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Irita Bradford Van Doren

Irita Bradford Van Doren (March 16, 1891 – December 18, 1966) was an American literary figure and editor of the New York Herald Tribune book review for 37 years.

Biography
Born Irita Bradford in Birmingham, Alabama, she moved with her family to Tallahassee, Florida, when she was four. Her father owned and operated a sawmill there. He was killed by a disgruntled former employee when Irita was nine, leaving her mother to support four children. She gave music lessons, mostly to children, and sold homemade preserves.

Bradford graduated from the Florida State College for Women in 1908. She studied at Columbia University for her doctorate in English while teaching part-time at Hunter College.

While at Columbia, she met fellow grad student Carl Van Doren, who was studying politics and government. He was a member of the literary Van Doren family, and later won a Pulitzer Prize for his biography of Benjamin Franklin. They married in 1912, and had three daughters together. They divorced in 1935.

In 1919, she and her husband joined the staff of The Nation, where she succeeded him as literary editor in 1923. The following year, she became assistant to Stuart Sherman, book editor of the New York Herald Tribune. When he died in 1926, Van Doren succeeded him.

Holding this post until 1963, Van Doren became an influential and prominent figure in American letters. She also hosted the popular Book and Author Luncheons, sponsored by the American Booksellers Association and the Herald Tribune, from 1938 to 1963. Radio broadcasts of the luncheons on WNYC began in 1948.

Due to a mutual interest in southern history (Van Doren was the granddaughter of Union General William T. H. Brooks), she met Wendell Willkie, the Republican presidential nominee in 1940. Publicly good friends, they carried on a lengthy romantic affair. She introduced him to the literary world and assisted in writing his speeches and books.

The Irita Van Doren Book Award was established in 1960 by the publisher of the Herald Tribune.

Despite the urging of many, she never wrote her memoirs, referring to herself as "the nonwriting Van Doren".

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

title: Irita Bradford Van Doren


text: User talk:70.112.190.21

title: User talk:70.112.190.21


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User:Moose Boy

Moose Boy is a Wikipedia user and sometime contributor. This page will be updated as he gets the time.

"But what we really want to know is, is he the Moose that bit my sister"... Cute. I like "Holy Grail" too. But at least sign your name if you're going to edit my profile.

title: User:Moose Boy


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Annie Smith Peck

Annie Smith Peck (October 19, 1850 – July 18, 1935) was an American mountaineer and adventurer. The northern peak of the Peruvian Cordillera Blanca mountain chain, Huascarán was named Cumbre Aña Peck in Peck's honor. She was an ardent suffragist and noted speaker. She lectured extensively for many years throughout the world, and wrote four books encouraging travel and exploration.

Early life and education
Peck was born on October 19, 1850, in Providence, Rhode Island. She was the youngest of five children born to Ann Power (Smith) Peck (1820–1896) and George Bacheler Peck (1807–1882). Her brothers, George Bacheler Peck (1843–1934), a doctor; William Thane Peck (1848–1939), principal of Providence Classical High School; and John Brownell Peck (1845–1923), an engineer, merchant, teacher, and farmer; instilled a sense of competitiveness in Peck at a young age. Her sister, Emily Smith Peck (1847–1847), died in infancy.

Peck grew up in Providence, where she attended Dr. Stockbridge's School for Young Ladies and Providence High School. Peck graduated in 1872 from Rhode Island Normal School (present-day Rhode Island College), a preparatory school for teachers. Peck briefly taught Latin at Providence High School, but wanted to attend Brown University like her father and brothers had done; however, she was refused admission to the university on the basis of her gender.

Instead of attending Brown University, Peck moved to Saginaw, Michigan, intending to live on her own and support herself. Peck found work as a preceptress and teacher of languages and mathematics at Saginaw High School, where she remained until 1874. While teaching in Saginaw, Peck decided to further her education by earning an undergraduate degree from a university. When she wrote home to tell her family about her plans, they thought it was "perfect folly" for her to want attend college and graduate at the age of twenty-seven. In a letter to her father, Peck argued, "Why you should recommend for me a course so different from that which you pursue, or recommend to your boys is what I can see no reason for except the example of our great grandfathers and times are changing rapidly in that respect. I certainly cannot change. I have wanted it for years and simply hesitated on account of age but 27 does not seem as old now as it did. I should hope for 20 years of good work afterwards." After learning that she insisted on earning the same education as her brothers, Peck's father agreed to support her education. In 1874 Peck enrolled at the University of Michigan, which opened its doors to women in 1871.

Peck earned an undergraduate degree with honors from the University of Michigan in 1878 with a major in Greek and classical languages and a master's degree in Greek from the university in 1881. She taught Latin and speech at Purdue University from 1881 to 1883. In 1884 Peck traveled to Europe, where she continued her education at Hannover, Germany, and at Athens, Greece. In 1885 Peck became the first woman to attend the American School of Classical Studies at Athens, where she studied archeology.

Career
Although Peck initially worked as a teacher, she took up the sport of mountaineering while studying in the mid-1880s. Beginning in 1892 she made her living as a public lecturer, mountaineer, and author of travel guides. As Peck began to climb, lecture, and explore in Latin America, she also promoted Pan-Americanism (peace between the Americas) and geographic education through her lectures, and publications.

Educator and lecturer
Peck worked as schoolteacher in Providence, Rhode Island, as well as Saginaw, Michigan; Cincinnati, Ohio; and Montclair, New Jersey. From 1881 to 1883 Peck was a professor of Latin and speech at Purdue University, and after returning from a two-year stay in Europe, she briefly taught Latin at Smith College from 1886 to 1887. By 1892 she gave up teaching and made her living by lecturing and writing about archeology, mountaineering, and her travels.

Mountain climber
In 1885, while pursuing her education in Europe, Peck discovered her enthusiasm for mountaineering. She ascended moderate-sized mountains in Europe and in the United States, including California's 14,380 ft Mount Shasta in 1888, the 300 ft summit of Cape Misenum in Italy and small mountain passes in Switzerland, including Theodul Pass at 10000 ft. While in Greece, she climbed Mount Hymettus and Mount Pentecus, which ranged between 3000 ft and 4000 ft.

In 1895 Peck followed in British mountaineer Lucy Walker's ascent of the Matterhorn, but Peck's accomplishment was overshadowed by what she wore during the climb. Her hiking attire included a hip-length tunic, tall climbing boots, and a pair of baggy-kneed knickerbockers trousers, and a felt hat she secured with a veil. At the time, Peck's unusual climbing costume attracted the press's attention and prompted public discussion and debate in the New York Times, for example, on the question of what women should do and what they can aspire to become.

Peck climbed 18406 ft Pico de Orizaba and also Popocatepetl in Mexico in 1897. At the time her climb of Orizaba was the highest ascent in the Americas ever made by a woman. Three years later, in 1900, she climbed Monte Cristallo in the Italian Dolomites, the Jungfrau in Switzerland's Bernese Alps, and the Fünffingerspitze in Austria. Peck also helped to found the American Alpine Club in 1902.

Although already over fifty years old, Peck wanted to make a record-setting climb. She traveled to South America in 1903, looking for a mountain taller than the 6960 m Aconcagua in Argentina. She attempted Illampú in Bolivia in 1903 and again in 1904. Accompanied by two Swiss mountain guides in 1908, her expedition was the first to climb the north peak of the 6768 m Huascarán in Peru. The south peak of Huascarán, which is taller than the north peak, was first climbed by Germans in 1932.

Peck's accomplishment would have bested Fanny Bullock Workman's ascent of the Himalayan Pinnacle Peak, at 6930 m it was the world record for highest altitude climb; however, Workman challenged Peck's claim of the new world's highest altitude record during her Huascarán climb. To validate her challenge, Workman paid engineers to recalculate Peck's altitude by triangulating the peak. The engineers established that Peck's Huascarán calculations had been wrong; she had misjudged the altitude by about 600 m, calculating it as 7300 m due to broken altimeters, meaning that Peck had obtained the Americas record in the Western Hemisphere, while Workman remained the world record holder for highest altitude climb.

In 1911, at the age of 61, Peck climbed one of the five peaks on 21083 ft Coropuna in Peru. Peck, an ardent suffragist, when she reached the top of Coropuna, Peck placed a "Votes for Women" banner at the summit. Peck later wrote a book about her experiences called A Search for the Apex of America: High Mountain Climbing in Peru and Bolivia, including the Conquest of Huascaran, with Some Observations on the Country and People Below (1911). Her famous quote, "My home is where my trunk is," originated from this book.

Later years
In 1929–30, Peck made a seven-month trip, "mostly by airplane," around South America in order to demonstrate the ease and safety of commercial flights for airline passenger. Her journey was the longest by air by a North American traveler at the time. After returning to the United States she published her fourth and final book: Flying Over South America: Twenty Thousand Miles by Air (1932). Peck also continued to scale mountains into her old age. She climbed New Hampshire's 1638 m Mount Madison, her final mountain, at the age of eighty-two.

Peck wrote two additional books about her travels, The South American Tour: A Descriptive Guide (1913) and Industrial and Commercial South America (1922). Both books were popular with diplomats, businessmen, corporations, politicians and tourists. In addition to becoming a founding member of the American Alpine Club in 1902, Peck became president of the Joan of Arc Suffrage League in 1914; a fellow of the Royal Geographical Society in 1917; and was admitted to the Society of Woman Geographers in 1928.

Death and legacy
Peck, who never married, started a world tour in 1935 at the age of eighty-four, but became ill while climbing the Acropolis of Athens. She returned to her home at the Hotel Monterey in New York City and died of bronchial pneumonia on July 18, 1935. Peck's remains were cremated and her ashes were buried in the North Burial Ground cemetery in Providence, Rhode Island.

Peck was remembered for her "adventurous spirit" in the sport of mountaineering, but her climbing accomplishments are not well known in the present-day. Her personal papers (1873–1935), including diaries, correspondence, and photographs are housed at the Brooklyn College Library Archives and Special Collections.

Honors and awards

 * In 1927 the Lima Geographical Society renamed the 6648 m northern peak of Huascarán the Cumbre Aña Peck in her honor is its first climber.
 * In 1930 Luis E. Feliú, the consulate of Chile, awarded Peck the Decoration al Merito on behalf of the Chilean government.
 * Recognized for her contributions to South American trade and industry, Peru's government awarded her a gold medal for her exploration in "biographical and industrial data," and for "her ascents to the lofty summits of the Peruvian Andes."

Selected published works
Peck wrote magazine articles and authored four books.
 * The Search for the Apex of America: High Mountain Climbing in Peru and Bolivia, Including the Conquest of Huascaran, with Some Observations on the Country and People Below (1911)
 * The South American Tour (1913)
 * Industrial and Commercial South America (1922)
 * Flying Over South America: Twenty Thousand Miles by Air (1932)

title: Annie Smith Peck


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Talk:Google Talk

Gtalk history now stored in Gmail
The criticism section and perhaps other sections need revision as Gmail now has the option to store Gtalk history automaticall.

voip
its nice to know they released the lib but has anyone actually done anything with it?

Previous version's references to service shutdown directly conflicted with all evidence provided by Google
The amount of misinformation here was surprising.

"deprecation" != "shutdown" "Windows client" != "all access from Windows" "all access from Windows" != "the service"

I am stupid no one likes me everyone hates me
I am stupid no one likes me evryone hates me 98.97.32.103 (talk) 07:06, 4 February 2024 (UTC)

Viva max
Viva max Viva max 49.147.103.193 (talk) 00:28, 5 April 2024 (UTC)

Tell me french phrases out loud with the words:cirque,debout,directeur,directrice,direction,drôle également et entrée.Comme c’était un dictée 142.119.5.120 (talk) 02:16, 3 May 2024 (UTC)

title: Talk:Google Talk


text:
Casino Cinema

Casino Cinema is a Spike programming block hosted by Steve Schirripa and Beth Ostrosky. The show, which was played around the commercial breaks of a film, featured the hosts (plus a guest player) teaching the audience how to play a casino game.

Partial listing of guests featured on Casino Cinema

 * Criss Angel
 * Tobin Bell
 * Tom Berenger
 * Jordana Brewster
 * Christian Cage
 * Jessica Canseco
 * David Cross
 * Corey Feldman
 * Forrest Griffin
 * Artie Lange
 * Method Man
 * Jim Norton
 * Grace Park
 * Vincent Pastore
 * Natalie Portman
 * Dennis Rodman
 * Kurt Russell
 * M. Night Shyamalan
 * Kevin Smith
 * Shawnee Smith
 * Scott Stapp
 * Callie Thorne

Partial listing of the films featured on Casino Cinema

 * Bloodsport
 * The Cutter
 * Dr. No
 * Drop Zone
 * Fight Club
 * For Your Eyes Only
 * Ghost Ship
 * Hot Shots! Part Deux
 * Kickboxer
 * Lethal Weapon
 * Lethal Weapon 2
 * Point Break
 * Red Dawn
 * Rocky IV
 * Sin City
 * Sniper (1993)
 * Super Troopers
 * The Texas Chainsaw Massacre (2003)
 * Today You Die
 * Top Gun

title: Casino Cinema


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Fundamental Constitutions of Carolina

The Fundamental Constitutions of Carolina were adopted on March 1, 1669 by the eight Lords Proprietors of the Province of Carolina, which included most of the land between what is now Virginia and Florida. It replaced the Charter of Carolina and the Concessions and Agreements of the Lords Proprietors of the Province of Carolina (1665). The date March 1, 1669 was the date that proprietors confirmed the Constitutions and sent them to the Colony, but later on two other versions were introduced in 1682 and in 1698. Moreover, the proprietors suspended the Constitutions in 1690. Despite the claims of proprietors on the valid version of the Constitution, the colonists officially recognized the July 21, 1669 version, claiming that six proprietors had sealed the Constitutions as "the unalterable form and rule of Government forever" on that date. The earliest draft of this version in manuscript is believed to be the one found at Columbia, South Carolina archives.

The Constitutions were "reactionary" and "experimented with a non-common law system designed to encourage a feudal social structure", including through the use of non-unanimous jury decisions for criminal convictions.

Some scholars think that the Colonists, settlers and the British Crown kept themselves at a distance to the Constitutions from the beginning. However that is far from the truth: it was a legal document that drew on the King's earlier charter to the colony and reflected crucial legal realities. While the provisions of the Fundamental Constitutions were never fully employed nor ratified, the Constitutions did help to shape power in the Carolinas and especially land distribution. Colonists' main concerns over the document were its exaltation of proprietors as noblemen at the apex of the hierarchically designed society. Second, the Constitutions had rules that were hard to implement by settlers for practical reasons. Thus, the proprietors had to amend the rules five times. They were repealed in part after the revolution against James II—the Glorious Revolution—which also reflected a partial reaction against such principles. However, for eight proprietors and the king who were the authors of the "Fundamental Constitutions," it reflected the proper order of governance, or as they wrote, they were creating a government with lords so "that the government of this province may be made most agreeable to the monarchy under which we live and of which this province is a part; and that we may avoid erecting a numerous democracy."

Authorship
Because the Fundamental Constitutions were drafted during John Locke's service to one of the Province of Carolina proprietors, Anthony Ashley Cooper, it is widely alleged that Locke had a major role in the making of the Constitutions. In the view of historian David Armitage and political scientist Vicki Hsueh, the Constitutions were co-authored by Locke and his patron Cooper, known also as 1st Earl of Shaftesbury. However the document was a legal document written for and signed and sealed by the eight Lord proprietors to whom Charles II had granted the colony; because of this, historian Holly Brewer argues that Locke was only a paid secretary and wrote the Fundamental Constitutions much as a lawyer writes a will.

Main features
After Locke's later writings became famous (after the Glorious Revolution of 1689), his role brought attention to the Constitutions, particularly for their value in the context of classical liberalism. Armitage suggests that Constitutions were the first printed work with which Locke's name could be associated, and that they were published before his widely known writings, Essay Concerning Human Understanding and the Two Treatises of Government, published in 1689 and 1690. The STC catalog guesses there might be publications of the Fundamental Constitutions that correspond to the existing manuscripts (in 1670 and 1682). However first publication that can be confirmed is 1698, which postdates by almost a decade Locke's better known writings.

The level of religious tolerance portrayed in the Constitutions was acclaimed by Voltaire who advised, "Cast your eyes over the other hemisphere, behold Carolina, of which the wise Locke was the legislator." The Constitutions introduced certain safeguards for groups seeking refuge for religious reasons. To that end, Article 97 of the document foresaw: "...the natives who...are utterly strangers to Christianity, whose idolatry, ignorance, or mistake gives us no right to expel or use them ill; and those who remove from other parts to plant there will unavoidably be of different opinions concerning matters of religion, the liberty whereof they will expect to have allowed them...and also that Jews, heathens, and other dissenters from the purity of Christian religion may not be scared and kept at a distance from it...therefore, any seven or more persons agreeing in any religion, shall constitute a church or profession, to which they shall give some name, to distinguish it from others." Accordingly, the Constitutions gave the right to worship and the right to constitute a church to religious dissenters to Christianity and outsiders such as Jews. They also promised religious tolerance towards idolater Indians and heathens.

The Constitutions also had less liberal and more aristocratic elements in it compared to the egalitarian, democratic and liberal standard of John Locke's much more famous, Two Treatises of Government. The Fundamental Constitutions promoted both aristocracy and slavery in North America. The notorious article 110 of the Constitutions stated that "Every freeman of Carolina shall have absolute power and authority over his negro slaves, of what opinion or religion soever." Pursuant to this provision slaveholders were granted absolute power of life and death over their slaves. Additionally, the Fundamental Constitutions held that being a Christian does not alter the civil dominion of a master over his slaves. (Article 107) Brewer argues that Locke's early involvement in the Fundamental Constitutions is evidence of his cooperation with Charles II's plans to promote slavery and hierarchy in the empire, but that in fact Locke's later writings show how his ideas formed in reaction to the societal vision propounded by the Fundamental Constitutions and other efforts of Charles II and his Privy Council to promote both hierarchy and slavery across the empire.

Apart from the slavery, the erection of hereditary nobility and recognition of noble titles raised controversies. Because the King's original charter to the eight proprietors for Carolina prevented the proprietors from granting titles already in use in England, such as Earl or Baron, they created two new titles, cassique and landgrave, that would be passed down from father to son. Those nobles were granted privileges such as being tried only in Chief Justice's Court and being found guilty by a jury of their peers. (Article 27) The Constitutions introduced also a hereditary serfdom system, the members of which were called leetmen, in addition to slavery.

Like the slaves, the leetmen and leetwomen were under command and jurisdiction of noblemen to whom they serve. (Article 22) Through the Constitutions, the Lords Proprietor and the noblemen owned two-fifths of the Colony's vast lands. By the same token, the freemen had the right to property for the rest of the land, and any among them who owned more than fifty acres had right to vote, and any who had more than five-hundred acres of land had the right to be a member of Parliament. (Article 72) This requirement of land ownership has been considered as relatively favorable to the freemen in comparison to the England.

Elections were to be held by secret ballot, which was not yet common practice in England. Laws were to expire automatically after one hundred years, thus preventing outdated regulations from remaining on the books.

title: Fundamental Constitutions of Carolina


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Coonskin (film)

Coonskin is a 1975 American live-action/animated satirical crime film written and directed by Ralph Bakshi. The film references the Uncle Remus folk tales, and satirizes the blaxploitation film genre as well as Disney's film Song of the South, adapted from the Uncle Remus folk tales. The film's narrative concerns three anthropomorphic Uncle Remus characters, Br'er Rabbit, referred to as Brother Rabbit, Br'er Fox, referred to as Preacher Fox, and Br'er Bear, referred to as Brother Bear. They rise to the top of the organized crime racket in Harlem, encountering corrupt law enforcement, con artists, and the Mafia, in a satire of both racism within the Hollywood film system, and America itself. The film stars Philip Thomas, Charles Gordone, Barry White, and Scatman Crothers, all of whom appear in both live-action and animated sequences.

Originally produced under the titles Harlem Nights and Coonskin No More... at Paramount Pictures, Coonskin encountered controversy before its original theatrical release, when the Congress of Racial Equality accused the film of being racist. When the film was released, Bryanston gave it limited distribution and it initially received mixed reviews. Later re-released under the titles Bustin' Out and Street Fight, Coonskin has since been re-appraised, recontextualizing the film as the condemnation of racism that the director intended, rather than a product of a racist imagination, as its detractors had claimed. A New York Times review said, "Coonskin could be Ralph Bakshi's masterpiece." Bakshi has stated that he considers Coonskin to be his best film.

Plot
In a small town in Oklahoma, The local Preacher (Charles Gordone) takes a prayer, to the kids, then gives them a tour. When he gets there, he meets Sampson (Barry White) and plans to bust out their friend Randy (Philip Michael Thomas) from prison. As they rush to the prison, the two are stopped by a woman, who gives Sampson the price. Meanwhile, Randy and another cellmate named Pappy (Scatman Crothers) escape from inside the prison and wait for Sampson and the Preacher to help them get out. While waiting for them, Randy unwillingly listens to Pappy tell a story about three guys that resemble Randy and his friends. Pappy's story is told in animation set against live-action background photos and footage.

After getting evicted from their home, which was converted into a brothel, Brother Rabbit (Philip Michael Thomas), Brother Bear, and Preacher Fox (Barry White and Charles Gordone) plan to meet up with its new owner to get the price they are owed. The town sheriff and his deputy arrive as customers, making the brothel owner leave town. It turns out that one of the prostitutes was the sheriff's daughter. After shooting his deputy in a rage, the sheriff turned his gun on Rabbit, who threw a knife killing the sheriff. The trio ran off deciding to move to Harlem, "home to every black man". This then leads to a lady telling a newborn a story about Malcolm. Rabbit, Bear, and Fox then stop the car and find that it is not all that it is made out to be. This leads to an old man digging in the trash.

They encounter a con man named Simple Savior, an obese and phony revolutionary leader who claims to be the cousin of "Black Jesus", and that he gives his followers "the strength to kill whites". In a flashy stage performance in his "church", Savior acts out being brutalized by symbols of black oppression—represented by images of John Wayne, Elvis Presley, and Richard Nixon, before asking his parishioners for "donations". Rabbit and his friends quickly realize that Savior's "revolution" is merely a money-making scam, and they quickly argue about it, before leaving off.

Rabbit openly steals a large portion of the donation money, prompting Savior to try to have him killed. After Rabbit tricks his would-be murderers (in a paraphrasing of the story of Br'er Rabbit and the brier patch), he and Bear kill Savior. This allows Rabbit to take over Savior's racket, putting him in line to become the head of all organized crime in Harlem. Rabbit lays out his plan to keep all organized crime money in Harlem. But first, he has to get rid of a few other opponents. Savior's former partners tell Rabbit they will join him but only if he can kill his opponents; otherwise they will kill him instead.

Rabbit first goes up against Mannigan (Frank de Kova), a virulently idiotic and homophobic police officer and bagman for the Mafia, who demonstrates his contempt for African Americans in various ways, including a refusal to bathe before an anticipated encounter with them. He believes that they are not worth it. When Mannigan finds out that Rabbit has been taking his payoffs, he and his cohorts, Ruby (Frank de Kova) and Bobby, are led to a nightclub called "The Cottontail". A black stripper distracts him while an LSD sugar cube is dropped into his drink.

Mannigan, while under the influence of his spiked drink, is given a joint, either filled with marijuana or angel dust, and then is maneuvered into a sexual liaison with a stereotypically effeminate gay man. He is then shot up with heroin and shoved into women's clothing, representative of the mammy archetype, adorned in blackface, and shoved out to the back of the club, where he discovers that Ruby and Bobby are dead. While recovering from being drugged, he fires his gun randomly in a fit of madness, and is brutally shot to death by the arriving police, who were either called in or alerted by the gunshots going off, after shooting one of the officers dead in his stupor. All of Harlem celebrated the death of Managan.

Rabbit's next target is Sonny (Richard Paul). Arriving outside Rabbit's nightclub in blackface and clothing representative of minstrel show stereotypes, Sonny attempts to kill Rabbit. Bear defends Rabbit, at the cost of getting shot by Sonny several times. When Sonny then attempts to escape in his car, he is shot multiple times by Rabbit, before crashing into a wall and dying in the explosion. The film reverts back to Sampson and the Preacher, in the gas station waiting to gas up the car. The Preacher angrily has a fight with the man in the gas station. Sampson rescues him and they drive off. They are stopped at a roadblock, and have a shootout with the police.

Randy tries to set himself free, but Pappy stops him, telling him the rest of the story. A black man talks about his life in Harlem, causing him to be shot down by Rabbit. During his recovery, Bear becomes torn between staying with Rabbit or starting a new crime-free life. Bear decides to look for Fox in order to seek his advice. Upon arriving at Fox's newly acquired brothel, Bear is "married" to Pearl, a girl that he, Fox, and Rabbit met during the fight with Savior's men. Sonny's body is cremated and taken back home, where his mother weeps over his ashes. This gives the cross-dressing, gay (and possibly incestuous) sons to get Mario the clown to tell The Godfather (Al Lewis), a grotesque crime boss, the good news, he then has a chat with Fox, who is left behind. His wife then tries to kill the Godfather in revenge for her son's death, only to be shot and killed by Mario.

Under the advisement of Fox, Bear becomes an undefeated heavy weight boxer for the Mafia. Soon an invitation was sent to Rabbit to challenge a fighter against Bear. During the fight at the Godfather's lair, Rabbit sets up a melting imitation of himself made out of tar. As the Godfather and Mafiosos take turns stabbing at the "tar rabbit", they become stuck together. Rabbit leaves a bomb next to them and then he, Bear, Fox, and the opponent boxer rush out of the boxing arena as it blows up; vaporizing the Godfather and his associates. As they drove through the streets of Harlem, Bear was angry that Rabbit and Fox had planned everything and not tell Bear about it. The trio laughed knowing that it all worked out.

The live-action story ends with Randy and Pappy escaping from the prison with the aid of Sampson and the Preacher who finally arrive while being shot at by various white cops, but managing to make it out alive.

The main plot of the film is interspersed with animated vignettes depicting a white, blonde, large-breasted "Miss America" (Jesse Welles) who is imagined by Rabbit as a personification of the United States. In each of these short scenes, she seduces a black man (meant to depict the African-American populace), only to instead beat or kill him. In the final act of the film, the real Miss America appears as a patron in Rabbit's bar and an ardent supporter of his (heavily implied to have a crush on him).

Cast

 * Philip Michael Thomas as Randy
 * Barry White as Sampson
 * Charles Gordone as Preacherman
 * Scatman Crothers as Pappy

Voices

 * Philip Michael Thomas as Brother Rabbit
 * Barry White as Brother Bear
 * Charles Gordone as Preacher Fox
 * Scatman Crothers as Old Man Bone / Simple Savior / Additional Voices
 * Danny Rees as Mario the Clown
 * Buddy Douglas as Referee
 * Jim Moore as The Mime
 * Al Lewis as The Godfather
 * Richard Paul as Sonny
 * Frank de Kova as Mannigan / Ruby
 * Ralph Bakshi as Cop with Megaphone
 * Theodore Wilson and Scatman Crothers as Minstrel
 * Jesse Welles as Marrigold / Miss America

Production
During the production of Heavy Traffic, filmmaker Ralph Bakshi met and developed an instant friendship with producer Albert S. Ruddy during a screening of The Godfather, and pitched Harlem Nights, a satirical adaptation of the Uncle Remus storybook, to Ruddy. In 1973, production of Harlem Nights began, with Paramount Pictures (where Bakshi once worked as the head of its cartoon studio) originally attached to distribute the film. Bakshi hired several black animators to work on Harlem Nights, including graffiti artists, at a time when black animators were not widely employed by major animation studios. Production concluded in the same year. During production, the film went under several titles, including Harlem Days and Coonskin No More...

Coonskin uses a variety of racist caricatures from blackface minstrelsy and darky iconography, including stereotypes featured in Hollywood films and cartoons. In the book ''That's Blaxploitation! Roots of the Baadasssss 'Tude (Rated X by an All-Whyte Jury), Darius James writes that "Bakshi pukes the iconographic bile of a racist culture back in its stupid, bloated face, wipes his chin and smiles Dirty Harry'' style. [...] He subverts the context of Hollywood's entire catalogue of racist black iconography through a series of swift cross-edits of original and appropriated footage." The film also features equally exaggerated portrayals of white Southerners, Italians, and homosexuals. The depiction of Jewish characters stems from stereotypes portrayed in Nazi propaganda, including The Eternal Jew.

In his review for The Hollywood Reporter, Arthur Knight wrote "Coonskin is not anti-black. Nor is it anti-Jewish, anti-Italian, or anti-American, all of whom fall prey to Bakshi's wicked caricaturist's pen as intensely as any of the blacks in his movie. What Bakshi is against, as this film makes abundantly clear, is the cheats, the rip-off artists, the hypocrites, the phonies, the con men, and the organized criminals of this world, regardless of race, color, or creed."

The film is most critical in its portrayal of the Mafia. According to Bakshi, "I was incensed at all the hero worship of those guys in The Godfather; Pacino and Caan did such a great job of making you like them. [...] One thing that stunned me about The Godfather movie: here's a mother who gives birth to children, and her husband essentially gets all her sons killed. In Coonskin, she gets her revenge, but also gets shot. She turns into a butterfly and gets crushed. [...] These [Mafia] guys don't give you any room."

The live-action sequences feature singers Barry White and Scatman Crothers, actor and playwright Charles Gordone, and actors Philip Michael Thomas, Danny Rees, and Buddy Douglas. Thomas, Gordone, and White also provide the voices of the film's main animated characters. In the film's ending credits, the actors were only credited for their live-action roles, and all voice actors who did not appear in the live-action sequences were left uncredited. Among the voices featured in the film was Al Lewis, best known for appearing as Grandpa on The Munsters. Bakshi also worked with Gordone on the film Heavy Traffic, and worked with Thomas again on the film Hey Good Lookin'. The film's opening credits feature a long take of Scatman Crothers performing a song on vocals and guitar called "Coonskin No More".

Coonskin uses a variety of different styles of artwork, filmmaking and storytelling techniques. Film critic Leonard Maltin wrote that Coonskin "remains one of [Bakshi's] most exciting films, both visually and conceptually." Darius James writes that Coonskin "reads like an Uncle Remus folktale rewritten by Chester Himes with all the Yoruba-based surrealism of Nigerian author Amos Tutuola." The film directly references the original African folk tales that the Uncle Remus storybooks were based on in two scenes that are directly reminiscent of the stories The Briar Patch and The Tar Baby.

Writer and former pimp Iceberg Slim is briefly referenced in the dialogue of Preacher Fox, and the Liston–Ali fights are referenced in the film's final act, in which Brother Bear, like Sonny Liston, is sold out to the Mafia. The film also features a pastiche of cartoonist George Herriman and columnist Don Marquis' "archy and mehitabel", in a monologue about a cockroach that leaves the woman who loves him. Bakshi has stated that Herriman, a Biracial American Creole, is his favorite cartoonist.

Release
When the film was finished, a showing was planned at the Museum of Modern Art. The Congress of Racial Equality (CORE) surrounded the building, in a protest led by Elaine Parker. Gregg Kilday of the Los Angeles Times interviewed Larry Kardish, a museum staff member, and Kardish recalled that "About halfway into the film about ten members of CORE showed up. They walked up and down the aisles and were very belligerent. In my estimation they were determined not to like the film. Apparently some of their friends had read the script of the movie and in their belief it was detrimental to the image of blacks [...] The question-and-answer session with Bakshi that followed quickly collapsed into the chaos of a shouting match."

Animation historian Jerry Beck did not recall any disturbance during the screening, but said there were racist catcalls during the question-and-answer session, and Bakshi's talk was cut short. "It wasn't much of a madhouse, but it was kind of wild for the Museum of Modern Art."

Following the showing, the Paramount Building in New York City was picketed by CORE. Elaine Parker, chairman of the Harlem chapter of CORE, spoke out against the film in January 1975. She told Variety that the film "depicts us as slaves, hustlers and whores. It's a racist film to me, and very insulting." The Los Angeles chapter of CORE demanded that Paramount not release the film, claiming that it was "highly objectionable to the black community." The NAACP wrote a letter describing the film as a difficult satire, but supported it.

New distributor
With Paramount's permission, Bakshi and Ruddy were contractually released, and the Bryanston Distributing Company was made as the new distributor for the film. Two weeks after the film opened, the distributor went bankrupt. According to a May 1975 issue of The Hollywood Reporter, Ben Gage was hired to re-record some of Barry White's voice tracks, in order to remove "racist references and vulgarity." Coonskin was given limited distribution, and advertised as a blaxploitation film. Roger Ebert wrote in his review of the film:

"Coonskin is said by its director to be about blacks and for whites, and by its ads to be for blacks and against whites. Its title was originally intended to break through racial stereotypes by its bluntness, but now the ads say the hero and his pals are out 'to get the Man to stop calling them coonskin.' The movie's original distributor, Paramount, dropped it after pressure from black groups. Now it's being sold by Bryanston as an attack on the system. [...] Coonskin is provocative, original and deserves better than being sold as the very thing it's not."

In a 1982 article published in The Village Voice, Carol Cooper wrote "Coonskin was driven out of theaters by a misguided minority, most of whom had never seen the film. CORE's pickets at Paramount's Gulf and Western headquarters and, later, a few smoke bombs lobbed into packed Broadway theaters were enough; theater owners were intimidated, and the auxiliary distributor, Bryanston, couldn't book the film."

Distribution and discovery of the Paramount cut
Coonskin was released straight to VHS in Italy in 1992 by Gruppo Logica 2000, with an Italian dub recorded in Milan. For unknown reasons, the distributor received and used the original cut of the film shown at the Museum of Modern Art in 1974: this version primarily featured several changes in the order of scenes; and while some sequences, including the animated prologue, were missing, several others were longer or entirely unavailable in the standard version. This alternative cut is around 99 minutes long (accounting for PAL speedup), compared to 83 minutes for the Bryanston version. This situation went nearly unnoticed (and the film was never re-released in Italy) until in early 2023 the Italian YouTuber 151eg, in an attempt to rediscover the lost Italian dubbing of the film, contacted a private collector and purchased the VHS tape, only to discover the longer and different cut of the film. The Paramount cut with its Italian dub was subsequently published on the 151eg channel and on archive.org. In 2023 Italian publisher Sinister Film released Coonskin on DVD including both the standard and the extended version.

Critical response
Initial reviews of the film were mixed. Playboy said of the film, "Bakshi seems to throw in a little of everything and he can't quite pull it together." A review published in The Village Voice called the film "the product of a crippled hand and a paralyzed mind." Arthur Cooper wrote in Newsweek, "[Bakshi] doesn't have much affection for man or woman kind—black or white." Eventually, positive reviews appeared in The New York Times, The Hollywood Reporter, the New York Amsterdam News (an African American newspaper), and elsewhere, but the film died at the box office.

Richard Eder of The New York Times wrote, "[Coonskin] could be his masterpiece [...] a shattering successful effort to use an uncommon form—cartoons and live action combined—to convey the hallucinatory violence and frustration of American city life, specifically black city life [...] lyrically violent, yet in no way [does it] exploit violence." Variety called the film a "brutal satire from the streets. Not for all tastes [...] not avant-garde. [...] The target audience is youth who read comics in the undergrounds." A reviewer for The Los Angeles Herald Examiner wrote "Certainly, it will outrage some and indeed it's not Disney. I liked it. The dialogue it has obviously generated—if not the box office obstacles—seems joltingly healthy."

Stanley Kauffmann of The New Republic wrote "Coonskin is a flawed but fierce little work of art, at a high level of imaginative energy and with some touches of brilliance".

Legacy
Coonskin was later re-released under the title Bustin' Out, but it was not a success. In 2003, the Online Film Critics Society ranked the film as the 97th greatest animated film of all time. Coonskin was released on VHS by Academy Entertainment in late 1987, and later by Xenon Entertainment Group in the 1990s, both under the re-release title, Street Fight. The 1987 edition carried the disclaimer, "Warning: This film offends everybody!".

In 2010, Shout! Factory announced that Coonskin would be released on DVD in November 2010, intending to release it with a reversible cover with both titles of the film. The release was cancelled due to a legal issue involving ownership of the rights to the film, resolved with Xenon's DVD release in 2012. The 2012 release was the first official home video release to carry the film's original title. The film was first released on Blu-ray in Germany in 2015.

In September 2012, Bakshi incorporated animation from Coonskin into a new short film, Trickle Dickle Down, criticizing Republican presidential candidate Mitt Romney.

title: Coonskin (film)


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User:Ayed

/fIREHOSE article

title: User:Ayed


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Jason Wynn

Jason Wynn is a supervillain in the Todd McFarlane Image Universe comic book series Spawn. Wynn is the director of the United States Security Group. He is perhaps the most powerful man in the world, and has politicians throughout the government on his payroll. His actions caused Al Simmons' soul to be sent to Hell and transformed into Spawn in the first place, making him a major villain in the comics as a result.

Wynn also runs a heavy trade within the black market, and has formed himself a multitude of underground alliances, some of which include the Chinese triads and the Mafia, whose boss, Tony Twist, answered directly to Wynn. He is depicted, in many ways, to be a reincarnation of Genghis Khan.

Fictional character biography
Jason Wynn is the director of the United States Security Group, an umbrella agency encompassing the Central Intelligence Agency, the National Security Agency, and National Security Council. When working for Wynn, Simmons had been ordered to carry out too many bloody missions and atrocities with fewer and fewer satisfactory explanations, and was beginning to ask difficult questions; to Wynn, the master controller, this was intolerable. While on a mission, Wynn had Simmons ambushed by his partner, Chapel, and burned alive. As Spawn, Simmons came back seeking revenge, but Wynn somehow always manages to escape.

Wynn uses Machiavellian intrigue and subtle machinations to expand his power base. Wynn provides weapons to rebel armies in different countries, sometimes playing two factions off against one another so that whoever wins will be indebted to him. He is cold, calculating, and utterly ruthless.

Deal with the "Devil"
Wynn had an agreement with Malebolgia in which he traded the soul of his best soldier, Simmons, in exchange for psychoplasm, the supernatural substance containing profound powers and is the very essence of what Hell is made of in the Spawn universe. The sample that Wynn obtained from the demon lord was combined with Simmons' memories and transformed into a training ground made up of building from his past known as "Simmonsville," which was a small piece of Hell on Earth and a very important project run by the US Government.

Simmonsville was destroyed by Spawn during Wynn's brief stint as Anti-Spawn/Redeemer I. Because Wynn was tainted by evil, he could not attain his full potential as the Redeemer and was defeated. He then had his memory wiped and was returned to Earth two days after his disappearance. After this, Wynn would continue to work off and on with The Clown, Malebolgia's henchman, to try to bring about Spawn's second death.

The Return
When Mammon restored The Clown's existence on Earth and gave him a pass to take a new body, the Clown chose Wynn and assumed a dominant role in his psyche. The Clown took the form of a hallucination which allowed Wynn to collect himself enough to return to the NSA. He then went on a killing spree in his spare time, brutally murdering women that resembled Wanda Blake.

Wynn was caught in the act, and the Clown's face paint, at a construction site. Spawn beat him and saved the woman.

The Clown finally made his play for Wynn's body. By "stepping on his hands," he caused Wynn to let go of the steel girder he was clinging to and fall to his apparent death, then took full possession of his body.

Current status
During the torture of Spawn by Grand Inquisitor Thamuz, Wynn was seen in the assembled rogues gallery alongside Clown and The Violator, but it was revealed that they were lower-level demons, masked in the visage of Spawn's enemies through the magic of Thamuz.

Wynn reappeared in issue 167–168. After the white light event, he is alive and separated from Clown, the only side effect being that his hands have become permanently stained red. Though he attempts to regain his political power and authority, he is foiled by Spawn, who confronts Wynn to gather information on the reappearance of Clown/Violator. Throughout his career, Jason Wynn had gathered incriminating evidence on various governments and organizations, preventing him from being terminated and providing him with a bargaining chip to regain his authority if lost. However, Spawn reveals that he had found and destroyed Wynn's collection of evidence, leaving Wynn without the safety net that he had built for himself as protection against all those who want him dead. Spawn then leaves Wynn to his predicament, seeing Wynn as a "dead man".

In Spawn #227, Jason Wynn was finally hunted down and killed by having his neck broken by the new Spawn, former scientist Jim Downing, whose wife was tortured and killed by Wynn prior to his transformation.

Return as Disruptor
In Spawn's Universe one shot and king Spawn series it is revealed that Disruptor is a revived Jason Wynn.

Television
Jason Wynn appears in the Spawn cartoon series as one of the main antagonists, voiced by John Rafter Lee.

Film
Jason Wynn appears in the 1997 film Spawn, portrayed by Martin Sheen. This version of Wynn is the head of an agency known as A6 and is Al Simmons's boss. Unlike his comics counterpart, Wynn in the film kills Simmons in person with Jessica Priest's help rather than ordering his murder. Following the attack by Simmons and the death of Priest, Violator convinces Wynn to have a device attached to his heart that will release Heat 16 worldwide if his vital signs flatline as a deterrent against assassination attempts. However, Malebolgia wants Simmons to kill Wynn and initiate the apocalypse. Wynn then proceeds to go to the Fitzgerald residence. After Terry Fitzgerald sends an e-mail to reporters that would expose Wynn's illegal activities, Cyan and Wynn enter the room. Wynn destroys Terry's computer and takes the family hostage as Violator shows up. Spawn arrives and nearly kills Wynn, but Al extracts the device from Wynn's body with magic and destroys it. Following the defeat of Violator, Wynn is arrested by two detectives that resemble Sam and Twitch.

Video games
Jason Wynn has appeared as an antagonist in a number of video games based on Spawn including Spawn: Armageddon, Todd McFarlane's Spawn: The Video Game, Spawn: The Eternal and Spawn: In the Demon's Hand.

Jason Wynn was mentioned in Mortal Kombat 11. In her dialogue with Spawn, Sonya Blade states to him that Wynn is now an enemy of the US Government. Wynn appears as a skin in season 6 of Call of Duty Modern Warfare II in his Disruptor persona.

Action figures
Like many characters in the Spawn Universe, Jason Wynn has been made into a number of action figures.

title: Jason Wynn


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Alexa (typeface)

Alexa is a typeface. It was designed for Adobe Systems in 1995 by John Benson, a United States carver of inscriptions, including those at the John F. Kennedy Memorial in Arlington National Cemetery. Benson modeled the friendly, casual script after his own handwriting and named it after his niece. Although based on the cancelleresca style of 16th-century Italian writing masters, Alexa has no swash terminals or ligatures. The absence of these features and its pronounced slope give this typeface a distinctly modern look for lively lines and pages. One can use Alexa for both text and display sizes.

title: Alexa (typeface)


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User:Rajkiran

I am Rajkiran Panuganti. I am a graduate student at The Ohio State University. I'm working on Automatic Parallelization of MATLAB based programs.

Visit My Webpage at

www.cse.ohio-state.edu/~panugant/index.html

More details to come :)

title: User:Rajkiran


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Talk:Miguel Najdorf

old talk
I would like to see this page revert. Describing the Taimanov-Najdorf game as a "Taimanov-Narjdof (sic) match" is not only a grotesque misspelling but also a misuse of the term "match" in a chess context. One game from a tournament isn't a "match." Bill-on-the-Hill 03:37, 24 August 2005 (UTC)
 * Feel free to fix the article yourself. -Mariano 07:21, 24 August 2005 (UTC)

 * I've fixed it now, but Mariano is right, of course: it's usually better to fix these things yourself when you see them (be bold in updating pages and all that). If you just comment on talk, you could be waiting months for somebody else to do it! --Camembert 12:49, 24 August 2005 (UTC)

 * Yeah, understood, but I didn't want my objection to seem like dueling author vanities, since the text that was modified to produce that bad "match" terminology and box was all mine. Bill-on-the-Hill 13:02, 24 August 2005 (UTC)
 * Usually, if there's not an edit war, you do your changes and justify them in the edit summary field. To roll back such a modification might be better to leave a messege on the talk page first. Good wiking, Mariano 14:27, 24 August 2005 (UTC)

Date of birth
I haven't been able to find any reference to Najdorf's birth date, and I always thought it to be unknown. Anon user 81.97.127.110 added September 4 as ihs birthdate, but it should be backedup with some reference. Mariano (t/c) 09:10, 27 December 2005 (UTC)

All books say 15 April 1910. Chvsanchez 05:54, 23 March 2006 (UTC)

Versus World Champions
I just saw a brief obit written in 1997 that says that Najdorf played every World Champion except Steinitz, beating Botvinnik, Smyslov, Petrosian, Tal, and Fischer. The second part is true, but I'm not sure that Najdorf played Lasker. The two free databases I checked (chessgames.com and nicbase) both have only a single game against Edward Lasker, and none against Emanuel. Does anyone know if this claim is correct? Quale 18:59, 1 November 2007 (UTC)

 * The ChessBase.com database agrees with you - just one game with Ed Lasker. I suspect someone got mixed up by the e. Laskers.  Bubba73 (talk), 06:32, 7 February 2008 (UTC)

 * And he did play Karpov a few times and Kasparov once (I don't know past that). Remarkable! Bubba73 (talk), 06:34, 7 February 2008 (UTC)

Pronunciation
I've read that it's "knee-dorf", but looking at Polish phonology suggests "nigh-dorf" is correct. Anyone know? Pronunciation information should also be added to page Sicilian Defence, Najdorf Variation. 91.105.40.85 (talk) 10:14, 5 May 2009 (UTC)
 * When I played him in a simul a long time ago (with disastrous results, from my point of view...), it was "nigh-dorf". -- Bill-on-the-Hill (talk) 14:03, 5 May 2009 (UTC)
 * Doesn't the "j" stand in for an "i"? (Larry Evans says he pronounces it "night off," a slight simplification.)  —Preceding unsigned comment added by WHPratt (talk • contribs) 21:09, 25 January 2010 (UTC)

Gratuitous References to Ethnicity
I would like to see such comments as "of Jewish origin" removed from these chess pages. "..raised in a traditional Jewish family" or the like would be fine - but these references to ethnicity as they stand make me nervous and imply a certain racist attitude that needs to be removed. I even saw "extraction", as if a person were a bad tooth.

The quality of these chess articles is overall very poor. It stand to reason and I suppose there is nothing to be done about it, given the general nescience of chess players and the low quality of modern chess literature. The best we can hope for is to have the facts. Antimatter33 (talk) 17:06, 3 January 2010 (UTC)
 * This issue has been discussed at some other chessmasters' pages (e.g. Talk:Carl Schlechter), with the consensus, if there is one, apparently being to keep the references as long as they are factual rather than a matter of conjecture. That a remarkable fraction of top players are of Jewish origin is undeniable and possibly interesting -- why this overrepresentation?  In Najdorf's case it is also significant to his entire life story, as his reluctance to go back home to Poland after the Olympiad is both tied to his origins (obviously) and critical to him becoming the legend that he was.  Failure to mention his "Jewish origins," I think, would do the new reader, unfamiliar with his life story, a disservice.
 * "(G)eneral nescience of chess players"? What a silly concept. -- Bill-on-the-Hill (talk) 23:30, 4 January 2010 (UTC)
 * It is no mystery why so many top chess players are Jewish. Only Jewish people themselves say so in order to flood their ego with false humility. The same goes with anti-semitism throughout the ages. There is no mystery why these things happen. But focusing on the chess thing, it is the same for all the other professions and non-physical activities. There is a large disproportionate percentage of Jews in Law, Medicine, Finance, and Teaching. In addition, all the fields that are not popular or were not popular at one point are dominated or were dominated by Jews such as Pornography, Comics, Chess, and the movie industry. When Jews escape one society and move to another society they disproportionately flood the professions and, at the time, other useless non-physical fields (which is why they reap the advantage when those "useless" fields become popular like comics, porn, movies, etc.). This is also much of the source of anti-semitism. How do you compete with a colleague who is from a family with 5 generations of lawyers, doctors, mathematician when you just left a poor family and became the first to go to college and become a lawyer, doctor, mathematician? Tie this with the threatened elites and you have a pogrom in the making. There is no mystery, open your eyes.99.55.175.41 (talk) 05:37, 16 January 2011 (UTC)

I would actually take a perspective that is the opposite of the first poster. It is comical, especially from the Jewish perspective, that he is labeled such and such a "nationality." If he is a Jew he is a Jew. To label him Polish or Argentinian or whatever is what is wrong with these descriptions. At the end of the day he is simply a Jew and NOT Polish, Argentinian, etc. To the Goyim labeling nationality means something, who you are, but to Jews it is meaningless. 99.55.175.41 (talk) 05:37, 16 January 2011 (UTC)
 * It may be comical "especially from the Jewish perspective," but chessplayers at Olympiads, etc., play on national teams, under national flags, not ethnic ones. Failure to grasp the significance of being a Polish team member when he stayed put in Argentina, or a representative of Argentina for all subsequent events, misses some very fundamental points that would be central to Najdorf's chess career, and therefore, to an article about him.  Unget updandered. -- Bill-on-the-Hill (talk) 18:40, 18 January 2011 (UTC)

User:Antimatter33 makes very good points - and the unfortunate replies by an IP editor (well refuted by User:Bill-on-the-Hill) just strengthens his case. As the article stands right now, it is almost OK, in that it mentions "ethnicity" only at a moment in which it becomes relevant (WWII). At the same time, we should (as usual) remembered that what was relevant then was not how people lived, or how they perceived themselves, but rather how they were classified by others. It is good to make clear that Polish players from all origins had good reasons to stay in Argentina, and did stay. At the same time, a category such as "Gentile" (or "Jew" as opposed to "Gentile", as here) does not belong outside quotation marks - just as the more relevant categories of "Jew" and "Aryan" don't. (Also: if I remember correctly, Tartakower actually was a former Austro-Hungarian officer with a Christian upbringing; he was at risk because (a) he was a Polish citizen, (b) his parents had been converts, thereby making him a Jew *in Nazi eyes*.) It would be better to say: "Najdorf decided to stay in Argentina (as did many players -- particularly those in the Polish team, whether or not they had, like him, Jewish origins)" or simply "Najdorf decided to stay in Argentina (as did many players, both "Aryan" and "non-Aryan")". The second wording may be better, as "origin" may refer to a category that is too heterogeneous to be of sociological use; was Najdorf from a family like, say, Rubinstein's (in which case a mention might be interesting)? The page already gives (in footnote 1) his full given names as given on his passport, so it is not as if one of the reasons he would have been a conspicious target is being hidden. Feketekave (talk) 13:09, 3 January 2014 (UTC)

title: Talk:Miguel Najdorf


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John Rollin Ridge

John Rollin Ridge (Cherokee name: Cheesquatalawny, or Yellow Bird, March 19, 1827 – October 5, 1867), a member of the Cherokee Nation, is considered the first Native American novelist. After moving to California in 1850, he began to write. He is known for his novel The Life and Adventures of Joaquin Murieta: The Celebrated California Bandit (1854), based on a notorious outlaw of the period.

His father John Ridge had been assassinated in 1839 in Indian Territory, after removal, by Cherokee who condemned his having signed a treaty to cede communal land to the United States. Ridge was taken by his mother to Fayetteville, Arkansas, for safety. He later attended school in Massachusetts. After returning to Arkansas, he read the law, set up a practice and married.

In 1850 he went West in the California Gold Rush, where his wife and daughter later joined him. There he started writing – both poetry and essays. In his novel and other works, he criticized American racism toward Mexicans, several years after the war by which the United States acquired California and much of the Southwest. After the American Civil War, he was among the Cherokee delegation that negotiated a new treaty for peace with the United States.

Early life and education
Born in 1827 in New Echota, Georgia, he was the son of John Ridge and his wife Sarah Bird Northrup, a European-American woman from Cornwall, Connecticut. His father had attended the Foreign Mission School there, beginning in 1819. Sarah's father was steward of the school. His parents married in 1824.

Both his father and grandfather Major Ridge, were signatories to the Treaty of New Echota, which Congress affirmed in early 1836. By this they ceded Cherokee lands east of the Mississippi River. The tribe had been under pressure to move from state and federal governments, and was ultimately forced to remove to west of the Mississippi River, on what is known as the Trail of Tears. At the age of twelve, Ridge witnessed his father's assassination in Indian Territory at the hands of supporters of Cherokee leader John Ross, who had vehemently opposed the treaty. His mother, Sarah Bird Northrup Ridge, took John R. Ridge to Fayetteville, Arkansas for safety.

In 1843, Ridge was sent to the Great Barrington School in Great Barrington, Massachusetts for two years. After that, he returned to Fayetteville to study law. During this period that his first known writing was published. He published a poem, "To a Thunder Cloud," in the Arkansas State Gazette.

After starting a law practice, in 1847 Ridge married Elizabeth Wilson, a white woman. They had one daughter, Alice, in 1848.

On the run
In 1849, Ridge killed Ross sympathizer David Kell, whom he thought had been involved in his father's assassination, over a horse dispute. Despite having a good argument for self-defense, Ridge fled to Missouri to avoid prosecution. The next year, he went West in the California Gold Rush, but disliked being a miner. While there, he was rejoined by his wife and daughter.

Writing career
Ridge published poetry in The Golden Era and other California magazines (these were posthumously collected). He also wrote essays for the Democratic Party.

In California he wrote what is now considered the first Native American novel and the first novel written in California, The Life and Adventures of Joaquin Murieta: The Celebrated California Bandit (1854). Published six years after the Mexican-American War, by which the United States acquired California and other large territories in the Southwest, this fictional version explored the life of a notorious Mexican bandit. He was represented as coming to California to seek his fortune during the Gold Rush. He turns to crime after suffering violence by white men against his wife and brother. This novel condemned American racism, especially toward the recently defeated Mexicans. Although the book was widely popular, Ridge never made money from the book's publication. By the time of his death, it had not yet even turned a profit.

Ridge was a writer and the first editor of the Sacramento Bee. He also wrote for the San Francisco Herald, among other publications. As an editor, he advocated assimilationist policies for American Indians as his father had. He appeared to trust the federal government to protect their treaty rights, but ignored the failures of the government toward the Cherokee and other peoples.

Ridge had elements in his life that contrasted with his anti-racism in writing. He had grown up on a plantation and also owned enslaved African Americans while still living in Arkansas. In addition, he had expressed his belief that California Indians were inferior to those of other tribes.

The Life and Adventures of Joaquin Murieta
Ridge wrote his novel about a Mexican man, based on a legendary figure who was widely discussed in newspapers of the day. Ridge portrays Joaquin Murieta as a young, innocent and industrious man who is hampered in his attempts to build a life in the United States by the racism of the people. One expression of this was the 1850 Foreign Miner's Tax Law, passed two years after the Mexican-American War, which severely limited the ability of Mexicans to mine for gold. Ridge's portrayal of Murieta is a bandit who attracts numerous associates and terrorizes the state of California for several months with acts of violence. Ridge's Murieta is also portrayed as a romantic figure, often showing kindness (especially to women) and relishing the stories about him. He keeps his identity so secret that he can walk through towns without being recognized.

Although the novel is fictional, many people took it as fact. Some historians cited it when writing biographical materials on Murrieta.

Civil War and the Southern Cherokee delegation
During the Civil War, Ridge openly supported the "Copperheads", Southern sympathizers. He opposed both the election of Abraham Lincoln and the President's Emancipation Proclamation, blaming the war on abolitionists.

After the war, Ridge was invited by the federal government to head the Southern Cherokee delegation in postwar treaty proceedings. This part of the nation had supported the Confederacy, which had promised the Native Americans in Indian Territory a state of their own if they won the war. Despite his best efforts, the Cherokee region was not admitted as a separate state to the Union.

Death
In December 1866, Ridge returned to his home in Grass Valley, California. He died of "brain fever" (Encephalitis lethargica) on October 5, 1867. He was buried at Greenwood Memorial Park in Grass Valley.

title: John Rollin Ridge


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Category:Indigenous languages of the North American Arctic

This category collects those articles concerning Indigenous languages found in the North American portion of the Arctic.


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Toshiba 4S

The Toshiba 4S (Ultra super safe, Small and Simple) is a micro sodium-cooled nuclear fission reactor design.

General description
The plant design is developed by a partnership that includes Toshiba and the Central Research Institute of Electric Power Industry (CRIEPI) of Japan.

The technical specifications of the 4S reactor are unique in the nuclear industry. The actual reactor would be located in a sealed, cylindrical vault 30 m (98 ft) underground, while the building above ground would be 22×16×11 m (72×52.5×36 ft) in size. This power plant is designed to provide 10 megawatts of electrical power with a 50 MW version available in the future.

The 4S is a fast neutron sodium reactor. It uses neutron reflector panels around the perimeter to maintain neutron density. These reflector panels replace complicated control rods, yet keep the ability to shut down the nuclear reaction in case of an emergency. Additionally, the Toshiba 4S utilizes liquid sodium as a coolant, allowing the reactor to operate 200 degrees hotter than if it used water. Although water would readily boil at these temperatures, sodium remains a liquid; the sodium coolant therefore exerts very low pressure on the reactor vessel even at extremely high temperatures.

The Toshiba 4S Nuclear Battery was proposed as the power source for the Galena Nuclear Power Plant in Alaska, but the project was abandoned in 2011 and Toshiba did not proceed with an application for certification of the design.

Criticism
A research team including Allison Macfarlane and Rodney C. Ewing evaluated waste production of a number of small nuclear reactors, including the 4s, and published their findings in Proceedings of the National Academy of Sciences of the United States of America. They found that small modular reactors produce more radioactive waste than conventional reactors. These claims were contested by NuScale Power.

title: Toshiba 4S


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Coonskin

Coonskin may refer to:

 * The skin of a raccoon
 * Coonskin cap, a type of hat
 * Coonskin (film), a 1975 animated film by Ralph Bakshi

title: Coonskin


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User:Ayed/fIREHOSE article

fIREHOSE was an American rock music band from San Pedro, California, comprised of bass player/vocalist Mike Watt, guitar player/vocalist Ed Crawford (a.k.a. "Ed From Ohio"), and drummer George Hurley. fIREHOSE formed in 1987, after Crawford convinced Watt and Hurley -- the surviving members of the influential punk rock band The Minutemen -- to form a new band with him.

title: User:Ayed/fIREHOSE article


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User talk:Ixitixel

Ta-Yuan
The first romanization inside the brackets is the pinyin romanization, while the romanization on the title is the Wade Giles style. - Bourquie 3:39 utc 23 Aug 2005

Permission from Andrew J. Lederer
Thank you, I've updated the copyright notification. .:.Jareth.:. babelfish 15:38, 20 January 2006 (UTC)

Translation
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Translation help needed
Hey, I saw you mentioned at Translators_available. Translation help needed for the articles Rus' people, Rus (name), Kievan Rus', Rus' Khaganate, and probably also Varangians and Annales Bertiniani.

Original Latin source: (starting with "Venerunt etiam legati Graecorum a Theophilo imperatore directi, Theodosius videlicet, Calcedonensis metropolitanus episcopus, et Theophanius spatharius, ferentes cum donis imperatore dignis epistolam quos imperator quinto decimo Kalendas Iunii in Ingulenheim honorifice suscepit" on that page, and continuing AFAIK for two more pages).

The Latin source I need help on is the Annales Bertiniani, which is a collection of Frankish annals that was completed in 882 AD. The issue behind this is the historical first mention of the Rus' people, which was a Norse tribe, also known as the Varangians from Sweden that, starting in the 9th century from Novgorod and Kiev (Kievan Rus') and allegedly under the leadership of their chieftain Rurik (or rather RøRikR in Old Norse) conquered portions of the Baltics and today's northwestern Russia, a realm which was soon known as the Rus' Khaganate (with the result that lots of placenames, such as Novgorod, actually have an Old Norse etymology). Eventually, the Rus' Khaganate, even though the Norse ruling elite was but small and soon assimilated to the Balto-Slavic population, became the nucleus and namegiver for modern Russia.

The thing is, this so-called Normannic theory is still kinda controversial, as modern Russian scholars often regard it as a modern romantic nationalist myth originating with late-19th century Pan-Germanism. What the Russians are saying is that the original Rus were actually Slavs. Now, these 9th century Annales Bertiniani seem to be a rather authoritative, and, given their time of origination, pretty concise, source to refute these Russian scholars.

What I get of this Latin text is only the gist of it. Apparently, a delegation of Rus people were interrogated by Frankish Emperor Louis the Pious at Ingelheim am Rhein in 839 AD, where they said that:
 * the name of their tribe was Rus (spelled "Rhos" in this Latin text, maybe via Byzantine Greek translation? As far as I can tell, a letter from Byzantine Emperor Theophilos or Michael III is mentioned),
 * they originally came from Sweden
 * but had settled in what is northwestern Russia today (I find this information several times in modern sources, attributing it to the Annales Bertiniani, but *WHAT THE HECK* was their contemporary name for "northwestern Russia"?), and
 * that they had switched to calling their chieftains chacanus now.

Chacanus is Latin for Khagan, a title they had likely borrowed from contact with the Avars while conquering from the Baltic coast southward. It's why their realm in centuries to come was to be known as the Rus' Khaganate.

But what I need for good sourcing is an exact translation of portions relevant to the informations bulleted above. Original Latin text at (starting with "Venerunt etiam legati Graecorum a Theophilo imperatore directi, Theodosius videlicet, Calcedonensis metropolitanus episcopus, et Theophanius spatharius, ferentes cum donis imperatore dignis epistolam quos imperator quinto decimo Kalendas Iunii in Ingulenheim honorifice suscepit" on that page, and continuing AFAIK for two more pages). --79.193.34.87 (talk) 03:00, 29 August 2011 (UTC)

title: User talk:Ixitixel


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The Year of the Death of Ricardo Reis

The Year of the Death of Ricardo Reis (in Portuguese: O Ano da Morte de Ricardo Reis) is a 1984 novel by the Portuguese novelist José Saramago, who was awarded the 1998 Nobel Prize in Literature. The book chronicles the final year in the life of the title character, Ricardo Reis, one of the many heteronyms used by the Portuguese writer Fernando Pessoa.

In the novel, Ricardo Reis returns to Lisbon from Brazil, upon catching wind of Pessoa's death. While there, he chooses not to resume practicing medicine, but rather takes up residence in a hotel, where he wastes his days reading newspapers and wandering the streets of Lisbon.

The novel was translated into English by Giovanni Pontiero in 1991 and won the Independent Foreign Fiction Prize.

Themes
The novel addresses several powerful literary themes, though mostly indirectly. For instance, Ricardo Reis reads of the events leading to the Spanish Civil War, and he sees floods of Spanish immigrants arrive in Lisbon seeking refuge, but he never expresses strong feelings or even a cogent understanding of the meaning of the conflict.

Reis also carries on a lackluster love affair, but even in what seems to be his most intimate relationships, he is continually and voluntarily alienated from society.

The most revealing glimpse of Reis is through a series of conversations with the spirit of Fernando Pessoa, over the course of which Reis loses a clear concept of the nature of life and death and the difference between the two.

In the novel's final scene, Reis "dies" by calmly putting on his jacket and following Pessoa into the graveyard. Ultimately, the novel is a story of one man's attempt to resist any sort of cultural contextualization and reject any place in society whatsoever.

The book is also, in some sense, an exercise in meta-literature. Fernando Pessoa had created the character of Ricardo Reis fifty years or so prior to its release, giving him a biography and writing many poems under that name. That Saramago would place the two characters side by side underscores a deliberate blurring of the boundaries between fantasy and reality, a common theme in Saramago's work, and a rejection of traditional limitations on narrative practices. Reis spends much of his time reading a novel called The God of the Labyrinth, a fictional novel mentioned by the writer Jorge Luis Borges and attributed to the title character of his short story "An Examination of the Work of Herbert Quain".

Style
The Year of the Death of Ricardo Reis is written in Saramago's distinctive style, which disregards the traditional use of punctuation, except for commas and periods, and which denotes dialogue and changes in the speaker using only capital letters. Saramago uses long, flowing sentences and paragraphs often several pages in length. Saramago also digresses from the story frequently, occasionally even in the first person, remarking philosophically on the significance of images, objects, or situations encountered in the story. Saramago’s writing technique often has strong magical-realist elements.

title: The Year of the Death of Ricardo Reis


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Andreas (typeface)

Andreas is a humanist serif typeface designed by Michael Harvey, and licensed from the Adobe Type library. Harvey drew the lettering in 1988 as part of the book-jacket design for James F. Peck's book In the Studios of Paris: William Bouguereau and His American Students, a Yale University Press publication. That lettering became the foundation for the 1986 typeface Andreas.

In keeping with the book's subject, Harvey wanted letterforms that reflected the Art Nouveau period. The letterforms also bear comparison with the condensed, calligraphic thirteenth-century Italian monumental capitals. Due to space constraints, the type had to be narrow enough to allow the title to fit on a single line across the top, so as to not intrude on the Van Gogh painting that filled the rest of the jacket. To accomplish this he drew the letterforms freehand, giving them highly animated organic strokes and narrow character set. He also added distinctive junctions of letter strokes to the D, P, and R. The typeface was drawn in outline, intending to reverse to white, so as to not be overly assertive on the cover.

title: Andreas (typeface)


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Women's National Basketball League

The Women's National Basketball League (WNBL) is a professional women's basketball league in Australia composed of eight teams. The league was founded in 1981 and is the women's counterpart to the National Basketball League (NBL).

Founding of the WNBL
In August 1980, West Adelaide Bearcat Coach Ted Powell, after an encouraging exchange of letters with St Kilda's Coach Bill Palmer, called a meeting at the Governor Hindmarsh Hotel in Adelaide. In attendance were Ted, North Adelaide Coach Kay McFarlane and Noarlunga Coach Brendan Flynn. At this meeting it was decided to approach three Victorian teams (St Kilda, CYMS and Nunawading) with the idea of forming a home and away Interstate Competition.

The six teams' delegates all met and confirmed the new League at the Town and Country Motel in Sydney during the 1980 Australian Club Championships.

The meeting resolved to form a two-round competition between these teams to be held in July and August in 1981. The basis for the idea was that many of the top sides in both States wanted a varied competition from their standard State League as well as a suitable preparation for the Australian Club Championship, which was held on an annual basis for the top 24 teams in the country. There was also much excitement with the formation of the Men's National League in 1979 and the women felt that one of the best ways to develop the game was to provide more opportunities for the best players and clubs to play against each other more regularly.

A major consideration was finance and with this in mind the competition was formed with the six teams with a full home and away series between all teams with three games on one weekend to save costs. The NSW based clubs of Bankstown and Sutherland were not happy to be left out due to costs and offered to pay their own way to Melbourne and Adelaide where they would play each team once for double points.

And so the WNBL was born. Reference. (Boti Nagy. High flyers: women's basketball in Australia 1990. Sun Books)

In 1981, the Australian Institute of Sport (AIS) was also opened and the men's head coach Dr. Adrian Hurley (who was to lead the Australian Boomers in the 1988 and 1992 Olympics) contacted the clubs and asked whether the AIS could also participate in the competition to commence later that year.

The nine teams in the inaugural season of the league were: AIS, Bankstown Bruins, Catholic Young Men's Society (CYMS), Melbourne Telstars, Noarlunga Tigers, North Adelaide Rockets, St. Kilda Saints, Sutherland Sharks and West Adelaide Bearcats. The competition commenced on 19 June 1981 with the first game to be played in Adelaide between the AIS and West Adelaide. The competition was called the Women's Interstate Basketball Conference with each team paying the sum of $25 to be a part of the WIBC – giving a central fund of $200 to conduct the competition.

1981–1985: early years
The inaugural winner was St. Kilda who defeated the North Adelaide Rockets 77–58. St. Kilda also went on to win the Victorian State Championship and the Australian Club Championship in Melbourne, defeating Bankstown Bruins in the final. St. Kilda had three Australian representatives in Tracy Morris, Karen Ogden and Patricia Cockrem. Ogden became the national league's first dual Most Valuable Player award winner when she took the individual trophy in 1982 (the first season it was presented) and again in 1983.

In 1982, the competition expanded into another state with the entry of a combined Brisbane team. The new revised program saw Victorian teams travelling to NSW and AIS, and NSW teams travelling to South Australia and South Australian teams travelling to Victoria. It was not a full home and away competition but the beginnings of what was to come in the future. The competition also changed its name to the more appropriate Women's Basketball League. St. Kilda repeated in 1982 with a grand final win over Bankstown – the men's team also won the first two NBL titles, which showed the strength of St. Kilda at that time.

In 1983, Nunawading Spectres led by Robyn Maher easily defeated St. Kilda and went on to win nine WNBL titles during the next 12 years. During the 1983 Australian Club Championships, a workshop was held to discuss women's basketball and from that meeting came the decision to bring together a second tier of clubs to form the Women's Basketball Conference (WBC). There were now 20 women's teams playing in a home and away competition, which immediately improved the standard of women's basketball in Australia.

With the NBL finally riding the crest of a sudden wave of popularity, media interest in the women's league also was on the increase. Most clubs were recognising the need to promote themselves and the image of the league. Double header matches with the men's NBL and with South East Basketball League games – a secondary men's interstate competition – pushed the women's game before a wider spectator audience unfamiliar with the quality of women's basketball. In 1985, the two competitions continued to work together to improve women's basketball and recognised the need to promote the competition and the individual clubs and athletes. Hobart was winners of the second conference and was keen to enter the main competition, however this was not to be until 1986.

1986–1989: league expansion and growth
When Perth admitted a team for the 1986 Women's Basketball Conference, the two women's leagues could rightfully claim that between them they had a truly national competition. The Australian Basketball Federation approved the WBL's application to be renamed the National Women's Basketball League and a new era was underway. 1986 was also the first year that the WNBL played its first full home and away competition and next year, Perth sought a position in the number league. Perth's inclusion was on the basis that they paid their own airfares in the first two years to earn their position.

Following the success of the Seoul Olympics, the WNBL was ready to enter a new era and appointed Lyn Palmer in the newly created full-time general manager position. Lyn Palmer, who had just retired after a distinguished playing career with St. Kilda, Nunawading and Coburg, was looking for a change whilst her husband Bill was general manager of the men's NBL.

In 1989, the WNBL gained its first sponsorship in Pony, one of Australia's leading sporting apparel companies at the time for $258,000 and ABC agreed to cover the finals series. The women's game in Australia was on the move – there were 13 teams in the WNBL for the 1989 season, with the Bankstown Bruins changing their name to the Sydney Bruins to try to gain more market exposure in Australia's largest city.

1990s: continued growth
The next few years saw the league continue to grow with Australia being awarded the Women's World Championships in 1994. The pressure was now on to ensure that women's basketball gained a profile in the country, and in 1993, the WNBL teams agreed to contribute some money to enable the game to be televised on a weekly basis by ABC. This was the break through that the sport needed and also coincided with the Sydney Kings taking over the ownership of the Sydney Bruins and the formation of the Sydney Flames.

Coached by Carrie Graf, the Flames became one of Australia's most popular women's sporting teams. The Perth Breakers led the way with the bodysuit in the early 1990s whilst the Flames continued to modify the suit, winning the title in 1993 and gaining back page coverage on the Sydney newspapers, a feat never envisaged back in the early 1980s.

The 1990s were dominated by Sydney, Melbourne Tigers, Adelaide Lightning and Canberra. The AIS won their first title in the first summer season of 1998–99 led by one of the best basketballers in the world, Lauren Jackson. Jan Morris continued as the President (10 years as President is recognised as an outstanding contribution to the WNBL) of the League and in 1995 Leeanne Grantham (née Christie) became the Chief Executive. Throughout the mid-late 1990s (and into the early 2000s) the WNBL brand became the most well known women's sport brand in Australia, it was also recognised as one of the top 3 leading women's basketball leagues in the world.

The ABC televised weekly WNBL games and broadcast the 1994 Women's World Championships held in Australia, this provided women's basketball with the type of profile required to help secure significant sponsorship enabling the League to reduce the travel pool and to continue to build on the WNBL Brand.

2000s
The ABC continued to televise the league despite some difficulties in mid-2001 when the ABC contemplated changing their televising of sport. A successful partnership between the WNBL and Netball Australia subsequently saw both sports retained on ABC. ABC undertook to increase their coverage by showing Friday night games live on ABC digital television as well as a replay in the regular Saturday afternoon slot.

The WNBL was very stable with eight teams for a number of seasons with Tasmania and Northern Territory not represented. In 2006, Bendigo, through the efforts of a strong community focus for women's basketball, commenced discussions with Basketball Australia about entering a team for the 2007–08 season. At the same time, Basketball New Zealand had discussions with Basketball Australia about a team from New Zealand entering the next season.

In October 2006, the decision was made to welcome two new teams into the WNBL for the 2007–08 season in Bendigo Spirit and Christchurch Sirens. Bendigo brought excellent community support into the league, whilst Christchurch had a number of the New Zealand Tall Ferns on their roster to begin. One of the strategic objectives of the WNBL was to see a second team out of Queensland from the south and after some very effective feasibility work, Logan Basketball Association were successful in being admitted into the 2008–09 season with the Logan Thunder.

A February 2023 match between the Southside Flyers and the Sydney Flames drew a crowd of 7,681, which is the largest ever WNBL crowd.

New league management
In June 2024, Basketball Australia sold the WNBL to a consortium co-managed by the National Basketball League (NBL). The NBL will assume operation of the WNBL from April 2025, following the 2024–25 WNBL season.

Former clubs

 * Adelaide City Comets – 1992
 * Australian Institute of Sport (AIS) – 1981 to 2011–12
 * Brisbane Blazers – 1982 to 1998
 * Catholic Young Men's Society (CYMS) – 1981 to 1982
 * Christchurch Sirens – 2007–08
 * Coburg Cougars – 1983 to 1990
 * Geelong Cats – 1986
 * Hobart Islanders – 1986 to 1996
 * Logan Thunder – 2008–09 to 2013–14
 * Melbourne Telstars – 1981
 * Melbourne Tigers – 1989 to 2000–01
 * Noarlunga Tigers – 1981 to 1991
 * North Adelaide Rockets – 1981 to 1991
 * Nunawading Spectres (Melbourne East Spectres) – 1982 to 1991
 * South East Queensland Stars – 2015–16
 * St. Kilda Saints – 1981 to 1985
 * Sutherland Sharks – 1981 to 1986
 * West Adelaide Bearcats – 1981 to 1992

Regular season
The WNBL regular season typically begins in early October and concludes in mid to late February. During the regular season, each team plays 24 games, 12 home and away. Each team plays each other at least three times, and some of the teams four times. The top four teams in on the Championship ladder move on to the WNBL Finals, usually taking place in March.

After April, teams hold training camps. Training camps allow the coaching staff to prepare the players for the regular season, and determine the roster with which they will begin the regular season. After training camp, a series of preseason exhibition games are held.

WNBL finals
The top four teams at the end of the regular season advances to the finals. The teams finishing in the first and second positions at the completion of the regular season receive home advantage in their three-game first-round match-up against the teams finishing in fourth and third positions respectively. The winners of these series advance to the grand final. With home advantage being awarded to the highest remaining seed, the winner of the three-game grand final series is crowned as WNBL champion.

Players and Coaches
Over the years the success of the Opals has been vitally linked to the success of the WNBL. The WNBL has seen the development of famous Opals such as Robyn Maher, Michele Timms, Karen Dalton, Rachael Sporn, Shelley Sandie, Julie Nykiel, Jenny Whittle, Lauren Jackson and Penny Taylor. All have represented Australia with distinction and been key performers season after season for their clubs.

Awards
The Most Valuable Player Award is given to player deemed the most valuable for (her team) that season. The Grand Final Most Valuable Player Award is given to player deemed the most valuable for (her team) in the finals. The Rookie of the Year Award is awarded to the most outstanding first-year player. The Defensive Player of the Year Award is awarded to the league's best defender. The Top Shooter of the Year Award is given to the player who averages the most points at the conclusion of the regular season. The Coach of the Year Award is awarded to the coach that has made the most positive difference to a team. Also named are the All-Star Five, the most valuable and best performing players of each season.

International influence
The WNBL has been a major stepping-stone for Australians to become noticed in European leagues and the WNBA in the United States. It has also attracted a number of players from English-speaking countries who supplement their WNBA salaries by playing in the league. This is possible because the WNBA conducts its season in the Northern Hemisphere summer, which is the off-season for most basketball leagues throughout the world, including the WNBL. A number of international players have played in the WNBL, such as:
 * 🇨🇦 Chelsea Aubry, Canada – long time member & two-time champion with the Bendigo Spirit.
 * 🇺🇸 Alana Beard, United States – with the Canberra Capitals.
 * 🇳🇿 Micaela Cocks, New Zealand – three-time champion with the Townsville Fire.
 * 🇺🇸 Shanavia Dowdell, United States – with the Townsville Fire.
 * 🇫🇷 Olivia Époupa, France – one-time champion with the Canberra Capitals.
 * 🇳🇿 Antonia Farnworth, United States – with the Perth Lynx.
 * 🇨🇦 Ruth Hamblin, Canada – with the Perth Lynx & Adelaide Lightning.
 * 🇺🇸 Laurie Koehn, United States – with the Melbourne Boomers.
 * 🇺🇸 Betnijah Laney, United States – with the Perth Lynx, Bendigo Spirit & Dandenong Rangers.
 * 🇬🇧 Jo Leedham, Great Britain – with the Bulleen Boomers.
 * 🇳🇿 Angela Marino, New Zealand – with the Canberra Capitals, Perth Lynx & Adelaide Lightning.
 * 🇨🇦 Kia Nurse, Canada – first international MVP & two-time champion with the Canberra Capitals.
 * 🇨🇦 Krista Phillips, Canada – one-time champion with the Dandenong Rangers.
 * 🇺🇸 Cappie Pondexter, United States – with the Dandenong Rangers.
 * 🇨🇳 Qiu Chen, China – with the Canberra Capitals.
 * 🇧🇪 Julie Vanloo, Belgium – with the Townsville Fire.
 * 🇸🇪 Amanda Zahui B., Sweden – with the Townsville Fire.

Television
ABC held the rights from the inaugural season in 1981 until they axed their coverage in the 2014/15 season.

 * Fox Sports picked up the rights for the 2017/18 season, after two seasons without television coverage.
 * The 2020 season has returned to the screens of the ABC, along with Fox Sports and Kayo.
 * ESPN picked up the rights for the 2022/23 season with 9Now streaming every remaining game.

title: Women's National Basketball League


text:
Talk:SOGo

User talk:Whitemice
hi whitemice, can you point me to the part of the software that is licensed under the License: GPL/LGPL, as i downloaded the software and only found the copyrighted part,License - Copyright (C) 2000-2006 SKYRIX Software AG, so maybe i missed something here ?
 * Note status of the software is Freeware not Free software. Mion 18:29, 4 October 2007 (UTC)
 * Yes that is what the website states:License, however i downloaded the latest trunk, one of the first files is Copyright, and this is the content of it : Copyright (C) 2000-2006 SKYRIX Software AG

Contact: info@skyrix.com

No mention at all about the License: GPL/LGPL, so the license in the actual distribution is valid which makes it a copyrighted software. Mion 18:55, 4 October 2007 (UTC)

 * Content of the README: License and copyright information for the various modules are contained

in the appropriate

COPYRIGHT and COPYING / COPYING.LIB

files. Except for modules contained in the ThirdParty directory, most sources are licensed under the GNU Lesser General Public License and the copyright is owned by SKYRIX Software AG.

And yes there is some LGPL.Mion 19:08, 4 October 2007 (UTC)

Solutions
The License: GPL/LGPL is part of the package so it belongs on the page, and we should add at the same line that the whole package is copyright  SKYRIX  as well. Which moves the package from free software to freeware. Do you agree on that ? Mion 19:13, 4 October 2007 (UTC)

Reply to "Solutions"
This doesn't make any kind of sense; the fact that code is copy-righted doesn't bear on if it is open source / "free" or not. In fact, code MUST be copyrighted in order be open source or there is no party with bearing to declare a license. This is why some Open Source projects require developers to explicitly state they are turning over the copyright of the code to the project. Skyrix, who hosts the OpenGroupware.org Open Source project, does not require the reassignment of copyright; they only require contributed code to be under a compatible LGPL/GPL license. In fact if you look in the ZideStore code you will find code that is not copyrighted by Sykrix. Which means that Skyrix does not have the right to alter the license of the code. Copyright = right to license, be that license proprietary or open. This is how projects move from one license to another, for example when Samba went from GPLv2 to GPLv3;  they can do that because they hold copyright on all the code. Copyright policies for Open Source projects are all over the map.

Even wikipedia's own definition of free software recognises this fact: To make these acts possible, the human readable form of the program (called the source code) must be made available and the software must be accompanied by a software licence saying that the copyright holder permits these acts (a free software licence).

The "software licence saying that the copyright holder permits" is the LGPL/GPL. See under "Permissive and copyleft licences" in wikipedia's free software page: The FSF categorizes licenses in the following ways: * Copyleft licenses, the GNU General Public License being the most prominent. The author retains copyright and permits redistribution and modification under terms to ensure that all modified versions remain free for as long as the author wishes."

SOGo
This article needs work, it's outdated. — Preceding unsigned comment added by 213.30.210.188 (talk) 12:09, 20 July 2017 (UTC)

title: Talk:SOGo