due to the COVID-19 pandemic. It reopened on November 15, 2021, with previews of Company, which ran until July 2022. Following the closure of Company, the theater hosted Almost Famous from November 2022 to January 2023. New York City Center's production of Parade opened at the Jacobs in March 2023 and ran until August. This was followed in April 2024 by the musical The Outsiders.

Notable productions
Productions are listed by the year of their first performance. This list only includes Broadway shows; it does not include films screened at the theater, nor does it include shows that were taped there.

Royale Theatre/John Golden Theatre

 * 1927: Rang Tang
 * 1927: The Mikado
 * 1927: Iolanthe
 * 1927: The Pirates of Penzance
 * 1928: Diamond Lil
 * 1930: Second Little Show
 * 1930: Lew Leslie's Blackbirds
 * 1931: Dracula
 * 1931: Hamlet, Julius Caesar, The Merchant of Venice
 * 1933: Both Your Houses
 * 1934: Small Miracle
 * 1936: Mulatto
 * 1936: Star Spangled
 * 1936: Ghosts
 * 1940: Du Barry Was a Lady
 * 1941: The Corn Is Green
 * 1942: The Flowers of Virtue
 * 1943: The World's Full of Girls
 * 1944: Ramshackle Inn
 * 1944: Catherine Was Great
 * 1945: Strange Fruit
 * 1946: The Glass Menagerie
 * 1946: The Front Page
 * 1947: The Importance of Being Earnest
 * 1947: Love for Love
 * 1947: Medea
 * 1949: The Madwoman of Chaillot
 * 1950: The Devil's Disciple
 * 1950: Affairs of State
 * 1950: The Lady's Not for Burning
 * 1952: One Bright Day
 * 1952: New Faces of 1952
 * 1954: The Immoralist
 * 1954: Sabrina Fair
 * 1954: The Boy Friend
 * 1955: The Matchmaker
 * 1957: Miss Isobel
 * 1958: The Entertainer
 * 1958: La Plume de Ma Tante
 * 1960: Becket
 * 1961: The Night of the Iguana
 * 1964: The Subject Was Roses
 * 1964: A Severed Head
 * 1964: Hughie
 * 1965: All in Good Time
 * 1965: And Things That Go Bump in the Night
 * 1965: The Owl and the Pussycat
 * 1965: Cactus Flower
 * 1970: Child's Play
 * 1971: How the Other Half Loves
 * 1971: The Incomparable Max
 * 1972: Moonchildren
 * 1972: Jacques Brel is Alive and Well and Living in Paris
 * 1972: Grease
 * 1980: Whose Life is it Anyway?
 * 1980: A Day in Hollywood / A Night in the Ukraine
 * 1982: Joseph and the Amazing Technicolor Dreamcoat
 * 1983: You Can't Take It with You
 * 1984: The Human Comedy
 * 1985: Pack of Lies
 * 1985: Song and Dance
 * 1987: Sweet Sue
 * 1987: Broadway
 * 1987: Roza
 * 1988: Serious Money
 * 1988: Speed-the-Plow
 * 1989: Lend Me a Tenor
 * 1992: Conversations with My Father
 * 1993: The Kentucky Cycle
 * 1994: An Inspector Calls
 * 1996: Inherit the Wind
 * 1996: Skylight
 * 1997: Triumph of Love
 * 1998: Art
 * 1999: The Price
 * 2000: Copenhagen
 * 2001: One Flew Over the Cuckoo's Nest
 * 2002: The Elephant Man
 * 2003: Ma Rainey's Black Bottom
 * 2003: "Master Harold"...and the Boys
 * 2003: Anna in the Tropics
 * 2004: A Raisin in the Sun
 * 2004: 'night, Mother
 * 2005: Glengarry Glen Ross

Bernard B. Jacobs Theatre

 * 2006: Three Days of Rain
 * 2006: Martin Short: Fame Becomes Me
 * 2007: Frost/Nixon
 * 2007: Rock 'n' Roll
 * 2008: The Country Girl
 * 2008: 13
 * 2009: God of Carnage
 * 2010: Bloody Bloody Andrew Jackson
 * 2011: That Championship Season
 * 2011: The Mountaintop
 * 2012: Once
 * 2015: It's Only a Play
 * 2015: The Color Purple
 * 2017: Bandstand
 * 2018: The Iceman Cometh
 * 2018: The Ferryman
 * 2019: Betrayal
 * 2021: Company
 * 2022: Almost Famous
 * 2023: Parade
 * 2024: The Outsiders

Box office record
Once previously achieved the box office record for the Bernard B. Jacobs Theatre, grossing $1,447,598 over nine performances for the week ending December 30, 2012. This record was broken by Parade, which grossed $1,814,013 for the week ending August 6, 2023.

title: Bernard B. Jacobs Theatre


text:
Talk:Edward Howland Robinson Green

Untitled
I'm going to purchase Bedell's book, and I already have a fair amount of detail on his association with MIT (see Round Hill, Massachusetts). I'll be updating this page with more detail on his life as time permits. -Harmil 12:56, 13 July 2005 (UTC)

From NCHQ
The following was posted at New contributors' help page/questions:
 * I am the author of "Colonel Edward Howland Robinson Green, and the World He Created at ROUND HILL". THERE are several errors in the report that I would like to correct. I was not able to find evidence that he graduated from Fordham.  Next, Hetty sent him to Terrell to purchase at auction, the Texas Midland RR, which he did, lengthened it, and turned it into the finest short line railroad in Texas, a model for the entire United States.  His wards were daughters of friends who had passed away.  He paid their expenses and tuition, and were insulted when accused of having any sexual connection to the Colonel.  100 rooms in the mansion???  I lived at Round Hill and visited friends who lived in the mansion.  There was not 100 rooms, though the Jesuits added many when they took over.  Mabel married the Colonel and stuck with him for life.  She moved in with him when he lived in Terrell. Nowadays that is not a big deal, is it!       For more accurate information read my book.   Barbara  Bedell  —Preceding unsigned comment added by 24.60.6.134 (talk) 14:43, 28 March 2011 (UTC)

-- John of Reading (talk) 09:45, 29 March 2011 (UTC)

 * I have no problem taking out the Fordham graduation or the 100 room count. However, I'm a bit skeptical about the "wards". This Orlando Sentinel article notes he "openly kept his own harem in his house". Clarityfiend (talk) 01:34, 30 March 2011 (UTC)

 * Numerous references to Col. Green's cork leg here:  — Preceding unsigned comment added by Drwong64 (talk • contribs) 23:16, 8 November 2017 (UTC)

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 * Added archive https://web.archive.org/web/20101128065321/http://terrelltexas.com/history.htm to http://www.terrelltexas.com/history.htm

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Time magazine citation
Almost all the information cited to the Time magazine article did not appear in that article at all. I will try to find the editor who inserted it and ask him about the discrepancy. BeenAroundAWhile (talk) 20:35, 2 April 2018 (UTC)
 * I left a message here. BeenAroundAWhile (talk) 21:01, 2 April 2018 (UTC)
 * I don't have a subscription, so I can't see the full article anymore, though it was accessible back then. Do you? Or are you going by the brief summary? In any case, I will add alternate sources wherever possible. Clarityfiend (talk) 22:16, 2 April 2018 (UTC)
 * Thanks for handling it. Yes, I had checked the article. Easy enough to do with a subscription. Yours sincerely, BeenAroundAWhile (talk) 16:01, 24 June 2018 (UTC)

American expatriate
Green was born to American nationals living in the United Kingdom, and so was thus an American national abroad.John Pack Lambert (talk) 19:53, 10 May 2023 (UTC)

title: Talk:Edward Howland Robinson Green


text:
User talk:Arie ten Cate

Dear Arie, I wonder if you or anyone else would be interested in making the reduced form more explicit. The two pi seem to come from thin a bit and don't really explain the step(s) involved. Kind regards Paul Anand p.anand@open.ac.uk

 * Done. See the section Reduced Form of the Reduced form page. Hope this helps. Arie ten Cate (talk) 13:37, 30 April 2008 (UTC)

Schaum's Outlines
It just doesn't seem to make sense to post a random link like this. If you feel it belongs in this article, please explain yourself. Thanks. Dj stone (talk) 03:43, 14 May 2008 (UTC)

Phaistos Disc
Hello Arie. I don't think it is possible to use self-published materials in wikipedia. For more information, you can read http://en.wikipedia.org/wiki/Wikipedia:Verifiability#Self-published_sources_.28online_and_paper.29 - Pergamino (talk) 00:15, 22 May 2009 (UTC)

 * Thanks. See also Talk:Phaistos_Disc -  Arie ten Cate (talk) 11:31, 22 May 2009 (UTC)

 * Bonjour. I see today your request about my picture. I change with pleasure the licence for your poject. Good luck.PRA (talk) 11:58, 16 August 2010 (UTC)

Talk pages
Welcome to Wikipedia and thank you for your contributions. I am glad to see that you are discussing a topic. However, as a general rule, talk pages such as Talk:Elastic collision are for discussion related to improving (a) an encyclopedia article in specific ways based on reliable sources or (b) project policies and guidelines. They are not for general discussion about the article topic or unrelated topics, or statements based on your thoughts or feelings. If you have specific questions about certain topics, consider visiting our reference desk and asking them there instead of on article talk pages. Thank you. - DVdm (talk) 11:05, 14 December 2020 (UTC)

Note: we are of course allowed to discuss it here in user talk space. We don't even need L'Hopital. Merely factoring out a c^2 factor from numerator and denominator and simplifying, the limit immediately follows. - DVdm (talk) 11:16, 14 December 2020 (UTC)
 * Hello DVdm, after your comment, I regret to have made my contribution to the Talk page of Elastic collision. Arie ten Cate (talk) 21:07, 14 December 2020 (UTC)
 * Arie, no problem, too bad there's no source for it, because it would be a good contribution for the article . Cheers! - DVdm (talk) 21:58, 14 December 2020 (UTC)

title: User talk:Arie ten Cate


text:
Once Again (Barclay James Harvest album)

Once Again was the second album released by Barclay James Harvest, in early 1971. As was the case with their other early albums, it was recorded with a full orchestra.

On the track "Galadriel", Lees played John Lennon's Epiphone Casino guitar, an event later recounted in a song on the band's 1990 album Welcome To The Show titled "John Lennon's Guitar".

In an interview with Songfacts, Keith Domone (official biographer of Barclay James Harvest with his wife Monika) said John Lees wrote "Mocking Bird" back in 1968 while he was living with the parents of his future wife, Olwen. The song is based on a musical phrase from "Pools Of Blue", which he wrote around the same time.

In the Q & Mojo Classic Special Edition ‘’Pink Floyd & The Story of Prog Rock’’, the album came #39 in its list of "40 Cosmic Rock Albums".

Track listing
The credits on the original liner notes are incorrect, titles being attributed to the band as a whole. The credits shown here are the actual composers.

 * Side one
 * 1) "She Said" (Les Holroyd, John Lees, Mel Pritchard, Stuart Wolstenholme) – 8:21
 * 2) "Happy Old World" (Wolstenholme) – 4:40
 * 3) "Song for Dying" (Lees) – 5:02
 * 4) "Galadriel" (Lees) – 3:14

 * Side two
 * 1) "Mocking Bird" (Lees) – 6:39
 * 2) "Vanessa Simmons" (Lees) – 3:45
 * 3) "Ball And Chain" (Wolstenholme) – 4:49
 * 4) "Lady Loves" (Lees) – 4:07

Reissue (2002)
Once Again was remastered and reissued by Harvest in 2002 with five bonus tracks: 2 outtakes and 3 from the 1973 quadrophonic mix of the album.
 * Bonus tracks
 * 1) "Introduction - White Sails (A Seascape)" (Wolstenholme) – 1:43 arranged by Robert Godfrey
 * 2) "Too Much On Your Plate" (Wolstenholme, Lees) – 5:28
 * 3) "Happy Old World" – 4:40 Quadrophonic mix
 * 4) "Vanessa Simmons" – 3:46 Quadrophonic mix
 * 5) "Ball and Chain" – 4:48 Quadrophonic mix

Boxed Set (2023)
Once Again was remastered for a second time in 2023 and reissued by Esoteric Recordings (through Cherry Red Records). This 3 CD/1 Blu-Ray set includes the complete original mix of the album, a new remix of the entire album, a stereo mix down of the 1972 quadrophonic mix ("The 1972 Quadrophonic SQ Stereo Mix") and 10 bonus tracks spread across the 3 CD's. The DVD includes a new 5.1 multichannel mix of the album, the 1973 Quadrophonic Mix in 4.0 surround sound, high resolution stereo versions of both the original mix and the new remix of the original album plus 5.1 multichannel mixes of 2 bonus tracks. Bonus tracks:
 * Disc one - The Original Stereo Mix, remastered
 * 1) – 8. original track listing
 * 1) "Too Much on Your Plate" (outtake) – 5:33
 * 2) "Happy Old World (Take One)" – 4:41
 * 3) "She Said (John Peel Sunday Concert 21st February 1971)" – 8:46
 * 4) "Mocking Bird (John Peel Sunday Concert 21st February 1971)" – 7:46
 * 5) "Dark Now My Sky (John Peel Sunday Concert 21st February 1971)" – 10:10

Bonus tracks
 * Disc two - The New Stereo Mix by Steven W. Taylor
 * 1) "She Said" – 10:02
 * 2) "Happy Old World" – 4:38
 * 3) "Song for Dying" – 6:51
 * 4) "Galadriel" – 3:12
 * 5) "Mocking Bird" – 6:53
 * 6) "Vanessa Simmons" – 3:48
 * 7) "Ball and Chain" – 4:51
 * 8) "Lady Loves" – 4:19
 * 1) "Too Much On Your Plate" – 5:40
 * 2) "White Sails (A Seascape)" – 11:53
 * 3) "Mocking Bird (First Version, May 1970)" – 6:57

Bonus tracks:
 * Disc three – 1972 Quadrophonic SQ Stereo Mix
 * 1) – 8. original track listing
 * 1) "Galadriel (Non-Orchestral Version)" – 3:14
 * 2) "Mocking Bird (Non-Orchestral Version)" – 8:03

Bonus tracks:
 * Disc four (Blu-Ray) – The New 5.1 Surround Sound & Stereo Mix by Steven W. Taylor
 * 1) – 8. original track listing
 * 1) "Too Much On Your Plate" (Wolstenholme)
 * 2) "White Sails (A Seascape)" (Barclay James Harvest)

The High Resolution 96 kHz/24-bit 1971 Stereo Mix & 1973 Quadrophonic Mix
 * 1) – 8. original track listing

Personnel

 * Barclay James Harvest
 * John Lees – guitars, recorder, lead (4, 6) and backing vocals
 * Les Holroyd – bass, guitars, keyboards, backing vocals
 * Stuart "Woolly" Wolstenholme – mellotron, keyboards, lead (1-3, 5, 7, 8) and backing vocals
 * Mel Pritchard – drums, percussion

 * Additional personnel

 * The Barclay James Harvest Symphony Orchestra
 * Orchestra Leader: Gavyn Wright
 * Conductor and Musical Director: Robert John Godfrey

 * Alan Parsons – jaw harp on "Lady Loves"
 * Engineer: Peter Bown


text: Template:Campaignbox War of the Spanish Succession


text:
Template:House of Habsburg (Spain)

{{documentation|content=

Usage

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title: Template:House of Habsburg (Spain)


text:
Breyer State University

Breyer State University, also called Breyer State University-Alabama, is an unaccredited distance education, for profit, private university that formerly operated in the U.S. states of Idaho and Alabama and now reports a location in Panama. It has been described by The New Republic magazine as a diploma mill that "claimed official-sounding accreditation to attract hundreds of people to obtain degrees". Breyer State University disputes this categorization.

History
Breyer State originally incorporated in Kamiah, Idaho in 2001, but later incorporated in Alabama in 2004, as Breyer State University-Alabama.

In 2003, Breyer was described as a "conjoined twin" of James Monroe University. Breyer State's former president, Dominick L. Flarey, was also identified as president of James Monroe University.

In 2007, Breyer State reported that it had more than 120 contracted faculty. In 2008 the Alabama Community College System reported the finding that "many" of the faculty members' degrees "did not come from accredited institutions."

A July 2008 news release by the Alabama Community College System that announced an initiative to rid the state of fraudulent institutions stated that some of the closed institutions, "notably Columbus University and Breyer State University – were operating apparent diploma mills and taking shameful advantage of hundreds of unsuspecting students."

In March 2008 Breyer State's license to operate in Alabama expired. The Alabama Department of Postsecondary Education denied Breyer State's request for renewal of its license in June 2008 and then reported that the school had moved to Idaho. As of September 2010, its website displayed an address in Los Angeles, California at the bottom of each page. As of August 2012, the website lists an address in Panama.

Programs
On its website, Breyer State describes its offerings as including bachelor, masters, doctoral, and associate degree programs in diverse fields, including business, psychology and various counseling specialties, education, law, and health care fields.

Accreditation status
Breyer State is not accredited by any accreditation institution recognized by the United States Department of Education, The Oregon Office of Degree Authorization lists Breyer State University as one of the "unaccredited degree suppliers" whose degrees do not meet the state's requirements for use as credentials. The State of Michigan lists Breyer as unaccredited, nor is it a state institution. It is on the list of "Institutions Whose Degrees are Illegal to Use in Texas". It is also on the lists of unaccredited institutions maintained by Oregon, Maine, and Michigan.

The institution states that it is accredited by the Educational Accreditation Association (EAA), but the EAA does not claim to have appropriate recognition or authorization to grant an accreditation.

Controversy
In July 2008, the Asbury Park Press reported that the superintendent and two other administrators of the Freehold Regional High School District in central New Jersey had received tuition reimbursement for enrolling at Breyer State and had been given salary increases based on doctoral degrees issued by Breyer State University, described by the newspaper as "an unaccredited institution deemed an 'apparent diploma mill' by education officials in its home state of Alabama." This was stated to be a violation of a New Jersey law against the professional use of titles and degrees earned from unaccredited institutions. The superintendent stated that he did not intend to seek an accredited doctoral degree, but he planned to continue using the title "Dr." The superintendent had to be ordered to stop using the title "Doctor". The Education Commissioner then sent letters to the districts reminding educators that use of unaccredited degrees was illegal. It was reported in September 2009 that H. James Wasser would resign at the end of the school year. The episode led the New Jersey state legislature to enact a law preventing state tuition assistance from being used at non-accredited institutions.

title: Breyer State University


text:
Darvish Khan

Darvish Khan (, Gholam Hossein Darvish; 1872 – 22 November 1926) was a Persian classical musician and a tar player.

Biography
Darvish Khan was born in Tehran.

His teachers included his father and Aqa Hossein-Qoli Farahani. He was a member of the Aziz Soltan music group. Later, he attended the Dar ol-Fonoon Music School.

He played a concert at the Grand Hotel of Tehran with other great masters of Persian music of his time, including Aref Qazvini. Darvish left for London and Tbilisi to record.

He died at the age of 54, on 22 November 1926, in an accident. His carriage was hit by a lorry automobile which was very rare at that time. It is said that he was the first Iranian to be killed in a car accident.

title: Darvish Khan


text:
S. V. Ranga Rao

Samarla Venkata Ranga Rao (3 July 1918 – 18 July 1974), popularly known as SVR, was an Indian actor and filmmaker known for his works majorly in Telugu and Tamil films. He is regarded as one of the finest actors in the history of Indian cinema. He is known by the epithet "Viswa Nata Chakravarthi". He was the earliest known character actor to have enjoyed a star status in South Indian cinema. In a career spanning nearly three decades, Ranga Rao garnered various national and international honours.

Ranga Rao was a method actor known for his natural acting style, portraying complex social, biographical, and mythological characters such as 'Nepala Manthrikudu', a tantric in Pathala Bhairavi (1951), Yama in Sati Savitri (1957), Ghatothkacha in Maya Bazaar (1957), Mayasura in Bhookailas (1958), Bhoja in Mahakavi Kalidasu (1960). In 1964, he received the Best Actor Award for his portrayal of Kichaka in Nartanasala (1963) at the third Afro-Asian Film Festival held in Jakarta, becoming the only Indian actor to have ever garnered the honour. He then essayed Duryodhana in the blockbuster Pandava Vanavasam (1965), Hiranyakasipu in Bhakta Prahlada (1967), and Ravana in Sampoorna Ramayanam (1971) to name a few.

His notable roles as a character actor include films such as Mana Desam (1949), Palletoori Pilla (1950), Devadasu (1953), Bangaru Papa (1954), Raju Peda (1954), Thodi Kodallu (1957), Chenchu Lakshmi (1958), Pelli Naati Pramanalu (1958), Nammina Bantu (1959), Gundamma Katha (1962), Sarada (1962), Aatma Bandhuvu (1962), Annai (1962), Karpagam (1963), Naanum Oru Penn (1963), Bobbili Yuddham (1964),  Bandhavyalu (1968), Prema Nagar (1971), Dasara Bullodu (1971), Pandanti Kapuram (1972), Vasantha Maligai (1972), Thatha-Manavadu (1973), and Andaru Dongale (1974).

Government of Andhra Pradesh instituted an award in his memory, presented every year to the best character acting performance, known as the S. V. Ranga Rao Award for Best Character Actor.

Early life
Ranga Rao was born in Nuziveedu in erstwhile Krishna District of Andhra Pradesh in 1918 in a Telugu Zamindari family of Kapu caste. His father, Samarla Koteswara Rao, was an excise inspector at Nuzvidu, and his mother's name was Smt. Lakshmi Narasayamma. His grandfather was working as a doctor in the town. He had relatives scattered in East Godavari district. His grandfather, Kotayya Naidu, lived in Chengalpattu, Tamil Nadu.

His mother, Lakshmi Narasayamma, a staunch devotee of Lord Venkateswara, named the boy after him. Ranga Rao was sent to Madras, where he completed his schooling at Hindu College. He also studied in Eluru and Visakhapatnam. At an early age of 12, he showed interest in stage acting. He ventured into acting after completing his bachelor's degree in sciences.

Career
S. V. R. got an invitation from one of his relatives, B. V. Ramanandam, to play the lead actor in his film Varoodhini (1947). He immediately abandoned the job, and left for Salem to join the celluloid world. However, the film didn’t do well at the box office.

S. V. R. left Madras Presidency and reached Jamshedpur, where he took up the job as a budget assistant with the Tata company. However, his love for theatre began to bloom multifold. At this juncture, he married Badeti Leelavathi on 27 December 1947. In the days that followed, S. V. R. was given an opportunity to appear in Palletoori Pilla (1950), produced by B. A. Subba Rao. Shavukaru (1950) earned him recognition as a fine actor.

His role as the antagonist 'Nepala Manthrikudu', a tantric in Pathala Bhairavi (1951) was a turning point in his career. The film became a breakthrough for both Ranga Rao and the lead actor N. T. Rama Rao. Pathala Bhairavi was the only south Indian film screened at the first International Film Festival of India. Ranga Rao also starred in the enduring classics Mayabazar (1957) and Nartanasala (1963), featured in the CNN-IBN's list of "100 greatest Indian films of all time".

In a career spanning nearly three decades, he acted in over 160 films —109 in Telugu and 53 in Tamil. He was one of the earliest stars to feature in commercials and his ad for the popular cigarette brand Berkeley, was extremely popular.

Characters essayed

 * Akbar in Anarkali
 * Banasura in Usha Parinayam
 * Bhishma in Bala Bharatam
 * Bhoja in Mahakavi Kalidasu
 * Daksha in Dakshayagnam
 * Duryodhana in Pandava Vanavasam
 * Ghatotkacha in Mayabazar
 * Harischandra in Harischandra
 * Hiranyakashipu in Bhakta Prahlada
 * Kamsa in Yashoda Krishna and Srikrishna Leelalu
 * Keechaka in Narthanasala
 * Mayasura in Bhookailas
 * Narakasura in Vinayaka Chaviti and Deepavali
 * Rajaraja Narendra in Sarangadhara
 * Ravana in Sampoorna Ramayanam
 * Tandra Paparayudu in Bobbili Yuddham
 * Ugrasena in Guna Sundari
 * Yama in Sati Savitri

Personal life
Ranga Rao married Leelavati, daughter of Badeti Venkata Ramayya and Koteswaramma on 27 December 1947. They have three children: two daughters, Vijaya and Prameela and a son, Koteswara Rao.

Ranga Rao wanted to launch his son into films and shot a few portions. But the film didn’t take off for unknown reasons. He was a pet-lover, owned two German Shepherds at his residence. Ranga Rao was a poet and also wrote short stories for a few publications and nurtured a love for cricket, painting, hunting.

Death
Ranga Rao suffered from heart attack at Hyderabad in February 1974. He was admitted in (Osmania General Hospital).Doctors suggested him to have "bypass surgery".and also adviced to quit drinking & acting for sometime and take rest. But rangarao neglected doctors words.unfortunately he suffered from Another heart stroke on 18 July 1974 at Madras it proved fatal and the actor died before any medical treatment could be administered.

Legacy
Government of Andhra Pradesh instituted an award in his memory, presented every year to the best character acting performance, known as the S. V. Ranga Rao Award for Best Character Actor.

A bust-size bronze statue of Ranga Rao was unveiled by popular actor Chiranjeevi at Tummalapall Kalakshetram in Vijayawada in 2010. In 2018, N. Chandrababu Naidu, then Chief Minister of Andhra Pradesh unveiled a 12.5 feet bronze statue of Ranga Rao at Kalaparru on the outskirts of Eluru and announced that the state government was planning to establish a museum on Ranga Rao in Eluru.

Srivathsan Nadadhur of The Hindu wrote of him during his birth centenary in 2018 as follows, "S V Ranga Rao’s diction, towering on-screen persona, impressive quirks to his character-sketches, the ability to draw inspiration from society and literature have cemented his ‘irreplaceable’ stature over the years."

CV Aravind of The News Minute wrote of him in 2018, "SV Ranga Rao was ranked on par with the superstars of the 1950s, 60s and 70s such as N. T .Rama Rao, Nageswara Rao, M. G. Ramachandran, and Sivaji Ganesan. Ranga Rao was one of the earliest to be hailed as a ‘method’ actor and a substandard performance from him was simply out of the question. Rated as one of the most dignified and cooperative stars, he was held in high regard by the acting fraternity."

Awards

 * International honors
 * Best Actor Award - 3rd Afro-Asian Film Festival held in Jakarta - (1963) -  for Keechaka in Nartanasala
 * Special Mention - 8th San Sebastián International Film Festival - (1960) for Nammina Bantu

 * Nandi Award for Best Feature Film (Director)
 * Chadarangam (1967) - Second Best Feature Film (Silver)
 * Bandhavyalu (1968) - Best Feature Film (Gold)

 * Other honors
 * He was given distinguished titles such as Rashtrapati Award, Viswa Nata Chakravarti, Nata Sarvabhouma, Nata Sekhara, Nata Simha.

Director

 * Bandhavyalu (1968)
 * Chadarangam (1967)

Producer

 * Bandhavyalu (1968) (producer)
 * Chadarangam (1967) (producer)
 * Naadi Aada Janme (1965) (producer)
 * Sukhadukhalu (1969)

title: S. V. Ranga Rao


text: Category:Portuguese aviators

title: Category:Portuguese aviators