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Frosinone Calcio

Frosinone Calcio is a professional football club based in Frosinone, Lazio, Italy. The club was founded on 5 March 1906 under the name Unione Sportiva Frusinate, but conventionally the year 1928 is indicated as the beginning of competitive activities of significant importance. Following cancellation by the Italian Football Federation, it was refounded in 1959 and in 1990. In the 2014–15 season the club played in Serie B for the sixth time in its history. The club earned its first promotion to the top flight Serie A in the 2015–16 season, but were relegated back down to Serie B after just one season. In the 2018–19 season it was promoted to Serie A for a second time.

After a long tradition of playing in Serie C, in recent years, following the historic promotion which took place in the 2005–06 season, the club participated in five consecutive seasons in Serie B, becoming, after the two teams in Rome, the third most notable team of the region of Lazio. In the club's history at a national level, Frosinone have won two championships of Serie C2 (1986–87 and 2003–04) and two of Serie D (1965–66 and 1970–71). On 16 May 2015, the Ciociari, with a 3–1 win over Crotone, secured their first, historic promotion to Serie A.

Foundation and early years
Frosinone Calcio was founded on 5 March 1906 under the name Unione Sportiva Frusinate. The colours of the team were originally red and blue which were later changed to the current yellow and blue. By year of foundation, the Frosinone company ranks third among those still active in the Lazio, after "S.S. Lazio" (1900) and "S.S. Formia" (1905)

On 5 March 1906, the lawyer Leone Vivoli, future mayor of Frosinone, gave birth to the "Unione Sportiva Frusinate". The objectives in the articles of association included the diffusion of various sports and among them there was explicitly included football.

On 14 March 1906 Il Messaggero reported the news as follows: «Made up of about thirty effective members, it was formed in our city with premises in Corso Vittorio Emanuele n.2  [NB: today Corso della Repubblica], '' a Frosinone sports club chaired by the lawyer Leone Vivoli. Councilors: student R. Giovannelli - accountant G. Tora - receiver G. Pesci - engineer E. Marzi - Inspector E. Toscano - Secretary Gabriele Antonucci - Sports Director Gerardo Bodin de Chadelard''».

The presence of competitive football-related activities is demonstrated by some documents immediately following the signing of the company statute, including a photo dating back to 1907, taken from the Bottoni archive, which shows a youth team of Frosinone footballers probably aged between 10 and 12 years.

Il Messaggero underlined, in the edition of 1 February 1907, the feedback acquired in a short time by the new sports association in the city: «This sports union which has as its main purpose physical education, given the ever increasing number of members, has occupied new premises [...] The brilliant meeting is frequented by the most respectable people of the city who praise and encourage the healthy development of the Association».

The first corporate colours, as specified in the articles of association in article IV, were red and blue, taken from the city coat of arms. It showed a rampant lion on a red background and a blue cross band with the motto "Bellator Frusino", given by Sillo Italico, when the city refused to surrender to Hannibal's armies. Given the cost of the uniforms of the time, it is unlikely that the rossoblu uniform was worn from the beginning.

Article III of the Articles of Association stated, with a rather modern approach for the time, that the sports association abstained from any activity of a political and religious nature

The first playing field adopted by the company was located in Frosinone along today's via Cicerone (at the time called via Casilina Nord) near the municipal villa, while the historic "Stadio Matusa" (which would have resisted, with modifications and extensions subsequent, until 2017) was built only in 1932.

The same club, however, has conventionally chosen as its date of origin not the foundation of the sports club (5 March 1906), as is widely consolidated practice with illustrious examples such as the Genoa (1893) and Milan (1899)(sports clubs which included "cricket" and "football") but rather the change of name in "CXIX Legio M.V.S.N. Frosinone" and his consequent affiliation to the FIGC which took place over twenty years later, on 19 September 1928.

This method appears very unusual if we consider the establishment of many other sports clubs, such as the "Società Podistica Lazio" (which, founded in 1900, joined the FIGC in 1908 and set up a football section only in 1910) or the "Genoa Cricket and Football Club" (which became affiliated five years after being created as a sports club).

In fact, even before the change of company name induced by the fascist regime, the  U.S. Frusinate  had already obtained affiliation with the FIGC in 1923 and had been involved in competitive activity by appearing in the federal ranks of the championship of the Fourth Division Lazio 1923–1924 in group B. The Ciociaro team in that period at an organizational level was coordinated by Augusto Diamanti, a reference figure who was in charge of the company's executives. In the starting lineup, among others: Biagi (goalkeeper), Armando Niro, Nobili, Magni, Luigi Diamanti, Dante and Giulio Toscani, Aldo and Renato Calmanti (the latter would also be captain for many years to come, also playing in the Prima Division until the mid-1930s, when he suddenly died of a heart attack at the age of 29).

The activity of the Frosinone team at the beginning of the 1920s is testified by the sports news of the time, including an article from 1922 published in La Gazzetta dello Sport. It reports the description of the match played on 28 June 1922, at the Madonna della Neve football field in Frosinone, between the 59 º fanteria Frosinone and the U.S. Frusinate. The official meeting, directed by the referee Carlo Magni and played in the presence of the mayor Piero Gizzi and the military authorities, was valid for the assignment of the  Comune di Frosinone  award. The victory went to the selection of the Army for six goals to zero.

Experienced players such as Vincenzo Fresia, four-time champion of Italy with Pro Vercelli and former number 9 jersey in the national team were lined up in the latter's row. Who served as a lieutenant in Frosinone in the 59th Infantry Regiment

In another  match  played on 27 August of the same year, the Frosinone team reached the Rossoneri of the  C.S. Alatri  thanks to a marking by its captain Renato Calmanti. At that time the presence of category players in the military selection stimulated the competitive activity of the Unione Sportiva Frusinate, which was deployed on the field with the white and blue social colors. After affiliation to the FIGC in 1923 and registration in the IV Lazio Division, in 1925 the Unione Sportiva Frusinate passed the baton to the new Società Sportiva Alba Frusinate.

At the end of the decade sports activity in Frosinone received new impetus from the fascist policies of incentives for physical exercise and sport, as well as the economic and political expansion that the city underwent following the establishment of the new province of which it became the capital in 1927. In this context, on 19 September of the following year the company changed its name again to  Gruppo Sportivo CXIX Legione M.V.S.N. Frosinone , thus joining again the Italian Football Federation. On 25 September the team registered for the third division group B championship.

On 17 October 1929 the sports newspaper  Il Littorale  reported the news of the affiliation of the new  Polisportiva Bellator Frusino  to the FIGC. The sports club, which collected the inheritance from the  CXIX Legione M.V.S.N. Frosinone , was led by Pier Luigi Tinelli. The team participated in the III Division championship, group C, while the following season was included in group B

The club, later named Bellator Frusino, managed to reach the National First Division in 1934. The figure of president Emilio Frongasse was crucial in this period. In the later half of the thirties, Bellator Frusinate disbanded, and was replaced by FF.GG. Frosinone which played its football in an interprovincial tournament.

All the championships were suspended during the Second World War and the football club Frusinate disappeared.

The rebirth of Frosinone occurred in the 1945–1946 championship, the team competed in the Seconda Categoria championship and rose to Prima Categoria the following year, and later, following an excellent championship season, managed to gain promotion into Serie C-Lego Centro. From 1948–49 to 1951–52, the Canarini competed in the Promozione-Interregionale della Lega Centro championship, and were included in the new Quarta Serie championship during the summer of 1952.

From 1952 to 1958, for six consecutive years, the Canarini competed in the Quarta Serie Championship, with their highest finish being fourth place, which was achieved in 1953. The most significant match this time was against Cosenza on 24 November 1957. Cosenza were playing for promotion but Frosinone took the lead (and duly won) with three minutes remaining.

The referee, struck by a Cosenza player, fell to the ground and was booed until the end of the game. Several episodes of violence then took place and the game was transformed into a "western". After leaving the stadium, the referee was chased for a few kilometers by some Frosinone supporters. Cosenza forwarded an appeal and the CAF overturned the result of the match. Frosinone expressed their resentment against the Lega for the injustice suffered and threatened to withdraw from the league. Following this, Frosinone missed the return fixture in Cosenza and other penalties by the Lega were imposed.

The most important people of this time were the presidents Domenico Ferrante and Angelo Cristofaro (one of the leading figures in the history of the club), a former coach Genta and players Azzoni, Gabriele, Diglio, Dini and Spinato.

1960s–80s
In 1958, U.S. Frosinone was founded, competing in both the Seconda Categoria and Promozione championships. Football returned to Frosinone in 1963 when president Cristofari together with Dante Spaziani and Augusto Orsini, announced the formation of Sporting Club Frosinone. In Serie D, Frosinone always finished among the top positions, and in 1966 won promotion to Serie C after an encounter with Latina. The following year, the canarini were relegated back to Serie D, where in 1967–68 they came third, then fifth and second. The leading figures at the club during this period were the Stirpe brothers, coaches De Angelis and Rambone and players Benvenuto, Caputi, Da Col, Del Sette, Fumagalli and Trentini.

In 1970–71, Frosinone, under club president Marocco, boasted the national record for the best defence (with goalkeeper Recchia only conceding 8 goals) and again managed promotion to Serie C, where the canarini played out four good seasons (the best finish was seventh in 1972) and their star player Massimo Palanca entered the football firmament, top goalscorer of the central group of Serie C in 1974 and then later was successful representing Catanzaro in Serie A. From 1975 to 1978 the canarini played in Serie D, reaching promotion to Serie C2 in 1976–77. In 1977–78, Frosinone were again relegated back to Serie D and remained there until 1982. The club's key protagonists of the seventies were the presidents Marocco and Battista, coaches Giuseppe Banchetti and Giuseppe Lupi and players Brunello, Colletti, Dal Din, Santarelli, Masiello, Vescovi and, as mentioned earlier, Massimo Palanca. Frosinone started the next decade in the best possible way.

In 1980–81, the Canarini were promoted to Serie C2 without losing a game. Among the professionals, Frosinone managed good placements and produced new talent such as Gabbriellini, Perrotti and De Paola. Despite a precarious financial condition, Frosinone led by president Di Vito and coach Alberto Mari were promoted to Serie C1.

In 1987–88 season the Canarini played their first season in Serie C1 and finished mid-table. They returned immediately to Serie C2 the next season however despite a good start. Goalkeeper Marco Cari and coach Alberto Mari (later replaced by Robotti) were suspended for a football related betting offence. Among the most important players during the 1980s were Davato, Atzori, Di Liso, Cristiano, Bellini, Perrotti and Edoardo Artistico Poli, who then began an enviable football career.

Bankruptcy and return to Serie C

In the summer of 1990, having missed out on promotion to C1 by just three points, Frosinone was removed from the Italian Football Federation because of their financial state. When it seemed likely that they would return to the Promozione division, the club was placed in the Interregionale, where it remained for four years.

In 1993–94, after the championship was almost completed, the Canarini ("the canaries") were overtaken by both Giulianova and Albanova, and were relegated, but they were reinstated to Serie C after the season ended.

In 1996 the club gained a mid-table placing in Serie C2, and was leading in Girone C of C2, but on the last day of the championship Frosinone was defeated by Benevento and was overtaken in the table by Avezzano. They also lost in the play-offs, being beaten in the semi-final by Albanova. They then played out three consecutive mediocre seasons. They survived the first two, in play-offs against Casertana and Albanova, but in the third year Frosinone was defeated by Tricase and relegated.

In Serie D, Frosinone finished fifth in 2000, while in their second year in Serie D the team was involved in an exciting head-to-head battle with A.C. Martina of Apulia. In the end they finished second, but with an impressive 81 points. Under president Navarra and coaches Luca and Stefano Sanderra, the team returned to Serie C2.

In their first two championships back in C2, Frosinone were managed by five different tacticians. After a good start, the team seemed able to reach the play-offs, however finished mid-table. In 2003 the club was taken over by a group of entrepreneurs led by Maurizio Stirpe, son of Benito, a former president of the club back in the sixties.

Stirpe called Enrico Graziani to Frosinone as a general director. Graziani had already worked at Teramo, gaining the Abruzzese club promotion to C1. The managerial position was entrusted to Giorgini, who had spent the previous season with Serie C2 side Brindisi. After an average start to the season, Giorgini was replaced by Daniele Arrigoni, former coach of Messina and Palermo in Serie B.

With an already strong side, including players such as Arno, Vitali, Dario Rossi, Gianluca and Stefano De Angelis, Manca, Tatomir, Galuppi and the goalkeeper de Juliis, being improved in the transfer market adding quality players such as De Cesare, Aquino and Buonocorre. Much expectation was placed upon Enrico Buonocorre, but the trequartista live up to them. He did however, score a crucial free kick in the match against Castel Di Sangro.

The team performed well in 2003–04 Serie C2 season, fighting for supremacy near the top of the table with Brindisi. The two teams will take turns to occupy first place until the very end of the season. On the final day, Frosinone, with a point less than Brindisi, travelled to Melfi, while Brindisi faced a tough trip away to Sicilian club Igea Virtus. Both Melfi and Igea were in the running for a place in the play-offs, leaving it all to play for in these two clashes. Frosinone beat Melfi thanks to a great goal by Ciro De Cesare, while Brindisi failed to beat Igea.

Frosinone were now back in Serie C1 for the first time in sixteen years. The 2003–04 season is remembered not only for the historic promotion back to C1, but also victories in the derby with Latina, with whom there is a heated rivalry. Frosinone won both matches 1–0, with goal from Manca away and Aquino scoring at home.

Upon their return to C1, which saw them travel to such historic cities as Cremona, Mantua, and Pisa, Frosinone appointed Dino Pagliari as coach, while the likes of Salvatore Mastronunzio, Di Deo (later sold to Ternana in B), Molinari, Nicola Pagani, Mauro Zaccagnini, goalkeeper Zappino, promoted, Alfredo Cariello, Davide D'Antoni, Francesco Mocarelli, Antonio Di Nardo, Michele Ischia were all signed to bolster the playing squad. Famous men who have played for Frosinone include the sport commentator Sandro Ciotti.

The season saw Frosinone go through highs and lows, in the end finishing fifth and reaching the play-offs, where they were eliminated by Mantova.

Serie B

In the following season, 2005–06, Frosinone were coached by Ivo Iaconi, who had offers from two Serie B teams, Fermana and Pescara, yet opted to manage the Canarini.

Several players were signed to help the club in their push for promotion including Ciro Ginestra, Stefano Bellè, Jimmy Fialdini, Paolo Antonioli, Massimo Perra, Marco Martini, Marco Ogliari and Giuseppe Anaclerio.

Despite the presence of fallen giant and former Scudetto winners Napoli in the league, Frosinone emerged as strong challengers. They began the season well, with a 4–1 victory at Perugia.

Frosinone continued their strong form right throughout the championship, finally finishing second behind Napoli and favourites to win the play-offs. Their first opponents were Tuscan side Sangiovannese, who had finished fifth. Both matches ended scoreless and Frosinone progressed to the final by virtue of their higher placed finish in the league.

In the final they met another team from Tuscany, Grosseto, drawing 0–0 at home and winning 1–0 away thanks to a goalkeeping error. For the first time ever, Frosinone were promoted to Serie B.

For their first season at Serie B level, the club made several signings to keep the team competitive. They included Massimo Margiotta, Francesco Lodi, Lucas Rimoldi and Fabio Di Venanzio. Meanwhile, work began on restructuring the Stadium Matusa, whose capacity was increased from 5,000 to almost 10,000 seats.

The first game of the season was a 1–0 loss away at the Stadio Nereo Rocco against Triestina. This was followed by draws at home against Spezia and Arezzo and another away defeat at Rimini. Their first victory came away from home at the Stadio Romeo Menti against Vicenza. It finished 2–1 with goals from Margiotta and Di Nardo.

Among the most important victories of the season were the 2–1 wins against Bologna and Lecce and the thrilling 1–0 win against Bari, where the goalkeeper Zappino saved a penalty. On 28 October 2006, Frosinone met giants Juventus. The goal from Alessandro Del Piero (his 200th for Juve) decided the game, however the Frusinati returned home with their heads held high.

The season concluded with a draw against Modena, and Frosinone finished 13th, a more than satisfactory position for their debut season.

The Canarini improved on this during their second Serie B season, finishing 10th in 2007–08, and for much of the season were in real contention for a play-off place and a highly unlikely promotion to Serie A.

On 21 May 2011, the club was relegated from Serie B to Lega Pro Prima Divisione after finishing bottom of the table.

From third tier to Serie A

On 7 June 2014, Frosinone, under the guidance of head coach Roberto Stellone, was promoted from Lega Pro Prima Divisione to Serie B after winning the playoff 1–1, 3–1 (4–2 aggregate) against Lecce.

In the 2014–15 Serie B season, Frosinone quickly emerged as a surprise package for a Serie A spot, fighting against more renowned teams such as Vicenza and Bologna for a top flight place. On 16 May 2015, Frosinone won automatic promotion after a 3–1 home win against Crotone, six points ahead of third-placed Bologna with only one game remaining; as such, the club made its first Serie A appearance ever in the 2015–16 season.

Frosinone's maiden Serie A campaign began in a difficult style, losing their first four outings and dropping to bottom place in the table. In Round 5, the club came up against Italian football heavyweights Juventus at the Juventus Stadium. Defying all odds, Frosinone came away with their first ever Serie A point thanks to an equalising last minute Leonardo Blanchard header to end the match in a 1–1 draw. The following round, Frosinone achieved their first Serie A win, defeating Empoli 2–0 at the Stadio Matusa. Frosinone went on to pick up their second and third consecutive home wins by beating Sampdoria by the same scoreline as Empoli and fellow newly promoted side Carpi 2–1. Frosinone Calcio were relegated back to Serie B after one season in Serie A as they finished in 19th place.

On 29 May 2017, Frosinone lost the semifinal promotion playoff against Carpi, remaining in Serie B.

On 16 June 2018, Frosinone was promoted to Serie A for the second time in their history, defeating Palermo 2–0 at home to win 3–2 on aggregate in the promotion play-off finals after a 2–1 loss in the first leg. They were relegated back to Serie B after one season at top level. In their first season back in Serie B, Frosinone missed out on promotion after losing in the playoff final to Spezia.

On 25 May 2019, Frosinone was relegated again after having a bad season, and on their last matchday they tied 0–0 against Chevo Verona.

After 4 years of remaining in Serie B, on 19 May 2023, Frosinone promoted to Serie A after being leaders on Serie B, and winning 3–2 against Ternana on they last matchday, and even beating Napoli 4–0 in the round of 16 of the Coppa Italia. In the 2023/2024 Serie A season, Frosinone finished 18th on the table and were relegated back to Serie B.

Colours and symbols
The first social colours of the club were red and blue. Now they are yellow and blue. From the 2007–08 season, the club has a mascot called Lillo, represented by a lion, the animal that appears in the coat of arms. The name was chosen by fans of Frosinone with a poll on the club's official website. The mascot accompanies the home team and from the 2008–09 season there is also a chance to be selected, on request, to impersonate Lillo for a game.

Stadiums

Frosinone has always played its home games at the Stadio Comunale di Frosinone, nicknamed the Matusa because of the age of the structure. Founded in what was then the outskirts of the city, today, as a result of the massive urban growth of the city, it is set in the centre of the capital of Frosinone surrounded by several buildings. It has undergone several reconstructions but never related to the foundational structure of the grandstand, which is still the one from the foundation.

Over the years, also depending on the results of the team, it has had different capacities. In 2014 it could accommodate approximately 10,000 spectators.

In the eighties the new Stadio Casaleno began to be built in short distance of the area. The progress, which led to the construction of a grandstand, however, was interrupted as a result of scandals and erroneous projects and led to the temporary decline of the team. For several years projects have been proposed to complete the structure and give Frosinone a new stadium, but the idea, as well as complex bureaucratic loopholes and economic issues, has also seen resistance from many fans who prefer to play in the old historic stadium.

In 2007, in order to unlock the stalemate that concerned the management of the old Matusa and the construction of the new municipal stadium, some fans of the club, as a provocative gesture, put the stadium up for auction on eBay for a single euro, though in a few hours the bidding price was over €8 million.

The record of spectators in a game inside of the Matusa dates back to the Serie C1 championship of 1988–89, with about 12,000 spectators for a match against Campobasso.

Starting from October 2017, Frosinone plays its home games at Benito Stirpe stadium. The record number of spectators at a game inside of the Stirpe in Serie B championship of 2017–2018, was about 16,286 spectators for a match against Foggia.

In November 2017, Frosinone Calcio launched the first ever public mini-bond investment scheme in Italian football via sports investment platform Tifosy. Frosinone Calcio president Maurizio Stirpe mentions that the proceeds of the mini-bond would be used to: "build the medical center (intended for all those who gravitate around the world of Frosinone Calcio) and the restaurant, both located in the belly of the central grandstand.

With the resources that the club aims to collect through crowdfunding the ring around the stadium could also be restructured, with the rebuilding of the flooring, so as to allow citizens who use these spaces to run and train themselves to have a more functional space to these activities". The Frosinone Bond raised €1,500,000 which was €500,000 over what the club initially thought the bond would raise.

League

 * Serie B
 * Winners: 2022–23
 * Serie C2
 * Winners (2): 1986–87 (group D), 2003–04 (group C)
 * Serie D
 * Winners (2): 1965–66 (group D), 1970–71 (group F)

Regional

 * Terza Divisione
 * Winners (1): 1932–33
 * Seconda Divisione
 * Winners (2): 1933–34, 1945–46 (group E)
 * Prima Categoria
 * Winners (1): 1962–63

Cups

 * Coppa Italia Serie C
 * Runners-up (1): 2004–05

Youth

 * Campionato Nazionale Dante Berretti
 * Winners (1): 2011–12
 * Campionato Allievi Nazionali
 * Winners (1): 2011–12
 * Supercoppa Allievi
 * Winners (1): 2011–12

League
Below is a table showing the participation of Frosinone in the Italian leagues.

Individual
Source: Frosinone Calcio official website

Managers

title: Frosinone Calcio


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Notational analysis

In professional sports, notational analysis is the study of movement patterns, strategy and tactics in team sports. Successful patterns of play can be identified and used in subsequent matches. Notational analysis has a history in dance and music notation. Notational analysis is a way that critical events in a performance can be quantified in a consistent and reliable manner.

In notational analysis, no change in performance of any kind will take place without feedback. The role of feedback is central in the performance improvement process, and by inference, so is the need for accuracy and precision of such feedback. The provision of this accurate and precise feedback can only be facilitated if performance and practice is subjected to a vigorous process of analysis.

Subjective observation
Augmented feedback has traditionally been provided by subjective observations, made during performance by the coaches, in the belief that they can accurately report on the critical elements of performance without any observation aids. Several studies not only contradict this belief, but also suggest that the recall abilities of experienced coaches are little better than those of novices, and that even with observational training, coaches' recall abilities improved only slightly. Furthermore, research in applied psychology has suggested that these recall abilities are also influenced by factors that include the observer's motives and beliefs. The coach is not a passive perceiver of information, and as such his or her perception of events is selective and constructive, not simply a copying process. This importance of feedback to performance improvement, and the limitations of coaches' recall abilities alluded to above, implies a requirement for objective data upon which to base augmented feedback, and the main methods of "objectifying" this data involve the use of video / notational analysis (Hughes and Franks, 1997 p. 11).

History of data gathering in sports
Coaches have been aware, consciously or unconsciously, of these needs for accuracy of feedback and have been using simple data gathering systems for decades. More recently, sports scientists have been using notational analysis systems to answer fundamental questions about game play and performance in sport.

An early work, over some decades, on analysis of soccer was picked up by the then Director of Coaching at the Football Association in the United Kingdom. This had a profound effect on the patterns of play in British football – the adoption of the 'long ball' game. Generally, the first publications in Britain of the research process by notational analysis of sport were in the mid-1970s, so as a discipline it is one of the more recent to be embraced by sports science.

The publication of a number of notation systems in racket sports provided a fund of ideas used by other analysts. Because of the growth and development of sports science as an academic discipline, a number of scientists began using and extending the simple hand notation techniques that had served for decades. This also coincided with the introduction of personal computers, which transformed all aspects of data gathering in sports science. Currently hand and computerized notation systems are both used to equal extents by working analysts, although the use of computer databases to collate hand notated data post-event makes the analyses much more powerful.

The applications of notation have been defined as:
 * 1) tactical evaluation,
 * 2) technical evaluation,
 * 3) analysis of movement,
 * 4) development of a database and modelling, and
 * 5) for educational use with both coaches and players.

Most pieces of research using notation, or indeed any practical applications working directly with coaches and athletes, will span more than one of these purposes.

Tactical evaluation
The definition of tactical patterns of play in sports has been a profitable source of work for a number of researchers. The maturation of tactics can be analysed at different levels of development of a specific sport, usually by means of a cross-sectional design. The different tactics used at each level of development within a sport will inevitably depend upon technical development, physical maturation and other variables. The 'maturation models' have very important implications for coaching methods and directions at the different stages of development in each of the racket sports. These tactical 'norms' or 'models', based both upon technique and tactics, demonstrate how the different applications, defined above, can overlap.

Sanderson and Way (1977) used symbols to notate seventeen different strokes, as well as incorporating court plans for recording accurate positional information. The system took an estimated 5–8 hours of use and practise before an operator was sufficiently skillful to record a full match actually during the game. In an average squash match there are about 1000 shots, an analyst using this system will gather over 30 pages of data per match. Not only were the patterns of rally-ending shots (the Nth shot of the rally) examined in detail, but also those shots that preceded the end shot, (N-1) to a winner or error, and the shots that preceded those, (N-2) to a winner or error. In this way the rally ending patterns of play were analysed. Not surprisingly, processing the data for just one match could take as long as 40 hours of further work. The major emphasis of this system was on the gathering of information concerning `play patterns' as well as the comprehensive collection of descriptive match data. Sanderson felt that `suggestive' symbols were better than codes, being easier for the operator to learn and remember. The main disadvantages of this system, as with all longhand systems, was the time taken to learn the system and the large amounts of data generated, which in turn needed so much time to process it.

The 1980s and 1990s saw researchers struggling to harness the developing technology to ease the problems inherent in gathering and interpreting large amounts of complex data. Hughes (1987) modified the method of Sanderson and Way so that the hand-notated data could be processed on a mainframe computer. Eventually, the manual method was modified so that a match could be notated in-match at courtside directly into a microcomputer. This work was then extended to examine the patterns of play of male squash players at recreational, county and elite levels, thus creating empirical models of performance, although the principles of data stabilisation were not thoroughly understood at the time. This form of empirical modelling of tactical profiles is fundamental to a large amount of the published work in notational analysis. By comparing the patterns of play of successful and unsuccessful teams or players in elite competitions, world cup competitions, for example, enables the definition of those performance indicators that differentiate between the two groups. This research template has been used in a number of sports to highlight the tactical parameters that determine success, and it has been extended in tennis to compare the patterns of play that are successful on the different surfaces on which the major tournaments are played.

Most of the examples for tactical applications of notation could appear in the other sections of direct applications of notational analysis, but their initial aims were linked with analysis of tactics. The interesting theme that is emerging, from some of the recent research, is that the tactical models that are defined are changing with time, as players become fitter, stronger, faster, bigger (think of the changes in rugby union since professionalisation in 1996), and the equipment changes – for example, the rackets in all the sports have become lighter and more powerful. Over a period of less than 15 years the length of rallies in squash, for elite players, has decreased from about 20 shots, to about 12 shots per rally. An excellent review (Croucher, 1996) of the application of strategies using notational analysis of different sports outlines the problems, advantages and disadvantages associated with this function.

Technical evaluation
To define quantitatively where technique fails or excels has very practical uses for coaches, in particular, and also for sports scientists aiming to analyse performance at different levels of development of athletes.

Winners and errors are powerful indicators of technical competence in racket sports and have often been used in research in notational analysis of net-wall games. It has been found that, for all standards of play in squash, if the winner: error ratio for a particular player in a match was greater than one, then that player usually won. (This was achieved with English scoring and a 19-inch tin). Although this ratio is a good index of technique, it would be better used with data for both players, and the ratios should not be simplified nor decimalised. Rally end distributions, winners and errors in the different position cells across the court, have often been used to define technical strengths and weaknesses. This use of these distributions as indicators is valid as long as the overall distribution of shots across the court is evenly balanced. This even distribution of shots rarely occurs in any net or wall game. Dispersions of winners and errors should be normalised with respect to the totals of shots from those cells. It would be more accurate to represent the winner, or error, frequency, from particular position cells, as a ratio to the total number of shots from those cells.

Similarly, performance indicators such as shots are insufficient and need to be expressed with more detail, for example shot to goal ratios (soccer). Even these, powerful as they are, need to be viewed with caution and perhaps integrated with some measure of shooting opportunities? In rugby union, simple numbers of rucks and mauls won by teams may not give a clear impression of the match, the ratio of 'rucks won' to 'rucks initiated' is a more powerful measure of performance. This too could be improved by some measure of how quickly the ball was won in critical areas of the pitch?

Many coaches seek the template of tactical play at the highest level for preparation and training of both elite players and/or teams, and also for those developing players who aspire to reach the highest position. Particular databases, aimed at specific individuals or teams, can also be used to prepare in anticipation of potential opponents for match play. This modelling of technical attainment has been replicated in many sports and form the basis of preparation at the highest levels by the sports science support teams.

Movement analysis
Reilly and Thomas (1976) recorded and analysed the intensity and extent of discrete activities during match play in field soccer. With a combination of hand notation and the use of an audio tape recorder, they analysed in detail the movements of English first division soccer players. They were able to specify work-rates of the different positions, distances covered in a game and the percentage time of each position in each of the different ambulatory classifications. Reilly has continually added to this base of data enabling him to clearly define the specific physiological demands in not just soccer, but all the football codes. This piece of work by Reilly and Thomas has become a standard against which other similar research projects can compare their results and procedures, and it has been replicated by many other researchers in many different sports.

Modern tracking systems have taken the chore out of gathering movement data, which was the most time-consuming application of notational analysis, and advanced computer graphics make the data presentation very simple to understand. Modelling movement has created a better understanding of the respective sports and has enabled specific training programmes to be developed to improve the movement patterns, and fitness, of the respective athletes.

Development of a database and modelling
Teams and performers often demonstrate a stereotypical way of playing and these are idiosyncratic models, which include positive and negative aspects of performance. Patterns of play will begin to establish over a period of time but the greater the database then the more accurate the model. An established model provides for the opportunity to compare single performance against it. The modelling of competitive sport is an informative analytic technique because it directs the attention of the modeller to the critical aspects of data that delineate successful performance. The modeller searches for an underlying signature of sport performance, which is a reliable predictor of future sport behaviour. Stochastic models have not yet, to our knowledge, been used further to investigate sport at the behavioural level of analysis. However, the modelling procedure is readily applicable to other sports and could lead to useful and interesting results.

Once notational analysis systems are used to collect amounts of data that are sufficiently large enough to define 'norms' of behaviour, then all the ensuing outcomes of the work are based upon the principles of modelling. It is an implicit assumption in notational analysis that in presenting a performance profile of a team or an individual that a 'normative profile' has been achieved. Inherently this implies that all the variables that are to be analysed and compared have all stabilised. Most researchers assume that this will have happened if they analyse enough performances. But how many is enough? In the literature there are large differences in sample sizes.

These problems have very serious direct outcomes for the analyst working with coaches and athletes, both in practical and theoretical applications. It is vital that when analysts are presenting profiles of performance that they are definitely stable otherwise any statement about that performance is spurious. The whole process of analysis and feedback of performance has many practical difficulties. The performance analyst working in this applied environment will experience strict deadlines and acute time pressures defined by the date of the next tournament, the schedule and the draw. The need then is to provide coaches with accurate information on as many of the likely opposition players, or teams, in the amount of time available. This may be achieved by the instigation of a library of team and/or player analysis files, which can be extended over time and receive frequent updating. Player files must be regularly updated by adding analyses from recent matches to the database held on each player.

Finally, some scientists have considered the use of a number of sophisticated techniques, such as neural networks, chaos theory, fuzzy logic and catastrophe theory, for recognizing structures, or processes, within sports contests. Each of these system descriptions, while incomplete, may assist in our understanding of the behaviours that form sports contests. Furthermore, these descriptions for sports contests need not be exclusive of each other, and a hybrid type of description (or model) may be appropriate in the future, a suggestion that remains only a point of conjecture at this time.

Educational applications
It is accepted that feedback, if presented at the correct time and in the correct quantity, plays a great part in the learning of new skills and the enhancement of performance. Recent research, however, has shown that the more objective or quantitative the feedback, the greater effect it has on performance. However, in order to gauge the exact effect of feedback alone, complete control conditions would be needed in order to minimise the effect of other external variables, which is by definition impossible in real competitive environments. This experimental design is also made more difficult because working with elite athletes precludes large numbers of subjects.

Hughes and Robertson (1997) were using notation systems as an adjunct to a spectrum of tactical models that they have created for squash. The hand notation systems are used by the Welsh national youth squads, the actual notation being completed by the players, for the players. It is believed that in this way the tactical awareness of the players, doing the notation, are heightened by their administration of these systems. This type of practical educational use of notation systems has been used in a number of teams sports, soccer, rugby union, rugby league, basketball, cricket, and so on, by players in the squads, substitutes, injured players, as a way of enhancing their understanding of their sport, as well as providing statistics on their team.

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

title: Notational analysis


text:
User talk:M912solid

Please do not add commercial links (or links to your own private websites) to Wikipedia. Wikipedia is not a vehicle for advertising or a mere collection of external links. You are, however, encouraged to add content instead of links to the encyclopedia. See the welcome page to learn more. Thanks. --Yamla 14:43, 11 October 2005 (UTC)

Please stop adding nonsense to Wikipedia. It is considered vandalism. If you were just trying to experiment, then use the sandbox instead. Thank you. --Yamla 14:43, 11 October 2005 (UTC)

title: User talk:M912solid


text:
An Sgùrr (Lochcarron)

An Sgùrr is a hill in Scotland, occupying the broad peninsula between Loch Carron and Loch Kishorn. It has the appearance of a rough knoll, with small crags ringing the summit, particularly on the western side.

The hill may be climbed from a number of locations. The A896 road passes some two kilometres to the north, whilst a forestry track from south of Lochcarron allows access to the southeast. The path between Achintraid and Reraig passes to the south west side of An Sgùrr; the summit may be reached from Bealach that separates An Sgùrr from Bad a' Chreamha, which lies a kilometre or so east of this path.

title: An Sgùrr (Lochcarron)


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Talk:Rent-seeking

Tone of article isn't very encyclopedic
Article has a bit too much of the author's voice and reads like a homework assignment or a edutainment video:

"With constantly evolving digital platforms and new business models, individuals or groups are always on the lookout to gain an unfair advantage over others using the government or other institutions."

This is good for maybe an educational pop-science textbook or article but not Wikipedia...Needs to include more "according to X in the reference", etc.TheWikiJedi (talk) 16:46, 28 May 2023 (UTC)

 * I agree. WP:DOIT? :-) postleft ✍ (Arugula)  ☞ say hello!  23:34, 28 May 2023 (UTC)
 * This was the result of a massive vandalism attack with made up references. AManWithNoPlan (talk) 00:44, 29 August 2023 (UTC)
 * What ..."was the result of a massive vandalism attack with made up references."?
 * Thank you. Jamie says Weirding is Real (talk) 16:13, 27 February 2024 (UTC)

title: Talk:Rent-seeking


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Liliana Cavani

Liliana Cavani (born 12 January 1933) is an Italian film director and screenwriter. Cavani became internationally known after the success of her 1974 feature film Il portiere di notte (The Night Porter). Her films have historical concerns. In addition to feature films and documentaries, she has also directed opera.

Early life
Cavani was born in Carpi, near Modena in the regione of Emilia-Romagna. Cavani's father, an architect from Mantua, belonged to a conservative bourgeois family of landowners. "My father was an architect interested in urban development. He took me to museums. He had worked in urban planning in Baghdad in 1956, when Iraq was still under British control. My mother was very strong, very capable, and very sweet", Cavani explained in an interview. Her mother was passionate about films and took her to the movies every Sunday from an early age. On her mother's side, Cavani came from a working-class family of militant antifascists. Her maternal grandfather, a syndicalist, introduced her to the works of Engels, Marx and Bakunin.

She graduated in literature and philology at Bologna University in 1959, writing a dissertation on the fifteenth-century poet and nobleman Marsilio Pio. She had intended to become an archeologist, a profession she soon abandoned in order to pursue her passion for the moving image. She attended Rome's renowned Centro Sperimentale di Cinematografia. She studied documentary filmmaking and obtained her diploma with the short films Incontro notturno (1961), about the friendship between two men, a white man and a Senegalese, and L'evento (1962) about a group of tourists who killed for fun.

Early films (1961–1965)
While attending film school, Cavani won a competition at RAI, Italy's national television network, and took a job there as a director of historical documentaries in 1961. Her professional career thus began making documentaries for RAI between 1961 and 1965, which included Storia del III Reich, (History of the Third Reich) (1962–1963), which chronicles the rise of the Nazi regime.

It was the first historical investigation of German totalitarianism to appear on television. Other documentaries are: L'età di Stalin ("The Stalin Years"), an investigation into the Soviet leader's years; La donna nella Resistenza (1965); Philippe Pétain, processo a Vichy, winner of the Golden Lion at Venice film festival in 1965 in the documentary section. In this period she also made Il giorno della pace, a four-hour documentary on immigration south-to-north within Italy.

Francesco di Assisi (1966)
Cavani made her first non-fiction feature film in 1966 with Francesco di Assisi (Francis of Assisi). Made for television and aired in two parts, it drew comparisons to the films of Roberto Rossellini and Pier Paolo Pasolini. Lou Castel portrays Francis of Assisi as a slightly depressed protester and an avid, albeit mad, supporter of armed brotherhood. The film was a critical success, but also received controversially. Called "heretical, blasphemous and offensive for the faith of the Italian people", it caused the first of many polemical reactions to Cavani's work.

Galileo (1968)
Her next film Galileo focuses on the seventeenth-century conflict between science and religion. Astronomer Galileo Galilei's heliocentric theories collide with the dogmas of the church, resulting in his interrogation by the Inquisition. Originally intended as a miniseries co-produced by Italian and Bulgarian film companies, radio and television company RAI refused to broadcast the finished film and sold the distribution rights to Cineriz.

The Cannibals (1970)
The Cannibals (I Cannibali), Cavani's first film to rely on an independent production company, uses the myth of Antigone to present the contemporary political state of Italy. The film, set in the industrial city of Milan, recounts the struggle of a young woman against the authorities that prevents burying the bodies of rebels killed by the police, to serve as a warning to its citizens. The only rebel in a city crushed by dictatorship, she is aided by a mysterious man who speaks an unknown language. The example of these two is soon followed by others. This work was not very well received by the public, so Cavani returned to television with the series of documentaries I bambini e noi (1970).

The Guest (1971)
Cavani's subsequent film L’ospite (The Guest) furthered her interest in social and psychological themes. The plot centers on a woman who, after being released from a mental hospital, tries in vain to fit into society and flees into a fantasised past. The film, starring Lucia Bosè, was produced by RAI on a minuscule budget and shown at the Venice Film Festival.

Milarepa (1973)
The director undertook a venture into Oriental mystical experiences with Milarepa (1973). A story inspired in a classic text of Tibetan literature, Milarepa moves back and forth in time between the story of the title character, a mystic of the eleventh century and a young westerner whose travails are not very different, both being torn between the search for knowledge and a quest for power. The film was praised by Pier Paolo Pasolini who called it a "truly beautiful film".

The Night Porter (1974)
Cavani was not well known beyond Italy until she made the 1974 film The Night Porter (Il portiere di notte), which remains the film for which she is best remembered. The plot, set in Vienna in 1957, follows an SS camp guard and a former concentration camp survivor engaging in a sadomasochistic relationship after meeting again by a chance encounter. A deeply controversial film, it starred Dirk Bogarde and Charlotte Rampling.

American critic Roger Ebert called it "despicable", and both major New York critics, Pauline Kael (The New Yorker) and Vincent Canby (The New York Times) dismissed it as "junk". The German Filmdienst categorised the film as "political pornography". In later years, The Night Porter was seen as a ground-breaking attempt to probe the unsettling sexual and psychological ambiguities generated by war.

Beyond Good and Evil (1977)
In 1977 she made Beyond Good and Evil (Al di là del bene e del male), which recounts the intense relationship between German philosophizer Friedrich Nietzsche, his friend author Paul Rée and Russian writer and feminist Lou Andreas-Salomé. They meet in Rome in 1882 and move to Germany in a failed ménage à trois while attempting to live their lives and satisfy their intellectual needs rejecting morality. Nietzsche goes mad from a venereal disease and Paul discovers his repressed homosexuality with tragic consequences. Lou, the most liberated of the three, following the banner of feminism, is the only survivor. The film, starring Dominique Sanda, Erland Josephson and Robert Powell, was entangled in controversy.

In 1979 she began directing operas with Wozzeck in Florence; since then she has produced and directed several operas for many theaters in Europe. Subsequent operas include Iphigénie en Tauride (1984) and Medea (1986) at the Opera of Paris; Cardillac (1991) in Florence; La vestale (1993) at the Teatro alla Scala in Milan; and La cena delle beffe (1995) in Zürich.

The Skin (1981)
Her 1981 film, La Pelle (The Skin), was based on the novel with the same name by Curzio Malaparte. Shown in competition for the Palme d'Or at the Cannes Film Festival, it was aimed at the international market with a star-studded cast, including Marcello Mastroianni, Claudia Cardinale, Carlo Giuffrè and Burt Lancaster. The film is set during the American occupation of Naples in 1944 during World War II.

Beyond the Door (1982)
The plot of 1982's Beyond the Door (Oltre la porta), set in North Africa, follows a love triangle between Mathew, an American oil ring worker in love with Nina, a young woman entangled in an affair with her stepfather Enrico, an Italian diplomat who is in jail for the death of Nina's mother. The film, starring Marcello Mastroianni, Tom Berenger and Eleonora Giorgi, disappointed audiences and critics.

The Berlin Affair (1985)
The Berlin Affair (Interno berlinese), made in 1985, was loosely based on the novel Quicksand by Jun'ichirō Tanizaki. Set in Berlin in 1938, on the verge of war, the film tells the story of a German official working for the foreign office and his wife, both of whom are seduced by the young daughter of the Japanese Ambassador to the Third Reich and are dragged into a perverse love triangle.

The film continued Cavani's interest in transgressive relationships. It was the third part of her trilogy of films with a German setting that began with The Night Porter and continued with Beyond Good and Evil.

Francesco (1989)
With Francesco (1989) Liliana Cavani returned to the life of St Francis of Assisi in a film starring American actor Mickey Rourke as the title character, and English actress Helena Bonham-Carter as Chiara. The film bore little stylistic resemblance to Cavani's earlier efforts.

In the 1990s Cavani became more interested in staging operas, and devoted less time to filmmaking. She returned to her television roots and directed three TV opera production: Verdi's La Traviata (1992), Cavalleria rusticana on Pietro Mascagni (1996) and Puccini's Manon Lescaut (1998).

Where Are You? I'm Here (1993)
Where Are You? I'm Here (Dove siete? Io sono qui) (1993), recounts the love story of Fausto and Elena two deaf youngsters from different backgrounds. He belongs to a wealthy family who has raised him as if he were not deaf, while she comes from a more humble working-class family and has to struggle to complete her education. Set in contemporary Italy, the film is similar to The Cannibals and The Guest in its exploration of the themes of silence and isolation. Like many of Cavani's films, it includes the use of dance.

Ripley's Game (2002)
In 2002, Cavani made Ripley's Game (Il Gioco di Ripley), based on the novel of the same name by Patricia Highsmith, a sequel to The Talented Mr. Ripley. Ripley's Game, was presented out of competition at the Venice Film Festival.

The Order of Time (2023)
In 2023, Cavani directed The Order of Time. The screenplay was written by Cavani and Paolo Costella in collaboration with physicist Carlo Rovelli. The film is freely inspired by Rovelli's 2017 essay of the same name. The film tells the story of a gathering of old friends at a seaside villa who soon discover that the world might be ending within the space of a few hours. It is set to premiere out of competition at the 80th Venice International Film Festival, where Cavani will be presented with the Golden Lion for Lifetime Achievement.

The Order of Time is first feature film in over 20 years by Cavani, who was 89 years old at the time of the film's production.

Personal life
Cavani currently lives in Rome. Carpi, her hometown, has established the Associazione Fondo Liliana Cavani, where her films are preserved and made available for consultation.

title: Liliana Cavani


text:
User:Rueckk

Some kind of outer-space potato man.

de:Benutzer:Rueckk sv:Användare:Rueckk

title: User:Rueckk


text:
Brazen Abbot

Brazen Abbot is a Finnish rock band. Originally a studio project of Bulgarian guitarist, producer and song writer Nikolo Kotzev, who is a Finnish resident, the band has since made several live performances.

One of the defining aspects of Brazen Abbot is the employment of multiple singers; every album features three or four singers, with Göran Edman and Joe Lynn Turner having appeared on most Brazen Abbot albums. Nikolo Kotzev originally intended to use only one singer; original singer Göran Edman could only commit to recording two songs for the first album due to contractual obligations. Glenn Hughes was then supposed to record the remaining songs; however contractual obligations hindered him from recording more than three songs, at which point Kotzev brought in Thomas Vikström to record the remaining songs. Kotzev was so pleased with the result that he decided to keep using multiple singers for future albums. When performing live, however, Joe Lynn Turner is typically the only singer.

Several of the band members have also appeared on Nikolo Kotzev's ambitious rock opera Nostradamus (2001); Brazen Abbot was on hiatus during the time Kotzev was working on the rock opera (1998–2001).

Former members include Mic Michaeli, John Levén and Ian Haugland, all members of the famous rock band Europe.

Current members

 * Nikolo Kotzev - guitars, violin, production, mixing
 * Göran Edman - vocals
 * Joe Lynn Turner - vocals (1996- )
 * Tony Harnell - vocals (2005- )
 * Erik Mårtensson - vocals (2005- )
 * Nelko Kolarov - organs (2005- )
 * Wayne Banks - bass (2004- )
 * Mattias Knutas - drums (2005- )

Former members

 * Glenn Hughes - vocals (1995)
 * Thomas Vikström - vocals (1995–1997)
 * Jørn Lande - vocals (2003)
 * Mic Michaeli - keyboards (1995–2003)
 * Lars Pollack - keyboards (2004)
 * Svante Henryson - bass (1995)
 * John Levén - bass (1996–2003)
 * Ian Haugland - drums (1995–2003)
 * Thomas Broman - drums (2004)

Discography

 * Live and Learn (1995)
 * Eye of the Storm (1996)
 * Bad Religion (1997)
 * Guilty as Sin (2003)
 * A Decade of Brazen Abbot (live) (2004)
 * My Resurrection (2005)

title: Brazen Abbot


text:
File:Deerhoof-runnersfour.jpg

Summary
Album cover for "The Runners Four", by Deerhoof. Source URL: http://images-eu.amazon.com/images/P/B000BB18BS.01.LZZZZZZZ.jpg

title: File:Deerhoof-runnersfour.jpg


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Pierre Klossowski

Pierre Klossowski (9 August 1905 – 12 August 2001) was a French writer, translator and artist. He was the eldest son of the artists Erich Klossowski and Baladine Klossowska, and his younger brother was the painter Balthus.

Life
Born in Paris, Pierre Klossowski was the older brother of the artist Balthazar Klossowski, better known as Balthus. Their parents were the art historian Erich Klossowski and the painter Baladine Klossowska. His German-educated father came from a family supposedly belonging to the former Polish petty nobility (drobna szlachta) and bearing the Rola coat of arms. His mother, Baladine Klossowska, was born as Elisabeth Dorothea Spiro in Breslau, Prussia (now Wrocław, Poland). When he was 18, Pierre was André Gide's secretary and worked on the drafts of Les faux-monnayeurs for him. Klossowski was responsible for a new publication of The 120 Days of Sodom & Other Writings by the Marquis de Sade in 1964.

Writing
Klossowski wrote full length volumes on the Marquis de Sade and Friedrich Nietzsche, a number of essays on literary and philosophical figures, and five novels. Roberte Ce Soir (Roberte in the Evening) provoked controversy due to its graphic depiction of sexuality. He translated several important texts (by Virgil, Ludwig Wittgenstein, Martin Heidegger, Friedrich Hölderlin, Franz Kafka, Nietzsche, and Walter Benjamin) into French, worked on films and was also an artist, illustrating many of the scenes from his novels. Klossowski participated in most issues of George Bataille's review, Acéphale, in the late 1930s.

His 1969 book, Nietzsche and the Vicious Circle, greatly influenced French philosophers such as Michel Foucault, Gilles Deleuze, and Jean-François Lyotard.

Film
Klossowski also appeared in Robert Bresson's Au hasard Balthazar as the avaricious miller who desires Marie, a character played by Anne Wiazemsky.

He was involved in:
 * Raoul Ruiz's La vocation suspendue, 1977, 90';
 * Raoul Ruiz's L'hypothèse du tableau volé, 1979, 66';
 * Pierre Zucca's Roberte, 1979, 100';
 * Alain Fleischer's Pierre Klossowski ou l'éternel détour, 1996, 106'.

His text on de Sade is mentioned in the bibliography at the beginning of Pier Paolo Pasolini's Salò, or the 120 Days of Sodom, and quoted several times through the film.

Drawings
An exhibition of Klossowski's drawings and life size sculptures made after them with sculptor Jean-Paul Réti ran from 20 September to 19 October 2006, at the Whitechapel Art Gallery, the Ludwig Museum in Cologne and the Musée National d'Art Moderne in Paris along with a film retrospective.

Translations

 * Friedrich Sieburg, Défense du nationalisme allemand, Grasset (1933)
 * Friedrich Sieburg, Robespierre, E. Flammarion (1936)
 * Ludwig Wittgenstein, Tractatus logico-philosophicus suivi de Investigations philosophiques (1961)
 * Martin Heidegger, Nietzsche (1971)
 * Friedrich Nietzsche, Le Gai Savoir
 * Walter Benjamin, L'œuvre d'art à l'époque de sa reproduction mécanisée [in consultation with the author for the first publication of the essay in 1936]
 * J. G. Hamann, Les Méditations Bibliques, Minuit (1948). Critical edition, Éditions Ionas, 2016, read online.

title: Pierre Klossowski


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Fernet

Fernet is an Italian type of amaro, a bitter, aromatic spirit. Fernet is made from a number of herbs and spices which vary according to the brand, but usually include myrrh, rhubarb, chamomile, cardamom, aloe, and especially saffron, with a base of distilled grape spirits.

Fernet is usually served as a digestif after a meal but may also be served with coffee and espresso or mixed into coffee and espresso drinks. It typically contains 45% alc/vol. It may be served at room temperature or with ice.

The Italian liqueur has a cult following in the international bartending community and is immensely popular in Argentina. The South American country consumes more than 75% of all fernet produced globally and, due to the product's popularity, also has Fratelli Branca's only distillery outside of Italy. As it is traditionally mixed with Coke, fernet has also contributed in making Argentina one of the biggest consumers of Coca-Cola in the world. Fernet and Coke (Spanish: fernet con coca) is so ubiquitous in Argentina that it has been described as "the country's unofficial drink". This combination is called fernandito.

In Argentina

Fernet was introduced to Argentina by Italians during the Great European immigration wave to the country of the late 19th century and early 20th century. It is particularly associated with Córdoba Province, which has been called "the world fernet capital"; almost three million litres are consumed there annually, representing just under 30 percent of national consumption. National production is around 25 million liters, with 35% sold in Buenos Aires city and province. Fernet-Branca is by far the most popular brand in the country, leading the market and reaching a "mythical" status among Argentines. Other popular brands include 1882, Capri, Ramazzotti and Vittone.

Fernet is commonly mixed with Coca-Cola, a mixed drink known as fernet con coca (Spanish for "fernet and Coke") or fernando. While long available, the drink became much more popular in the mid-1980s, encouraged by advertisements of Fratelli Branca in TV stations with national scope, its popularity growing steadily ever since. Consumption of fernet increased greatly in the first decade of the 21st century. By the early 2010s, the popularity of relatively inexpensive fernet was so high that many bars in Buenos Aires removed it from their menus to encourage sales of more expensive drinks.

In the United States
The drink has been popular in the San Francisco Bay Area since before Prohibition. In 2008, San Francisco accounted for 25% of US consumption. San Francisco bars usually serve fernet as a shot followed by a ginger ale chaser.

In the Czech Republic
The Czech-manufactured Fernet Stock brand is popular in the Czech Republic, where it is served as shots or as part of different cocktails.

Cocktails
Fernet can be mixed into cocktails, though the strong taste can overwhelm other ingredients. It can replace bitters in recipes; for instance, the Fanciulli cocktail is a Manhattan with fernet instead of Angostura bitters.

The chef Fergus Henderson offers a recipe, entitled both "A Miracle" and "Dr. Henderson", that approximates Branca Menta (a fernet with menthols and peppermint), by combining two parts fernet with one part crème de menthe over ice. The recipe describes this cocktail as a cure for overindulgence.

In popular culture
Fernet-Branca forms the titular subject of James Hamilton-Paterson's 2004 novel of Tuscany expatriate life, Cooking with Fernet Branca.

Silverada's 2019 song "You Look Good in Neon" makes reference to Fernet in its chorus. Fans of the band have taken to buying shots of the drink at concerts.

title: Fernet


text:
User:Planetrock

WE NEED TO SAVE MOTHER EARTH OR WE WILL WIND UP AMONG THE STARS AND PLANETS IN THIS UNIVERSE A DUST BOWL. PEACE OUT!!!!!!!!

title: User:Planetrock


text:
SSD Città di Gela

Gela Calcio, commonly known as just Gela, is an Italian association football club, based in Gela, Sicily.

History
The club was founded in 1975 and refounded in 2006 and 2011. Gela played 2005–2006 in Serie C1/B, but, following the bankruptcy of the club, a new society, with the current denomination, was admitted to Serie C2.

Following financial troubles it was refounded as Gela Juve-Terranova in 1995, after the merger between the old Juventina Gela and Terranova Gela, a minor team from the city and with the current name in 2006.

Gela has gained some popularity in 2005 because of its commitment against the racket, in one of the cities of Sicily where the Mafia is strongest.

In summer 2010, Gela Calcio had not won the Lega Pro Prima Divisione, however: the failure of many teams has led the repechage in this league.

In summer 2011, it does not appeal against the exclusion of Covisoc and excluded from all football. However, the club reformed in the same year and joined Terza Categoria Ragusa for 2011–12, finishing at fifth in the Group A of Ragusa division and on 27 September 2012 Gela's application for inclusion by repechage in Group I of Sicilian Seconda Categoria was accepted. The club was admitted to Prima Categoria Sicily before the 2013–14 season.

On 23 February 2014, 4 days before the season ended Gela won the championship of Prima Categoria Sicily Group H and was promoted to Promozione Sicily. On 17 April 2016, Gela won the championship of Eccellenza Sicily Group A and was promoted to 2016–17 Serie D.

On 25 June 2019, the team failed, returning to the Seconda Categoria. In 2020 the team was promoted in Prima Categoria. In 2023 the team is playing in Eccellenza, fifth division in the Italian soccer system.

title: SSD Città di Gela


text: User talk:84.226.36.188

title: User talk:84.226.36.188


text: User talk:81.7.40.232

title: User talk:81.7.40.232


text:
Wikipedia:Articles for deletion/Shasted

 * The following discussion is an archived debate of the proposed deletion of the article below. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or on a Votes for Undeletion nomination).  No further edits should be made to this page.

The result of the debate was DELETE. — J I P | Talk 16:10, 18 October 2005 (UTC)

Shasted
Semi-nonsensical slang dicdef The Land 14:55, 11 October 2005 (UTC)
 * Delete per nomination. The Land 14:55, 11 October 2005 (UTC)

 * I disagree. Please Elaborate. 144.160.98.31 15:02, 11 October 2005 (UTC)
 * OK. Firstly Wikipedia is not a dictionary, and the article is a dictionary definition. Furthermore, IMV it's not a place for articles on every form of drunkenness in existence - if we include this one we also need Trashed, Trolleyed, Wasted, Hammered, Mandibled, Cucumbered and any other term made up by a drunken student to describe their state. In any case, to have articles we need to have verifiable statements about what these words are - are there any press cuttings that talk about 'being shasted'? Essentially it's a load of immature nonsense of no encyclopedic interest and we should delete it. The Land 15:17, 11 October 2005 (UTC)

Actually, wikipedia serves as much of a "dictionary purpose" as a dictionary. See: All of these words are either slang or don't exist and aren't used in popular culture (e.g. "Subcrawl"). Also, the majority of these entries are definitions with a questionable "history" attached.
 * Ain't
 * Homie
 * Subcrawl
 * Beer_goggles
 * All of those articles are a good bit more encyclopedic than Shasted. If you can trace its origin back to 1696 or get a line of toys named after it then it may well be encyclopedic. As it stands, it ain't. The Land 15:55, 11 October 2005 (UTC)

I am not a student, actually far from it. I first heard this term come from a parent of a drunk driver during a speech. I don't have the text from the speech but if I did, I would readily supply it. I'm glad you're confident in your abilities to judge maturity, but maybe you should actually read some of the content in the wikipedia. 144.160.98.31 15:50, 11 October 2005 (UTC)

 * delete slangdef. And I think we should probably get rid of beer goggles too. --Trovatore 16:07, 11 October 2005 (UTC)
 * Delete as per nom CLW 16:15, 11 October 2005 (UTC)
 * Delete slang dicdef... and can't verify this word isn't a neologism. --Isotope23 16:53, 11 October 2005 (UTC)
 * Delete. Non-notable slang. Only wasted and trashed are notable in my opinion. Andrew pmk | Talk 01:08, 12 October 2005 (UTC)
 * Even notable words aren't supposed to get dictionary-definition articles. BTW neither wasted nor trashed is about terms for drunkenness. --Trovatore 07:25, 12 October 2005 (UTC)
 * Delete. This is a dicdef of a neologism (apparently no relevant Google hits -- it's apparently a surname, though).  Since nobody is using "shasted" in writing to mean drunk, it doesn't even belong on the List of slang terms for drunkenness.  We don't need encyclopedia articles about different slang terms that all mean drunk; the encyclopedic article about the condition of being drunk is Drunkenness which deals with the issue of being trashed, wasted, hammered, and any other thing you can call it. --Metropolitan90 04:07, 12 October 2005 (UTC)
 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in an undeletion request). No further edits should be made to this page.

title: Wikipedia:Articles for deletion/Shasted


text:
User talk:AletE

Hallo, I'm AletE. I live in South Africa and I have a general interest in the world around me. My commitment remains with my own country and I will attempt to add relevant information about South Africa and things South African to Wikipedia. I am a human geographer by training.

Feel free to ask me anything about South Africa; I will make it my priority to find it!

title: User talk:AletE


text:
Tales from the Hood

Tales from the Hood is a 1995 American black horror comedy anthology film directed by Rusty Cundieff. The film presents four short urban-themed horror stories based on problems that affect the African-American community: police corruption, domestic abuse, racism, and gang violence. These are presented within a frame story of three drug dealers buying some "found" drugs from an eccentric and story-prone funeral director.

"Welcome to My Mortuary" (prologue)
A trio of drug dealers – Stack, Ball, and Bulldog – arrive at Simms' Funeral Home to purchase some drugs from Mr. Simms, the mortuary's eccentric owner.

Mr. Simms claims that he found the drugs in an alley, and has safely stored them in his mortuary. He asks the dealers to help him get the drugs, and as the four make their way through the building, relates stories about some of the dead bodies in the funeral home. The first casket contains the body of Clarence Smith, a man who was rumored to have heard voices of the dead calling his name.

"Rogue Cop Revelation"
During his first night on the job, young black police officer Clarence Smith is taken by his new white partner, Newton Hauser, to the scene of what initially appears to be a routine traffic stop of a well-dressed black man by two white cops. When Smith runs the car's license plates, he learns that the man is in fact Martin Ezekiel Moorehouse, a city councilman and black rights activist who has recently been on a crusade to eliminate police corruption in the city. Smith watches in horror as Hauser, along with fellow officers, Billy Crumfield and Strom Richmond, brutally beat Moorehouse with their nightsticks and vandalize his car. When Smith insists that Moorehouse should be taken to a hospital, the officers appear to agree. Smith tells Hauser that Crumfield and Richmond should be reported for what they did, but Hauser tells Smith that officers are not to break "the code" and rat each other out. Smith and Hauser leave in their car. Richmond and Crumfield don't take Moorehouse to the hospital. Instead, they drive Moorehouse's car to the docks. Richmond shoots the battered Moorehouse up with some of the heroin that he, Hauser, and Crumfield have been dealing, plants some in his car, then pushes it into the water with Moorehouse still inside. Moorehouse is posthumously and falsely labeled a hypocrite.

One year later, Smith has left the police force and is now a guilt-consumed drunk. On a walk in his neighborhood, he sees a mural of Moorehouse. Smith then has a vision of a crucified Moorehouse haunting him with the words "Bring them to me!" In response, Smith convinces the three police officers to meet him at Moorehouse's grave on the anniversary of the murder. Once there, Smith denounces the officers for killing Moorehouse and destroying his reputation. The officers begin to insult Moorehouse, with Richmond urinating on Moorehouse's grave and then ordering Crumfield to do the same thing. As Hauser and Richmond prepare to kill Smith, a zombified Moorehouse bursts from the grave to drag Crumfield beneath the ground by his genitals. Moorehouse's coffin bursts from the ground, opening to reveal Crumfield's mutilated corpse, with Moorehouse standing above the grave, clutching Crumfield's still-beating heart.

Richmond and Hauser open fire on Moorehouse, but the bullets have no effect, prompting them to flee in horror. A lengthy chase ensues, with the two cops fleeing by patrol car. As Hauser is driving the vehicle, Moorehouse jumps on top of the vehicle and decapitates Richmond with his bare hands. Terrified, Hauser exits his vehicle and shoots its gas tank, though the ensuing explosion doesn't rid him of Moorehouse. Moorehouse then chases Hauser into an alley, where he telekinetically throws used hypodermic needles into the cop's body, pinning him to Moorehouse's wall mural. Hauser's body melts into the mural, becoming a painting of himself crucified.

His vengeance nearly complete, Moorehouse accosts Smith, asking him why he did not help him when he was being beaten. The story ends with Smith in a mental hospital. Two orderlies outside his cell mention that he killed the officers and that he used to be an officer himself. Moorehouse is never mentioned.

Stack, Ball, and Bulldog think Mr. Simms is crazy after hearing the story. After looking into another casket, the contents of which are not seen, Mr. Simms tells them a story about a boy named Walter.

"Boys Do Get Bruised"
Walter Johnson is a quiet and sensitive boy who transfers to a new school one day with bruises around his cheek and eye. Walter's caring teacher, Richard Garvey, notices the bruises and talks to Walter. He initially thinks that the school bully, Tyrone, gave him the bruises. Although Tyrone has bullied Walter, Walter claims that the bruises came after he was attacked by a monster. A few days later, he shows up with a bruised arm. While the other children play, Walter sits inside and draws pictures of Tyrone and the monster. Walter explains to Garvey that he can overcome something he doesn't like, such as the monster he keeps talking about, by destroying an image of it. After Garvey leaves, Walter crumples up the drawing of Tyrone, causing the real Tyrone to suffer spontaneous injuries.

Later that night, Garvey visits Walter's home and asks Walter's mother, Sissy, about the monster. Sissy claims that Walter's injuries are the result of his own clumsiness; she then tells Walter not to reveal anything about the monster to anyone else. Sissy's domineering boyfriend, Carl, comes home. Mr. Garvey eventually leaves. Seen through Walter's imagination, it is revealed that Carl is, in actuality, the "monster". Thinking that Walter is mocking him by drawing him as a monster, Carl begins to attack Walter and then hits and whips Sissy with a belt when she intervenes.

Garvey turns around to check on Walter and sees Carl beating Sissy through the window. Garvey runs into the house and begins to fight Carl. In a long fight sequence, Carl knocks out Garvey and almost kills a valiant Sissy. With Carl's attention elsewhere, Walter grabs a drawing he made of the monster, and begins to fold and crumple it. Carl's body crumples and collapses in a similar fashion. Sissy stomps on the wadded-up paper to kill Carl. Finally, Garvey gives the paper to Walter, who burns it. Sissy and Walter look on, relieved, as Carl's body is burned.

Back in Simms' Funeral Home, Carl's burnt and mangled corpse is revealed to be inside the coffin. The gangsters close the casket, causing a doll to fall off a nearby shelf. For his next story, Mr. Simms shows them the doll, mentioning that he originally found it in a home in the Southern United States. Simms explains that it is not an ordinary doll, but a vessel for a lost soul.

"KKK Comeuppance"
Duke Metger is an obnoxious and highly racist Southern senator and a one-time member of the Ku Klux Klan who is currently running for governor. The senator is in his office filming a campaign commercial when he sees protesters outside the office. Jewish and African-American groups have teamed up to protest against Metger for being a racist, a former Klansman, and for setting up his office at an old slave plantation previously owned by his ancestor, Nathan Wilkes. One individual, Eli, tells the reporter that the plantation is haunted by dolls animated by the souls of Wilkes's previously tortured slaves, warning the news crews and everyone else at the scene that it is not a myth.

Meanwhile, Metger also discusses the myth of the tortured slaves with his African-American "image-maker" assistant Rhodie Willis. Metger explains how Wilkes, upon hearing that his slaves would be freed at the end of the Civil War, flew into a murderous rage and massacred all of them. The two notice a large painting of Miss Cobbs, the hoodoo witch who transferred the slaves' souls inside a number of small dolls that she created, surrounded by the dolls themselves, which Metger refers to as "Negro dolls". According to legend, the dolls are supposedly still in the house. One of the dolls is seen under the floorboard as Rhodie leaves. While Metger and Rhodie are working on Metger's media skills, Rhodie suddenly stumbles and falls down the stairs to his death. At the funeral, Eli warns Metger to leave the house before he ends up like Rhodie. In the limo after Rhodie's funeral, Metger notices the doll and orders his driver to pull over so he can throw the doll out the window and into the street.

Later, Metger re-watches Rhodie's footage and realizes that he died because he tripped over the doll. After noticing a blank spot on the painting, Metger comes in contact with the little doll itself, now animated, and has a fight with it. Metger is injured, but he manages to stop the doll by beating it with an American Flag. He also damages the painting with the flag, which starts to bleed. Metger takes the doll outside to his porch and ties it to a dart board. He then blasts the doll with his shotgun, and goes back inside to rant at the painting.

In the midst of his latest racist rant, Metger realizes more doll images in the painting have faded to white. Metger finds the previously blasted doll in the hallway, which attacks again and chases Metger into his office. Metger manages to lock the doll outside but sees that the painting has all the doll images faded to white. Terrified, Metger turns around to see an army of dolls, led by the same doll he blasted. He covers himself in the American flag as the dolls converge and devour him. Miss Cobbs then disappears from the painting and manifests herself in the room, holding the first doll in her arms, satisfied at the carnage taking place before them.

Meanwhile, the dealers have grown impatient and ready for the drugs, not wanting to listen to any more of Mr. Simms's strange stories. Ball notices a corpse in another room, and alerts the others to come and see it. When Simms asks them if they knew the man inside the casket, Bulldog says that he was just someone they had seen around their neighborhood. Mr. Simms proceeds to explain the final moments of the man known as Crazy K.

"Hard-Core Convert"
Jerome "Crazy K" Johns is a hardened gangster and homicidal psychopath who has killed many people mercilessly. He is driving down the streets when he encounters his rival, Lil' Deke, whom he pursues and guns down. In retaliation, Lil' Deke's associates shoot at Crazy K. Before they can finish him off, the police arrive at the scene and gun down the attackers. Crazy K, badly injured but still alive, is arrested and sent to prison, serving a life sentence without parole.

Four years later, Dr. Cushing arrives at Crazy K's prison cell and transfers him to her facility for an experimental trial, mentioning that he'll be released from prison if he agrees to it and completes it. Crazy K meets an inmate who happens to be a homicidal white supremacist that raves about killing black people and the end of days for blacks. This angers Crazy K and causes him to punch him in the face. The man then asks Crazy K the race of the victims he killed, silencing Crazy K. The man grows fond of him and he tells him that there will be a few black people who will be spared as long as they think like him. Crazy K is told by Dr. Cushing that she purposely put him there to meet someone who is just like him. She then tells him that she has been hired by the government to administer a rehabilitation process on Crazy K, in hopes that he will change his ways. If he fails to redeem himself, he is told that he will rot in solitary confinement for the rest of his life.

Crazy K is put through a process of torture to make him learn the consequences of his actions. First, his hair (with a "K" cut into the front) is shaved off. He is then loaded onto a gyroscopic modulator, forced to visualize images involving KKK members and actual photographs of lynching victims, interspersed with grisly, stylized footage of gang violence and his own actions. Dr. Cushing expounds on the fact that Crazy K killed many innocent black people without remorse or second thought.

For the next part of the trial, Crazy K is put into a sensory deprivation chamber, where he is confronted by the souls of the people he has killed, intentionally or otherwise, including his friends and an innocent little girl. Despite hinting at his own personal abuse in his childhood, Crazy K refuses to accept any responsibility for his crimes, and Dr. Cushing tearfully warns him that he won't get another chance for forgiveness. Having refused the opportunity to redeem himself, Crazy K is transported back to the moment when he was shot. This time, he is finished off by the three gunmen, who leave his corpse abandoned in the street.

"Welcome to My Mortuary" (epilogue)
Following the telling of Crazy K's story, Stack, Ball, and Bulldog are revealed to be Crazy K's killers. In a heated turn of events, the dealers, having grown hostile with Simms and unnerved by the revelation that he knows their crime, threaten Simms, telling him he will be killed unless he gives them their drugs. Simms leads them deeper into the funeral home and tells them their "reward" is in three closed caskets. Each drug dealer finds that the casket he opens contains their own corpse, revealing that they were dead all this time.

After disarming them, Simms explains that after the murder of Crazy K, they were killed by Crazy K's associates as retaliation (although in the story, they were shot and killed by the police, which is eventually proven false by Crazy K's Death and Mr Simms's Confirmation). Bulldog asks Simms how they can be dead when they are all seemingly alive, together in the same funeral home. Simms tells them that the funeral home is actually Hell and he transforms into Satan. The drug dealers scream in horror at this sight, as the walls of the funeral home shatter to reveal an inferno that consumes them. They are left to burn with all the tortured souls while Satan laughs.

Cast

 * Welcome to My Mortuary (framing segments)
 * Clarence Williams III as Mr. Simms
 * Joe Torry as "Stack"
 * Samuel Monroe, Jr. as "Bulldog"
 * De'Aundre Bonds as "Ball"

 * Rogue Cop Revelation
 * Tom Wright as Martin Ezekiel Moorehouse
 * Anthony Griffith as Officer Clarence Smith
 * Wings Hauser as Officer Strom Richmond
 * Michael Massee as Officer Newton Hauser
 * Duane Whitaker as Officer Billy Crumfield

 * Boys Do Get Bruised
 * Brandon Hammond as Walter Johnson
 * Rusty Cundieff as Richard Garvey
 * Paula Jai Parker as Sissy Johnson
 * David Alan Grier as Carl

 * KKK Comeuppance
 * Corbin Bernsen as Duke Metger
 * Roger Guenveur Smith as Rhodie Willis
 * Art Evans as Eli
 * Christina Cundieff as Miss Cobbs

 * Hard-Core Convert
 * Lamont Bentley as Jerome "Crazy K" Johns
 * Rosalind Cash as Dr. Cushing
 * Ricky Harris as "Lil' Deke"
 * Rick Dean as Racist Inmate

Production
According to Cundieff, the idea for "Tales from the Hood" came from a one-act play he performed a few times in L.A. called "The Black Horror Show: Blackanthropy." Shortly after the play wrapped, Cundieff said Darin Scott suggested they collaborate on a horror movie. "It has to be about something. It can't just be, 'We're scaring you,'" Cundieff said.

The "Tales from the Hood" story, "Boys Do Get Bruised," is loosely based on an incident from Cundieff's childhood. He remembered visiting a friend's house, who lived down the block from his childhood home in Pittsburgh, and seeing his friend's younger sister "gagged and hogtied" in the basement. Cundieff said he went home and told his dad, who was a detective in the juvenile division of the Pittsburgh police: "He said, 'I can't mess with those whites.' And he's probably right. He just felt that even with his badge and with his position he wasn't in a position to deal with that," Cundieff told Jordan Gass-Pooré, host of the podcast Pod of Madness. "I've always had an interest kind of in, I don't know if it was because of that moment, but child abuse, domestic violence is always kind of had some weird place in my head."

Cundieff's parents appear in the story, "KKK Comeuppance." His father is the preacher who gives the eulogy to Rhodie, and his mother portrays Miss Cobbs. Of his father's performance, Cundieff said "He had written a sermon. I'm, like, 'You can't say all this.' ... And then, of course, when I called 'Action!' he, like, got all nervous." Cundieff noted that his mother had the opposite reaction, stating "My mom was an introvert, but she was great. She had no problem. ... She didn't have any lines, but I told her, like, 'You know, look mad, like, you know, when you were angry at me,' or something like that."

Release
The film was released theatrically on May 24, 1995. Later that year, the film was released on VHS and LaserDisc by HBO. In 1998, HBO Home Video released the film on DVD, which has since gone out of print. According to Cundieff, Universal Pictures currently holds the rights to the film, but there were no prints available to reissue the film on the Blu-ray format in 2015. In 2016, a remastered version of the film was released to Amazon.com, iTunes and Crackle. In November 2016, it was announced that the film was to be made available on Blu-ray from Scream Factory, which was released on April 18, 2017.

Reception
Critical reception for Tales from the Hood has been mixed. Film review aggregator Rotten Tomatoes reported an approval rating of 58%, based on 24 reviews, with a rating average of 5.3/10.

Sequels
A sequel entitled Tales from the Hood 2 premiered at the Fantasia International Film Festival in July 2018, also written by Rusty Cundieff and Darin Scott, who shared directorial duties for the film. Keith David replaced Clarence Williams III as Mr. Simms due to Williams' retirement from acting. It was released on home video on October 2, 2018. Another sequel, Tales from the Hood 3, was released on October 6, 2020.

Tales from the Hood 3 stars Tony Todd and was filmed in Winnipeg. It features four stories, including the wraparound story. "The stories, you know, they're not as big as the first Tales," Cundieff told the podcast Pod of Madness. "But I do think that the stories are stronger, overall, than the second one, and the look of the film is better, a lot to do with the locations that we found."

title: Tales from the Hood


text: User talk:166.113.26.214

title: User talk:166.113.26.214


text:
User talk:Doctor9

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Bush Crimes Commission
You are invited to vote in Articles for deletion/Bush Crimes Commission (2nd nomination) Morton devonshire 23:23, 12 April 2006 (UTC)

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paediatric pulmonary fibrosis
at 3 months old my son ben mahon was diagnosed with stage 4 neuroblastoma mnyc amplification. after 10 months of chemotherapy treatment periphial stem cell rescue surgeries etc, ben came through happy healthy and cancer free. at 6 years old he was then diagnosed with interstitial lung disease and recieved high dosage steroid treatment among other things. a year later ben had a cardiorespirtory arrest with a ph level of 6.7 yet survived normal but oxygen dependant and with pulmonary hypertention. january 18th 2007 my little man died after spending 3 weeks on ventillators. he lost muscle and didn't have the stregnth any longer to breathe alone. he was in remission for 7 and a half years. he is the youngest child to have a stem cell rescue in out state of western australia and the only survivor from his treatment. i have no idea why i wrote this, i guess i just wanted the world to know how strong and brave my son was. thank you for taking the time to read this.

yours leanne mahon collie western australia june 5th 2007

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title: User talk:Doctor9


text:
User:Mindspillage/sandbox2

future essays: on making the trolls and vandals hate you.

title: User:Mindspillage/sandbox2