text:
August Wilson Theatre

The August Wilson Theatre (formerly the Guild Theatre, ANTA Theatre, and Virginia Theatre) is a Broadway theater at 245 West 52nd Street in the Theater District of Midtown Manhattan in New York City. Opened in 1925, the theater was designed by C. Howard Crane and Kenneth Franzheim and was built for the Theatre Guild. It is named for Pulitzer Prize-winning playwright August Wilson (1945–2005). The August Wilson has approximately 1,225 seats across two levels and is operated by ATG Entertainment. The facade is a New York City designated landmark.

The facade is designed as a variation of a 15th-century Tuscan villa, with a stage house to the west and an auditorium to the east. The facade has a stucco surface and openings with quoins, as well as a loggia. The placement of window openings reflected the theater's original interior arrangement. The front of the theater had facilities for the Theatre Guild, including classrooms, studios, a club room, a library, and a book store. The rear of the theater contains the auditorium, which was placed one story above ground to make room for a lounge below. The auditorium originally had elaborate decorations, including loggias and a frieze with depictions of scenes from the Theatre Guild's plays.

The Theatre Guild announced plans for its own theater in 1923, and the Guild Theatre opened on April 13, 1925. The theater's initial productions generally lasted only for several weeks, and the Theatre Guild started leasing the venue to other producers in 1938. Radio station WOR (AM) took over the auditorium as a broadcast studio in 1943, with the Theatre Guild moving out the next year. The American National Theater and Academy (ANTA) purchased the theater in 1950 and renamed it the ANTA Playhouse. The theater reopened as the ANTA Theatre in 1954 after a renovation that eliminated most of the interior detail. Jujamcyn purchased the ANTA Theatre in 1981 and renamed it for Virginia McKnight Binger, a co-owner. The Virginia was renovated again in the 1990s, and it was renamed for Wilson in 2005. Under Jujamcyn's ownership, productions such as City of Angels, Smokey Joe's Cafe, and Jersey Boys have had hundreds of performances at the theater.

Site
The August Wilson Theatre is on 245 West 52nd Street, on the north sidewalk between Eighth Avenue and Broadway, in the Midtown Manhattan neighborhood of New York City. The rectangular land lot covers 13,125 ft2, with a frontage of 130.75 ft on 52nd Street and a depth of 100 ft. The August Wilson shares the block with the Broadway Theatre to the northeast. Other nearby buildings include Studio 54 to the north, the New York Jazz Museum and the Ed Sullivan Theater to the northeast, 810 Seventh Avenue to the east, the Mark Hellinger Theatre and Gallagher's Steakhouse to the southeast, and the Neil Simon Theatre to the south. The theater replaced nine old residential buildings.

Design
The August Wilson Theatre (previously the Guild Theatre, ANTA Theatre, and Virginia Theatre ) was designed by C. Howard Crane, Kenneth Franzheim, and Charles H. Bettis. It was constructed in 1924 for the Theatre Guild, a theatrical society. Set designer Norman Bel Geddes was also involved in the August Wilson's interior design. The theater was erected by the O'Day Construction Company, and numerous other contractors participated in the theater's construction.

Facade
The facade of the August Wilson Theatre was designed to resemble a 15th-century Tuscan villa, with a stucco surface and a heavy use of quoins around openings. On 52nd Street, the theater's height is shorter than its width. The extreme west and east ends of the facade contain vertical bands of quoins, while the rest of the facade includes stone-trimmed windows and doors. The placement of window openings reflected the theater's original interior arrangement. Architectural Forum described the openings as "picturesquely grouped in an informal manner to give quaintness and charm to the exterior design".

The western part of the ground story contains three doorways for the stage house. The rightmost doorway is an arch with rusticated limestone voussoirs; the arch's keystone is a cartouche with motifs signifying the arts, music, and tragedy. Within the archway are two steps leading up to a wood-and-glass double door, topped by a lunette window. To the east are wide metal doors that serve as emergency exits followed by narrow wood-and-glass doors that connect with the lobby. The lobby doors are flanked by sign boards, surrounded by large molded frames with console brackets below and cornices above. A single, modern marquee spans the emergency exits and the lobby doors. Originally, there were two marquees, one each above the emergency exits and the lobby doors.

Most of the second-story windows are casement windows flanked by shutters, originally painted blue-green. The exceptions are the westernmost two openings, which are slightly above the rest of the second story and do not contain shutters. On the third story, the westernmost windows are also simple in design, and a sign hangs next to the westernmost window. The center of the third story contains five French windows, each with a wrought-iron balcony in front of it. Each French window is surrounded by stone blocks and topped by a stone pediment. To the east is an arcade with three arches and an iron railing,  which screen a fire-escape balcony. On the fourth story are windows with shutters, extending the width of the theater. Above the fourth story, brackets support a pitched tile roof that slightly overhangs the facade. The stage house rises above the western part of the roof, with a facade of plain brick. This was in keeping with many theaters of the time, which contained plain stage houses above their ornate primary facades, but Architectural Record characterized the stage house as a missed opportunity for decoration.

Interior
The front of the theater had facilities for the Theatre Guild, including classrooms, studios, a club room, a library, and a book store. The rear of the theater contains the auditorium. The auditorium was built one story above ground, as contrasted with comparable theaters, where the auditorium was at ground level. This enabled the installation of a large entrance lounge directly beneath the auditorium.

Lobby and lounge
The main lobby is accessed from 52nd Street and originally was a groin-vaulted space with Italian-style doors, ticket booths, and grilles. During 1993, the lobby was redecorated in the Art Deco style. From the lobby, there were either three or five steps leading down to the upper tier of a two-tiered lounge. The steps were made of travertine and were covered by a carpet.

The lounge, nearly as large as the auditorium directly above it, eliminated the need for patrons to go outside during intermissions. Its tiers differed only slightly in height due to the sloped floor of the auditorium. The lounge's lower tier was to the west of its upper tier. The two sections of the lounge were connected by a flight of three steps, spanned by three arches. There were two arched openings between the lounge's tiers, blocked off by iron railings. Both tiers originally had an ornate multicolored carpet, as well as wall fixtures that are made from the frames of antique Italian altar cards. The upper lounge had a barrel-vaulted ceiling covered in rough plaster. The lower lounge had Italian-style furniture arranged around a fireplace. The south wall of the lower tier had three arches leading to a small refreshment booth.

The lower lounge's north wall had an Italian-style doorway to a women's retiring room. This room had blue walls, frescos, and furniture in an Italian style, with paneled walnut doors leading to the adjacent women's bathroom. The upper lounge's north wall similarly had a large doorway leading to a men's smoking room. This space had red, green, and blue wall decorations with ornate carpets and furnishings. Next to the upper lounge was a coat room with blue walls and a Spanish doorway. A bookstore was also placed in one corner of the upper lounge.

To the east of the upper lounge was an archway, where a double stair ascended to the rear of the auditorium's orchestra and balcony. Similar to the stairs between the lobby and lounge, these steps were made of travertine and covered with a carpet. The stair hall was described as Italian in style, with a recessed window and seats on the orchestra-level landing. Doors from the landing led to both ends of the orchestra's rear wall. There was another landing at the balcony level. Both of these had intersecting vaulted ceilings with lanterns hanging from them. The stairs were infilled in the 1950s to create extra space for seats, and new stairs were added in the corners.

Auditorium
The auditorium has an orchestra level, a balcony, and a stage. Playbill cites the August Wilson Theatre as having 1,225 seats, while The Broadway League cites 1,228 seats. When the Guild Theatre opened, it was variously cited as containing 914 or 934 seats. The orchestra level is wheelchair-accessible via a stair lift; the balcony can only be reached by steps. The main restrooms are placed on the orchestra level. The original decorative scheme continued the exterior's Tuscan design. The decorations were completely removed when the seating capacity was expanded in the 1950s, although the auditorium's layout was not changed during these renovations. Barbara Campagna and Francesca Russo restored much of the interior detail in a 1995 renovation.

Seating areas
The auditorium floor is raked, sloping downward toward the stage to the west. Unlike typical theaters of the time, the Guild Theatre lacked box seats, a design feature intended to give the appearance of coziness. It also did not have a traditional proscenium arch; the auditorium's side walls ended at the stage rather than curving in front of it, thereby creating an unusually wide opening. In addition to the former main staircase at the rear of the auditorium, emergency exits are placed to the north and south. Three arches on the south side lead down to an enclosed staircase to 52nd Street, while a door on the north side leads to a rear court behind the theater. At the rear of the auditorium, wrought-iron railings enclosed the stairways to the balcony. In the 1995 renovation, round columns near the rear of the orchestra were relocated, and the side walls were shortened.

The floors of the auditorium were covered with red and brown carpets, while the seats were upholstered in a brown and gold tapestry with red highlights. The decorative elements included rough-plaster walls with tapestries, loggias, and cartouches. The theater's tapestries and furniture included a combination of genuine antiques and reproductions. The wainscoting on the walls, as well as the entrance and exit doors, were decorated to resemble wood. At the orchestra level, the walls were wainscoted with octagonal panels that extended to the height of the balcony. A frieze, depicting scenes from the Theatre Guild's plays and important figures in the theater's construction, ran atop the auditorium walls. The frieze was designed by Victor White, Margaret White, and Stanley Rowland. The frieze ran above a band of modillions and was separated at regular intervals by massive plaster corbels, painted to imitate walnut. Since 1995, the modern auditorium's design has contained false balconies, exit doors, and a restored frieze. There is also green-and-gold carpeting and seats with orange upholstery.

Other design features
The main ceiling had large beams and smaller transverse beams made of metal, decorated to resemble heavy wooden beams. The coffers between the beams were decorated in red, gold, green, and blue. Two metal chandeliers were hung from the ceiling; one critic described the chandeliers as containing "tulip shaped lights". The ceiling over the balcony had a different design, partially overhanging the orchestra. The balcony ceiling was made of milky green plaster with gilded stars and was lit indirectly by golden glazed discs. After the 1950s renovations, the ceiling decorations were totally removed and plain chandeliers were suspended there. After 1995, the balcony ceiling was painted blue, and gilded stars and white glass globes were added.

The stage is lower than in typical theaters of its time, extending over where the orchestra pit would normally be. This not only gave the impression of coziness but also allowed audience members in their first row to see a production without craning their necks. The stage opening is 38 ft wide, and the stage itself measures 49 ft deep and 77 ft wide, making it New York City's fourth-largest stage when it opened. Traps were placed throughout the stage. The theater's large stage turned out to be a detriment, according to Lawrence Langner, a Guild cofounder. Langner reflected: "We made the ghastly mistake of providing a theater with all the stage space necessary for a repertory of plays without enough seating capacity to provide the income necessary to support the repertory". The modern stage can be extended by up to 8 ft using a curved stage apron.

The Guild Theatre's cyclorama, the concave curtain at the back of the stage, measured 65 ft high and could be retracted into the gridiron when not in use. A switchboard to the left of the stage controlled the lighting. A master switch controlled 156 dimmer plates and 200 switches, and the switchboard also controlled twelve spotlights in the ceiling. Scenery was controlled by a counterweight system on the stage itself, rather than from a fly gallery. The area above the stage's ceiling is 94 ft tall, with the gridiron being 74 ft above the stage. The height of the stage house and the gridiron allowed scenery for several productions to be stored at the same time.

Other interior spaces
On the upper stories, the front section of the theater building contained other rooms for the Guild. The executive offices were on the second story, while other offices were in the fourth story. The fifth story was above the auditorium and contained offices, rehearsal rooms for the Guild School of Acting, and a make-up room. These rooms were used for rehearsals, scenery painting, costume designing, sewing and repair work, and wardrobe storage. There is also an attic story underneath the tiled roof, which covers 1800 ft. The attic's ceiling ranges from 4 to 14 ft high, requiring some bookcases and other furniture to be installed at a slant, parallel to the sloping roof.

The club room, also known as the library, was behind the five large arches on the third story. It was accessed by its own elevator from the street. The club room had either green or blue walls and a red carpet. This room also had an Italian fireplace with a painted hood. On one wall was a niche with space for a writing table. The club room also had sofas, tables, lamps, and antique cabinets. A kitchenette and serving pantry, next to the club room, were used when the members hosted events.

The classrooms, dressing rooms, and studios were in the western side of the theater, with the dressing rooms at the front of the building. The dressing rooms were arranged in several tiers because of limited space and because New York City building regulations forbade the construction of dressing facilities below the stage. The main performers typically were assigned dressing rooms nearest the stage, while supporting performers had to ascend several flights of stairs to reach their rooms. One architectural publication wrote that "the number of such flights the actor has to climb to reach his room accurately [indicates] his position in the company, for the higher he ascends the farther he is from stardom."

History
Times Square became the epicenter for large-scale theater productions between 1900 and the Great Depression. The Theatre Guild became a major producer on Broadway during the latter half of this era. The Guild had been founded in 1919 by Lawrence Langner, Philip Moeller, Helen Westley, and Theresa Helburn as an outgrowth of the Washington Square Players. The Guild's first home was the Garrick Theatre on 35th Street, which had 537 seats. The theatre company supported itself through a subscription business model, wherein subscribers could pay in advance for a season's worth of productions. Though it started with 150 subscribers, the Guild had grown to 6,000 subscribers by 1923.

Planning and construction
At a dinner at the Waldorf–Astoria in March 1923, the Theatre Guild launched a fundraiser for the construction of a dedicated theater, which was estimated to cost $500,000. The proposed theater was to have double that capacity. A New York Times writer said the Theatre Guild "must be given room for healthy expansion or risk being permanently crippled". The next month, the Guild started selling bonds to pay for the construction cost. The bonds were sold exclusively to Guild subscribers for one week, during which subscribers bought $273,000 worth of bonds. Afterward, the Theatre Guild made the bond issue available to the general public.

Early in the theater's planning, Geddes had proposed a quarter-circular auditorium, with the stage at the middle of the quarter-circle's curve. This arrangement would not have allowed a proper backstage area, so the stage would have been able to descend to the basement. This design was discarded because it did not comply with New York City fire codes. In addition, the Guild's varied membership were unable to agree on a unified design. By February 1924, the theatre company held an option to buy a site on 243–259 West 52nd Street. Plans for the theater were filed with the New York City Department of Buildings two months later at a projected cost of $350,000. Helburn hosted a groundbreaking ceremony for the Guild Theatre on December 2, 1924, with New York governor Al Smith and four hundred theatrical personalities in attendance.

1920s
The Guild Theatre opened on April 13, 1925, when U.S. president Calvin Coolidge pressed a button in the White House to turn on the lights. The first production was a revival of George Bernard Shaw's Caesar and Cleopatra, with Lionel Atwill and Helen Hayes, which ran for 128 performances. There was much commentary about the design of the theater. Louis Kalonyme wrote that, "though the Guild Theatre is a refreshing structure, one is not exactly prostrate with admiration before it. One wonders a little, and speculates." Claude Bragdon called the facade "well composed" and "truthful".

Most of the Guild Theatre's productions lasted long enough that the theatre company's 15,000 subscribers had a chance to see each show. A production would typically run several weeks at the theater, relocating to a larger venue if it was favorably received. The Theatre Guild also implemented a program of "alternating repertory" at the Guild Theatre and its other theaters in the 1920s. Actors appeared in multiple plays at the Theatre Guild's venues, switching at regular intervals (often a week). The Guild Theatre largely featured non-Americans' works during the 1920s. In addition to the plays, the Guild Theatre sometimes hosted musical recitals. Shaw's play Arms and the Man with Alfred Lunt and Lynn Fontanne opened at the Guild Theatre in September 1925, followed by Ferenc Molnár's play The Glass Slipper. Lunt and Fontanne starred in many of the Guild Theatre's early plays, mostly performing together. The couple's appearances included Goat Song, At Mrs. Beam's, and Juarez and Maximilian in 1926; The Brothers Karamazov, The Second Man, and The Doctor's Dilemma in 1927; Caprice in 1928; and Meteor in 1929. Sometimes, only one spouse appeared, such as Fontanne in Pygmalion (1926) and Lunt in Marco Millions (1928). Other plays during the 1920s included Right You Are if You Think You Are with Edward G. Robinson in 1927, as well as Faust with Helen Chandler, Dudley Digges, and George Gaul in 1928. Alice Brady, Otto Kruger, and Claude Rains performed in Karl and Anna and The Game of Love and Death in 1929, and Gale Sondergaard also appeared in Karl and Anna.

1930s
During the Great Depression, the Theatre Guild scaled back its alternating-repertory program. The Guild Theatre's productions during 1930 included Ivan Turgenev's play A Month in the Country with Digges, Alla Nazimova, Henry Travers, and Katharine Hepburn; the revue The Garrick Gaieties;  and Maxwell Anderson's play Elizabeth the Queen with Lunt and Fontanne. The next year, the theater hosted Lynn Riggs's play Green Grow the Lilacs (subsequently the inspiration for the musical Oklahoma! ) and Eugene O'Neill's play Mourning Becomes Electra. In 1932, the Guild Theatre hosted Shaw's play Too True to Be Good with Beatrice Lillie and Hope Williams; a theatrical version of Pearl S. Buck's novel The Good Earth with Nazimova, Rains, Travers, Sydney Greenstreet, and Jessie Ralph; and S. N. Behrman's comedy Biography with Ina Claire. W. Somerset Maugham's translation of the Italian play The Mask and the Face opened in 1933 with Judith Anderson, Humphrey Bogart, Shirley Booth, and Leo G. Carroll. It was followed that year by O'Neill's comedy Ah, Wilderness! with George M. Cohan and Gene Lockhart.

By the mid-1930s, the Guild Theatre and the neighboring Alvin (now Neil Simon) Theatre were the northernmost venues in the Theater District that still hosted legitimate shows. The Guild Theatre hosted A Sleeping Clergyman and Anderson's play Valley Forge in 1934. The revue Parade opened the next year, along with the play The Taming of the Shrew with Lunt, Fontanne, Greenstreet, and Richard Whorf. Other 1930s plays at the Guild Theatre included Behrman's play End of Summer in 1936 and Ben Hecht's play To Quito and Back in 1937. The interior was renovated and repainted prior to the opening of To Quito and Back. The Theatre Guild was having trouble booking long-lasting productions by the late 1930s. Many successful plays left after 50 performances, with flops having even shorter runs. Other issues concerned the theater's small capacity and the Guild's focus on experimental productions that could not be staged elsewhere.

In 1938, the Theatre Guild started leasing the theater to outside producers. First among them was Gilbert Miller, who opened a production of the J. B. Priestley play I Have Been Here Before in October 1938, which had only 20 performances. The Thornton Wilder play The Merchant of Yonkers opened that December with Jane Cowl, June Walker, and Percy Waram, though this play also closed after a short run. William Saroyan's play My Heart's in the Highlands, his first on Broadway, opened at the Guild Theatre in 1939. Another Saroyan play followed the next year, The Time of Your Life. The United Booking Office leased the Guild Theatre for one year starting in April 1940, sharing the theater's profits and losses. Numerous plays were staged at the Guild Theatre during the early 1940s, none of which were particularly successful. A revival of Ah, Wilderness! and Sophie Treadwell's Hope for a Harvest appeared in 1941, while Papa Is All, Yesterday's Magic; Mr. Sycamore, and The Russian People all appeared in 1942. By then, the Guild Theatre was too small for the Theatre Guild, which was more commonly using the much larger Shubert and St. James theaters.

Radio studio and ANTA purchase
In March 1943, the Theatre Guild leased the auditorium to Mutual Broadcasting System (MBS)'s radio station WOR for three years. WOR relocated from the New Amsterdam Roof, and the Guild Theatre's auditorium was converted into a studio called the WOR Mutual Theatre. The Theatre Guild continued to occupy the offices, dressing rooms, and rehearsal rooms next to the auditorium. Over the next month, MBS added loudspeakers and made acoustic modifications to the theater's interior, which The New York Times said had long suffered from "tonal defects". The Theatre Guild finally relocated its offices from the theater in 1944. The Bowery Savings Bank sold the $557,500 mortgage on the theater in 1946 to the Dorsar Enterprises Inc., which was owned by the Shubert family. The West 52nd Street Theatre Company retained ownership of the theater. Malin Studios subsequently also occupied space in the building, and WOR continued to lease the auditorium on a monthly basis.

By early 1949, the Shubert brothers had expressed interest in taking over the Guild Theatre as part of a reorganization of the West 52nd Street Theatre Company. The proposed sale faced resistance, in part because the Shuberts already operated 98 percent of all legitimate theaters in the United States, but there were no other bidders and federal judge Henry W. Goddard approved the plan that March. The plan was placed on hold pending the outcome of two judicial appeals. Goddard placed the theater for auction in January 1950, and the American National Theater and Academy (ANTA) submitted the highest bid. ANTA had beat out the only other bidder, developer Irving Maidman. The WOR studios moved out that month. The former Guild Theatre was ANTA's first permanent home since the company was founded fifteen years prior. ANTA took title to the theater building that April. Under ANTA ownership, the theater was renamed the ANTA Playhouse and hosted a memorial to actress Jane Cowl in July 1950, before its reopening.

1950s
ANTA's first play at the theater was Robinson Jeffers's The Tower Beyond Tragedy with Judith Anderson in November 1950. This was followed the next month by a revival of the comedy Twentieth Century with Gloria Swanson and José Ferrer. U.S. president Harry S. Truman dedicated the ANTA Playhouse in April 1951, and the American Academy of Dramatic Arts leased space in the building the same year. Revivals continued for a short time, with productions of Mary Rose and The School for Wives in 1951, as well as Desire Under the Elms and Golden Boy in 1952. The ANTA Playhouse also briefly hosted Mary Chase's play Mrs. McThing in 1952. The ANTA Playhouse was closed for the next two years for a major renovation. The theater's capacity was increased to 1,215 seats, but all of the interior decorations were removed. One publication described the new decorative scheme as "an almost fascist Americana style", enhanced only by blue and gray paint and eagle motifs. The renovations were funded by Robert W. Dowling of the City Investing Company, as well as ANTA treasurer Roger L. Stevens, who held the theater's second mortgage.

The ANTA Theatre was rededicated on December 18, 1954, hosting the William Archibald play Portrait of a Lady. The next year, the theater hosted the play The Dark Is Light Enough, a musical rendition of the play Seventh Heaven, and a revival of The Skin of Our Teeth. Lunt and Fontanne starred in the Russel Crouse and Howard Lindsay comedy The Great Sebastians in early 1956. This was followed by ANTA's first long-running show at its theater, Paddy Chayefsky's play Middle of the Night with Edward G. Robinson, which ran for 477 performances. The ANTA Theatre then hosted two dance engagements in 1957: the Dancers of India and the Dancers of Bali. Two long-running shows followed in 1958. The comedy Say, Darling with Robert Morse, Vivian Blaine, and Johnny Desmond ran for 332 performances, and the play J.B. with Pat Hingle, Raymond Massey, and Christopher Plummer lasted 364 performances. By contrast, Jean Anouilh's The Fighting Cock only had 87 performances in 1959.

1960s to early 1980s
James Thurber's revue A Thurber Carnival opened at the ANTA Theatre in 1960. This was followed in 1961 by Hugh Wheeler's play Big Fish, Little Fish, as well as Robert Bolt's play A Man for All Seasons, the latter of which ran 637 performances over the next year. In 1963, the ANTA Theatre hosted The Advocate, the first Broadway production whose run was simultaneously broadcast on Westinghouse Broadcasting. The ANTA Theatre staged two hits in 1964: James Baldwin's play Blues for Mister Charlie and the two-person comedy The Owl and the Pussycat with Diana Sands and Alan Alda. That year, Harris Masterson and Norman Twain leased the theater from ANTA for five years. The ANTA Theatre hosted Peter Shaffer's play The Royal Hunt of the Sun in 1965, which was the last successful production of the decade. Also in 1965, the ANTA Theatre installed an alcoholic bar, being the third Broadway theater to do so after New York state approved liquor sales at theaters.

During the mid-1960s, ANTA operated the ANTA Washington Square Theatre in Greenwich Village as a temporary home for the Lincoln Center Theater. The proceeds from the Washington Square Theatre were used to lower the mortgage on the ANTA Theatre on 52nd Street. The National Repertory Theatre performed at ANTA's 52nd Street theater in 1967, and the American Conservatory Theater performed in 1969. The American Shakespeare Festival's production of Henry V and the Wilder play Our Town also appeared at the ANTA Theatre in 1969. ANTA and the Phoenix Theatre collaborated for the play Harvey with Helen Hayes, James Stewart, and Jesse White, which opened in 1970. Several dance companies performed in 1971, including those of Alvin Ailey, the Dance Theatre of Harlem, Louis Falco, Pearl Lang, Alwin Nikolais, and Paul Taylor. The same year, the hit musical Purlie relocated to the ANTA Theatre from the Broadway Theatre.

The ANTA Theatre's later offerings tended to reflect the decrease in the number of hit productions on Broadway. Still, it hosted some successes such as The Last of Mrs. Lincoln with Julie Harris in 1972. Two years later, Cat on a Hot Tin Roof opened with Elizabeth Ashley, Fred Gwynne, Keir Dullea, and Kate Reid. The musical Bubbling Brown Sugar opened at the ANTA Theatre in 1976, running for 766 performances. In 1979, the theater hosted the Goodspeed Opera Company's production of Whoopee! with Charles Repole, as well as Tom Stoppard's play Night and Day with Maggie Smith. ANTA Theatre hosted the Russian comedy The Suicide with Derek Jacobi in the following year, which had a moderate run of 60 performances. ANTA's last three productions in 1981 were short-lived. Copperfield lasted for 13 performances, and the hit musical Annie stayed at the ANTA Theatre for one month, but Oh, Brother! closed after its third performance. Afterward, ANTA relocated to Washington, D.C.

1980s

James H. Binger and his wife Virginia McKnight Binger of Jujamcyn Theaters acquired the ANTA Theatre in August 1981. At the end of the year, Jujamcyn announced that the theater would be renamed the Virginia Theatre, after Mrs. Binger. The Pilobolus Dance Company was the first act at the renamed theater, performing in December 1981. At the end of the next year, a revival of the play Alice in Wonderland opened, running for less than a month. The Rodgers and Hart musical On Your Toes opened in March 1983, staying for 505 performances.

The New York City Landmarks Preservation Commission (LPC) had started to consider protecting the Virginia as a landmark in 1982, with discussions continuing over the next several years. The LPC designated the facades of the Virginia, Ambassador, and Simon theaters as landmarks in August 1985, along with the Ambassador's and Simon's interiors, over the objections of the three theaters' owners. The New York City Board of Estimate ratified the landmark designations in December 1985. When more Broadway theaters were being protected as landmarks in the late 1980s, deputy mayor Robert Esnard cited the removal of the Virginia's interior ornamentation as an "extreme example of what happens" when theater interiors were not preserved. The New York Times later said that "there was literally nothing left inside to preserve".

The theater did not open at all between May 1984 and March 1986. The Virginia then hosted Emily Mann's play Execution of Justice in March 1986 and Michael Frayn's play Wild Honey in December. A revival of the operetta The Mikado was performed at the Virginia in 1987, and the attic was renovated the same year. The musical Carrie then opened the following May. Carrie lost about $7 million during its five performances (including $500,000 just on a renovation of the Virginia), and The New York Times called it "the most expensive quick flop in Broadway history". The interior was painted black for Carrie, but the bare color scheme was retained after the musical's closure. Two revivals of hit productions had short runs at the Virginia in 1989: the play Run for Your Wife and the musical Shenandoah. Afterward, Jujamcyn spent another $500,000 to restore the doors, marquee, and other parts of the theater. The Virginia finally had a hit when the musical City of Angels opened in December 1989, running 878 performances over two years.

1990s to mid-2010s
The musical Jelly's Last Jam, with Gregory Hines and Tonya Pinkins, opened in April 1992 and ran for over a year. The Virginia Theatre's lobby and second-story restrooms were then renovated in the Art Deco style. A revival of the Lerner and Loewe musical My Fair Lady opened in December 1993, but it shuttered after 165 performances. Subsequently, Jujamcyn hired Campagna & Russo Architects to design a $2.2 million renovation of the theater's interior, except the lobby and restrooms. Since the interior was not protected as a landmark, restoration architect Francesca Russo had greater latitude to redesign the interior. Russo took inspiration not only from the Palazzo Davanzati, which had influenced the original design, but also from other Italian buildings and Atlanta's Fox Theatre. The auditorium's color scheme was changed to a "palette of autumnal colors", as Russo felt the original color scheme was suboptimal with modern lighting. The Virginia reopened in March 1995 with a production of Smokey Joe's Cafe, which had 2,036 performances through 2000.

In early 2000, the Public Theater produced Michael John LaChiusa's musical The Wild Party, one of two musicals performed that season to be inspired by the poem "The Wild Party". It was followed by Gore Vidal's The Best Man during late 2000 and by August Wilson's King Hedley II during mid-2001. Next, in 2002, the theater hosted revivals of the Arthur Miller play The Crucible and the Rodgers and Hammerstein musical Flower Drum Song. Comedian Bill Maher performed a limited run of his solo show Victory Begins at Home in May 2003. The musical Little Shop of Horrors opened that October after almost canceling its Broadway appearance altogether; it lasted for 372 performances through 2004. Subsequently, the musical Little Women ran at the Virginia in early 2005.

After James Binger died in 2004, Rocco Landesman bought the Virginia and Jujamcyn's four other theaters in 2005, along with the air rights above them. Landesman announced in September 2005 that he would rename the Virginia for August Wilson, the Pulitzer Prize-winning playwright, who had terminal cancer. Wilson died the next month, and the theater was renamed in his honor on October 16, two weeks after his death. Wilson was the first Black theatrical personality to have a Broadway theater named after him. Jordan Roth joined Jujamcyn as a resident producer the same year, and the musical Jersey Boys opened in November 2005. In 2009, Roth acquired a 50 percent stake in Jujamcyn and assumed full operation of the firm when Landesman joined the National Endowments of the Arts. Jujamcyn replaced the theater's seats in January 2012. Jersey Boys occupied the August Wilson for over a decade, running for 4,642 performances before closing in January 2017.

Late 2010s to present
The musical Groundhog Day opened at the theater in April 2017 and stayed until that September. It was followed at the end of the year by a concert, Home for the Holidays with Candice Glover, Josh Kaufman, Bianca Ryan, Peter and Evynne Hollens, and Danny Aiello.  The musical Mean Girls opened at the August Wilson in April 2018. Mean Girls played its final performance on March 11, 2020, the night before the Broadway industry was shuttered due to the COVID-19 pandemic. During the August Wilson's closure, its marquee was typically dimmed to memorialize pandemic victims. The marquee was re-lit in November 2020 to commemorate a longtime Jujamcyn stagehand killed in an accident at the Winter Garden Theatre. Mean Girls was officially canceled in January 2021, while the theater was still closed.

As part of a settlement with the United States Department of Justice in 2021, Jujamcyn agreed to improve disabled access at its five Broadway theaters, including the August Wilson. Also during the COVID-19 shutdown, the Shuberts, Nederlanders, and Jujamcyn had pledged to increase racial and cultural diversity in their theaters, including naming at least one theater for a Black theatrical personality. Jujamcyn was the only theatrical organization that had already named a theater for a Black artist. The theater reopened on August 4, 2021, with Antoinette Nwandu's play Pass Over, making it the first Broadway house to resume performances during the COVID-19 pandemic. Pass Over had a limited run, closing in October 2021. A limited engagement of Slave Play was then announced, running from November 2021 to January 2022. This was followed in April 2022 by a revival of the musical Funny Girl, which ran until September 2023.

Jujamcyn and Ambassador Theatre Group (ATG) agreed to merge in early 2023; the combined company would operate seven Broadway theaters, including the August Wilson. In July 2023, Jordan Roth sold a 93 percent stake in Jujamcyn's five theaters, including the August Wilson Theatre, to ATG and Providence Equity. The revival of the musical Cabaret opened at the August Wilson in April 2024, and the theater was converted into a theatre in the round in advance of Cabaret opening. New seats were installed around a turntable stage, a new mezzanine seating area was installed, and the theater was rethemed as the Kit Kat Club, with an entrance in an alleyway.

Notable productions
Productions are listed by the year of their first performance.

Guild Theatre

 * 1925: Caesar and Cleopatra
 * 1925: Arms and the Man
 * 1926: Little Eyolf
 * 1926: Juarez and Maximilian
 * 1926: Pygmalion
 * 1927: Porgy
 * 1927: The Doctor's Dilemma
 * 1928: Volpone
 * 1928: Major Barbara
 * 1930: A Month in the Country
 * 1930: The Garrick Gaieties
 * 1930: Elizabeth the Queen
 * 1931: Green Grow the Lilacs
 * 1931: Getting Married
 * 1931: The Way of the World
 * 1931: Mourning Becomes Electra
 * 1932: Too True to Be Good
 * 1932: The Good Earth
 * 1932: Biography
 * 1933: Both Your Houses
 * 1933: Ah, Wilderness!
 * 1934: A Sleeping Clergyman
 * 1934: Valley Forge
 * 1935: The Simpleton of the Unexpected Isles
 * 1935: Parade
 * 1935: The Taming of the Shrew
 * 1938: I Have Been Here Before
 * 1938: The Merchant of Yonkers
 * 1939: Jeremiah
 * 1939: My Heart's in the Highlands
 * 1940: The Time of Your Life
 * 1941: Ah, Wilderness!
 * 1942: Mr. Sycamore
 * 1942: The Russian People

ANTA Playhouse/ANTA Theatre

 * 1950: Twentieth Century
 * 1951: The House of Bernarda Alba
 * 1951: Peer Gynt
 * 1951: Mary Rose
 * 1951: The School for Wives
 * 1951: Night Music
 * 1951: Getting Married
 * 1952: Desire Under the Elms
 * 1952: Angna Enters
 * 1952: Golden Boy
 * 1952: Mrs. McThing
 * 1955: The Dark Is Light Enough
 * 1955: The Skin of Our Teeth
 * 1955: A Day by the Sea
 * 1958: Say, Darling
 * 1958: J.B.
 * 1959: The Fighting Cock
 * 1960: A Thurber Carnival
 * 1961: The Conquering Hero
 * 1961: Big Fish, Little Fish
 * 1961: Jerome Robbins' Ballet: U.S.A.
 * 1961: A Man for All Seasons
 * 1964: Blues for Mister Charlie
 * 1964: Traveller Without Luggage
 * 1964: The Owl and the Pussycat
 * 1965: The Royal Hunt of the Sun
 * 1966: Manuela Vargas
 * 1967: The Imaginary Invalid
 * 1967: A Touch of the Poet
 * 1967: Tonight at 8.30
 * 1967: Song of the Grasshopper
 * 1967: The Trial of Lee Harvey Oswald
 * 1967: Spofford
 * 1968: Maggie Flynn
 * 1969: A Teaspoon Every Four Hours
 * 1969: Tiny Alice/A Flea in Her Ear/The Three Sisters
 * 1969: King Henry V
 * 1969: Our Town
 * 1969: No Place to Be Somebody
 * 1970: National Theatre of the Deaf
 * 1970: Harvey
 * 1970: The Cherry Orchard
 * 1970: Othello
 * 1970: Amahl and the Night Visitors/Help, Help, the Globolinks!
 * 1971: Purlie
 * 1972: Different Times
 * 1972: The Last of Mrs. Lincoln
 * 1974: Cat on a Hot Tin Roof
 * 1975: A Letter for Queen Victoria
 * 1975: Summer Brave
 * 1976: Bubbling Brown Sugar
 * 1978: First Monday in October
 * 1979: Whoopee!
 * 1979: Night and Day
 * 1980: The Suicide
 * 1981: Copperfield
 * 1981: Annie

Virginia Theatre

 * 1982: Alice in Wonderland
 * 1983: On Your Toes
 * 1986: Execution of Justice
 * 1986: Wild Honey
 * 1987: The Mikado
 * 1988: Carrie
 * 1989: Run for Your Wife
 * 1989: Shenandoah
 * 1989: City of Angels
 * 1992: Jelly's Last Jam
 * 1993: My Fair Lady
 * 1995: Smokey Joe's Cafe
 * 2000: The Wild Party
 * 2000: Gore Vidal's The Best Man
 * 2001: King Hedley II
 * 2002: The Crucible
 * 2002: Flower Drum Song
 * 2003: Bill Maher: Victory Begins At Home
 * 2003: Little Shop of Horrors
 * 2005: Little Women

August Wilson Theatre

 * 2005: Jersey Boys
 * 2017: Groundhog Day
 * 2017: Home for the Holidays
 * 2018: Mean Girls
 * 2021: Pass Over
 * 2021: Slave Play
 * 2022: Funny Girl
 * 2024: Cabaret at the Kit Kat Club

Box office record
Mean Girls achieved the box office record for the August Wilson Theatre, grossing $1,994,386 for the week ending December 30, 2018. This was surpassed by Funny Girl, which grossed $2,005,696 over nine performances for the week ending December 18, 2022. Funny Girl broke its own record two weeks later, grossing $2,405,901 over nine performances running through January 1, 2023.

title: August Wilson Theatre


text:
Ali ibn Umar Din

ʿAli ibn ʿUmar Dīn (علي بن عمر الدين), reigned 1553–1555, was a sultan of the Sultanate of Adal in the Horn of Africa. He was the son of Umar Din and the brother of Barakat ibn Umar Din.

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

title: Ali ibn Umar Din


text:
1826 in art

Events in the year 1826 in Art.

Events

 * December 25 – Opening of the Military Gallery of the Winter Palace, containing 332 portraits of generals who took part in the Patriotic War of 1812, painted by George Dawe and his Russian assistants Alexander Polyakov and Wilhelm August Golicke.
 * Samuel Palmer moves to Shoreham, Kent, where he stays for the next decade.

Works

 * Thomas Cole – Sunrise in the Catskill Mountains
 * John Constable – The Cornfield
 * Jean-Baptiste-Camille Corot – The Bridge at Narni
 * Eugène Delacroix –
 * The Execution of the Doge Marino Faliero (completed)
 * Greece on the Ruins of Missolonghi
 * William Etty – The Judgement of Paris
 * Francesco Hayez - Lampugnani's Conspiracy
 * Orest Kiprensky
 * Portrait of Prince N. P. Trubetzkoy
 * Portrait of O. A. Ryumina
 * Thomas Lawrence
 * Portrait of George Canning
 * Portrait of Sir Walter Scott
 * Nicéphore Niépce – View from the Window at Le Gras, the first permanent photograph of a natural subject
 * James Northcote – A Moor
 * Joseph Denis Odevaere – Lord Byron on his Death-bed (Groeningemuseum)
 * Samuel Palmer – Self-portrait
 * Horace Vernet – Battle of the Bridge of Arcole
 * Henry Voordecker – Hunter's Home

Births

 * February 18 – Lea Ahlborn, Swedish engraver (died 1897)
 * March – Serafino De Tivoli, Italian painter (died 1892)
 * March 6 – Annie Feray Mutrie, British painter (died 1893)
 * March 25 – Wilhelmina Lagerholm, Swedish photographer (died 1917)
 * April 6 – Gustave Moreau, French Symbolist painter (died 1898)
 * May 2 – Eleuterio Pagliano, Italian Romantic painter (died 1903)
 * May 4 – Frederick Edwin Church, American landscape painter (died 1900)
 * May 11 – Ludovic Piette, French impressionist painter (died 1878)
 * June 8 – Thomas Faed, Scottish genre painter (died 1900)
 * September 24 – George Price Boyce, English Pre-Raphaelite watercolour landscape painter (died 1897)
 * October 1 – Karl von Piloty, German painter (died 1886)
 * November 11 – Elise Arnberg, Swedish miniaturist and photographer (died 1891)
 * December 8 – Silvestro Lega, Italian painter (died 1895)
 * date unknown
 * William Linnell, British painter (died 1906)
 * Novak Radonić, Serbian painter (died 1890)
 * Madame Virot, French fashion designer (died 1911)

Deaths

 * January 25 – Joseph Boze, French portrait and miniature painter (born 1746)
 * February 21 – John Kay, Scottish caricaturist (born 1750)
 * March 5 – Charles Paul Landon, French painter and writer on art and artists (born 1760)
 * March 17 – Ferdinand Bauer, Austrian botanical illustrator (born 1760)
 * July 23 – Marie-Élisabeth Laville-Leroux, French painter (born 1770)
 * October 8
 * Marie-Guillemine Benoist, French neoclassical, historical and genre painter (born 1768)
 * George Garrard, English artist (born 1760)
 * November 12 – Christian Gullager, Danish artist specializing in portraits and theatrical scenery (born 1759)
 * November 26 – John Nichols, English printer and author (born 1745)
 * December 7 – John Flaxman, English sculptor (born 1755)
 * date unknown
 * Thomas Foster, Irish portrait painter (born 1798; suicide)
 * Jean-Louis Laneuville, French portrait painter (born 1748)
 * Andrey Yefimovich Martynov, Russian painter and engraver (born 1768)
 * Victor-Jean Nicolle, French landscape and architecture painter (born 1754)
 * Mustafa Râkim, Ottoman calligrapher (born 1757)
 * Peter Edward Stroehling, portrait artist from either Germany or the Russian Empire (born 1768)

title: 1826 in art


text:
Delta method

In statistics, the delta method is a method of deriving the asymptotic distribution of a random variable. It is applicable when the random variable being considered can be defined as a differentiable function of a random variable which is asymptotically Gaussian.

History
The delta method was derived from propagation of error, and the idea behind was known in the early 20th century. Its statistical application can be traced as far back as 1928 by T. L. Kelley. A formal description of the method was presented by J. L. Doob in 1935. Robert Dorfman also described a version of it in 1938.

Univariate delta method
While the delta method generalizes easily to a multivariate setting, careful motivation of the technique is more easily demonstrated in univariate terms. Roughly, if there is a sequence of random variables $X_{n}$ satisfying
 * $${\sqrt{n}[X_n-\theta]\,\xrightarrow{D}\,\mathcal{N}(0,\sigma^2)},$$

where θ and σ2 are finite valued constants and $$\xrightarrow{D}$$ denotes convergence in distribution, then

 * $${\sqrt{n}[g(X_n)-g(\theta)]\,\xrightarrow{D}\,\mathcal{N}(0,\sigma^2\cdot[g'(\theta)]^2)}$$

for any function g satisfying the property that its first derivative, evaluated at $$\theta$$, $$g'(\theta)$$ exists and is non-zero valued.

The intuition of the delta method is that any such g function, in a "small enough" range of the function, can be approximated via a first order Taylor series (which is basically a linear function). If the random variable is roughly normal then a linear transformation of it is also normal. Small range can be achieved when approximating the function around the mean, when the variance is "small enough". When g is applied to a random variable such as the mean, the delta method would tend to work better as the sample size increases, since it would help reduce the variance, and thus the taylor approximation would be applied to a smaller range of the function g at the point of interest.

Proof in the univariate case
Demonstration of this result is fairly straightforward under the assumption that $g′(θ)$ is continuous. To begin, we use the mean value theorem (i.e.: the first order approximation of a Taylor series using Taylor's theorem):
 * $$g(X_n)=g(\theta)+g'(\tilde{\theta})(X_n-\theta),$$

where $$\tilde{\theta}$$ lies between $X_{n}$ and θ. Note that since $$X_n\,\xrightarrow{P}\,\theta$$ and $$|\tilde{\theta}-\theta|<|X_n-\theta|$$, it must be that $$\tilde{\theta} \,\xrightarrow{P}\,\theta$$ and since $g′(θ)$ is continuous, applying the continuous mapping theorem yields
 * $$g'(\tilde{\theta})\,\xrightarrow{P}\,g'(\theta),$$

where $$\xrightarrow{P}$$ denotes convergence in probability.

Rearranging the terms and multiplying by $$\sqrt{n}$$ gives
 * $$\sqrt{n}[g(X_n)-g(\theta)]=g' \left (\tilde{\theta} \right )\sqrt{n}[X_n-\theta].$$

Since
 * $${\sqrt{n}[X_n-\theta] \xrightarrow{D} \mathcal{N}(0,\sigma^2)}$$

by assumption, it follows immediately from appeal to Slutsky's theorem that
 * $${\sqrt{n}[g(X_n)-g(\theta)] \xrightarrow{D} \mathcal{N}(0,\sigma^2[g'(\theta)]^2)}.$$

This concludes the proof.

Proof with an explicit order of approximation
Alternatively, one can add one more step at the end, to obtain the order of approximation:

\begin{align} \sqrt{n}[g(X_n)-g(\theta)]&=g' \left (\tilde{\theta} \right )\sqrt{n}[X_n-\theta]\\[5pt] &=\sqrt{n}[X_n-\theta]\left[ g'(\tilde{\theta} )+g'(\theta)-g'(\theta)\right]\\[5pt] &=\sqrt{n}[X_n-\theta]\left[g'(\theta)\right]+\sqrt{n}[X_n-\theta]\left[ g'(\tilde{\theta} )-g'(\theta)\right]\\[5pt] &=\sqrt{n}[X_n-\theta]\left[g'(\theta)\right]+O_p(1)\cdot o_p(1)\\[5pt] &=\sqrt{n}[X_n-\theta]\left[g'(\theta)\right]+o_p(1) \end{align} $$ This suggests that the error in the approximation converges to 0 in probability.

Multivariate delta method
By definition, a consistent estimator B converges in probability to its true value β, and often a central limit theorem can be applied to obtain asymptotic normality:

 * $$\sqrt{n}\left(B-\beta\right)\,\xrightarrow{D}\,N\left(0, \Sigma \right),$$

where n is the number of observations and Σ is a (symmetric positive semi-definite) covariance matrix. Suppose we want to estimate the variance of a scalar-valued function h of the estimator B. Keeping only the first two terms of the Taylor series, and using vector notation for the gradient, we can estimate h(B) as

 * $$h(B) \approx h(\beta) + \nabla h(\beta)^T \cdot (B-\beta)$$

which implies the variance of h(B) is approximately

 * $$\begin{align}

\operatorname{Var}\left(h(B)\right) & \approx \operatorname{Var}\left(h(\beta) + \nabla h(\beta)^T \cdot (B-\beta)\right) \\[5pt] & = \operatorname{Var}\left(h(\beta) + \nabla h(\beta)^T \cdot B - \nabla h(\beta)^T \cdot \beta\right) \\[5pt] & = \operatorname{Var}\left(\nabla h(\beta)^T \cdot B\right) \\[5pt] & = \nabla h(\beta)^T \cdot \operatorname{Cov}(B) \cdot \nabla h(\beta) \\[5pt] & = \nabla h(\beta)^T \cdot \frac{\Sigma}{n} \cdot \nabla h(\beta) \end{align}$$

One can use the mean value theorem (for real-valued functions of many variables) to see that this does not rely on taking first order approximation.

The delta method therefore implies that

 * $$\sqrt{n}\left(h(B)-h(\beta)\right)\,\xrightarrow{D}\,N\left(0, \nabla h(\beta)^T \cdot \Sigma \cdot \nabla h(\beta)\right)$$

or in univariate terms,

 * $$\sqrt{n}\left(h(B)-h(\beta)\right)\,\xrightarrow{D}\,N\left(0, \sigma^2 \cdot \left(h^\prime(\beta)\right)^2 \right).$$

Example: the binomial proportion
Suppose Xn is binomial with parameters $$ p \in (0,1] $$ and n. Since

 * $${\sqrt{n} \left[ \frac{X_n}{n}-p \right]\,\xrightarrow{D}\,N(0,p (1-p))},$$

we can apply the Delta method with $g(θ) = log(θ)$ to see

 * $${\sqrt{n} \left[ \log\left( \frac{X_n}{n}\right)-\log(p)\right] \,\xrightarrow{D}\,N(0,p (1-p) [1/p]^2)}$$

Hence, even though for any finite n, the variance of $$\log\left(\frac{X_n}{n}\right)$$ does not actually exist (since Xn can be zero), the asymptotic variance of $$ \log \left( \frac{X_n}{n} \right) $$ does exist and is equal to

 * $$ \frac{1-p}{p}.$$

Note that since p>0, $$ \Pr \left( \frac{X_n}{n} > 0 \right) \rightarrow 1 $$ as $$ n \rightarrow \infty $$, so with probability converging to one, $$ \log\left(\frac{X_n}{n}\right) $$ is finite for large n.

Moreover, if $$\hat p $$ and $$\hat q$$ are estimates of different group rates from independent samples of sizes n and m respectively, then the logarithm of the estimated relative risk $$\frac{\hat p}{\hat q} $$ has asymptotic variance equal to

 * $$ \frac{1-p}{p \, n}+\frac{1-q}{q \, m}.$$

This is useful to construct a hypothesis test or to make a confidence interval for the relative risk.

Alternative form
The delta method is often used in a form that is essentially identical to that above, but without the assumption that $X_{n}$ or B is asymptotically normal. Often the only context is that the variance is "small". The results then just give approximations to the means and covariances of the transformed quantities. For example, the formulae presented in Klein (1953, p. 258) are:

 * $$\begin{align}

\operatorname{Var} \left(h_r \right) = & \sum_i \left( \frac{\partial h_r}{\partial B_i} \right)^2 \operatorname{Var}\left( B_i \right) + \sum_i \sum_{j \neq i} \left( \frac{ \partial h_r }{ \partial B_i } \right) \left( \frac{ \partial h_r }{ \partial B_j } \right) \operatorname{Cov}\left( B_i, B_j \right) \\ \operatorname{Cov}\left( h_r, h_s \right) = & \sum_i \left( \frac{ \partial h_r }{ \partial B_i } \right) \left( \frac{\partial h_s }{ \partial B_i } \right) \operatorname{Var}\left( B_i \right) + \sum_i \sum_{j \neq i} \left( \frac{\partial h_r}{\partial B_i} \right) \left(\frac{\partial h_s}{\partial B_j} \right) \operatorname{Cov}\left( B_i, B_j \right) \end{align}$$

where $h_{r}$ is the rth element of h(B) and Bi is the ith element of B.

Second-order delta method
When $g′(θ) = 0$ the delta method cannot be applied. However, if $g′′(θ)$ exists and is not zero, the second-order delta method can be applied. By the Taylor expansion, $$n[g(X_n)-g(\theta)]=\frac{1}{2}n[X_n-\theta]^2\left[g''(\theta)\right]+o_p(1)$$, so that the variance of $$g\left(X_n\right)$$ relies on up to the 4th moment of $$X_n$$.

The second-order delta method is also useful in conducting a more accurate approximation of $$g\left(X_n\right)$$'s distribution when sample size is small. $$\sqrt{n}[g(X_n)-g(\theta)]=\sqrt{n}[X_n-\theta] g'(\theta)+\frac{1}{2}\sqrt{n}[X_n-\theta]^2 g''(\theta) +o_p(1)$$. For example, when $$X_n$$ follows the standard normal distribution, $$g\left(X_n\right)$$ can be approximated as the weighted sum of a standard normal and a chi-square with degree-of-freedom of 1.

Nonparametric delta method
A version of the delta method exists in nonparametric statistics. Let $$X_i \sim F$$ be an independent and identically distributed random variable with a sample of size $$n$$ with an empirical distribution function $$\hat{F}_n$$, and let $$T$$ be a functional. If $$T$$ is Hadamard differentiable with respect to the Chebyshev metric, then

 * $$\frac{ T(\hat{F}_n) - T(F) }{ \widehat{\text{se}} } \xrightarrow{D} N(0, 1)$$

where $$\widehat{\text{se}} = \frac{\hat{\tau}}{\sqrt{n}}$$ and $$\hat{\tau}^2 = \frac{1}{n}\sum_{i=1}^n \hat{L}^2(X_i)$$, with $$\hat{L}(x) = L_{\hat{F}_n}(\delta_x)$$ denoting the empirical influence function for $$T$$. A nonparametric $$(1-\alpha)$$ pointwise asymptotic confidence interval for $$T(F)$$ is therefore given by

 * $$T(\hat{F}_n) \pm z_{\alpha/2} \widehat{\text{se}}$$

where $$z_q$$ denotes the $$q$$-quantile of the standard normal. See Wasserman (2006) p. 19f. for details and examples.

title: Delta method


text:
Sherry Magee

Sherwood Robert "Sherry" Magee (August 6, 1884 – March 13, 1929) was an American left fielder in Major League Baseball. From 1904 through 1919, Magee played with the Philadelphia Phillies (1904–1914), Boston Braves (1915–1917) and Cincinnati Reds (1917–1919). He batted and threw right-handed and in a 16-season career posted a .291 batting average with 83 home runs and 1,176 runs batted in through 2,087 games played.

Career
A native of Clarendon, Pennsylvania, Magee was one of the premier hitters of the dead-ball era. He was picked out by local Phillies scout Jim Randall when he had heard about the exploits of Magee on the local diamond, and it resulted in an impromptu tryout that resulted in a spot for Magee on the Phillies. He started his first game as a left fielder against the Brooklyn Superbas on June 29, 1904.

From 1905 through 1914, Magee finished in the National League top 10 in home runs and runs batted in (RBI) seven times, including leading the National League in RBIs four times. He led the league for a fourth time in the 1918 campaign, which was shortened by World War I and the Spanish flu pandemic. Magee also hit over .300 five times, including a batting title to his credit as well, while also being known as one of the finest defensive outfielders of his day. He collected 2,169 hits and 441 stolen bases, including 23 steals of home plate.

Magee would play eleven years with the Phillies while spending the last year as team captain. His 85 RBIs in 1905 were a league high. His most productive season came in 1910, when he led the league in batting (.310), RBIs (123), runs (110), total bases (263), on-base percentage (.445), slugging average (.507) and OPS (.952), and finished second in doubles (39) and triples (17).

On July 10, 1911, Magee (allegedly drunk) struck umpire Bill Finneran as a result of disputing a called third strike, knocking him unconscious, at which he was suspended for the remainder of the season, although on appeal the suspension was shortened to just over a month, 36 games.

In 1914 Magee led the league in hits (171), doubles (39), RBIs (103), extra base hits (65), total bases (277) and slugging (.509). A year later, he was traded to the Boston Braves. He remained at Boston until the 1917 midseason, when he was sent to the Cincinnati Reds. In 1918, he led the league in RBIs (76) for the fourth time. In 1919, Magee was seriously ill for two months and he concluded his major league career by pinch-hitting twice during the 1919 World Series, which resulted in one hit and a championship for Magee.

Later life
Magee later played in the minors and also umpired in the New York–Penn League (1927) and the National League (1928). A victim of pneumonia, Magee died in Philadelphia, at age 44.

He is buried at Arlington Cemetery in Drexel Hill, Pennsylvania.

In 2008, he was one of ten pre-1943 players to be considered by the Cooperstown Veterans Committee for induction into the National Baseball Hall of Fame.

title: Sherry Magee


text:
Robert Lowe (musician)

Robert Lowe is an American singer.

Biography
Lowe was brought into the band Solitude Aeturnus by his friend Lyle Steadham in 1988, replacing Kris Gabehardt. He is also the main lyricist on later albums. Lowe also appeared as a session singer on the first Last Chapter album. In 1996, he sings on the debut album by trio out of Arlington, Texas: Liquid Sound Company: "Exploring the Psychedelic".

On January 22, 2007, Leif Edling announced Lowe to be the main vocalist for the band Candlemass, and Lowe recorded the albums King of the Grey Islands (2007), Death Magic Doom (2009), and  Psalms for the Dead (2012). He also appeared on EP Lucifer Rising (2008). He was the band's longest serving vocalist after Messiah Marcolin. On June 2, 2012, Lowe left Candlemass.

The same year, 2007, he recorded and released an album with a side project called Concept of God, including fellow former Solitude Aeturnus members. The album was titled Visions and was released by Massacre Records.

He played bass in two shows with rock band Muthalode.

A press release dated May 1, 2012 announced Lowe's recruitment for session vocals on the Wagnerian Opera Metal project Lyraka's upcoming album.

On September 17, 2017, he joined the American heavy metal/doom metal band "Tyrant".

On April 1, 2019, Grief Collector from Minnesota released their debut album From Dissension to Avowal with Lowe on vocals. On February 14, 2022, the band announced that they had "parted ways" with Lowe.

Lowe was recruited May 14, 2020 to record vocals for ex-Lyraka composer Andy DiGelsomina's solo album in 2020

With Solitude Aeturnus

 * Into the Depths of Sorrow (1991)
 * Beyond the Crimson Horizon (1992)
 * Through the Darkest Hour (1994)
 * Days of Doom (VHS, 1994)
 * Downfall (1996)
 * Adagio (1998)
 * Alone (2006)
 * Hour of Despair (DVD, 2007)

With Last Chapter

 * The Living Waters (1998)

With Concept of God

 * Visions (2007)

With Candlemass

 * King of the Grey Islands (2007)
 * Candlemass 20 Year Anniversary (DVD, 2007)
 * Lucifer Rising (EP, 2008)
 * Death Magic Doom (2009)
 * Ashes to Ashes (live CD/DVD, 2010)
 * Psalms for the Dead (2012)

With Grief Collector

 * From Dissension to Avowal (2019)
 * En Delirium (2021)

With Tyrant

 * Hereafter (2020)

With DiGelsomina

 * Sic Itur Ad Astra (TBA)

title: Robert Lowe (musician)


text:
User talk:N0thingness/Jopara-temp

Jopará is a mixed language spoken in Paraguay, combining the Spanish and Guaraní languages. Its name is from the Guaraní word for "mixed".

This term designates whatever form of communication using both languages at a same time.

It can be said that the 94% of the people of Paraguay who are assumed to speak Guaraní actually speaks Jopará.

Since 1992, under the Paraguay's Ministry of Education and Culture (MEC) act, Guaraní in its "pure form" has begun to be taught; differentiating from Jopará. This led to contradictory opinions: ones saying that these are the best means to preserve the language integrity and others arguing that how it's being taught differs greatly from the way it's spoken.

This Spanish creole language had been made up mainly of: Also some Spanish words when put in a sentence mixed with Guarani turn to have a different meaning that the one of Standard Spanish
 * borrowings from Spanish
 * Spanish verbs conjugated with Guaraní pattern
 * Guarani pospositions used for emotional expression and subtle meanings somewhat like the final particles in Japanese and their rough translation to Spanish that sometimes differ tremendously from their actual meaning in Spanish
 * Use of Guarani pospositions between Spanish words instead of its prepositions, and vice versa

The percentage of gammatic sintaxis of Guaraní or Spanish used in speech varies depending upon the procedence of the speaker, the place where he's speaking, whom is he speaking to, about what is he speaking and firstly in the speaker's intention and how he wants the message to be interpreted. Generally the urban population tends to use more Spanish and the rural more Guaraní.

Jehe'a
Paraguayan Linguistics use the term jehe'a to denote a Guarani text with Spanish words unnecessarily borrowed written with Guaraní ortography.

This present-day phenomenon occur because it's easiest to use Spanish words that people are more familiar with and it's more practical than create new neologisms.

This caused very vigorous criticism to the MEC that writes educational books in this manner.

Examples
(Spanish words in green, Guaraní in brown)
 * " O presenta i libro ", instead of "Ohechauka ypy iñaranduka" (He introduces his book, lit.: se shows his object-that-keeps-knowledge for the first time)

title: User talk:N0thingness/Jopara-temp


text:
Nobel Peace Center

The Nobel Peace Center (Nobels Fredssenter) in Oslo, Norway, is a showcase for the Nobel Peace Prize and the ideals it represents. The center is also an arena where culture and politics merge to promote involvement, debate and reflection around topics such as war, peace and conflict resolution. The center is located in Oslo, Norway at the City Hall Square (Rådhusplassen).

History
The Nobel Peace Center was opened in 2005 by His Majesty King Harald V of Norway in a ceremony attended by the royal families of Norway and Canada. Nobel Peace Prize laureate Wangari Maathai was also present. The Center welcomes app 250.000 visitors per year and is one of Norway's most visited museums. The Nobel Peace Center is located in the former Oslo Vestbanestasjon (Oslo West railway station) building. Dating from 1872, the former station building was drawn by architect Georg Andreas Bull (1829–1917). It ceased to be used as a railway station in 1989. It is overlooking the harbor and located close to the Oslo City Hall where the Nobel Peace Prize Award Ceremony takes place every 10 December, to commemorate Alfred Nobel's death.

British architect David Adjaye is responsible for the center's creative design, including its color schemes; the American designer David Small developed its hi-tech installations. The Nobel Peace Center is financed by the Norwegian Ministry of Culture, private sponsors and admission fees. Temporary exhibitions are fully sponsored.

The Center presents the Nobel Peace Prize laureates and their work, in addition to telling the story of Alfred Nobel and the other Nobel prizes. This is done using multimedia and interactive technology, exhibitions, meetings, debates, theater, concerts and conferences, as well as a broad educational program and regular guided tours.

The Nobel Peace Center is a foundation and part of a network of Nobel institutions represented externally by the Nobel Foundation, which also administers informational activities and arrangements surrounding the presentation of the Nobel Prize. Kjersti Fløgstad is director of the Nobel Peace Center. Olav Njølstad is chairman of the center's board, which is appointed by the Norwegian Nobel Committee.

title: Nobel Peace Center


text:
Link-state advertisement

The link-state advertisement (LSA) is a basic communication means of the OSPF routing protocol for the Internet Protocol (IP). It communicates the router's local routing topology to all other local routers in the same OSPF area. OSPF is designed for scalability, so some LSAs are not flooded out on all interfaces, but only on those that belong to the appropriate area. In this way detailed information can be kept localized, while summary information is flooded to the rest of the network. The original IPv4-only OSPFv2 and the newer IPv6-compatible OSPFv3 have broadly similar LSA types.

Types
The LSA types defined in OSPF are as follows: The opaque LSAs, types 9, 10, and 11, are designated for upgrades to OSPF for application-specific purposes. For example, OSPF-TE has traffic engineering extensions to be used by RSVP-TE in Multiprotocol Label Switching (MPLS). Opaque LSAs are used to flood link color and bandwidth information. Standard link-state database (LSDB) flooding mechanisms are used for distribution of opaque LSAs. Each of the three types has a different flooding scope.

For all types of LSAs, there are 20-byte LSA headers. One of the fields of the LSA header is the link-state ID.

Each router link is defined as one of four types: type 1, 2, 3, or 4. The LSA includes a link ID field that identifies, by the network number and mask, the object that this link connects to.

Depending on the type, the link ID has different meanings as shown in below table:

OSPFv2 for IPv4
As per Appendix-A.3.1 of RFC 2328, all OSPF packets start with a common LSA "24-byte header" as shown below.

For

Options
The option field Indicative the feature supported by the source router. In Hello packet, a mismatch, will result in reject of neighbor. for LSA only packet that matches the destination routes willingness is forward.
 * Hello packets
 * Database Description packets
 * all the LSAs

 * Options (8 bits):
 * E-Bit: Indicative if area is AS-external capable, or STUBed.
 * x-bit: Set 0, used previously used by MOSPF
 * N/P-bit: Indicative if area is NSSA.
 * EA-bit: Indicative receive and forward External-Attributes-LSAs
 * DC-bit: Indicative router's handling of demand circuits,.
 * O-bit: Indicative router's willingness to receive and forward Opaque-LSAs
 * *: Reserved set 0

Database description DBD
Database description messages contain descriptions of the topology of the autonomous system or area. They convey the contents of the link-state database (LSDB) for the area from one router to another. Communicating a large LSDB may require several messages to be sent by having the sending device designated as a master device and sending messages in sequence, with the slave (recipient of the LSDB information) responding with acknowledgments.

 * Interface MTU (16 bits): the largest IP datagram that can be sent without fragmentation. In bytes.
 * flags(8 bits): 3 bits are defined.
 * I-Bit: Indicative this is the first packet in the sequence of Database Description Packets.
 * M-Bit: Indicative there is more packet to follow.
 * MS-bit Indicative if source is master during the Database Exchange process.

 * DD sequence number (32 bits): Database Description, increments until the complete database description has been sent.

Link state request
Link state request (LSR): Link state request messages are used by one router to request updated information about a portion of the LSDB from another router. The message specifies the link(s) for which the requesting device wants more current information.

Link State Update packet
Link-state update (LSU) messages contain updated information about the state of certain links on the LSDB. They are sent in response to a link state request message, and also broadcast or multicast by routers on a regular basis. Their contents are used to update the information in the LSDBs of routers that receive them.
 * LSAs: the total number of LSAs included in this update.

Link state acknowledgment
Link-state acknowledgment (LSAck)messages provide reliability to the link-state exchange process, by explicitly acknowledging receipt of a Link State Update message. The LSA acknowledgment, explicitly acknowledged, that it have received a LSA, by mirroring it back.

Common LSA 20-byte Packet Header
Appendix-A.4.1 of, all LSA packets start with a common LSA "20-byte header" as shown below. Note: These LSA Packet Headers are all preceded by OSPFv2 "24-byte" OSPF Headers.

 * LS age (16 bits): The time in seconds since the LSA was created.
 * LS type (8 bits): 1,2,3,4,5,6 or 7
 * Link State ID (32 bits): Identifies the portion of the network environment that is being described by the LSA. The contents of this field depend on the LSA's LS type.
 * Advertising Router ID (32 bits): source router, that originally created it.
 * LS sequence number (32 bits): sequence number is incremented each time the router originates a new instance of the LSA. used to detect old and duplicate LSAs.
 * LS Checksum (16 bits): Checksum of the contents of the LSA.
 * Length (16 bits): The length of the LSA, in bytes.

OSPF v3
In 2008, with the introduction of RFC5340 a new standard was set.

LSA Packet Header Formats
As per Appendix A.4.2 of RFC 5340, all LSA packets start with a common LSA "20-byte header" as shown below.

Note: These LSA Packet Headers are all preceded by standard "16-byte" OSPF Headers.

Common LSA 20-byte Packet Header
As per Appendix A.4 of RFC 5340 (OSPFv3 for IPv6) depending upon the LS Type, there are nine major LSA Packet formats as follows (actually eight as one has been deprecated):

The nine different formats for each "Type" of LSA packet are listed below (including the deprecated LSA-6):

Type 7: NSSA-LSA Header
(Same as Type 5 except for the type number field)

title: Link-state advertisement


text:
User talk:Floydlunatic

A tag has been placed on your article Joonas Niiholm, requesting that it be speedily deleted from Wikipedia. This has been done because the article seems to be a biographical account about a person, group of people, or band, but it does not indicate how or why he/she/they is/are notable. If you can indicate why Joonas Niiholm is really notable, I advise you to edit the article promptly, and also put a note on Talk:Joonas Niiholm. Any admin should check for such edits before deleting the article. Feel free to leave a note on my talk page if you have any questions about this. Please read our criteria for speedy deletion, particularly item 7 under Articles. You might also want to read our general biography criteria. Please do not remove the speedy deletion tag yourself. To contest the tagging and request that admins should wait a while for you to assert his/her/their notability, please affix the template  to the page, and then immediately add such an assertion. It is also a very good idea to add citations from reliable sources to ensure that your article will be verifiable. --Dvyost 18:23, 3 October 2005 (UTC)

Welcome!
Hi, Floydlunatic, welcome to Wikipedia! Sorry I had to "speedy" your first contribution, but when you look over our guidelines (below) I think you'll see why.

There's still lots to be written here, though, so I hope you like the place and decide to stay! Here are a few good links for newcomers: I hope you enjoy editing here and being a Wikipedian! By the way, you can sign your name on Talk and vote pages using three tildes, like this: ~~~. Four tildes (~~~~) produces your name and the current date. If you have any questions, see the help pages, add a question to the village pump or ask me on my Talk page (below).
 * The Five Pillars of Wikipedia
 * How to edit a page
 * Editing, policy, conduct, and structure tutorial
 * Picture tutorial
 * How to write a great article
 * Naming conventions
 * Manual of Style
 * If you're ready for the complete list of Wikipedia documentation, there's also Topical index.

Happy editing, and have a good time! If there's ever anything I can help with (or if you just want to say hey) feel free to swing by my talk page! --Dvyost 18:27, 3 October 2005 (UTC)

title: User talk:Floydlunatic


text:
Psykter

A psykter (in Greek ψυκτήρ, "cooler") is a type of Greek vase that is characterized by a bulbous body set on a high, narrow foot. It was used as a wine cooler, and specifically as part of the elite sympotic set in the ancient Greek symposium. The psykter, as distinct from other coolers, is a vase which has a mushroom-shaped body, and was produced for only a short period of time during the late-sixth to mid-fifth centuries, with almost all of this type dating to between 520 and 480 BCE.

The fact of its brevity combined with there being a number of simpler methods of cooling wine suggests that this shape was merely a fad. It is possible that it came about as a response to avoiding mixing contaminated snow-ice directly in wine, as it was known that this could cause illness, but this is unlikely as the alcohol in wine has useful sterilizing properties. Even proportionately to other wine utensils of its time it is comparatively rare, with few examples being found. Although the psykter did have its specific function, nevertheless, it was almost certainly something of a whimsical device, an objet du jour, which will have given the symposion's guests some aesthetic titillation and the host kudos for good taste. Because the process of cooling wine could be achieved in a number of other ways, none of which required the psykter, its redundancy appears to have quickly made it obsolete.

Typically, wine was cooled by the addition of chilled water or snow-ice to wine in a krater, and that method pre-dated and outlasted the psykter. Less certain is precisely how it was used. It appears that it was designed to float in the krater, and to either contain wine which became chilled as it floated in the ice-cooled water, or instead the psykter was filled with ice which chilled the wine in which it floated. With regards to what effect each of these options would have on the wine's temperature it is possible to arrive at the following conclusions. If the wine was to be chilled as is common today, to about 12 °C, then we would expect to see the wine in the krater and the coolant in the psykter. This is because the wine would have ice on one side (the inside) and room temperature on the other side (the outside of the krater). This would maintain the temperature of the wine part way between room temperature and 0 °C, though, it would be closer to room temperature than to 0 °C because the outer surface area of the wine is greater than the inner surface area. However, if the wine was to be cooled to near 0 °C, then the only possible option is to put the ice in the krater and the wine in the psykter, as in this case the wine is almost fully enclosed by ice. Whilst neither one is conclusive, the first option is appealing because it does not alter the ancient Greek tradition of wine being mixed in the krater.

Whilst the ancient sources do write of people drinking wine directly from a psykter, it is not clear whether they refer to the mushroom-shaped psykter specifically. Additionally, it would be considerably less costly to fill the psykter with ice rather than the krater. If the coolant were to be pre-chilled water then either way would be economical, although the cooling effect of chilled water, as opposed to ice, in the psykter would be minimal.

title: Psykter


text:
Talk:The $64,000 Question

Untitled
How can the title be fixed? The correct title is The $64,000 Question. Pepso 18:30, 3 October 2005 (UTC)
 * There is no technical limitation which stops the $ sign from being used in the title. If the correct title is The $64,000 Question, it should be changed unless anyone has any objections to it being changed. --tgheretford (talk) 17:47, 4 August 2006 (UTC)

This page glows with nostalgia
And it's not appropriate for wikipedia. Should someone tag it as such? —Preceding unsigned comment added by 128.148.5.81 (talk) 19:58, 15 December 2009 (UTC)

In the UK the phrase is "The 64 million dollar question"
I'm not sure this article covers the fact that in the UK people say "the 64 million dollar question" when they mean the most important question, they do not say "the 64 thousand dollar question". However, I imagine the origin of the phrase is the same, but somewhere down the line "thousand" got changed to "million".

Also - why 64 ? How and why did this ammount come about? Why not 60 or 50, a round figure?

The article does explain the origin of 64. "The first question was worth one dollar, and the value doubled for each successive question, up to the seventh and final question, worth $64." —Preceding unsigned comment added by Johhtfd (talk • contribs) 14:17, 11 August 2009 (UTC)

Category board
This article makes a passing reference or two to a category board but never explains it. Could somebody please add it? — User:ACupOfCoffee @ 02:00, 16 June 2006 (UTC)

Error?
I believe there is an error of fact in this article. It states that Gino Prato, the humble shoe repairman, "won $64,000" on the program. The article that appeared in Time magazine in 1955 states that Mr. Prato stopped at $32,000 and refused to go further, on the advice of his father. That is also my recollection, as I watched that program live when it broadcast! I would not demand that anyone trust my memory after 50 years, but the Time article is available online at: http://www.time.com/time/magazine/article/0,9171,807567,00.html I did not wish to edite the article without further verification, but if someone can offer further evidence, I think the correction should be made.

>>I can understand your confusion in this matter. The quiz show The $64,000 Question had a habit of inviting back previous winners. Shoemaker Gino Prato, I believe, first won $32,000 and was later brought back to show because of his popularity and proceeded to win $64 000 (with the help of the show's producers rigging the questions). If you go to you'll see that the date on it is August 22nd, 1955, and it describes him as winning $32 000. However, if you go to, you'll see that the date is Feb. 15, 1956, half a year later, and it describes him as winning $64 000. Since the game show works in the way of when winners come back they bet any previously made money, Mr. Prato's overall earnings were $64 000. Thank you for your contribution to the discussion board, and I hope this cleared it up for you. If you would like to discuss this further, leave a message on my discussion board or continue with this post.

Harry54321987 (talk) 14:59, 19 October 2008 (UTC)

Gino Prato was invited to a successor program, "The $64,000 Challenge" and challenged by Mike Della Rocca. The original $32,000 was kept and subsequent winnings were added. I will not challenge the contention that questions on "Challenge" were rigged, but I would doubt it, considering Prato's patent honesty.2604:2D80:CC05:0:A001:CC2B:E038:264E (talk) 20:21, 28 October 2016 (UTC)

Fair use rationale for Image:Takeitorleaveit.jpg
Image:Takeitorleaveit.jpg is being used on this article. I notice the image page specifies that the image is being used under fair use but there is no explanation or rationale as to why its use in this Wikipedia article constitutes fair use. In addition to the boilerplate fair use template, you must also write out on the image description page a specific explanation or rationale for why using this image in each article is consistent with fair use.

Please go to the image description page and edit it to include a fair use rationale. Using one of the templates at Fair use rationale guideline is an easy way to insure that your image is in compliance with Wikipedia policy, but remember that you must complete the template. Do not simply insert a blank template on an image page.

If there is other fair use media, consider checking that you have specified the fair use rationale on the other images used on this page. Note that any fair use images uploaded after 4 May, 2006, and lacking such an explanation will be deleted one week after they have been uploaded, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you.

BetacommandBot 20:57, 23 October 2007 (UTC)

Fair use rationale for Image:Jazz64.jpg
Image:Jazz64.jpg is being used on this article. I notice the image page specifies that the image is being used under fair use but there is no explanation or rationale as to why its use in this Wikipedia article constitutes fair use. In addition to the boilerplate fair use template, you must also write out on the image description page a specific explanation or rationale for why using this image in each article is consistent with fair use.

Please go to the image description page and edit it to include a fair use rationale. Using one of the templates at Fair use rationale guideline is an easy way to insure that your image is in compliance with Wikipedia policy, but remember that you must complete the template. Do not simply insert a blank template on an image page.

If there is other fair use media, consider checking that you have specified the fair use rationale on the other images used on this page. Note that any fair use images lacking such an explanation can be deleted one week after being tagged, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you.

BetacommandBot (talk) 16:59, 2 January 2008 (UTC)

Comment removed from article

 * Here we need a complete list of all people who won 64k, plus a list of those who tried and failed. A list of selected others would also be useful.  Can you help? Pepso2 (talk) 09:26, 11 March 2009 (UTC)

External links modified
Hello fellow Wikipedians,

I have just modified 3 external links on The $64,000 Question. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
 * Added archive https://web.archive.org/web/20150114044749/http://www.andrewtobias.com/fireandice.html to http://www.andrewtobias.com/fireandice.html
 * Added archive https://web.archive.org/web/20071122152334/http://timstvshowcase.com/64000q.html to http://timstvshowcase.com/64000q.html
 * Added archive https://web.archive.org/web/20150114044749/http://www.andrewtobias.com/fireandice.html to http://www.andrewtobias.com/fireandice.html

When you have finished reviewing my changes, you may follow the instructions on the template below to fix any issues with the URLs.

Cheers.— InternetArchiveBot  (Report bug) 04:42, 10 December 2017 (UTC)

In current usage, people still talk about the "$64 question", not the "$64,000 question"?
Perhaps this is a topic that belongs over on Wiktionary? However I think the prevailing usage these years is "the $64 question", perhaps because the other form is too long and feels too heavy for casual use. At least I've heard and read a lot of uses of phrases like "that's the $64 question" and can't recall ever hearing or reading the longer form. However I admit that I can't find any clear evidence because it's hard to separate the numerous historical references to the big scandal from the idiomatic usages in actual conversations that signify "the ultimate question". I actually think it's significant that the phrase implies there was a series of earlier and less important questions. Shanen (talk) 18:56, 14 October 2018 (UTC)

The 64 *million* dollar question
The "64 million dollar question", if you ever hear it put that way, is probably a conflation of the 64 thousand dollar question and The Six Million Dollar Man. Unless it's after 2040, in which case 64 million dollars probably doesn't amount to even a small hill of beans. :o) 92.21.13.201 (talk) 19:21, 2 January 2019 (UTC)

Text in rows
I added text about Denmark, but the text in the table wont stand in rows (is that the right word?) and im not sure how to make it do that. If someone could help i would really appreciate it! :) Spiderwinebottle (talk) 23:12, 6 March 2022 (UTC) -Nvm i figured it out!!Spiderwinebottle (talk) 23:22, 6 March 2022 (UTC)

Status
Nothing is mentioned about what films/videotape of this show still exist. Does anyone know? --Shawn K. Quinn (talk) 12:25, 1 December 2023 (UTC)

title: Talk:The $64,000 Question


text:
User talk:UnvoicedApollo

Speedy deletion nomination of User:UnvoicedApollo

A tag has been placed on User:UnvoicedApollo requesting that it be speedily deleted from Wikipedia. This has been done under section U5 of the criteria for speedy deletion, because the page appears to consist of writings, information, discussions, and/or activities not closely related to Wikipedia's goals. Please note that Wikipedia is not a free web hosting service. Under the criteria for speedy deletion, such pages may be deleted at any time.

If you think this page should not be deleted for this reason, you may contest the nomination by visiting the page and clicking the button labelled "Contest this speedy deletion". This will give you the opportunity to explain why you believe the page should not be deleted. However, be aware that once a page is tagged for speedy deletion, it may be removed without delay. Please do not remove the speedy deletion tag from the page yourself, but do not hesitate to add information in line with Wikipedia's policies and guidelines. If the page is deleted, and you wish to retrieve the deleted material for future reference or improvement, then please contact the, or if you have already done so, you can place a request here. North America1000 04:06, 31 August 2017 (UTC)

title: User talk:UnvoicedApollo


text: Category:Films directed by the Coen brothers


text:
Wikipedia:Articles for deletion/Riverclub, Gauteng

 * 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 redirect to River Club. Linuxbeak | Talk 14:18, 17 October 2005 (UTC)

Riverclub
Article already exists, in its properly spelled form, River Club, which is also a larger article 196.2.124.250 18:32, 3 October 2005 (UTC)
 * 196.2.124.250 Delete
 * Merge with River Club. — Lomn | Talk / RfC 19:10, 3 October 2005 (UTC)
 * duplicate articles is outside, along the hallway, third door on the left. Uncle G 22:16, 3 October 2005 (UTC)
 * Comment. I added this to duplicate articles per Uncle G.  There's quite a backlog over there, however, and I really don't see anything to merge, so I think the thing could just be speedily redirected. Chick Bowen 23:54, 3 October 2005 (UTC)
 * Redirect to River Club, Gauteng. --taestell 18:04, 16 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.


text:
Arctium lappa

Arctium lappa, commonly called greater burdock, gobō (牛蒡/ゴボウ), edible burdock, lappa, beggar's buttons, thorny burr, or happy major is a Eurasian species of plants in the family Asteraceae, cultivated in gardens for its root used as a vegetable. It has become an invasive weed of high-nitrogen soils in North America, Australia, and other regions.

Description
Greater burdock is a biennial plant, rather tall, reaching as much as 3 m. It has large, alternating, wavy-edged cordiform leaves that have a long petiole and are pubescent on the underside.

The flowers are purple and grouped in globular capitula, united in clusters. They appear in mid-summer, from July to September. The capitula are surrounded by an involucre made out of many bracts, each curving to form a hook, allowing the mature fruits to be carried long distances on the fur of animals. The fruits are achenes; they are long, compressed, with short pappus hairs. These are a potential hazard for humans, horses, and dogs. The minute, sharply-pointed, bristly pappus hairs easily detach from the top of the achenes and are carried by the slightest breeze – attaching to skin, mucous membranes, and eyes where they can cause severe dermal irritation, possible respiratory manifestations, and ophthalmia. The fleshy taproot can grow up to 1 m deep.

Chemistry
Burdock roots contain mucilage, sulfurous acetylene compounds, polyacetylenes and bitter guaianolide-type constituents. Seeds contain arctigenin, arctiin, and butyrolactone lignans.

Similar species
The burdock could be confused with rhubarb, the leaves of which are toxic.

Distribution and habitat
This species is native to the temperate regions of the Old World, from Scandinavia to the Mediterranean, and from the British Isles through Russia, and the Middle East to India, China, Taiwan and Japan.

It is naturalized almost everywhere and is usually found in disturbed areas, especially in soil rich in humus and nitrogen, preferring full sunlight.

Ecology
The leaves of greater burdock provide food for the caterpillars of some Lepidoptera, such as the thistle ermine (Myelois circumvoluta).

Uses
The species is commonly cultivated in Japan.

Culinary
The roots are edible cooked. Greater burdock root is known as niúbàng (牛蒡) in Chinese, which was borrowed into Japanese as gobō and Korean as ueong (우엉), and is widely eaten in Japan, Korea and Taiwan. It was used in Europe during the Middle Ages as a vegetable, but now it is rarely used except in Italy and Portugal, where it is known as bardana or "garduna". It is also known under the same names and eaten in Brazil. Plants are cultivated for their slender roots, which can grow about 1 m long and 2 cm across. The root was traditionally used in Britain as a flavouring in the herbal drink dandelion and burdock, which is still commercially produced.

The root is very crisp and has a sweet, mild, and pungent flavor with a little muddy harshness that can be reduced by soaking julienned/shredded roots in water for five to ten minutes. The harshness shows excellent harmonization with pork in miso soup (tonjiru) and takikomi gohan (a Japanese-style pilaf). A popular Japanese dish is kinpira gobō, julienned or shredded burdock root and carrot, braised with soy sauce, sugar, mirin and/or sake, and sesame oil. Another is burdock makizushi, rolled sushi filled with pickled burdock root; the burdock root is often artificially colored orange to resemble a carrot. Burdock root can also be found as a fried snack food similar in taste and texture to potato chips and is occasionally used as an ingredient in tempura dishes. Fermentation of the root by Aspergillus oryzae is also used for making miso and rice wine in Japanese cuisine.

The tender leaf stalks can be peeled and eaten raw or cooked. Immature flower stalks may also be harvested in late spring, before flowers appear. The taste resembles that of artichoke, a burdock relative.

In the second half of the 20th century, burdock achieved international recognition for its culinary use due to the increasing popularity of the macrobiotic diet, which advocates its consumption. The root contains a fair amount of dietary fiber (GDF, 6 g per 100 g), calcium, potassium, amino acids, and is low calorie. It contains polyphenols that causes darkened surface and muddy harshness by formation of tannin-iron complexes. Those polyphenols are caffeoylquinic acid derivatives.

Traditional medicine
Dried burdock roots (Bardanae radix) are used in traditional medicine. The seeds of greater burdock are employed in traditional Chinese medicine under the name niubangzi (some dictionaries list the Chinese as just 牛蒡 niúbàng).

title: Arctium lappa


text:
Talk:Metacarpal bones

Move discussion in progress about "Palm"
There is a move discussion in progress on Talk:Arecaceae which may impact this page, as it involves the usage of "palm". Please participate on that page and not in this talk page section. Thank you. 70.51.200.101 (talk) 05:11, 7 February 2015 (UTC)

New research
This is new research. Could it be added in? Bearian (talk) 17:06, 15 January 2020 (UTC)

title: Talk:Metacarpal bones


text: Template:Timothy Zahn

title: Template:Timothy Zahn


text:
Non-ministerial government department

Non-ministerial government departments (NMGDs) are a type of department of the United Kingdom government that deal with matters for which direct political oversight has been judged unnecessary or inappropriate. They are headed by senior civil servants. Some fulfil a regulatory or inspection function, and their status is therefore intended to protect them from political interference. Some are headed by a permanent office holder, such as a Permanent Secretary or Second Permanent Secretary.

Overview
The status of an NMGD varies considerably from one to another. For example:
 * Senior officials in HM Revenue and Customs work closely with cabinet ministers. Its key policies are set each year in the Finance Act. However, neither ministers nor Parliament can interfere in day-to-day taxation decisions.
 * A number of NMGDs are highly independent bodies; for example the Charity Commission, Ofsted and economic regulators such as the Competition and Markets Authority or the Postal Services Commission. These bodies are "creatures of statute": they implement legislation which they have no power to change. Their political independence is assured by providing that they have the status of government departments, but are accountable only to Parliament and the courts. Their budgets are usually set by the Treasury, not by the department which set them up, and they are often funded by licence fees paid by the industries which they regulate.
 * The Food Standards Agency is an NMGD which was created by merging two large parts of the Departments of Health and what was then the Ministry of Agriculture, Fisheries and Food. The aim was to reassure the public (after the BSE/vCJD crisis) that decisions about food safety would in future be taken by an independent body free of political control. Because the FSA was designed to take politics out of food safety, it does not seek ministerial approval for its actions.

List of non-ministerial departments
A list of NMGDs is maintained by the Cabinet Office, which states that the following 20 are in existence:

 * Charity Commission for England and Wales
 * Competition and Markets Authority
 * Crown Prosecution Service
 * Food Standards Agency
 * Forestry Commission
 * Government Actuary's Department
 * Government Legal Department
 * His Majesty's Land Registry
 * His Majesty's Revenue and Customs
 * The National Archives
 * National Crime Agency
 * National Savings and Investments
 * Office for Standards in Education, Children's Services and Skills (Ofsted)
 * Office of Gas and Electricity Markets (Ofgem)
 * Office of Qualifications and Examinations Regulation (Ofqual)
 * Office of Rail and Road
 * Serious Fraud Office
 * Supreme Court of the United Kingdom
 * UK Statistics Authority
 * Water Services Regulation Authority (Ofwat)

title: Non-ministerial government department


text:
Talk:Jopara

N0thingness added a lot of material that was something of a mess, and which I've moved to User talk:N0thingness/Jopara-temp; interested editors might try to improve this, or draw upon it to expand the stub. --Mel Etitis ( Μελ Ετητης ) 18:33, 3 October 2005 (UTC)

Untitled

 * It wasn't that much of a mess, it only needed a little wikifying. I added some of N0thingness's content and added a little of my own. Zafiroblue05 03:54, 5 December 2005 (UTC)
 * The actual term should be written Jopara (without the acute accent) according to ortography rules in guarani. —Preceding unsigned comment added by Jpaniagualaconich (talk • contribs)
 * Because the word is used by both Spanish and Guarani speakers, and in both Spanish and Guarani contexts, I think either form - with or without the accent - could be used. And because most English-speakers would encounter Spanish mroe than Guarani, I think it's better as is. zafiroblue05 | Talk 00:32, 1 May 2006 (UTC)

NPOV tag and article clarity
Without sufficient references for the claims made in this article about the perceptions of Jopará/Guaraní, those claims are purely opinion. Also, the distinction between Jopará and Guaraní is somewhat muddled, especially because the article spends more time discussing Guaraní than Jopará. - IstvanWolf 04:08, 23 May 2006 (UTC)
 * The article is, as you say, unsourced. But as to the distinction between jopará and Guaraní, I think it's pretty clear: jopará is a mix of Guarani and Spanish; that is, it's not really a separate language on its own. So when the article seems to be discussing Guaraní (and Spanish) instead of jopará - well, that is jopará. zafiroblue05 | Talk 16:59, 23 May 2006 (UTC)

Pronunciation of the name
How is this word - Jopara - pronounced by its "native" speakers, especially the first letter/sound? Considering that Guarani lacks voiceless velar fricative. --Koryakov Yuri 21:37, 23 October 2006 (UTC)
 * According to http://www.staff.uni-mainz.de/lustig/guarani/ortografia/ortografia.html the j of Guaraní represents the voiced postalveolar affricate [d͡ʒ], like English j or the Paraguayan Spanish y in, for example, ayudo. -- Picapica (talk) 08:34, 14 November 2018 (UTC)

(unheaded)
The important thing here is to get people to understand the difference between "pure" guarani and what people actually speak. If nothing else a few examples would be of immense help to illustrate this difference.Ara'i pora (talk) 05:10, 25 January 2008 (UTC)

not a mixed language
this is not a mixed language. it's just Guarani with a lot of loan words. kwami (talk) 21:13, 1 April 2009 (UTC)
 * The problem is that the examples given in the article are not of "Guarani with a lot of [Spanish?] loan words" but of Spanish with a lot of Guarani loan words. -- Picapica (talk) 08:12, 14 November 2018 (UTC)

Duolingo
Duolingo at this moment does not have a Jopara course. There is a Guaraní course, but from what I can tell it is not Jopara. I used Duolingo before living in Paraguay and many people have informed me that Duolingo does not teach the Jopara that is commonly used. 186.182.82.116 (talk) 22:57, 30 November 2022 (UTC)

title: Talk:Jopara