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Theresa Hak Kyung Cha

Theresa Hak Kyung Cha  (차학경; March 4, 1951 – November 5, 1982) was an American novelist, producer, director, and artist of South Korean origin, best known for her 1982 novel, Dictée. Considered an avant-garde artist, Cha was fluent in Korean, English, and French. The main body of Cha's work is "looking for the roots of language before it is born on the tip of the tongue." Cha's practice experiments with language through repetition, manipulation, reduction, and isolation, exploring the ways in which language marks one's identity, in unstable and multiple expressions. Cha's interdisciplinary background was clearly evident in Dictée, which experiments with juxtaposition and hypertext of both print and visual media. Cha's Dictée is frequently taught in contemporary literature classes including women's literature.

Early life
Cha was born in Busan, South Korea during the Korean War. She was the middle child of five, with two older and two younger siblings, to Hyung Sang Cha (father) and Hyung Soon Cha (mother), who were both raised in Manchuria during Japan’s occupation of Korea and China, and forced to learn and work in Japanese.

Cha and her family emigrated to the United States in 1962 when Cha was twelve years old, first settling in Hawaii and then relocating in 1964 to the San Francisco Bay Area, where she attended Convent of the Sacred Heart High School. During her time there, Cha studied French language, and French, Greek, and Roman classics. She also sang in the choir at Sacred Heart. By the time she graduated Cha had earned many scholastic awards, including a poetry contest prize at the age of fourteen, two years after she started learning English.

Education
Before committing to University of California Berkeley, Cha briefly attended the University of San Francisco for a semester. She transferred to UC Berkeley the following year, where she completed her studies in art and writing. As an art student, she initially concentrated on ceramic sculpture. However, she was soon introduced to the then new medium of performance, and subsequently embarked on a series of performances as protagonist, all accompanied by her live or recorded spoken words. One of her classmates at Berkeley was artist Yong Soon Min.

As a student, she became close friends with Dennis Love, another student, and Bertrand Augst, a professor of French and comparative literature. Her classes with Augst inspired Cha to study comparative literature, in which she later earned degrees. Teachers and friends have stated that Cha enjoyed reading broadly, anything from Korean poetry to European modernist and postmodern literature. She received her Bachelor's degree in comparative literature in 1973 and a second Bachelor's degree in art in 1975, both from Berkeley.

During this time, the Free Speech Movement and anti-war movement of the 1970s resulted in an air of political and social upheaval for Berkeley students demanding socio-political change. The unrest fed into the experimentation of conceptual art movements of the Bay Area. Performance art became particularly strong in the Bay Area during Cha's schooling in the 1970s, as one of many new genres being explored by artists seeking to escape the restraints of traditional art forms, with a revolutionary spirit related to the radical political and cultural shifts taking place. Though Cha was not an active participant in protest activities, she drew on the experimental qualities they represented, without her work itself being overtly socio-political. Cha worked as a student employee of the Pacific Film Archive for three years between 1974 and 1977 while earning two graduate degrees in art (MA, 1977; MFA, 1978).

Cha's MFA thesis Paths (1978) highlighted the critical role of the viewer as the receptor and activator of her work. In it, she notes: "The viewer holds the position as the complement, an avenue, through multiple interpretations, give [sic] multiple dimensions to the work. If the work has the strength (this is very subjective) the renewal and regenerating processes could be illimitable." Thus for Cha, the "viewer" of the work is not merely a passive subject; they are the "complement" or "avenue" that keeps the work alive with perpetual regeneration. As a graduate student, she became close friends with faculty member Jim Melchert, and even became his teaching assistant in 1976. As Cha's interest in film grew, she studied at Berkeley under Bertrand Augst, who recalls her interest in poetry written by Stéphane Mallarmé and plays by Samuel Beckett. According to Augst, Cha felt an affinity with Mallarmé's associative and restrained use of language. Beckett's highly reductive style of theater found echoes in the spare setting of Cha's performances. More than the stylistic influence of Beckett or Mallarmé, Cha's studies of film theory with Augst had perhaps the greatest effect on her development. From these studies, Cha hoped to integrate film theory into her art practice. In an application for an extension of her grant to study in Paris, Cha wrote: "It is essential for me to see the possibilities of Film-making as an expression closely tied with other expressions supported by its theory as Reference to see the application of theory to actual works followed by a re-recognition, 'realization' of the theory in practice."

In 1976, Cha decided to pursue a degree in film theory at the UC Education Abroad Program, Centre d'Etudes Americain du Cinema, in Paris. During her stay she studied under Jean-Louis Baudry, Raymond Bellour, Monique Wittig, and Christian Metz. Her encounter with their theories culminated in her editing an anthology of writings entitled Apparatus/Cinematographic Apparatus: Selected Writings (Tanam Press, 1980), which includes articles by Roland Barthes, Jean-Louis Baudry, Theirry Kuntzel, Christian Metz, Bertrand Augst, and others as well as a piece by Cha herself, a major work based on word deconstruction titled Commentaire. In the filmic, multipage text, Cha deconstructs the French word commentaire into French and English components and homonyms (comment, taire, commentary, tear, etc.). In her preface for the book, Cha states: "The intention is to identify the individual components and complete film apparatus, the interdependent operations comprising the film, the author of the film, the spectator... The essential element of the project is to reveal the process of film and make accessible the theoretical writings and materials of filmmakers."

While studying in Paris, Cha spent a short time in Amsterdam and met a group of artists, most of whom were from Iceland. One of whom was Ulises Carrion, a poet, author of artists' books, video and filmmaker who founded Other Books and So in Amsterdam, where Cha exhibited her artist book, presence/absence (1975) in 1977.

Career and personal life
Cha began her career as a performance artist, producer, director, and writer in 1974. She also worked as an usher and cashier from 1974 to 1977 at the Pacific Film Archive, with friends. She was known to study and practice mainly in the Bay Area as well as Paris and New York.

In 1979, Cha traveled back to South Korea for the first time in seventeen years. She had long expressed great anticipation to return in her book Exilée, where she describes the flight in terms of the sixteen time zones that separate San Francisco from Seoul. As a major event in her life and work, her family's exile from Korea in 1963 was a subject she treated often symbolically, representing displacement through shifts and ruptures in the visual and linguistic forms of her work. In a broad group of works, Cha engages a variety of theoretical models to articulate the experience of displacement. That year in 1979, Cha also performed her work Other Things Seen, Other Things Heard at the San Francisco Museum of Modern Art, attracting the attention of Robert Atkins, art critic for the San Francisco Bay Guardian.

In August 1980, Cha moved to New York City, working as an editor and writer for Tanam Press. Earlier that year, she also traveled to Japan and then back to South Korea, this time working on the film White Dust From Mongolia from May to July 1980 with her brother. They were never able to finish the film due to the dangerous political situation in South Korea at the time. South Korea's President Park Chung Hee had just been assassinated the previous year and restrictive new laws had been declared. The Chas were harassed by South Korean officials who thought they might be North Korean spies.

In 1981, Cha began teaching video art at Elizabeth Seton College while working in the design department of the Metropolitan Museum of Art. She was awarded an artist's residence at the Nova Scotia College of Art and Design in 1982. She married photographer Richard Barnes in May 1982; the two had met in a drawing class in 1975, during her time at UC Berkeley.

Themes
From 1910 to 1945, the Korean language was forbidden to be communicated in Korea under Japanese rule. Cha linked her own process of learning language – whether that be in her Korean first language, English, French or Latin – to the extraordinary cultural oppression experienced in Korea during this nearly 40-year period. She is known to have written mainly on a manual typewriter or by hand, often deliberately misspelling words or otherwise altering generally accepted word usage to create double meanings or other affects ("some time" rather than sometime" for example).

In the body of Cha's art, language functions as fluid binary systems of contemporaneous displacement and reunification, repression and freedom, detachment and engagement, and the ineffable and communication. Much of Cha's work demonstrates an interaction and interplay between languages with her primary focus on "grammatical structures of a language, syntax, how words and meaning are constructed in the language system itself, by function or usage, and how transformation is brought about through manipulation, processes as changing the syntax, isolation, removing from context, repetition, and reduction to minimal units." Since language unified Cha's aesthetic approach, establishing an intimate dialogue with the audience was a deliberate consideration in her art. The audience held a "privileged place in that She/He is the receptor and or activator central to an exchange or dialogue." For Cha, the audience is the "Other" whose presence establishes, or completes, any form of communication. As she writes in her 1977 mail-art piece "audience distant relative": As is evident in the title of the work, the "audience" to which Cha refers functions like a distant relative who can be "seen only heard only through someone else's description." The materiality of the medium, mail, "performs a contingent reticulation of the artist, the artwork, and its recipient, which remain disjointed across an incalculable distance." Not only do the properties of mail signify the spatial distance between Cha and the audience, they also mark the temporal distance. Audience distant relative therefore reflects Cha's exploration of the possibilities and limits of communication between sender and receiver as well as subject and object.

Cha's major written work Dictée (1982) heavily features French and English, along with other languages, often together on the same page. Commonly, the languages are used in repetitive, "broken" phrases and frequent code-switching, similar to the communication of an individual learning the languages. According to Hyun Yi Kang, this style causes readers to "[reconsider] the arbitrary and ideologically colored prescriptions on language and writing, challenging the requirements of good speech and correct grammar." In Dictée, Cha turns to the structures of Korean religious and social codes as a possible means for centering her displaced identity. Confucianism, for example, one of the major Korean philosophical institutions, serves as the model for Cha's recurring invocation of filial connection. In Confucianism, the most sacred tie is not fealty to a supernatural entity or entities, but the bonds that exist among blood relatives. As such, in the opening section of Dictée, Cha writes:

From A Far What nationality or what kindred and relation what blood relation what blood ties of blood what ancestry what race generation what house clan tribe stock strain what lineage extraction what breed sect gender denomination caste what stray ejection misplaced Tertium Quid neither one thing nor the other Tombe des nues de naturalized what transplant to dispel upon

Dictée can be understood as Cha's attempt to recall her lost genealogy and to articulate it in words and images. Yet, speech itself appears to have been fractured through the trauma of exile.

Cha's contributions to art magazines, such as High Performance in 1978 and Heresies: A Feminist Publication on Art and Literature in 1982 reflect her active engagement with interdisciplinary and experimental art practices associated with San Francisco and New York City art scenes. Around the same time, in New York City, Tanam Press, founded by Reese Williams, produced several artist's books, such as Hotel (1980), which includes works by Cha, Laurie Anderson, Jenny Holzer and Peter Nadin, Michael Meyers, Richard Nonas, Reese Williams, and Mike Roddy. Cha's artist's book and mail art pieces were featured in shows that focused on this medium, including Boksaning--Bookshop at Nylistasfnio at the Living Art Museum in Reykjavik, Iceland in 1980, and Words and Arts at Reese Bullen Gallery, Humboldt State University in Arcata, California in 1980. After the 1981 Kunstenaarsboeken/Artists' Books From the Other Books and So Archive exhibition at Stedelijk Museum in Amsterdam, Netherlands, which traveled to Living Museum, Reykjavik, Iceland, Cha's work on mail art had rarely been highlighted. The interest in the artist's book as a medium seemed to vanish soon after the 1980s.

In the visual arts, Cha’s work echoes both the conceptual art movement on the West Coast and the Fluxus movement. In the same way that her writing defies generic fixation and speaks in illuminating ways about identity and subjectivity, her artworks represent an eclectic combination of international artistic developments and localized experiences of identity. One of the early contemporary artists of the Korean diaspora in the United States, Cha’s work has already begun to think about how the mainstream avant-garde tradition is reinvented by artists and its periphery. Like Terry Fox and Conceptual artists around her time, she was interested in the use of body and language in art. Her video art, Mouth to Mouth (1975), depicting the artist’s mouth silently voicing the eight vowels in the Korean language, is structurally similar to Fox’s Tonguings (1970) and Bruce Nauman’s Lip Sync (1967). However, with the addition of Cha’s distinct approach to language and semiotics, Mouth to Mouth uses the techniques of body-based video art to convey her own foreign and diasporic identity, illuminating the uneven functioning of language throughout colonial history.

Throughout her video art, Cha was primarily interested in the material experience of language in terms of its textual, aural, and audial quality instead of just the epistemology of language explored by East Coast Conceptual artists like Joseph Kosuth. In her video art Vidéoème (1976), she uses word plays to invoke the multifaceted perception of language across the senses, but this experience of language is also centered around a loss and invisibility evident in the title’s wordplay: "vidé" means emptied in French, while "video" is both the genre of the work and the word for “to see” in Latin. She was also interested in consciously manipulating videotapes to convey nuanced meanings. For example, in Mouth to Mouth, the pixelation of the image and the dubbing of the sound of the original videotape accentuate a sense of inscrutability rather than visibility achieved through video technology.

Influences
Cha was influenced by a variety of sources. Her friends say that she was inspired by the art activity around her, but there has been little analysis of this aspect of her development as an artist. Cha was inspired by artist Terry Fox, a fellow artist and performer. She met him in 1973, during one of his solo exhibitions at the UAM, now Art, Design & Architecture Museum at UCSB. Cha came to his performances and watched Fox and his brother Larry interact with various materials and objects, such as metal and a mirror.

Fox's exhibit involved a variety of media and formats, including performance, sculpture, and drawing. Cha drew her inspiration from Fox's slow, ritualistic performances. The translucent veil employed by Fox to demarcate and isolate his performance space was a device Cha used in her performances A Ble Wail (1975) and Pause Still (1979; performed with her sister Bernadette). Cha also used props—candles, bamboo sticks, flour—in some of her performance, which Fox had previously used in his own. Cha and Fox have been compared in similar slow, deliberate, almost trance-like paces they employed in their performance work. Fox had witnessed a few of Cha's performances and commented on the way she moved in the space, barefoot, not making a sound.

During her time as an usher, Cha became interested in the work of Marguerite Duras, Jean-Luc Godard, Alain Resnais, Yasujirō Ozu, and many other film theorists and artists. Carl Dreyer was a particularly recurrent influence, particularly his film The Passion of Joan of Arc (1928), which was quoted in Cha's super-8 and video installation Exilée (1980) among other instances in her work.

In the visual arts, her work has been included in the expanded account of conceptual art initiated by the exhibition Global Conceptualism: Points of Origin, 1950s–1980s, in addition her work usually features in the San Francisco Bay-area accounts of conceptual art, the dates of which are later than the East Coast accounts.

Performance
Cha's performance work primarily concerned the involvement of the spectator, viewer, and audience. Early performance works "sought to involve the spectator as thoroughly as possible." Cha's performance piece, Reveille Dans la Brume, which was shown at La Mamelle Arts Center in 1977 and the Fort Mason Art Center in San Francisco in 1979, "places the spectator in a viewing situation equivalent to the cinema, where 'the spectator identifies with her/himself, with herself as a pure act of perception: as a condition of the perceived and hence as a kind of transcendental subject anterior to every there is.'" The work consisted of lap-dissolve projections of slides, her live voices, pre-recorded voiceovers, and preconfigured light control. Cha's other performance work, A Ble Wail (1975) deploys the "flicker of the mirrored candle reflections," which incorporates the filmic experience into the performance format to induce what Constance M. Lewallen describes as a "state of heightened receptivity." Audiences were distanced from Cha, who was wearing a white robe that was reminiscent of traditional Korean costume, Hanbok, across an opaque, transparent curtain. In her performance description, Cha wrote "in this piece, I want to be the dream of the audience."

Additional works
Cha's three-channel video installation, Passages Paysages (1978) is composed of dissolved and faded words, still images, and narration in Korean and English. The central image of the piece is composed of Cha's childhood photos, the artist's hand, stacks of letters, landscapes, rooms, and an unmade bed. The use of multiple screens and asynchronous narrations in three languages and their seemingly unrelatedness to the images points to how meaning and narratives are produced, altered, and diversified. The work's fading and dissolving of words and still images reflect the transitions of time and memory.

The major text Temps Morts was written by Cha in 1980 and begins, "it dawns on me just the other day that / i have been back back for months." The title, translating in English to "dead time," is a double entendre. Cha began learning French in high school, and her involvement with both French language and French culture was intensified by her exposure to Nouvelle Vague cinema while studying at UC Berkeley and working at Pacific Film Archive. It also contains several references to Japan, which suggests that she wrote it after a second trip, to Japan and Korea in 1980, for the purpose of making the film White Dust from Mongolia, her final, unfinished project.

White Dust From Mongolia (1980) was an unpublished film shot in Korea with which Cha planned to write a historical novel with the same title. In late 1980, Cha and her younger brother, James, traveled to Seoul, South Korea, with the intention of shooting the film. Cha had received a grant of $3,000 from the National Endowment for the Arts and a $15,000 Chancellor's Postdoctoral Fellowship from the University of California specifically for the film. They arrived in Korea during a period of political crisis, however martial law was in effect following the assassination of President Park Chung Hee in the previous year. As Cha and James attempted to film in the streets of Seoul, they were harassed by police for suspicion of being North Korean spies and were finally forced to abandon the project. Short segments of film that James did manage to film and Cha's written description of the project remain. Against the backdrop of the historical period of the Japanese occupation of Korea from 1909 to 1945, the unrealized film and book would explore the process of memory at its core, "its philosophical and physiological effect. In her plan for the film project, Cha highlights the universal question of memory, calling to mind Duchamp's notion that calls "what we see is only a souvenir, vague, imprecise, unfaithful of what it really is." Yet in her plan for the novel, Cha emphasizes the historical narrative more and addresses the relationship between identity, language, and exile in the larger context of memory. In a project outline sketched out by Cha, she highlights the effects of time on memory, a recurring theme across her work, by having two points in time—past and present—happen simultaneously in the narrative.

Exhibitions
In the early 1980s, Cha's video and multimedia installation works were included in several shows focused on new media. Cha's multimedia installation, Exilée (1980) was presented for the first time in 1980, with an accompanying text of the same name written in anticipation of Cha's 1979 trip to Korea, her first visit since she had left the country of her birth at age eleven. Translating to "exiled" from French, the work refers to Cha's feelings of separation from her birth country. In 1981, Exilée was shown at the San Francisco Museum of Modern Art as part of a performance evening sponsored by the women's Caucus for Arts as well as at the Queens Museum in New York. Around the same time, Cha's work was included in shows gesturing toward the feminist art movement: Women's Work at The Kitchen (1982); Difference: On Representation and Sexuality at the New Museum of Contemporary Art (1985); Autobiography in Her Own Image at INTAR Latin American Gallery (1988).

Cha's first professional exhibition was part of a group show in 1980 at the San Francisco Art Institute Annual. A posthumous showing of Cha's work was organized by her friend Judith Barry and exhibited at Artists Space a month after her death. In 1992, Exilée was shown at the Korean American Arts Festival in the San Francisco Bay Area. In 1993, the exhibition Across the Pacific: Contemporary Korean and Korean American Art, was organized by SEORO Korean Cultural Network, the first Korean American artists' network in New York at the Queens Museum. Then 1992 exhibition Mis/Taken Identities, organized by Abigail Solomon Godeau, at the University Art Museum, University of California, Santa Barbara, included Cha's Exilée (1980) and Mouth to Mouth (1975), along with works by Adrian Piper, Carrie Mae Weems, Marlon Riggs, Lorna Simpson, Yong Soon Min, Jimmie Durham, and others. In 1990, the University Art Museum in Berkeley (now the Berkeley Art Museum and Pacific Film Archive), organized Cha's solo presentation as part of their MATRIX Program for Contemporary Art, curated by Lawrence Rinder, the third curator of the MATRIX program. Cha then had two solo exhibitions in 1993 and 1995 curated by John Hanhardt at the Whitney Museum of American Art in New York as part of its New American Film and Video Series. In 1993, Hanhardt invited Lawrence Rinder to curate Cha's solo exhibition, Theresa Hak Kyung Cha: Other Things Seen, Other Things Heard at the Whitney Museum. In conjunction with the exhibition, a panel discussion was given by Judith Barry, bell hooks, and Yong Soon Min. The 1995 solo exhibition of Cha at the Whitney Museum was titled Theresa Hak Kyung Cha: Exilée and featured prominently the work.

An exhibition of Cha's work entitled The Dream of the Audience: Theresa Hak Kyung Cha (1951-1982) was organized and shown in 2001 at the University of California Berkeley Art Museum by senior curator Constance Lewallen. This exhibition, building off the work of two previously organized by former curator Lawrence Rinder, aimed to display lesser known work by Cha including other published works, videos, performances, works on paper, and mail art. The exhibit later went on tour, including stops in Irvine (Beall Center for Art and Technology), New York City (Bronx Museum of the Arts), Illinois (Krannert Art Museum), and Seattle (Henry Art Gallery), with a final stop in Seoul. The exhibition continued to Vienna (Generali Foundation) and Barcelona (Fundació Antoni Tàpies). Its catalogue featured essays by Constance Lewallen, Lawrence Rinder, and Trin T. Minh-ha, all providing accounts of the artist's influences, biographical information, the 1970s Bay Area conceptual art scene as well as theoretical analyses focused on language, cognitive analytic theory, and film theories popularize among the 1970s French avant-garde. The 2007 exhibition ''Wack! Art and the Feminist Revolution, curated by Cornelia Butler at the Museum of Contemporary Art in Los Angeles, featured Cha's Passages Paysages and stills from her 1974 video work Secret Spill''.

Cha's work was exhibited again in Paris (group exhibition Fais un effort pour te souvenir. Ou, à défaut, invente., at the Bétonsalon) and London (A Portrait in Fragments, sponsored and hosted by The Korean Cultural Centre UK; and with a showing of her films at the Institute of Contemporary Arts) in 2013. In 2018, BAMPFA staged an exhibition based on Cha's book Dictée entitled Theresa Hak Kyung Cha: Avant Dictee, organized by assistant curator Stephanie Cannizzo. The Cleveland Museum of Art also staged Cha's video work in a show entitled Theresa Hak Kyung Cha: Displacements in 2018. In spring 2022, the Hessel Museum of Art held a solo presentation of a range of Cha’s works in various mediums in an exhibition titled Theresa Hak Kyung Cha: audience distant relative curated by Min Sun Jeon. Simultaneously, an assortment of Cha's videos and works on paper were selected as a part of the 2022 Whitney Biennial biennial, Quiet As It's Kept.

Death
A week after her novel Dictée was published, on November 5, 1982, Cha was raped and murdered by Joey Sanza, a security guard at the Puck Building on Lafayette Street in Lower Manhattan. She had gone there to meet her husband Richard Barnes, who was documenting the renovation of the building and had an office there. Sanza raped, strangled, and then bludgeoned her to death, removing a ring from her finger.

Sanza, who had since been imprisoned in Florida for 12 counts of sexual battery committed between January and June 1982, was indicted for the rape and murder of Cha in 1983, and, after three separate trials, eventually convicted on those charges in 1987, and sentenced to life imprisonment.

Shortly before her death, Cha had been working on an artistic piece for a group show at Artists Space in SoHo. The Artists Space exhibit ultimately became a memorial for her, showcasing images and text from Dictée. Additional work left incomplete at the time of her death included another film, a book, a critique of advertising, and a piece on the representation of hands in Western painting.

The New York Times published an obituary of Cha as part of its Overlooked series in 2022.

Legacy
In 1991, nine years following Cha's murder, her brother and director of the Theresa Hak Kyung Cha Memorial Foundation, John Cha, asked if the University of California Berkeley Art Museum would be able to set up safe-keeping of Cha's videos, artwork, and archives. The gift was accepted by the Berkeley Art Museum and Pacific Film Archive (BAMPFA) in 1992. Some of Cha's work is available through the Electronic Arts Intermix (EAI).

In 1994, a collection of critical essays on Dictée edited by Elaine Kim and Norma Alarcón, Writing Self, Writing Nation, was released by Third Woman Press. Today Dictee is widely studied in contemporary literature classes, including classes on avant-garde writing, feminist and Asian American literature. Elvan Zabunyan wrote the first monograph of Cha's work and published it in 2013.

Reception of Cha's work has ranged dependent on dominant social and artistic discourses across time periods, complicating Cha's intentionality of the work in its evocation of viewer's unconscious associations. In the 1970s, for instance, her work was discussed mostly in terms of formal experimentation in the context of the Bay Area's avant-garde art scene. Feminist theory became the dominant frame for reading her work in the 1980s. Since the early 1990s, Cha's identity as Korean American has been highlighted in reading her work, with qualities of her literary works highlighted through minority literature. Curator and writer Min Sun Jeon notes that these interpretations through dominant paradigms dismisses the tensions Cha emphasized between the particular and the universal, puts aside Cha's employment of a nuanced and complex interplay of form and content, and leading in partial understandings of Cha's work.

Online public portraits
According to Cathy Park Hong in Minor Feelings: An Asian American Reckoning, many online photos under Cha's name depict the artist's younger sister, Bernadette Hak-Eun Cha:

Hong states, When you google Cha, the first author photo that comes up is the film still of her sister Bernadette from her video PERMUTATIONS. This still of Bernadette is often confused for Cha herself...

Only one real photo of Cha circulates online. Cha has long hair and wears a black turtleneck and tight jeans. She is in profile, staring out the window of her Berkeley apartment in a studied pose. While this picture is used as her official photo, most readers imagine Bernadette when they think they're imagining Cha."

Filmography and videography
Selected works distributed by Electronic Arts Intermix, Inc., New York

 * Secret Spill (1974) 27 min., b&w, sound
 * Mouth to Mouth (1975) 8 min., b&w, sound
 * Permutations (1976) 10 min., b&w, sound
 * Vidéoème (1976) 3 min., b&w, sound
 * Re Dis Appearing (1977) 3 min., b&w, sound
 * White Dust From Mongolia (1980) 30 min., b&w (uncompleted)

Performances

 * Barren Cave Mute (1974), at the University of California, Berkeley.
 * Aveugle Voix (1975), at 63 Bluxome Street, San Francisco.
 * A Ble Wail (1975), at Worth Ryder Gallery, University of California, Berkeley.
 * Life Mixing (1975), at University Art Museum, Berkeley.
 * From Vampyr (1976), at Centre des etudes americains du cinema, Paris, inspired by the film Vampyr
 * Reveille dans la Brume (1977), at La Mamelle Arts Center and Fort Mason Arts Center, San Francisco.
 * Monologue (1977), KPFA Radio Station, Berkeley.
 * Other Things Seen. Other Things Heard (1978), at Western Front Gallery, Vancouver, and the San Francisco Museum of Modern Art (SFMOMA).
 * Pause Still (1979), 80 Langton Street, San Francisco.
 * Exilée (1980), San Francisco Art Institute, SFMOMA, The Queens Museum (1981)

Reviews

 * Avant Dictee

title: Theresa Hak Kyung Cha


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Jonathan Lyons (February 24, 1987 – ) is an Australian novelist, writer, poet, philopsopher, artist, and one of the most prominent members of the Australian Social and Intellectual Collective. While enjoying popular but little critical success, Lyons is now considered one of the world's most important figures.

Lyons was proclaimed by many as saviour of the literary world following sucesses in works varying from, "Factory", a critique of modern capitalism under the current Western conservative regime and "The Face without the Man" a stylistic piece that has since become the defining young readers book of choice for the new millenium and has subsequently been the recipient of a vast array of literary awards from the Australian Book Council. Lyons' criticism also extends to the works of the Beat Writers, namely Allen Ginsberg and Jack Kerouac.

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Listowel, Ontario

Listowel is an unincorporated community in Ontario, Canada, located in the Municipality of North Perth. Incorporated as the Town of Listowel in 1875, it was dissolved in 1998 following amalgamation with several other communities in the northern section of Perth County. Its population was 9,539 at the Canada 2021 Census in a land area of 6.73 square kilometres; at the time there were 3,910 occupied dwellings.

History
Listowel was founded in 1852, and was originally called Mapleton. It was renamed in June 1856 after a post office was established, and named after the town of Listowel, in County Kerry, Ireland.

Economic expansion
In 1871 the Wellington, Grey and Bruce Railway extended its line to Listowel. It was joined in 1873 by a second railway, the Stratford and Huron Railway, and Listowel soon became an important shipping point. The arrival of the railway hastened development and Listowel became a Town with a population of 2,054 in 1875 in what is now North Perth in Perth County, Ontario.

In 1877, the first elementary school opened.

Electricity came to Listowel in 1897, and in 1900 the Listowel Furniture Company opened. By 1902 the population had increased to 2,661, and a woolen mill, a planing mill, a flour mill, a brewery and a dairy products exporting company were operating in the town.

1950s – present
On February 28, 1959, the roof of the Listowel Memorial Arena collapsed under heavy snow, burying a boys' hockey team playing a scrimmage game. Seven players, along with a referee and recreation director, were killed in the collapse in what was described by the Waterloo Region Record as "Listowel's darkest day". The arena was rebuilt and closed in 2017 following the construction of the Steve Kerr Memorial Complex. The arena was demolished on February 2, 2021.

On March 17, 2011, the local dollar store caught fire and its roof collapsed, killing volunteer firefighters Ray Walter (30) and Ken Rea (56). Listowel mourned the loss, closing major streets and posting black ribbons all over town in honour of the fallen firefighters. Paddyfest festivities continued to honour Kinsman Ray Walter, but in a somber fashion.

Between the 2016 and 2021 Censuses, Listowel's population grew by 26.7 percent, helping drive North Perth's population growth to 18.3 percent.

Education
Public education in Listowel is administered by the Avon Maitland District School Board, who manage Listowel District Secondary School and elementary schools Listowel Eastdale Public School and North Perth Westfield Elementary School. North Perth Westfield Elementary School, an amalgamation of Wallace Public School and Listowel Central School, accepted its first cohort of students in September 2016.

Culture
The Bookery (now the Salvation Army Thrift Store) is located across from Veky's International Cuisine Restaurant. This Celtic-inspired book store stocks about 25,000 books and traditional Celtic, Irish and Scottish jewellery in silver. In addition, they provide gallery space for local artists to display their work. Listowel has also raised musicians from many genres, such as Thirteen O'Clock, and Brian Vollmer (lead singer of Helix).

Paddyfest
The official spokesperson for Paddyfest is chosen yearly in the Paddyfest Ambassador Competition. Contestants must perform a speech, impromptu question and interview with the judges and receive the overall highest score to be awarded this position. A separate award of Talent is given out to the contestant with the highest score in the talent competition. Runner-up and Congeniality are also awards which are available. The Paddyfest Ambassador Competition changed its name and official status from being Miss Paddyfest when first created.

Events at the Fest include arm wrestling and a parade.

Sports
Listowel has a Jr. "B" hockey team from the Greater Ontario Junior Hockey League (Mid-West Conference). They are called the Listowel Cyclones. The town also hosts a baseball team, the Listowel Jr. Legionnaires. Part II Bistro Ladies Classic, a curling bonspiel takes place in Listowel Curling Club. Carl Tremaine - born in Listowel on August 26, 1899 - Boxing - undisputed junior-feather world champion

Economy
The Campbell Soup Company was a major local employer for 48 years, operating a frozen, foodservice and specialty food plant in Listowel. This relationship ended abruptly with the announcement of the factory's pending closure on April 28, 2008. In 2010 the former Campbell Soup plant was purchased by Erie Meat Products and expected to ship 50-60 million pounds of poultry to world markets on an annual basis.

Since 1996 the area around Listowel has attracted new industries.

Notable people

 * Andrew Edward McKeever, World War I flying ace
 * Corey Conners, PGA pro golfer
 * Jared Keeso, Gemini Award-winning actor
 * John G. Smale, President, CEO and Chairman of Procter & Gamble; Chairman of General Motors
 * Calvin Bricker, Track and field athlete
 * Cyclone Taylor, ice hockey player and Hall of Famer
 * George Hay, NHL ice hockey player and World War I veteran
 * Ann Voskamp, author, winner of the Award of Merit in Christianity Today's Books of the Year, 2012
 * Paul McIntosh, ice hockey player
 * Roland McKeown, ice hockey player
 * Walter Knox, Track and field athlete

title: Listowel, Ontario


text: User talk:130.13.57.129

title: User talk:130.13.57.129


text: User talk:71.139.53.58

title: User talk:71.139.53.58


text:
Wikipedia:Articles for deletion/Cushtie

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

The result of the debate was DELETE and tell the 11-year-old to wash his mouth with soap. Why, back in my time... — J I P | Talk 05:41, 13 October 2005 (UTC)

Cushtie
Is it advertising? Is it a dicdef? Is it slang? Is it even notable? No, no, no and again, no. Delete Eddie.willers 04:03, 3 October 2005 (UTC) My 11-year-old son added this page because he had just been given a Cushtie. He did not, repeat not, copy anything from any advertising blurb, he wrote it entirely himself. I accept that it may not be appropriate for Wikipedia (I am a fan) but please don't judge so harshly. He was attempting to reproduce the type of article he has seen in Wikepedia, he was unaware that Cushtie is not a "real" thing. If you choose to delete so be it! -- unsigned comment by 82.35.131.115 Hey- FUCK OFF. I dont know about wikipedia yet- im only 11. I thought since ive seen so much info anout saying how classy other items were i thought id share with the world what i thought. YOU PRICKS WONT GIVE ME THE CHANCE. DO WHAT YOU WISH.-- unsigned comment by 82.35.131.115 Hey im sorry the way i acted- it wasnt your fault. I shouldnt of swore at you. Please forgive me and ill try to make a better article :)
 * Delete per nominator. Quale 04:06, 3 October 2005 (UTC)
 * Take out the non-neutral first-person content, and one is left with practically zero content, except for a vague indication that this is some form of cushion. A Google Web search told me what this was.  The article certainly didn't.  But then that's because it was copied from the advertising blurb in a product catalogue, where the catalogue itself had accompanying pictures to explain what the item was. Copyvio. Uncle G 05:39, 3 October 2005 (UTC)
 * Delete as a non-notable item. Not to nitpick, but while it is not a direct cut & paste job, it's fairly obvious that the text of the first sentence was taken from the link Uncle G posted in the copyvio message.  Still, not a bad first effort for an 11 year old.--Isotope23 18:48, 3 October 2005 (UTC)
 * Oh well, at least he can go home and hug his Cushtie. I'm restoring the deleted votes.--Isotope23 19:49, 3 October 2005 (UTC)
 * Sounds like a very mature "11-year-old." Delete. FCYTravis 21:57, 3 October 2005 (UTC)
 * Delete, and offer the "11-year-old" a bar of soap for use in washing one's mouth out. android  79  00:56, 4 October 2005 (UTC)
 * Delete and give the kid some Lifebuoy a la A Christmas Story. --Jacquelyn Marie 01:55, 4 October 2005 (UTC)
 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in an undeletion request). No further edits should be made to this page.

title: Wikipedia:Articles for deletion/Cushtie


text:
User talk:Psychobabbler

Welcome
Welcome to Wikipedia , You seem to be off to a good start. I hope you will like it here and decide to stay.

You may want to take a look at the welcome page, tutorial, and stylebook, avoiding common mistakes and Wikipedia is not pages.

Here are some links I've found useful:
 * Editing, policy, conduct, and structure tutorial
 * Picture tutorial
 * How to write a great article
 * Manual of Style
 * The Five Pillars of Wikipedia
 * Merge
 * New user log
 * Be Bold
 * Don't let grumpy users scare you off
 * Wikiquette
 * Contributing to Wikipedia
 * User page
 * How to upload files
 * Image copyright tags

Also: To sign comments on talk pages, simply type four tildes, like this: ~~~~. This will automatically add your username and the time after your comments. Signing with three tildes ~~~ will just sign your username. I hope to see you around Wikipedia! If you have any questions, feel free to contact me on my talk page!

Johann Wolfgang [ T ... C ]

04:03, 3 October 2005 (UTC)

Sorry about this
Hi and welcome to Wikipedia. I'm afraid I just reverted your edits to the Science portal 'Did you know...' section. I just felt that it was better the way it was before. Of course you may disagree so you're welcome to discuss it either on that page's discussion page or on my talk page.

Don't let this put you off making more edits. All serious contributions are welcome - and remember: be bold!

--Spondoolicks 14:27, 3 October 2005 (UTC)

title: User talk:Psychobabbler


text:
Jaina

Jaina can refer to:

 * Jain/Jaina, a follower of Jainism, an ancient classical religion of India
 * List of Jains, a list of various notable Jains
 * Federation of Jain Associations in North America (JAINA)
 * Jaina Island, an archaeological site of the Maya civilization, in the present-day Mexican state of Campeche
 * Jaina Solo, a fictional Star Wars Expanded Universe character
 * Jaina Proudmoore, a fictional character in the Warcraft franchise and Heroes of the Storm
 * Jaina (grape), a Spanish wine grape

title: Jaina


text:
Wikipedia:Articles for deletion/Andrew & Shawn Brooks

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

The result of the debate was delete. DS 12:07, 11 October 2005 (UTC)

Andrew & Shawn Brooks
To start, the title is wrong for an encyclopedia article. The entire text is two sentences: "Andrew & Shawn Brooks' first published novel was the sci-fi thriller The Peoples Yard written in 1988. While not critically acclaimed, it did gather a strong fan base that lead them to write The Octagon fantasy saga." Can't find them or their novels on amazon. Vanity. Quale 04:04, 3 October 2005 (UTC)
 * Delete, at best vanity... at worst, just nn-bio.--Isotope23 17:03, 3 October 2005 (UTC)
 * Delete nn. Dottore So 22:15, 3 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:
Sigma Gamma Tau

Sigma Gamma Tau (ΣΓΤ) is the American honor society in Aerospace Engineering. It seeks to identify and recognize achievement and excellence in the Aerospace field within the United States. Sigma Gamma Tau's collegiate chapters elect annually to membership those students, alumni, and professionals who, by conscientious attention to their studies or professional duties, uphold this high standard for the betterment of their profession.

History
Sigma Gamma Tau was founded on the campus of Purdue University in West Lafayette, Indiana, on February 28, 1953, "to offer appropriate recognition to persons of superior scholarship, outstanding character, and professional achievement in the field of Aeronautical Engineering."

The new society was formed by the merger of two existing societies, Tau Omega, founded in 1927 at the University of Oklahoma, and Gamma Alpha Rho, founded in 1945 at Rensselaer Polytechnic Institute.

The objectives of Sigma Gamma Tau, as stated in the preamble of the society's national constitution, are: "to recognize and honor those individuals in the field of Aeronautics and Astronautics who have, through scholarship, integrity, and outstanding achievement, been a credit to their profession. The society seeks to foster a high standard of ethics and professional practice and create a spirit of loyalty and fellowship, particularly among students of Aerospace Engineering."

Symbols
The name of the society was selected by combining the Greek letter Sigma, indicating sum, with Gamma and Tau from the initial letters of the parent organizations. Its colors are red and white.

Chapters
Since its modest beginnings in 1953, the society has grown from 14 to 54 collegiate chapters and from 1,900 to 29,000+ initiated members in nine regions.

Northeastern

 * Boston University - Boston, MA
 * University at Buffalo - Buffalo, NY (inactive)
 * Clarkson University - Potsdam, NY
 * Massachusetts Institute of Technology - Cambridge, MA (inactive)
 * Rensselaer Polytechnic Institute - Troy, NY
 * Southern New Hampshire University - Manchester, NH
 * Syracuse University - Syracuse, NY
 * Worcester Polytechnic Institute - Worcester, MA

Mid-Atlantic

 * University of Maryland - College Park, MD
 * Pennsylvania State University - University Park, PA
 * University of Virginia - Charlottesville, VA
 * Virginia Polytechnic Institute & State University - Blacksburg, VA
 * West Virginia University - Morgantown, WV

Southeastern

 * University of Central Florida - Orlando, FL
 * Embry-Riddle Aeronautical University - Daytona Beach, FL
 * University of Florida - Gainesville, FL
 * Florida Institute of Technology - Melbourne, FL
 * Georgia Institute of Technology - Atlanta, GA
 * North Carolina State University - Raleigh, NC

South Central

 * University of Alabama in Huntsville - Huntsville, AL
 * University of Alabama - Tuscaloosa, AL
 * Auburn University - Auburn, AL
 * Mississippi State University - Starkville, MS
 * University of Tennessee - Knoxville, TN
 * Tuskegee University - Tuskegee, AL

Great Lakes

 * Air Force Institute of Technology - Dayton, OH
 * University of Cincinnati - Cincinnati, OH (inactive)
 * University of Illinois - Urbana, IL
 * Illinois Institute of Technology - Chicago, IL (inactive)
 * University of Michigan - Ann Arbor, MI
 * University of Notre Dame - Notre Dame, IN
 * Ohio State University - Columbus, OH
 * Purdue University - West Lafayette, IN
 * Western Michigan University - Kalamazoo, MI

North Central

 * United States Air Force Academy - Colorado Springs, CO
 * University of Colorado - Boulder, CO
 * Iowa State University - Ames, IA
 * University of Kansas - Lawrence, KS
 * University of Minnesota - Minneapolis, MN (inactive)
 * Missouri University of Science & Technology - Rolla, MO
 * St. Louis University - Cahokia, IL (inactive)
 * Wichita State University - Wichita, KS

Southwestern

 * New Mexico State University - Las Cruces, NM
 * University of Oklahoma - Norman, OK
 * Oklahoma State University - Stillwater, OK
 * Texas A&M University - College Station, TX
 * University of Texas at Arlington - Arlington, TX (inactive)
 * University of Texas at Austin - Austin, TX

Western

 * University of Arizona - Tucson, AZ (inactive)
 * Arizona State University - Tempe, AZ (inactive)
 * Embry-Riddle Aeronautical University - Prescott, AZ
 * San Jose State University - San Jose, CA
 * University of Washington - Seattle, WA

Southern Pacific

 * University of California at Irvine - Irvine, CA
 * California Polytechnic State University - San Luis Obispo - San Luis Obispo, CA
 * California State Polytechnic University - Pomona - Pomona, CA
 * California State University - Long Beach - Long Beach, CA
 * San Diego State University - San Diego, CA
 * University of Southern California - Los Angeles, CA

National headquarters
The national headquarters of Sigma Gamma Tau is located at the Aerospace Engineering Department of Wichita State University.

National convention
SGT National Convention has been held every three years since 1953 (except for the years between 1956 and 1964). The most recent convention was held in conjunction with the AIAA Aerospace Sciences Meeting at Orlando, Florida in January 2018.

title: Sigma Gamma Tau


text:
Campbelltown Sports Stadium

Campbelltown Sports Stadium is a multi-purpose stadium in Leumeah, a suburb in South Western Sydney, Australia, owned by Campbelltown City Council. Formerly known as Orana Park and Campbelltown Sports Ground, it is currently the home ground of the Western Suburbs Magpies, Wests Tigers and Macarthur FC. The stadium has a nominal capacity of 17,500, with a recorded highest crowd figure of 20,527 for a game between Wests Tigers and North Queensland Cowboys in the 2005 NRL season. It is located adjacent to Leumeah railway station and Wests Leagues Club.

Rugby league
In the National Rugby League, the stadium was home to the Western Suburbs Magpies club from 1987 until 1999 and was one of the home grounds for the Newtown Jets in 1983. The Magpies had merged with the Balmain Tigers for the 2000 season to form the Wests Tigers, and thus, since 2000, this ground is being used on an occasional basis by the Wests Tigers, with four of their twelve annual home games played there, in accordance with their stadium deals. The Western Suburbs Magpies junior teams and Ron Massey Cup side also play most of their home games at Campbelltown.

The record crowd for the ground for a rugby league match has been 20,527 between the Wests Tigers and the North Queensland Cowboys on 14 August 2005. The record crowd for Campbelltown in its previous oval configuration was 17,286 between Western Suburbs and St George on 2 August 1991. The record crowd for Newtown at the stadium is 10,686 against rival Parramatta in 1983.

List of rugby league test matches played at Campbelltown Stadium.

Association football
On 19 July 2008, Australian A-League Men team Sydney FC played their first Pre-Season Cup match against Brisbane Roar. Sydney won the match 2–1 in front of roughly 4,500 fans. Sydney FC also played a pre-season friendly here in preparation for their 2010–11 A-League season against local club Macarthur Rams in which Sydney won 1–0.

Sydney FC played their first premiership match for A-League points at Campbelltown Stadium against Perth Glory on 18 January 2012 (originally to be played on 7 December 2011). The game ended up in a 1–1 draw and drew 5,505 fans.

The stadium was host for the local Macarthur Football Association Premier League finals in September 2012.

Western Sydney Wanderers FC defeated Newcastle Jets FC 2–1 in a 2012–13 season Regional Round match at the venue. The game was attended by 10,589 fans. The Wanderers would return to the stadium against the same opposition in the 2016–17 season during the redevelopment of Parramatta Stadium. In 2016, Western Sydney Wanderers FC announced that the club would be playing all their 2017 AFC Champions League games at Campbelltown Stadium.

In the 2018–19 A-League season, the stadium played host to a match between Wellington Phoenix FC and Sydney FC in front of 5,115 people. Sydney FC won 1–0.

The stadium also hosted a 2019 FFA Cup match between Sydney United 58 and Western Sydney Wanderers in which the Wanderers won 7–1 in front of 5,061 people.

In February 2020, the stadium played host to five matches in the 2020 AFC Women's Olympic Qualifying Tournament.

From the 2020–21 A-League season, Macarthur FC were formed and play their home games at the ground.

In July 2023 the venue hosted Korea Republic as their training facility during the 2023 FIFA Women's World Cup.

title: Campbelltown Sports Stadium


text:
Christiane Martel

Christiane Martel (born Christiane Magnani on 18 January 1935) is a French actress, model and beauty queen. She became the second woman to win Miss Universe in 1953. She was the only French woman to hold the Miss Universe title until Iris Mittenaere in 2016. She is one of the last surviving stars from the Golden Age of Mexican cinema.

Life and career
Martel was born in Nancy, France to a modest family of Italian ancestry and was raised in Piennes. Amid the Second World War, her family moved to Western France, and later, in 1940, to Loudun.

19521953: Pageantry
She was Miss Châtellerault in 1952. She was crowned Miss Cinémonde and represented France at Miss Universe 1953 where she became the second Miss Universe. She was crowned by actress, Julie Adams as Miss Universe 1952, Armi Kuusela of Finland gave up her crown.

Martel's runners-up in the 1953 pageant was Myrna Hansen of the USA, followed by delegates of Japan, Mexico, and Australia.

1954–1962: Acting career
Shortly after her reign, Martel embarked on a successful career in international films, appearing in movies such as Yankee Pasha, So This Is Paris, Drop the Curtain, the 1956 version of Corazón salvaje (playing the villain Aimée), Viva el Amor!, Rosa Blanca and her last film to date, 1961's Leoni al Sole.

Later activities
Later, Martel served as a judge at the Miss Universe 1978 pageant. She would also make made television appearances at the Miss Universe pageants held in 1989, 1993, and 2007, all of which were held in Mexico. Her most recent television appearance in France was on 3 December 2011 at the Miss France pageant. She appeared in the Mexican television show, Sale el sol in 2017 where she was interviewed.

Personal life
Martel was married briefly to Ronnie Marengo, a department store heir, whom she divorced in 1955. In 1961 she married Miguel Alemán Velasco, who would become Governor of Veracruz and is the son of Miguel Alemán Valdés, former president of Mexico. They have three daughters and one son. Their son, Miguel Alemán Magnani, is a stakeholder of Televisa and the owner of low-cost airline, Interjet.

title: Christiane Martel


text:
Category talk:Record label stubs

No show?
There is something wrong with this template as the stub mark doesn't show up when added to an article (e.g. Freak Recordings). Grika Ⓣ 04:08, 3 October 2005 (UTC)

title: Category talk:Record label stubs


text:
Run Rudolph Run

"Run Rudolph Run" is a Christmas song written by Chuck Berry but credited to Johnny Marks and M. Brodie due to Marks's trademark on the character of Rudolph the Red-Nosed Reindeer. It was published by St. Nicholas Music (ASCAP) and was first recorded by Berry in 1958, released as a single on Chess Records.

It has since been covered by numerous other artists, sometimes with the title "Run Run Rudolph". The song is a 12-bar blues, musically similar to Berry's popular and recognizable song "Johnny B. Goode", and melodically similar to his song "Little Queenie", the latter of which was released shortly after, in 1959.

History
Chuck Berry reported that he wrote the song himself, but then discovered that the name Rudolph was trademarked by Johnny Marks. Marks sued and consequently was given songwriting credit, although he "had nothing to do with the song." Berry also said that M. Brodie does not exist, but was a pseudonym created as "a scheme to make more money for Marks and his publisher." Berry's 1958 45-rpm single gives writing credits to "C. Berry Music – M. Brodie". All subsequent cover versions of the song are credited to Marks and Brodie, as published by Marks's St. Nicholas Music (ASCAP).

The song's dialogue between Santa and the children references popular toys of the 1950s.

Cover versions
This song was covered by singer Whitney Wolanin in 2013. Her recording reached the highest chart position of all versions on Billboard, reaching number two on its Adult Contemporary chart. Wolanin starred in a parody music film with the song about the original movie A Christmas Story at the Christmas Story House.

It has been covered by other artists including Straight No Chaser, the Ethical Debating Society, Slaughter & the Dogs, L.A. Guns, Mojo Nixon, Emily Osment, Lynyrd Skynyrd, Southern Pacific, Sister Hazel, Billy Ray Cyrus, Foo Fighters, Five Easy Pieces, Jo Jo Zep & the Falcons, Dave Edmunds, Hanson, Sheryl Crow, Bryan Adams, Lulu, Click Five, the Grateful Dead, Keith Richards (on his first solo single), Brinsley Schwarz, Jimmy Buffett, Foghat, Paul Brandt, Whitney Wolanin, Kelly Clarkson, the Tractors, Dwight Yoakam, Reverend Horton Heat, Hanoi Rocks, Billy Idol, Cee Lo Green, Luke Bryan, Brian Setzer Orchestra, Joe Perry, Los Lonely Boys, Jane Krakowski, the cast of the Broadway musical Million Dollar Quartet, the Yobs, Vincent Martella (as the character Phineas Flynn, from Phineas and Ferb), the Muppets' band Dr. Teeth and the Electric Mayhem, and a one-off supergroup consisting of Lemmy Kilmister, Billy Gibbons, and Dave Grohl for the 2008 album We Wish You a Metal Xmas and a Headbanging New Year. It was also covered by Aerosmith guitarist Joe Perry for his 2014 EP Joe Perry's Merry Christmas by and Sara Evans on her 2014 album Sara Evans: At Christmas. Cheap Trick released it on their Christmas Christmas CD release in 2017.

In 2023, Cher recorded a cover of the song for her Christmas album Christmas.

Conan O'Brien and his house band, Jimmy Vivino and the Basic Cable Band, played the song to close a show in December 2010.

Chart performance
During its initial chart run, Berry's 1958 recording peaked at number 69 on the Billboard Hot 100 chart in December 1958. Sixty years later, the single re-entered the Hot 100 chart at number 45 (on the week ending January 5, 2019), reaching an overall peak position of number 10 on the week ending January 2, 2021, following its third chart re-entry, becoming Berry's third top-ten hit and his first since 1972's "My Ding-a-Ling". In doing so, it broke the record for the longest climb to the top 10 since its first entry in December 1958, at 62 years and two weeks.

Berry's original version first made the UK Singles Chart on the week ending Christmas Day 1963, peaking at number 36 two weeks later (with the song's title misspelled as "Run Rudolf Run").

In 2013, Whitney Wolanin released a version of the song that reached number two on the Billboard Adult Contemporary chart. The only other recordings that charted in the U.S. were by the country music artists Luke Bryan, whose 2008 rendition peaked at number 42 on the Hot Country Songs chart, and Justin Moore, whose 2011 version peaked at number 58 on the Hot Country Songs chart.

title: Run Rudolph Run


text:
Cluster ballooning

Cluster ballooning is an extreme sport and a form of ballooning where a harness attaches a balloonist to a cluster of helium-inflated rubber balloons.

Unlike traditional hot-air balloons, where a single large balloon is equipped with vents enabling altitude control, cluster balloons are multiple, small, readily available and individually sealed balloons. To control flight, arrest a climb or initiate a descent, the pilot incrementally jettisons or deflates balloons. Ballast, e.g., bottled water, can also be jettisoned to facilitate ascent.

Notable flights and balloonists
The Swiss adventurer Auguste Piccard experimented with cluster balloon flight in Rochester, Minnesota, in July 1937.

In September of the same year, inspired by Piccard, an American photographer for Paramount News used 32 weather balloons for a feature photography assignment near Old Orchard Beach in Maine. Suspended from the balloons by a parachute harness in order to take aerial film footage, his mooring rope broke and he was lifted approximately 700 ft into the air. A clergyman, Father James J. Mullen, spotted the incident, and after a chase of some 13 mi, used a .22 caliber rifle to shoot out three of the balloons, thus allowing the photographer to return safely to the ground.

In the Lawnchair Larry flight, Larry Walters, without any prior ballooning experience, attached 43 helium-filled weather balloons to a lawn chair and lifted off in 1982. In defending against charges later filed against him by the FAA, he stated that he intended to rise just a few hundred feet (about 100 metres), but underestimated helium's lifting power, causing his tethering strap to break prematurely. Walters quickly rose to nearly 3 mi, over 50 times his intended maximum altitude. Walters reportedly had planned to control his altitude by using a pellet gun to selectively pop some of the balloons. However, he was initially hesitant to shoot any balloons, as he was concerned about falling out due to a loss of stability. Reaching a high altitude and seeing no other way of getting down, he eventually shot several of the balloons, initiating his descent.

On May 4, 2002, high school student Sarah Morgan was lifted up by 30 weather balloons and flew for 20 mi before being rescued after the ropes holding her broke in high winds.

John Ninomiya's flights made on May 28, 2006 have been featured on The Science Channel, The History Channel, TechTV, TLC, and MTV.

The Guinness Book of World Records recognizes the highest altitude attained via cluster ballooning to be that achieved by Mike Howard (UK) and Steve Davis (US), who on August 4, 2001, over Los Lunas, New Mexico, US, used 400 helium balloons to reach a height of over 18300 ft. Larry Walters is estimated to have reached 16000 ft in 1982. His record is not recognized, however, because he did not carry a proper altimeter. On June 8, 2013, Joe Barbera, of La Center, Washington, launched a lawn chair with cluster balloons and recorded a new altitude record of 21194 ft. This is a pending world record being considered by Guinness World Records.

Yoshikazu Suzuki departed from Lake Biwa in Japan on 23 November 1992 with 23 helium balloons. He was spotted by a Japanese coast guard aeroplane on 25 November 1992, located about 800 km offshore over the Pacific Ocean, at altitude between 2,500 and 4,000 m, and was never seen again.

In April 2008, in Brazil, Roman Catholic priest Adelir Antonio de Carli ascended with 1000 balloons. Ground observers lost track of him when he floated out above the ocean, and he was missing until part of his body was recovered by an offshore oil rig support vessel on 5 July 2008. Carli at one point reached an altitude of 6,000 metres (19,685 ft) before losing contact with authorities.

Just two months later, in June 2008, FAA licensed pilot Jonathan Trappe attached a cluster of balloons to his standard, unmodified office chair and flew it to an altitude of 14,783 ft. The flight reportedly lasted for four hours and covered 50 mi before Trappe returned to earth, retired the chair, and returned it to his workplace. On May 28, 2010, Sky News reported on Trappe's crossing of the English Channel by cluster balloon. Trappe departed near Challock, England, crossed over the White Cliffs of Dover at St. Margarets Bay, and made landfall again over Dunkirk, France. Trappe then tracked inland, and landed safely in a farmer's cabbage patch. Three years later, Trappe attempted a trans-Atlantic crossing, but his journey stopped short when he was forced to land in Newfoundland.

On September 2, 2020, illusionist David Blaine reached 24900 ft via 52 helium-filled balloons, suspended by harness attached to a cable routed through his sleeve to appear as if holding the balloons by one hand. He had all necessary licenses and permissions, carried an oxygen supply, ADS-B transponder, and remote control of ballast and balloon-popping squibs. He released himself from the balloons and free-fell until his parachute automatically opened at 7000 ft. The balloon rig was then remotely piloted by the ground team to a safe recovery.

Other applications
Smaller balloon clusters consisting of several toy balloons are sometimes used for creating flying light effects by using them as a carrier for lightsticks or other small light sources. They can be also used for other amateur scientific experiments, such as making aerial photographs or atmospheric measurements.

Such toy balloons, with or without helium filling, are more readily available than bigger balloons.

title: Cluster ballooning


text:
Fairford (electoral district)

Fairford is a former provincial electoral division in Manitoba, Canada. It was created for the 1920 provincial election, and eliminated with the 1958 election.

Stuart Garson, who served as Premier of Manitoba from 1943 to 1948, represented this constituency for a number of years.

title: Fairford (electoral district)


text:
User:StephenCox

Hello to all the Wikipedians.

I'm happy to be editting here on Wikipedia just trying to make pages better. I have many interests, and am in the center of a city with much diversity.

California is great, and if there is any one place in the world one must see I have to say that it would be Los Angeles.

title: User:StephenCox


text:
Rich Priske

Rich Priske (August 29, 1967 – July 11, 2020), also known as Rich Rock, was a Canadian bass guitarist. Born in Vancouver, British Columbia, he had long been active in the B.C. music scene, and played bass guitar and/or written songs for Art Bergmann, DSK, ShoCore, Chrome Dog, Bif Naked, The Real McKenzies, and others. Priske was best known for playing bass guitar in the Canadian band Matthew Good Band from 1998 to 2002. After the band's dissolution in 2002, he kept playing with Matthew Good until the end of the In a Coma tour in fall 2005. Later in life, he lived in Kelowna and played in the Jon Bos Band and Florida Man.

Writing
Priske was an avid writer, contributing to weblogs as a "citizen journalist" for kitsilano.ca, and others. He contributed many technical and instructional articles to magazines such as CM (Canadian Musician). Priske also wrote for Wine Trails, and other wine-industry publications. He had a long history with the web, and was an early adopter of what is now known as "web logging" or "blogging", beginning with his popular "Notes From The Road" feature on the now defunct Matthew Good Band website, circa 2001. He kept a blog on Blogger, but updated it rarely.

Film work
Priske was also involved in BC's thriving film and theatre industry, on stage and both in front of and behind the camera. As well as appearing in many music videos, he had bit parts in films like Red Scorpion 2, and Hard Core Logo, and appeared on stage in productions of Cabaret and You Can't Take It with You. Behind the scenes, Priske was active in the Art Department, earning an Emmy nomination for 2008's "Tinman".

Death
On July 11, 2020, Priske died of a heart attack.

Discography
with Matthew Good Band:

 * Beautiful Midnight
 * Loser Anthems
 * The Audio of Being

with Matthew Good:

 * Avalanche
 * White Light Rock & Roll Review
 * In a Coma

with DSK:
 * Exploder
 * Imploder

with Bif Naked:

 * Bif Naked
 * Essentially Naked (greatest hits compilation)

with The Real McKenzies:

 * Real McKenzies
 * Clash of the Tartans

with ShoCore:

 * untitled release (2007)

with Brooke Nolan:

 * self-titled EP

with The Town Pants:

 * Weight of Words

Sex With Nixon (1995) Self titled LP

title: Rich Priske


text: User talk:70.240.245.23

title: User talk:70.240.245.23


text:
User talk:StephenCox

Please feel free to leave any comments here, but just keep in mind to be kind and honest. Thanks!!!!

Hi
Stephen, do you think you could explain on Talk:Urdu language why you prefer one particular version of the article? I personally have no preferences, but it looks to me as if there is substantial support for the alternative version. I'm not concerned here with *who* you are and what you're doing, really I just want to know your reasoning. Why is the version that you favor better than the other one? Please reply on Talk:Urdu language --Tony Sidaway Talk 00:28, 8 October 2005 (UTC)

 * Stephen, blind reverts are not helpful. If you're going to edit, how about contributing something by making the article better? I'm trying to bring the two sides into some kind of dialogue, and frankly, since you're not engaged in dialogue, the other side looks a lot more reasonable. Your contributions are welcome; deleting someone else's work is not — unless you take the trouble to tell us what is wrong with it, so that we can have some empathy with what you're doing. —kwami 06:32, 11 October 2005 (UTC)

The classification is wuts wrong, Everyone is doing blind reverts if that's tha case. Look at that evidence on the dicussion page fer yerself. Urdu is a subgroup of Hindi? of Hindustani? wwwuuuuT?--StephenCox 04:08, 25 October 2005 (UTC)

 * What's your objection? Do you have any evidence that the classification is wrong? kwami 04:11, 25 October 2005 (UTC)

 * This many reverts is a blockable offence, Stephen. (3RR rule.) Keep it within reason. kwami 04:17, 25 October 2005 (UTC)

 * You've done it again, Stephen. 4 reverts of the Urdu article in 24 hours. I'm now blocking you for 24 hours. The 3RR rule is designed to keep people from engaging in edit wars. Please bring evidence for your arguments to the discussion page, rather than reverting. kwami 00:26, 26 October 2005 (UTC)

Discussion
Hello Stephen, If you get a chance please take a look at the Hindustani page and see the changes I made. Please don't revert back to the old version as I am trying to put an end to this edit war. Thanks--JusticeLaw 20:07, 26 October 2005 (UTC)

title: User talk:StephenCox


text: Category:User gn-2

title: Category:User gn-2


text: Category:Los Angeles Unified School District


text:
Talk:James T. Lewis

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Talk:Lucius Fairchild

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portrait in infobox
I don't have really strong feelings about it, but why use a cropped pic rather than the full John Singer Sargent portrait. It's a nice portrait without extraneous characters in it and I don't see a lot of other works cropped like that. -- Asdasdasdff (talk) 19:02, 27 November 2023 (UTC)

title: Talk:Lucius Fairchild


text: Talk:Gills Rock, Wisconsin

title: Talk:Gills Rock, Wisconsin


text:
Category:Los Angeles Unified School District schools

Please note not all LAUSD schools are within the Los Angeles city limits. Some are in other municipalities, and some are in unincorporated areas.
 * Los Angeles Unified School District−LAUSD schools — in Los Angeles County, California, including the City of Los Angeles.


text:
Talk:Ellison Bay, Wisconsin

Deadly Explosion
I thought WP was an encyclopedia, not a newspaper... 12.76.144.241 (talk) 20:06, 5 December 2008 (UTC)

title: Talk:Ellison Bay, Wisconsin


text:
Global LGBTQIA+ Employee & Allies at Microsoft

Global LGBTQIA+ Employee & Allies at Microsoft (formerly Gay and Lesbian Employees At Microsoft ) (GLEAM) refers to the Microsoft employee resource group comprising LGBTQIA+ employees along with straight allies. GLEAM originated as a private mailing list during the 1980s. Members of the list successfully campaigned for sexual orientation to be added to Microsoft's anti-discrimination policy in 1989. In 1997, group leaders pointed out that anti-gay actions had occurred, but "overt bias is extremely rare."

GLEAM also lobbied for Microsoft to offer insurance and other benefits to same-sex domestic partners. Lobbying intensified after Lotus software offered these benefits to its workers. Microsoft added this benefit in 1993.

GLEAM became more formally organized in 1993 under Microsoft's Diversity Advisory Council, along with Blacks at Microsoft (BAM), the women's group – known as Hoppers – and other similar groups.

More recently, the group influenced Microsoft to add gender identity and expression to its anti-discrimination policies in April 2005 and, in 2006, to progressively extend health coverage benefits to cover transgender care. Since this time, the Human Rights Campaign has Microsoft's Corporate Equality Index rating – a set of metrics to measure a company's compliance with its goals of gender identity neutrality in the workplace – to 100%.

Washington state gay rights legislation
GLEAM also pushed to secure Microsoft's support of gay rights legislation in Washington state. During legislative hearings on Washington's H.B. 1515 bill, which would extend the state's current anti-discrimination laws to people with alternate sexual orientations, two Microsoft employees testified as private citizens on behalf of the legislation. A conservative religious group took this to mean Microsoft was actively supporting the legislation as an organization and demanded the company reverse its support.

In an April 22, 2005 e-mail, company CEO Steve Ballmer explained to Microsoft employees that earlier in the year, the company had decided to focus its lobbying efforts on issues more directly related to its core business (e.g., computer privacy). In the same e-mail, he affirmed the company's commitment to diversity and encouraged individual shareholders to get involved in the issue, but said that no one on either side should represent themselves as speaking for the company.

In response, seven days later, the GLEAM board of directors sent an e-mail that proposed, with specific timelines, various steps that Microsoft should take in order to repair its public image and the "lack of trust" created by the Ballmer e-mail on April 22. Among the proposals was that Microsoft should acknowledge its neutral position was a mistake (including a proposed press release and a seven-day suggested timeframe for the dissemination of the release) and partner with GLEAM as "subject matter experts" in reaching out to the LGBT community, beginning with a sixty-day "intense outreach" period. Meanwhile, a petition of employees asking Microsoft to support the bill topped 1700 signatures.

The bill was passed in the subsequent legislative session (2006) under the leadership of gay legislator, Rep. Ed Murray (D) of the 43rd legislative district and after the defection of Republican State Senator, Bill Finkbeiner, who subsequently retired and whose seat was captured by Democrat and Microsoft alumnus, Eric Oemig. During the 2006 elections, voters of the 43rd legislative district also elevated Rep. Ed Murray to the Washington State Senate.

On September 15, 2009, Microsoft publicly announced its support for Referendum 71 to protect Washington State Domestic Partnerships.


text:
User:ReyBrujo

This user is on indefinite wikibreak.

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title: User:ReyBrujo


text:
Karen (1964 TV series)

Karen is an American sitcom that stars Debbie Watson in the title role of 16-year-old Karen Scott, and Gina Gillespie as her tomboyish little sister Mimi. It aired from 1964 to 1965.

Synopsis
Karen centers on the social life of 16-year old Karen Scott, a typical mid-1960s American teenager who lives in a fashionable apartment complex at 90 Bristol Court in Los Angeles, California, with her tomboyish younger sister Mimi and parents Steve and Barbara. Karen and the impish Mimi are a counterpoint to one another, each girl confounding the tolerant and loving Steve and Barbara in her own way. Karen is focused on having fun, and her impulsiveness often leads to misadventures when she ignores her parents' advice. Karen's friends include Janis, Candy, Peter, Spider Gibson, and David Rowe III. Cliff Murdock is the building superintendent and handyman at 90 Bristol Court.

Cast

 * Karen Scott — Debbie Watson
 * Steve Scott — Richard Denning
 * Barbara Scott — Mary LaRoche
 * Mimi Scott — Gina Gillespie
 * Janis — Bernadette Withers
 * Candy — Trudi Ames
 * Peter — Teddy Quinn
 * Spider Gibson — Murray MacLeod
 * David Rowe III — Richard Dreyfuss (recurring)
 * Cliff Murdock — Guy Raymond (October 1964–January 1965)

90 Bristol Court
Karen was one of three 30-minute sitcoms broadcast Monday nights under the umbrella title 90 Bristol Court; the other two were Harris Against the World, which followed Karen, and Tom, Dick and Mary, which completed the 90-minute programming block. Despite all three shows being set at the same Los Angeles apartment complex with the address 90 Bristol Court, the only connection the three series had was the character of handyman Cliff Murdoch (portrayed by Guy Raymond), who greeted the residents and visitors to 90 Bristol Court. After the last episodes of Harris Against the World and Tom, Dick and Mary aired on January 4, 1965, 90 Bristol Court ceased to be a programming entity, and handyman Murdoch disappeared from Karen as well.

Production
The Beach Boys performed Karen′s theme song, also entitled "Karen."

Broadcast history
The show premiered on NBC as 90 Bristol Court: Karen on October 5, 1964, and continued under that title through the broadcast of January 4, 1965. It drew low ratings: For the November-to-December 1964 reporting period, the Nielsen ratings ranked it 87th among the 96 prime-time network television shows. Tom, Dick and Mary fared only slightly better, and Harris Against the World had even lower ratings than Karen. In mid-November 1964 The New York Times reported that NBC planned to cancel both and Harris Against the World and Tom, Dick and Mary, effective in early January 1965. Their last episodes aired on January 4, 1965.

With the demise of Harris Against the World and Tom, Dick and Mary and with them the 90 Bristol Court programming concept, the 90 Bristol Court umbrella title was dropped from Karen and handyman Cliff Murdock disappeared from the show. From January 11, 1965, until the end of its run, the show ran as a stand-alone series, titled simply Karen. Although Karen outlasted the other two 90 Bristol Court shows, NBC announced in February 1965 that it would not renew Karen for the 1965-1966 season. The last of the 28 original episodes of Karen aired on April 19, 1965. NBC then broadcast prime-time reruns of Karen in its regular time slot, the last of them on August 30, 1965. Karen aired at 7:30 p.m. on Monday throughout its run.

Peter Tewksbury wrote, produced, and directed all three episodes that aired as part of 90 Bristol Court on November 23, 1964, and used the philosophy of Henry David Thoreau regarding simple living as a starting point for each of them: On Karen, Thoreau influenced Karen and her complicated love life when she mistakenly made three dates for the same Saturday night; on Harris Against the World, Thoreau inspired Harris to take his family fishing, only to find that he has to renew his driver's license that day; and on Tom, Dick and Mary, Dick used Thoreau's philosophy as he attempted to fix several broken household appliances.

Episodes
SOURCES

title: Karen (1964 TV series)


text:
J. Peterman

J. Peterman may refer to:

 * John Peterman, operator of the J. Peterman Company
 * The J. Peterman Company, an apparel company
 * Jacopo Peterman, a fictional version of John Peterman, portrayed by John O'Hurley on the television sitcom Seinfeld

title: J. Peterman


text:
File:TheGoneWait.jpg

Summary
Front cover of The Gone Wait by Jandek. Photograph presumed to have been taken by Jandek. ©2003 Corwood Industries.

title: File:TheGoneWait.jpg


text:
Embassy of Slovakia, Washington, D.C.

The Slovak Embassy in Washington, D.C. is the main diplomatic mission of Slovak Republic to the United States.

It is located at 3523 International Court NW in Washington, D.C.

The Ambassador is Radovan Javorčík.

title: Embassy of Slovakia, Washington, D.C.


text:
Chinese proverbs

Many Chinese proverbs exist, some of which have entered English in forms that are of varying degrees of faithfulness. A notable example is "A journey of a thousand miles begins with a single step", from the Dao De Jing, ascribed to Laozi. They cover all aspects of life, and are widely used in everyday speech, in contrast to the decline of the use of proverbs in Western cultures. The majority are distinct from high literary forms such as xiehouyu and chengyu, and are common sayings of usually anonymous authorship, originating through "little tradition" rather than "great tradition".

Collections and sources
In the preface and introduction to his 1875 categorized collection of Chinese proverbs, Wesleyan missionary William Scarborough observed that there had theretofore been very few European-language works on the subject, listing John Francis Davis' 1823 Chinese Moral Maxims, Paul Hubert Perny's 1869 Proverbes Chinois, and Justus Doolittle's 1872 Vocabulary and Handbook of the Chinese Language as exhaustive on the subject to that point. He also observed that there were few collections in Chinese languages. Two such collections he named as Chien-pên-hsien-wen, "A Book of Selected Virtuous Lore" (a.k.a. Tsêng-huang, "Great Collection"), and the Ming-hsin-pao-chien, "A Precious Mirror to throw light on the mind".

He observed that the proverbs themselves are numerous, with the whole of China probably able to supply some 20,000, a figure that modern scholars agree with. Sources of such proverbs he found in the aforementioned collections, in the Yu-hsio ("Youth's Instructor"), the 1859 Chieh-jen-i, the 1707 Chia-pao-chulan-ci ("Complete Collection of Family Treasures"), the 聖語Sheng-yu ("Sacred Edict"), the Kan-ying p'ien ("Book of Rewards and Punishments"), and 主子家言Chutzu-chia-yen ("The Household Rules of the Philosopher Chu").

The modern popularity of Chinese proverbs in Chinese literature led to an explosion in the availability of dictionaries, glossaries, and studies of them in the middle to late 20th century.

Definition, forms, and character
There are two set literary forms in Chinese that have been much studied: However, Chinese proverbs are primarily not these high literary forms, but rather the product of thousands of years of an oral culture of peasant people, often illiterate. The informal and oft-quoted proverbs of everyday conversation are largely not the sayings of Confucius, but are rather of anonymous origin. Many sayings commonly attributed to Confucius, often in the form "Confucius said...", are not correctly attributed, or their attribution is disputed by scholars. Whilst the sayings of philosophers such as Laozi and Confucius form part of the "great tradition" (a notion introduced by Robert Redfield in 1956) amongst Chinese literati over the centuries; proverbs largely come from the "little tradition" of the overwhelming peasant majority of Chinese society. Professor of linguistics John Rosenhow of the University of Chicago characterized most such proverbs as "witty, pomposity-piercing proverbs for which peasants are famous all over the world". Scarborough observed that wit, humour, and puns can be found in abundance.
 * Xiehouyu (, pinyin: xiēhòuyǔ); two-part expression whose latter part is omitted
 * Chengyu (, pinyin: chéngyŭ); most often 4-character phrases that carry conventional wisdom

In terms of form, Scarborough tried to characterize Su-'hua, "Common Sayings", more clearly than a metaphorical description by Alfred Lord Tennyson and by the descriptions of proverb in several contemporary dictionaries, which he stated to be inaccurate descriptions. He observed that most proverbs were couplets, which he divided into three major groups (with a smaller number of minor outliers):
 * Antithetical couplets incorporate antithesis; usually have 7 words per line, and have rules about the tones in each line and a prohibition on repetition.
 * Connected sentences have fewer rules about composition; but they again incorporate antithesis, a very pointed one.
 * Rhymes, with corresponding tones.

Rosenhow made similar observations on the difficulty of aligning Chinese proverbs with western definitions of the idea, stating that the closest equivalent Chinese term is yanyu, which itself does not have a single meaning. Sun Zhiping's 1982 definition of yanyu (translated and recounted by Rosenhow) is "complete sentences, expressing a judgement or an inference, [which] may be used to validate [or to] represent [one's] own [individual] views, [whereas] chenyu, xieouyu, and suyu generally can only serve as parts of a sentence, [and are] used to give a concrete description of expression of the quality, state, degree, etc. of some objective material phenomenon".

Rosenhow notes however that some sentence fragments also fall within the category of Chinese proverbs, with ellipsis accounting for their fragmentary natures, and that a better definition is the purpose of Chinese proverbs, which is morally instructional; informing people what to do in a given situation by reference to familiar ideas, and repeatedly used in conversation in order to promote and continue a shared set of values and ways of going about things.

Influence
Numerous Asian proverbs, in particular, Japanese, Vietnamese, and Korean ones, appear to be derived from older Chinese proverbs, although in often is impossible to be completely sure about the direction of cultural influences (and hence, the origins of a particular proverb or idiomatic phrase).

Falsely ascribed origin
In English, various phrases are used and claimed to be of Chinese origin – "..., as they say in China" or "An ancient Chinese proverb says...", and may be specifically attributed to Confucius, sometimes facetiously. Notable examples include:

 * A picture is worth a thousand words – in the modern English form attributed to Fred R. Barnard in the 1920s. The 1949 Home Book of Proverbs, Maxims, and Familiar Phrases quotes Barnard as saying he called it "a Chinese proverb, so that people would take it seriously." An actual Chinese expression, "Hearing something a hundred times isn't better than seeing it once" (百闻不如一见, p bǎi wén bù rú yī jiàn) is sometimes claimed to be the equivalent.
 * Chinese word for "crisis" – the claim that the Chinese word for "crisis", is "danger" + "opportunity" is a folk etymology, based on a misreading of the second character jī.
 * May you live in interesting times – Despite being widely attributed as a Chinese curse, there is no known equivalent expression in Chinese. The nearest related Chinese expression translates as "Better to be a dog in times of tranquility than a human in times of chaos." (寧為太平犬，不做亂世人) The expression originates from Volume 3 of the 1627 short story collection by Feng Menglong, Stories to Awaken the World.

Modern popularity
The widespread use of Chinese proverbs in everyday speech, even in the 21st century, contrasts with the decline of the use of proverbs in Western cultures. As stated earlier, they have historically been a part of a long-standing oral culture amongst the Chinese peasantry, and their continued existence in an age of more widespread literacy and written communication is explained by the political events in China of the 20th century.

One factor was the May 4th Movement not only encouraging vernacular language over Literary Chinese but at the same time including proverbs into modern Chinese literature, exemplified by Cheng Wangdao's inclusion of popular sayings in the chapter on quotations in his 1932 Introduction to Rhetoric and by the parting admonition to writers in Hu Shih's 1917 Tentative suggestions for Literary Reform: "Do not avoid popular expressions." The Potato School of writing even required the use of proverbs.

Another factor was the deliberate use of proverbs as a rhetorical technique by leaders such as Mao Zedong addressing primarily peasant audiences. Mao encouraged others to do the same as he himself did, in his 1942 Talks on Literature and Art at the Yan'an Forum, stressing to writers the importance of the use of folk idioms and proverbs in order to make their writing accessible to the majority of their audience.

Parallels to English proverbs
Scarborough noted that there are many proverbs with parallels to European ones, including: "Too many cooks spoil the broth," with the parallel "Seven hands and eight feet," "a pig in a poke" with the parallel "a cat in a bag," and "When in Rome, do as the Romans do," with "Wherever you go, talk as the people of the place talk."

title: Chinese proverbs


text:
Nekocon

Nekocon is an annual three-day anime convention held traditionally on the first weekend in November at the Hampton Roads Convention Center in Hampton, Virginia. It is Virginia's oldest anime convention. The convention's name comes from the Japanese word, meaning "cat".

Programming
The convention typically offers art shows, artist's alley, autograph sessions, card game tournaments, charity auction, concerts, costume competition, dances, dealer's room, fashion show, karaoke contests, kimono/tea ceremony workshop, maid cafe, music video contest, panels, Q&A sessions, role playing, tabletop games, vendors, video game tournaments, video rooms, and workshops. Nekocon's 2015 charity events benefited Be The Match. More than $7,000 was raised in 2023 for the Carolina Manga Library and Heritage Humane Society.

History
An attendance cap of 1,600 passes was instituted in 2003 due to fire code regulations. The convention held its first J-rock concert in 2009, hosting Suicide Ali. Virginia Air and Space Center provided content during the 2012 convention. Nekocon in 2017 had an Anime style cooking challenge with students from the Culinary Institute of Virginia. Nekocon 2020 was cancelled due to the COVID-19 pandemic.

title: Nekocon


text: Category:Foreign relations of Slovakia

title: Category:Foreign relations of Slovakia


text: Category:Government of Slovakia

title: Category:Government of Slovakia


text:
Slumber (film)

Slumber is a 2017 British supernatural horror-thriller film directed by Jonathan Hopkins and co-written by Richard Hobley and Hopkins. It stars Maggie Q, Kristen Bush, Sam Troughton, Will Kemp, William Hope and Sylvester McCoy.

It was released on 1 December 2017, by Vertical Entertainment.

Premise
Alice (Maggie Q) is a rationally minded sleep doctor, who is forced to abandon scientific reason when she meets a family being terrorised by a parasitic demon known as the nocnitsa which paralyses victims as they sleep.

Production
Slumber was filmed at Home Farm in Kent and doubled as the Morgan family home. Production used exterior and interior shots at the location.

Additional external shots from Yorktown Heights, and Pound Ridge, New York.

Cast

 * Maggie Q as Alice Arnolds
 * Kristen Bush as Sarah Morgan
 * Sam Troughton as Charlie Morgan
 * Lucas Bond as Daniel Morgan
 * Honor Kneafsey as Emily Morgan
 * Will Kemp as Tom Arnolds
 * William Hope as Malcom
 * Sylvester McCoy as Amado
 * Sophia Wiseman as Niamh (daughter of Alice)
 * Neil Linpow as Dave Marklund
 * William Rhead as Liam

Release
In May 2017, Vertical Entertainment acquired distribution rights to the film.

Reception
On review aggregator website Rotten Tomatoes, the film holds an approval rating of 0% based on 8 reviews, with an average rating of 3.25/10.

title: Slumber (film)


text: Category:Art museums and galleries in the United Kingdom