title: Sandra Cisneros

text: Cisneros has been instrumental in building a strong community in San Antonio among other artists and writers through her work with the Macondo Foundation and the Alfredo Cisneros del Moral Foundation. The Macondo Foundation, which is named after the town in Gabriel García Márquez's book "One Hundred Years of Solitude", "works with dedicated and compassionate writers who view their work and talents as part of a larger task of community-building and non-violent social change." Officially incorporated in 2006, the foundation began in 1998 as a small workshop that took place in Cisneros's kitchen. The Macondo Writers Workshop, which has since become an annual event, brings together writers "working on geographic, cultural, economic, social and spiritual borders" and has grown from 15 participants to over 120 participants in the first 9 years. Currently working out of Our Lady of the Lake University in San Antonio, the Macondo Foundation makes awards such as the Gloria E. Anzaldúa Milagro Award honoring the memory of Anzaldúa, a fellow Chicana writer who died in 2004, by providing Chicano writers with support when they are in need of some time to heal their "body, heart or spirit" and the Elvira Cordero Cisneros Award which was created in memory of Sandra Cisneros's mother. Macondo offers services to member writers such as health insurance and the opportunity to participate in the Casa Azul Residency Program. The Residency Program provides writers with a furnished room and office in the Casa Azul, a blue house across the street from where Cisneros lives in San Antonio, which is also the headquarters of the Macondo Foundation. In creating this program, Cisneros "imagined the Casa as a space where Macondistas could retreat from the distractions of everyday life and have a room of his/her own for the process of emotional, intellectual and spiritual introspection."


title: Sandra Cisneros

text: Cisneros founded the Alfredo Cisneros del Moral Foundation in 1999. Named in memory of her father, the foundation "has awarded over $75,500 to writers born in Texas, writing about Texas, or living in Texas since 2007". Its intention is to honor Cisneros's father's memory by showcasing writers who are as proud of their craft as Alfredo was of his craft as an upholsterer.


title: Sandra Cisneros

text: Cisneros co-founded with Bryce Milligan the Annual Texas Small Bookfair, the forerunner to the Inter-American Bookfair.


title: Sandra Cisneros

text: Literary critic Claudia Sadowski-Smith has called Cisneros "perhaps the most famous Chicana writer", and Cisneros has been acknowledged as a pioneer in her literary field as the first female Mexican-American writer to have her work published by a mainstream publisher. In 1989, "The House on Mango Street", which was originally published by the small Hispanic publishing company Arte Público Press, was reissued in a second edition by Vintage Press; and in 1991 "Woman Hollering Creek" was published by Random House. As Ganz observes, previously only male Chicano authors had successfully made the crossover from smaller publishers. That Cisneros had garnered enough attention to be taken on by Vintage Press said a lot about the possibility for Chicano literature to become more widely recognized. Cisneros spoke of her success and what it meant for Chicana literature in an interview on National Public Radio on 19 September 1991:


title: Sandra Cisneros

text: As a pioneer Chicana author, Cisneros filled a void by bringing to the fore a genre that had previously been at the margins of mainstream literature. With her first novel, "The House on Mango Street", she moved away from the poetic style that was common in Chicana literature at the time and began to define a "distinctive Chicana literary space", challenging familiar literary forms and addressing subjects such as gender inequality and the marginalization of cultural minorities. According to literary critic Alvina E Quintana, "The House on Mango Street" is a book that has reached beyond the Chicano and Latino literary communities and is now read by people of all ethnicities. Quintana states that Cisneros's writing is accessible for both Anglo- and Mexican-Americans alike since it is free from anger or accusation, presenting the issues (such as Chicana identity and gender inequalities) in an approachable way. Cisneros's writing has been influential in shaping both Chicana and feminist literature. Quintana sees her fiction as a form of social commentary, contributing to a literary tradition that resembles the work of contemporary cultural anthropologists in its attempt to authentically represent the cultural experience of a group of people, and acknowledges Cisneros's contribution to Chicana feminist aesthetics by bringing women to the center as empowered protagonists in much of her work.


title: Sandra Cisneros

text: Cisneros often incorporates Spanish into her English writing, using Spanish instead of English where she feels that Spanish better conveys the meaning or improves the rhythm of the passage. However, where possible she constructs sentences so that non-Spanish speakers can infer the meaning of Spanish words from their context. In "Woman Hollering Creek and Other Stories" Cisneros writes: "La Gritona. Such a funny name for such a lovely "arroyo". But that's what they called the creek that ran behind the house." Even if the English-speaking reader does not initially know that "arroyo" means "creek", Cisneros soon translates it in a way that does not interrupt the flow of the text. She enjoys manipulating the two languages, creating new expressions in English by literally translating Spanish phrases. In the same book Cisneros writes: "And at the next full moon, I gave light, Tía Chucha holding up our handsome, strong-lunged boy." Previous sentences inform the reader that a baby is being born, but only a Spanish speaker will notice that "I gave light" is a literal translation of the Spanish "dí a luz" which means "I gave birth." Cisneros joins other Hispanic-American US writers such as Gloria Anzaldúa, Piri Thomas, Giannina Braschi, Gustavo Pérez Firmat, and Junot Díaz, who create playful linguistic hybrids of Spanish and English. Cisneros noted on this process: "All of a sudden something happens to the English, something really new is happening, a new spice is added to the English language." Spanish always has a role in Cisneros's work, even when she writes in English. As she discovered, after writing "The House on Mango Street" primarily in English, "the syntax, the sensibility, the diminutives, the way of looking at inanimate objects" were all characteristic of Spanish. For Cisneros, Spanish brings to her work not only colorful expressions, but also a distinctive rhythm and attitude.


title: Sandra Cisneros

text: Cisneros's fiction comes in various forms—as novels, poems, and short stories—by which she challenges both social conventions, with her "celebratory breaking of sexual taboos and trespassing across the restrictions that limit the lives and experiences of Chicanas", and literary ones, with her "bold experimentation with literary voice and her development of a hybrid form that weaves poetry into prose". Published in 1991, "Woman Hollering Creek and Other Stories" is a collection of twenty-two short stories that form a collage of narrative techniques, each serving to engage and affect the reader in a different way. Cisneros alternates between first person, third person, and stream-of-consciousness narrative modes, and ranges from brief impressionistic vignettes to longer event-driven stories, and from highly poetic language to brutally frank realist language. Some stories lack a narrator to mediate between the characters and the reader; they are instead composed of textual fragments or conversations "overheard" by the reader. For example, "Little Miracles, Kept Promises" is composed of fictional notes asking for the blessings of patron saints, and "The Marlboro Man" transcribes a gossiping telephone conversation between two female characters.


title: Sandra Cisneros

text: Works by Cisneros can appear simple at first reading, but this is deceptive. She invites the reader to move beyond the text by recognizing larger social processes within the microcosm of everyday life: the phone conversation in "The Marlboro Man" is not merely idle gossip, but a text that allows the reader to dig into the characters' psyches and analyze their cultural influences. Literary critics have noted how Cisneros tackles complex theoretical and social issues through the vehicle of apparently simple characters and situations. For example, Ramón Saldívar observes that "The House on Mango Street" "represents from the simplicity of childhood vision the enormously complex process of the construction of the gendered subject". In the same vein, Felicia J. Cruz describes how each individual will interact differently with "Woman Hollering Creek and Other Stories", thus eliciting such varied reader responses as "it is about growing up", to "it's about a Chicana's growing up", to "it is a critique of patriarchal structures and exclusionary practices". Cisneros's writing is rich not only for its symbolism and imagery, deemed by critic Deborah L Madsen to be "both technically and aesthetically accomplished", but also for its social commentary and power to "evoke highly personal responses". this helped her achieve the way she taught.


title: Sandra Cisneros

text: When Cisneros describes the aspirations and struggles of Chicanas, the theme of "place" often emerges. "Place" refers not only to her novels' geographic locations, but also to the positions her characters hold within their social context. Chicanas frequently occupy Anglo-dominated and male-dominated places where they are subject to a variety of oppressive and prejudicial behaviors; one of these places that is of particular interest to Cisneros is the home. As literary critics Deborah L. Madsen and Ramón Saldívar have described, the home can be an oppressive place for Chicanas where they are subjugated to the will of male heads-of-household, or in the case of their own home, it can be an empowering place where they can act autonomously and express themselves creatively. In "The House on Mango Street" the young protagonist, Esperanza, longs to have her own house: "Not a flat. Not an apartment in back. Not a man's house. Not a daddy's. A house all my own. With my porch and my pillow, my pretty purple petunias. My books and my stories. My two shoes waiting beside the bed. Nobody to shake a stick at. Nobody's garbage to pick up after." An aspiring writer, Esperanza yearns for "a space for myself to go, clean as paper before the poem." She feels discontented and trapped in her family home, and witnesses other women in the same position. According to Saldívar, Cisneros communicates through this character that a woman needs her own place in order to realize her full potential—a home which is not a site of patriarchal violence, but instead "a site of poetic self-creation." One source of conflict and grief for Cisneros's Chicana characters is that the male-dominated society in which they live denies them this place. Critics such as Jacqueline Doyle and Felicia J. Cruz have compared this theme in Cisneros's work to one of the key concepts in Virginia Woolf's famous essay "A Room of One's Own", that "a woman must have money and a room of her own if she is to write fiction," or put another way, "economic security" and personal liberty are necessary for "artistic production."


title: Sandra Cisneros

text: Cisneros explores the issue of "place" in relation not only to gender but also to class. As Saldívar has noted, "Aside from the personal requirement of a gendered woman's space, Esperanza recognizes the collective requirements of the working poor and the homeless as well." He refers to Esperanza's determination not to forget her working-class roots once she obtains her dream house, and to open her doors to those who are less fortunate. Esperanza says "Passing bums will ask, Can I come in? I'll offer them the attic, ask them to stay, because I know how it is to be without a house." According to Saldívar, this statement of Esperanza's alludes to "the necessity for a decent living space" that is fundamental to all people, despite the different oppressions they face.


title: Sandra Cisneros

text: As Madsen has described, Cisneros's "effort to negotiate a cross-cultural identity is complicated by the need to challenge the deeply rooted patriarchal values of both Mexican and American cultures." The lives of all Cisneros's female characters are affected by how femininity and female sexuality are defined within this patriarchal value system and they must struggle to rework these definitions. As Cisneros has said: "There's always this balancing act, we've got to define what we think is fine for ourselves instead of what our culture says."


title: Sandra Cisneros

text: Cisneros shows how Chicanas, like women of many other ethnicities, internalize these norms starting at a young age, through informal education by family members and popular culture. In "The House on Mango Street", for example, a group of girl characters speculate about what function a woman's hips have: "They're good for holding a baby when you're cooking, Rachel says ... You need them to dance, says Lucy ... You gotta know how to walk with hips, practice you know." Traditional female roles, such as childrearing, cooking, and attracting male attention, are understood by Cisneros's characters to be their biological destiny. However, when they reach adolescence and womanhood, they must reconcile their expectations about love and sex with their own experiences of disillusionment, confusion and anguish. Esperanza describes her "sexual initiation"—an assault by a group of Anglo-American boys while awaiting her friend Sally at the fairground. She feels stricken and powerless after this, but above all betrayed; not only by Sally, who was not there for her, but "by all the women who ever failed to contradict the romantic mythology of love and sex". Cisneros illustrates how this romantic mythology, fueled by popular culture, is often at odds with reality in "Woman Hollering Creek and Other Stories", where multiple references to romantic telenovelas obsessively watched by the female characters are juxtaposed with the abuse and poverty they face in their own lives.


title: Sandra Cisneros

text: When Cisneros addresses the subject of female sexuality, she often portrays negative scenarios in which men exert control over women through control over their sexuality, and explores the gap she perceives between the real sexual experiences of women and their idealized representation in popular culture. However, Cisneros also describes female sexuality in extremely positive terms, especially in her poetry. This is true, for example, of her 1987 volume of poetry "My Wicked, Wicked Ways". According to Madsen, Cisneros refers to herself as "wicked" for having "reappropriated, taken control of, her own sexuality and the articulation of it – a power forbidden to women under patriarchy". Through these poems she aims to represent "the reality of female sexuality" so that women readers will recognize the "divisive effects" of the stereotypes that they are expected to conform to, and "discover the potential for joy in their bodies that is denied them".


title: Sandra Cisneros

text: Cisneros breaks the boundary between what is a socially acceptable way for women to act and speak and what is not, using language and imagery that have a "boisterous humor" and "extrovert energy" and are even at times "deliberately shocking". Not all readers appreciate this "shocking" quality of some of Cisneros's work. Both female and male readers have criticized Cisneros for the ways she celebrates her sexuality, such as the suggestive photograph of herself on the "My Wicked, Wicked Ways" cover (3rd Woman Press, 1987). Cisneros says of this photo: "The cover is of a woman appropriating her own sexuality. In some ways, that's also why it's wicked: the scene is trespassing that boundary by saying 'I defy you. I'm going to tell my own story.'" Some readers "failed to perceive the transgressive meaning of the gesture", thinking that she was merely being lewd for shock value, and questioned her legitimacy as a feminist. Cisneros's initial response to this was dismay, but then she reports thinking "Wait a second, where's your sense of humor? And why can't a feminist be sexy?"


title: Sandra Cisneros

text: The challenges faced by Cisneros's characters on account of their gender cannot be understood in isolation from their culture, for the norms that dictate how women and men ought to think and behave are culturally determined and thus distinct for different cultural groups. Through her works, Cisneros conveys the experiences of Chicanas confronting the "deeply rooted patriarchal values" of Mexican culture through interactions not only with Mexican fathers, but the broader community which exerts pressure upon them to conform to a narrow definition of womanhood and a subservient position to men.


title: Sandra Cisneros

text: A recurrent theme in Cisneros's work is the triad of figures that writer and theorist Gloria Anzaldúa has referred to as "Our Mothers": the Virgen de Guadalupe, La Malinche and La Llorona. These symbolic figures are of great importance to identity politics and popular culture in Mexico and the southwest United States, and have been used, argues theorist Norma Alarcón, as reference points "for controlling, interpreting, or visualizing women" in Mexican-American culture.


title: Sandra Cisneros

text: Many theorists, including Jacqueline Doyle, Jean Wyatt, Emma Perez and Cordelia Candelaria, have argued that the gender identity of Mexican and Chicana women is complexly constructed in reference to these three figures. La Virgen de Guadalupe, a Catholic icon of the manifestation of the Virgin Mary in the Americas, is revered in Mexico as a "nurturing and inspiring mother and maiden". La Malinche, the indigenous mistress and intermediary of conquistador Hernán Cortés, has according to Wyatt "become the representative of a female sexuality at once passive, "rapeable," and always already guilty of betrayal". Cisneros describes the problematic dichotomy of the virgin and the whore presented by these two figures: "We're raised in a Mexican culture that has two role models: La Malinche and la Virgen de Guadalupe. And you know that's a hard route to go, one or the other, there's no in-betweens." Madsen has noted that these 'good' and 'bad' archetypes are further complicated by the perception, held by many Chicana feminists, that they would be guilty of betraying their people, like La Malinche, if they attempt to define their femininity in more "Anglo" terms. Through her work, Cisneros critiques the pressures Chicanas face to suppress their sexuality or channel it into socially acceptable forms so as to not be labeled "Malinchista[s] ... corrupted by gringa influences which threaten to splinter [their] people".


title: Sandra Cisneros

text: The third figure, La Llorona, who derives from a centuries-old Mexican/Southwestern folktale, is "a proud young girl [who] marries above her station and is so enraged when her husband takes a mistress of his own class that she drowns their children in the river". She dies grief-stricken by the edge of the river after she is unable to retrieve her children and it is claimed that she can be heard wailing for them in the sound of the wind and water. These entities, from the gentle and pure Virgen de Guadalupe, to the violated and treacherous la Malinche, to the eternally grieving la Llorona give rise to a "fragmentary subjectivity" often experienced by Chicanas, and their need to come to terms with them, renegotiate them on their own terms, or reject them altogether.


title: Sandra Cisneros

text: The three "Mothers" come out most clearly in "Woman Hollering Creek and Other Stories". In the stories "Never Marry a Mexican" and "Woman Hollering Creek", the female protagonists grapple with these "Mexican icons of sexuality and motherhood that, internalized, seem to impose on them a limited and even negative definition of their own identities as women". The protagonist in "Never Marry a Mexican" is haunted by the myth of la Malinche, who is considered a whore and a traitor, and defies la Malinche's passive sexuality with her own aggressive one. In "Woman Hollering Creek" the protagonist reinvents the la Llorona myth when she decides to take charge of her own future, and that of her children, and discovers that the "grito" of the myth, which is the Spanish word for the sound made by la Llorona, can be interpreted as a "joyous holler" rather than a grieving wail. It is the borderland, that symbolic middle ground between two cultures, which "offers a space where such a negotiation with fixed gender ideals is at least possible".


title: Sandra Cisneros

text: Even though that Cisneros does not explicitly locate her stories and novels on the Mexico-U.S. border, Sadowski-Smith identifies the concept as perhaps Cisneros's most salient theme due to the constant border crossings, both real and metaphorical, of characters in all of her works. "The House on Mango Street" takes place in Chicago where the narrator lives, and in Mexico City where she visits extended family. "Caramelo" primarily takes place in those settings as well, but part of the book details the narrator's experiences as a teenager in San Antonio, TX. Various characters in "Woman Hollering Creek and Other Stories" also make trips to Mexico to reunite with family members. However, to quote literary critics Jesús Benito and Ana María Manzanas, the "image of the border has become fully meaningful not only when we consider it as a physical line but when we decenter it and liberate it from the notion of space to encompass notions of sex, class, gender, ethnicity, identity, and community." Cisneros frequently divorces the border from its strictly geographic meaning, using it metaphorically to explore how Chicana identity is an amalgamation of both Mexican and Anglo-American cultures. The border represents the everyday experiences of people who are neither fully from one place nor the other; at times the border is fluid and two cultures can coexist harmoniously within a single person, but at other times it is rigid and there is an acute tension between them. Literary critic Katherine Payant has analyzed the border metaphor in "Woman Hollering Creek and Other Stories", which manifests in references to the Chicana/o characters' Mexican roots and the (im)migration between the two countries, the recurrence of overlapping pre-Columbian, mestizo and Southwestern Chicano myths, and the portrayal of Chicanas/os as "straddling two or three cultures." Payant makes use of Gloria Anzaldúa's concept of living "on the borderlands" to describe the experience of Cisneros's Chicana characters who, in addition to their struggle to overcome patriarchal constructs of their gender and sexual identity, must negotiate linguistic and cultural boundaries.


title: Sandra Cisneros

text: At a ceremony in September 2016 was awarded a 2015 National Medal of Arts. In 2019, PEN America awarded her the PEN/Nabokov Award for Achievement in International Literature.


title: Sandra Cisneros

text: Sandra Cisneros received fellowships from the National Endowment for the Arts in 1981 and 1988, and in 1985 was presented with the American Book Award by the Before Columbus Foundation for "The House on Mango Street". Subsequently, she received a Frank Dobie Artists Fellowship, and came first and second in the Segundo Concurso Nacional del Cuento Chicano, sponsored by the University of Arizona.


title: Sandra Cisneros

text: She has further received the Quality Paperback Book Club New Voices Award, the Anisfield-Wolf Book Award, the PEN Center West Award for best fiction, and the Lannan Foundation Literary Award for "Woman Hollering Creek and Other Stories". This book was selected as the noteworthy book of the year by both "The New York Times" and "The American Library Journal", and an anthology of erotic poetry, "Loose Woman", won the Mountain & Plains Booksellers' Award.


title: Sandra Cisneros

text: Cisneros was recognized by the State University of New York, receiving an honorary doctorate from Purchase in 1993 and a MacArthur fellowship in 1995. In 2003, "Caramelo" was highly regarded by several journals including "The New York Times", the "Los Angeles Times", the "San Francisco Chronicle", the "Chicago Tribune", and "The Seattle Times", which led to her Premio Napoli Award in 2005; the novel also was shortlisted for the Dublin International IMPAC award, and was nominated for the Orange Prize in England. In 2003, Cisneros became part of the second group of recipients of the newly formed Texas Cultural Trust's Texas Medal of Arts. In 2016, the University of North Carolina at Chapel Hill awarded Cisneros an honorary Doctor of Letters. She was honored with the Chicago Literary Hall of Fame's Fuller Award in 2021.


title: Will Keane

text: William David Keane (born 11 January 1993) is a professional footballer who plays as an attacking midfielder for Wigan Athletic and the Republic of Ireland national team.


title: Will Keane

text: He began his career with Manchester United, having joined them at the age of 11, but made just three appearances for the first team and had loan spells with Wigan Athletic, Queens Park Rangers, Sheffield Wednesday and Preston North End before making a permanent move to Hull City in 2016. Following a loan spell at Ipswich Town in 2019, he was released by Hull at the end of the 2018–19 season. Keane joined Ipswich permanently on a one-year deal in August 2019.


title: Will Keane

text: Keane joined Wigan Athletic on a 3-month contract in October 2020 after his release by Ipswich. After scoring 5 goals in 12 appearances by January 2021, he was offered a contract until the end of the season. Keane then signed a new 2-year deal with Latics ahead of the 2021–22 season.


title: Will Keane

text: In September 2021, at the age of 28, Keane was called up to the Republic of Ireland squad for the first time, having declared his interest in playing for Ireland in 2019. He qualifies for Ireland through his father.


title: Will Keane

text: His twin brother, Michael, is also a professional footballer who plays as a defender for Everton and England.


title: Will Keane

text: Born in Stockport, Greater Manchester, Keane and his twin brother Michael grew up in the suburb of Heaton Mersey and attended St Bede's College in south Manchester. They were spotted playing football for South Manchester by Manchester United at the age of 11, and soon joined the club's academy coaching system.


title: Will Keane

text: Keane worked his way up through the Manchester United academy, and made his first appearance for the under-18s on 21 April 2007 against Sheffield United, a game in which both sides had agreed to field their under-16 teams; at the age of 14, Keane came on as a substitute for goalscorer Tomos Roberts in the 77th minute of a 4–0 away win. His next appearance for the under-18s came almost two years later, when he started in central midfield in a 1–0 home defeat to Stoke City on 21 February 2009. Shortly before their 16th birthday earlier in the year, both Keanes were awarded three-year scholarships with Manchester United, which began in July 2009.


title: Will Keane

text: The following season, Keane became a regular starter for the under-18s, scoring 13 goals in 26 appearances in 2009–10, including all three goals in a 3–0 win at home to Manchester City; he also made several substitute appearances for the reserves. His reserve debut came as a substitute in a 1–0 league win away to Everton on 6 October 2009, and he scored his first goal five months later, in Manchester United's penultimate group match in the Manchester Senior Cup against Stockport County on 8 March 2010; after coming on for Nicky Ajose on the hour mark, Keane scored 14 minutes later to give Manchester United a 1–0 win.


title: Will Keane

text: At the end of the season, Keane made a substitute appearance for the reserves in the Premier Reserve League Play-off Final against Aston Villa. After the game finished 1–1, the teams went to penalties, where Keane missed United's third penalty in a 3–2 shoot-out victory to win the Premier Reserve League title. Keane's performances during the 2009–10 season saw him receive the Jimmy Murphy Young Player of the Year award.


title: Will Keane

text: Despite making just 17 appearances for the under-18s in 2010–11, Keane finished as the team's top scorer with 16 goals, including eight in just six FA Youth Cup matches – three in the semi-final second leg against Chelsea and three more over the two legs of the final against Sheffield United. He also scored six goals in 10 appearances for the reserves; only a missed penalty denied him a hat-trick in a 5–1 win over Newcastle United on 16 December 2010, Ole Gunnar Solskjær's final match as manager.


title: Will Keane

text: Keane was ever-present for the reserves in the league in 2011–12, scoring 14 times in 22 appearances, as well as four more in seven cup appearances. His best performance of the season came on 16 April 2012, when he scored four in a 6–3 win away to Newcastle United to confirm Manchester United as winners of the Premier Reserve League North. They again faced Aston Villa in the championship play-off, and again the match went to penalties, but this time Keane scored from his kick as United won 3–1. Keane was on the scoresheet again a week later as United made it a double with a 2–0 victory over Manchester City in the final of the Manchester Senior Cup.


title: Will Keane

text: After being named as an unused substitute for a 2–1 defeat to Wolverhampton Wanderers in the Premier League on 5 February 2011 and a 3–0 win over Aldershot Town in the fourth round of the 2011–12 Football League Cup on 25 October 2011, Keane made his senior debut on 31 December 2011 in a 3–2 defeat at home to Blackburn Rovers in the Premier League, coming on as a late substitute for Rafael.


title: Will Keane

text: A knee ligament injury suffered while on international duty with the England under-19s in May 2012 kept Keane out for the entire 2012–13 season. He made his return for the under-21s at home to Bolton Wanderers on 16 September 2013, scoring the first goal in a 4–1 win. Three more goals followed in the under-21s' next two matches, against Bury and Bolton in the Manchester Senior Cup.


title: Will Keane

text: On 28 November 2013, Keane joined fellow Manchester United youngster Nick Powell on a one-month loan at Wigan Athletic. He made his debut at home to Derby County the following weekend, only to be replaced by Grant Holt at half-time with Wigan 3–0 down; they went on to lose the game 3–1. After failing to find the net in four appearances for Wigan, Keane returned to Manchester United in December 2013 having suffered a groin injury.


title: Will Keane

text: After recovering from injury, Keane made a loan move to Queens Park Rangers on 31 January 2014 until the end of the 2013–14 season. He made 10 appearances during the second half of the 2013–14 season as QPR won promotion to the Premier League through the Championship play-offs.


title: Will Keane

text: On 22 January 2015 Keane joined Sheffield Wednesday on loan for the remainder of the season. He made his Wednesday debut on 27 January in a 0–0 draw at Hillsborough against Birmingham City. His first senior goal came from the penalty spot to draw level in the Owls' 1–1 home draw to Cardiff City on 7 February. He made 13 appearances during his loan at Sheffield Wednesday, scoring 3 goals.


title: Will Keane

text: On 8 July 2015, Keane signed on a season-long loan deal with Preston North End. On 31 December 2015, Manchester United recalled Keane from his loan. He made 22 appearances in all competitions during his loan spell at Deepdale, scoring twice.


title: Will Keane

text: On 30 August 2016, Keane signed a permanent deal with Hull City; the player moved to the "Tigers" on a three-year deal, reuniting with ex-Manchester United assistant manager Mike Phelan. He made his debut on 10 September 2016 away to Burnley when he came off the bench to replace Adama Diomande after 70 minutes. On 6 November 2016, during a match against Southampton, Keane suffered the second serious knee ligament injury of his career, putting him out of action until January 2018. He scored his first goal for the club on 10 April 2018, the final goal in a 0–5 away win against Burton Albion.


title: Will Keane

text: On 4 January 2019, Keane signed for Ipswich Town on loan until the end of the season. He made his debut for the club as a second-half substitute in a 0–1 FA Cup away loss to Accrington Stanley at the Crown Ground. He scored his first goal for the club on his home debut in a 1–0 win over Rotherham United at Portman Road, on 12 January 2019. He made 12 appearances for the Tractor Boys during his loan spell, scoring 3 goals.


title: Will Keane

text: On 20 August 2019, Keane signed with Ipswich Town permanently on a free transfer. He signed a one-year contract, with the option of an additional 12 months. He made his first appearance following his return to the club as a second-half substitute in a 0–0 draw with Doncaster Rovers at Portman Road on 14 September. He scored his first goal of the season on 8 October, netting the fourth goal in a 4–0 home win over Gillingham in a group stage match of the EFL Trophy. Keane scored his first league goal of the season on 7 December in a 1–1 draw with Coventry City.


title: Will Keane

text: With football suspended due to the COVID-19 pandemic and with his contract expiring, on 18 May 2020 the club announced they had decided against taking up the additional 12 month option in Keane's contract, or offer him a new deal, and he subsequently left the club. He had scored 6 goals in 29 appearances in all competitions during the season.


title: Will Keane

text: On 9 October 2020, Keane joined Wigan Athletic on a short-term contract until 9 January 2021, as Latics rebuilt their squad after entering administration and suffering relegation from the Championship in the 2019–20 season. He made his debut a day later, starting in a 0–3 loss to Crewe Alexandra. He scored his first goal for Wigan on 24 October, scoring the equalising goal in a 1–1 draw with Plymouth Argyle.


title: Will Keane

text: On 15 January 2021, Keane signed a contract extension to keep him at the club for the rest of the season. By May, Keane had scored 11 goals in 34 games for Wigan in all competitions in the 2020–21 season.


title: Will Keane

text: In June 2021, Keane signed a new two-year contract with Wigan. In the 2021-22 EFL League One campaign, Keane would finish as top goalscorer with 26 goals.


title: Will Keane

text: Born in England to an Irish father, Keane was eligible to play for either England or the Republic of Ireland. Keane debuted for the England under-16 team in a 3–1 win against Russia in 2009. He scored one goal in three appearances for the side. He was part of the England under-17 team that won the 2010 UEFA European Under-17 Football Championship, appearing in the final. He made a total of 15 appearances and scored three goals for the team. He then progressed to the under-19 side where he made six appearances and scored one goal.


title: Will Keane

text: He received a call up to the under-21 side managed by Stuart Pearce in November 2011, and received praise from Manchester United reserve team manager Warren Joyce, with Joyce saying Keane deserved the call up after his good form for the reserve team. He made his first appearance during a 5–0 win against Iceland, coming off the bench to replace midfielder Josh McEachran in the 78th minute. He appeared in the following game four days later against Belgium, this time coming on as a substitute for Marvin Sordell. On 25 May 2012, he scored twice as England under-19s beat Slovenia 5–0 at Deepdale.


title: Will Keane

text: In 2019, it was reported that Keane was set to declare for the Republic of Ireland after he met with Ireland manager Mick McCarthy. In February 2019, in Ipswich match notes, he confirmed that he wanted to play for Ireland and that he hoped to be included in Ireland squads in the coming months, confirming that he had declared for Ireland.


title: Will Keane

text: On 30 September 2021, Republic of Ireland manager Stephen Kenny included Keane in his squad for the upcoming 2022 FIFA World Cup qualification match against Azerbaijan and the international friendly against Qatar, although Keane did not make the matchday squad for either game. He made his debut for Ireland in a World Cup qualifier against Portugal on 11 November 2021.


title: Brendan Behan

text: Brendan Francis Aidan Behan (christened Francis Behan) ( ; ; 9 February 1923 – 20 March 1964) was an Irish poet, short story writer, novelist, playwright, and Irish Republican activist who wrote in both English and Irish. He was named by Irish Central as one of the greatest Irish writers of all time.


title: Brendan Behan

text: An Irish republican and a volunteer in the Irish Republican Army, Behan was born in Dublin into a staunchly republican family becoming a member of the IRA's youth organization Fianna Éireann at the age of fourteen. There was also a strong emphasis on Irish history and culture in his home, which meant he was steeped in literature and patriotic ballads from an early age. At age 16, Behan joined the IRA, which led to his serving time in a borstal youth prison in the United Kingdom and imprisonment in Ireland. During this time, he took it upon himself to study and he became a fluent speaker of the Irish language. Subsequently released from prison as part of a general amnesty given by the Fianna Fáil government in 1946, Behan moved between homes in Dublin, Kerry and Connemara, and also resided in Paris for a time.


title: Brendan Behan

text: In 1954, Behan's first play "The Quare Fellow", was produced in Dublin. It was well received; however, it was the 1956 production at Joan Littlewood's Theatre Workshop in Stratford, London, that gained Behan a wider reputation. This was helped by a famous drunken interview on BBC television with Malcolm Muggeridge. In 1958, Behan's play in the Irish language "An Giall" had its debut at Dublin's Damer Theatre. Later, "The Hostage", Behan's English-language adaptation of "An Giall", met with great success internationally. Behan's autobiographical novel, "Borstal Boy", was published the same year and became a worldwide best-seller.


title: Brendan Behan

text: By the early 1960s, Behan reached the peak of his fame. He spent increasing amounts of time in New York City, famously declaring, "To America, my new found land: The man that hates you hates the human race." By this point, Behan began spending time with people including Harpo Marx and Arthur Miller and was followed by a young Bob Dylan. However, this newfound fame did nothing to aid his health or his work, with his alcoholism and diabetes medical conditions continuing to deteriorate: "Brendan Behan's New York" and "Confessions of an Irish Rebel" received little praise. He briefly attempted to combat this by a dry stretch while staying at Chelsea Hotel in New York, and in 1961 was admitted to Sunnyside Private Hospital, an institution for the treatment of alcoholism in Toronto, but he once again turned back to alcohol and relapsed back into active alcoholism.


title: Brendan Behan

text: Behan was born in the inner city of Dublin at Holles Street Hospital on 9 February 1923 into an educated working-class family.


title: Brendan Behan

text: His mother, Kathleen Behan, née Kearney, had two sons, Sean Furlong and Rory (Roger Casement Furlong), from her first marriage to compositor Jack Furlong; after Brendan was born she had three more sons and a daughter: Seamus, Brian, Dominic and Carmel.


title: Brendan Behan

text: They first lived in a house on Russell Street near Mountjoy Square owned by his grandmother, Christine English, who owned a number of properties in the area. Brendan's father Stephen Behan, a house painter who had fought in the War of Independence, read classic literature to the children at bedtime including the works of Zola, Galsworthy and Maupassant; their mother Kathleen took them on literary tours of the city. She remained politically active all her life and was a personal friend of the Irish leader Michael Collins. Kathleen published her autobiography, "Mother of All The Behans", a collaboration with her son Brian, in 1984.


title: Brendan Behan

text: Brendan Behan wrote a lament to Collins, "The Laughing Boy", at the age of thirteen. The title was from the affectionate nickname Mrs Behan gave to Collins.


title: Brendan Behan

text: Behan's uncle Peadar Kearney wrote The Soldier's Song, which became the Irish national anthem "Amhrán na bhFiann" when translated into Irish. His brother Dominic was also a songwriter, best known for the song "The Patriot Game"; His brother Brian was a prominent radical political activist and public speaker, actor, author, and playwright.


title: Brendan Behan

text: Biographer Ulick O'Connor wrote that one day, aged eight, Brendan was returning home with his granny and a friend from a pub. A passer-by remarked, "Oh, my! Isn't it terrible, ma'am, to see such a beautiful child deformed?" "How dare you," joked his granny. "He's not deformed; he's just drunk!"


title: Brendan Behan

text: In 1937, the Behan family moved to a newly-built local council housing scheme in Kildare Road, Kimmage, then seen by Dubliners as the countryside – Stephen muttered that the working classes were being sent "To Hell or to Kimmage" a parody of Oliver Cromwell's demand that the Irish be sent "To Hell or to Connacht". At this stage, Behan left school at 13 to enter apprenticeship to follow in his father's and both grandfathers' footsteps as a house painter.


title: Brendan Behan

text: Behan became a member of Fianna Éireann, the boy scout group of the Anti-Treaty IRA. He published his first poems and prose in the organisation's magazine, "Fianna: the Voice of Young Ireland". In 1931 he also became the youngest contributor to be published in "The Irish Press" with his poem "Reply of Young Boy to Pro-English verses".


title: Brendan Behan

text: At 16, Behan joined the IRA and embarked on an unauthorised solo mission to England to set off a bomb at the Liverpool docks. He was arrested while in possession of explosives. British prosecutors tried to convince him to testify against his IRA superiors and offered in return to relocate him under a new name to Canada or another faraway part of the British Commonwealth.


title: Brendan Behan

text: Refusing to be turned, the 16-year-old Behan was sentenced to three years in a borstal (Hollesley Bay, once under the care of Cyril Joyce) and did not return to Ireland until 1941. He wrote about the experience in the memoir "Borstal Boy".


title: Brendan Behan

text: In 1942, during the wartime state of emergency declared by Irish Taoiseach Éamon de Valera, Behan was arrested by the Garda Síochána and put on trial for conspiracy to murder and the attempted murder of two Garda detectives, which the IRA had planned to take place during a Dublin commemoration ceremony for Theobald Wolfe Tone. Behan was found guilty and sentenced to 14 years imprisonment.


title: Brendan Behan

text: He was first incarcerated in Mountjoy Prison in Dublin and then interned both with other IRA men and with Allied and German airmen at the Curragh Camp in County Kildare. He later related his experiences there in his memoir "Confessions of an Irish Rebel". Released under a general amnesty for IRA prisoners and internees in 1946, Behan's active IRA career was largely over by the age of 23. Aside from a short prison sentence in 1947 for trying to break an imprisoned IRA man out of prison in Manchester, Behan effectively left the organisation, but remained friends with Cathal Goulding.


title: Brendan Behan

text: Behan's prison experiences were central to his writing career. In Mountjoy he wrote his first play, "The Landlady" and also began to write short stories and other prose. It was a literary magazine called "Envoy" (A Review of Literature and Art), founded by John Ryan, that first published Behan's short stories and his first poem. Some of his early work was also published in "The Bell," the leading Irish literary magazine of the time. He learned Irish in prison and, after his release in 1946, he spent some time in the Gaeltacht areas of Galway and Kerry, where he started writing poetry in Irish.


title: Brendan Behan

text: During this period he was employed by the Commissioners of Irish Lights, where the lighthouse keeper of Saint John's Point, County Down, recommending his dismissal, described him as “the worst specimen” he had met in 30 years of service, adding that he showed "careless indifference" and "no respect for property".


title: Brendan Behan

text: He left Ireland and all its perceived social pressures to live in Paris in the early 1950s. There, he felt he could lose himself and release the artist within. Although he still drank heavily, he managed to earn a living, supposedly by writing pornography. He returned to Dublin and began to write seriously, and to be published in serious papers such as "The Irish Times", for which he wrote In 1953, drawing on his extensive knowledge of criminal activity in Dublin and Paris, he wrote a serial, that was later published as "The Scarperer".


title: Brendan Behan

text: Throughout the rest of his writing career, he would rise at seven in the morning and work until noon, when the pubs opened. He began to write for radio, and his play "The Leaving Party" was broadcast. Literary Ireland in the 1950s was a place where people drank. Behan cultivated a reputation as carouser-in-chief and swayed shoulder-to-shoulder with other literati of the day who used the pub McDaid's as their base: Flann O'Brien, Patrick Kavanagh, Patrick Swift, Anthony Cronin, John Jordan, J. P. Donleavy and artist Desmond MacNamara whose bust of Behan is on display at the National Writers Museum. Behan fell out with the spiky Kavanagh, who reportedly would visibly shudder at the mention of Behan's name and who referred to him as "evil incarnate".


title: Brendan Behan

text: Behan's fortunes changed in 1954, with the appearance of his play "The Quare Fellow". Originally called "The Twisting of Another Rope" and influenced by his time spent in jail, it chronicles the vicissitudes of prison life leading up to the execution of "The quare fellow", a character who is never seen. The prison dialogue is vivid and laced with satire but reveals to the reader the human detritus that surrounds capital punishment. Produced in the Pike Theatre, in Dublin, the play ran for six months. In May 1956, "The Quare Fellow" opened in the Theatre Royal Stratford East, in a production by Joan Littlewood's Theatre Workshop. Subsequently, it transferred to the West End. Behan generated immense publicity for "The Quare Fellow" as a result of a drunken appearance on the Malcolm Muggeridge TV show. The English, relatively unaccustomed to public drunkenness in authors, took him to their hearts. A fellow guest on the show, Irish-American actor Jackie Gleason, reportedly said about the incident: "It wasn't an act of God, but an act of Guinness!" Behan and Gleason went on to forge a friendship. Behan loved the story of how, walking along the street in London shortly after this episode, a Cockney approached him and exclaimed that he understood every word he had said—drunk or not—but had not a clue what "that bugger Muggeridge was on about!" While addled, Brendan would clamber on stage and recite the play's signature song, "The Auld Triangle". The transfer of the play to Broadway provided Behan with international recognition. Rumours still abound that Littlewood contributed much of the text of "The Quare Fellow" and led to the saying, "Dylan Thomas wrote "Under Milk Wood", Brendan Behan wrote under Littlewood". Littlewood remained a supporter, visiting him in Dublin in 1960.


title: Brendan Behan

text: In 1958, his Irish-language play "An Giall" ("The Hostage") opened in the Damer Theatre, Dublin. Reminiscent of Frank O'Connor's "Guests of the Nation", it portrays the detention in a teeming Dublin house in the late 1950s of a British conscript soldier, seized by the IRA as a hostage pending the scheduled execution in Northern Ireland of an imprisoned IRA volunteer. The hostage falls in love with an Irish convent girl, Teresa, working as a maid in the house. Their innocent world of love is incongruous among their surroundings since the house also serves as a brothel. In the end, the hostage dies accidentally during a bungled police raid, revealing the human cost of war, a universal suffering. The subsequent English-language version "The Hostage" (1958), reflecting Behan's own translation from the Irish but also much influenced by Joan Littlewood during a troubled collaboration with Behan, is a bawdy, slapstick play that adds a number of flamboyantly gay characters and bears only a limited resemblance to the original version.


title: Brendan Behan

text: His autobiographical novel "Borstal Boy" followed in 1958. In the vivid memoir of his time in St Andrews House, Hollesley Bay Colony Borstal, near Woodbridge, Suffolk, England. (The site of St Andrews House is now a Category D men's prison and Young Offenders Institution). An original voice in Irish literature boomed out from its pages. The language is both acerbic and delicate, the portrayal of inmates and "screws" cerebral. For a Republican, though, it is not a vitriolic attack on Britain; it delineates Behan's move away from violence. In one account, an inmate strives to entice Behan into chanting political slogans with him. Behan curses and damns him in his mind, hoping that he would cease his rantings-hardly the sign of a troublesome prisoner. By the end, the idealistic boy rebel emerges as a realistic young man, who recognises the truth: violence, especially political violence, is futile. The 1950s literary critic Kenneth Tynan said: "If the English hoard words like misers... Behan sends them out on a spree, ribald, flushed, and spoiling for a fight." He was now established as one of the leading Irish writers of his generation.


title: Brendan Behan

text: Behan revered the memory of Father William Doyle, a Dublin priest of the Society of Jesus, who served as military chaplain to the Royal Dublin Fusiliers as they fought in the trenches of the Western Front. Father Doyle was killed in action while running to the aid of wounded soldiers from his regiment during the Battle of Passchendaele in 1917. Behan expressed his affection for Father Doyle's memory in the memoir "Borstal Boy". Alfred O'Rahilly's 1920 biography of the fallen chaplain was one of Behan's favorite books.


title: Brendan Behan

text: In February 1955, Behan married horticultural illustrator for "The Irish Times," Beatrice Ffrench Salkeld, daughter of the painter Cecil Ffrench Salkeld. (Naturally, Dublin wits nicknamed the family the Ffrench Behans.) A daughter, Blanaid, was born in 1963, shortly before Behan's death.


title: Brendan Behan

text: Behan found fame difficult. He was a long-term heavy drinker (describing himself, on one occasion, as "a drinker with a writing problem" and claiming "I only drink on two occasions—when I'm thirsty and when I'm not") and developed diabetes in the early 1950s but this was not diagnosed until 1956. As his fame grew, so too did his alcohol addiction. This combination resulted in a series of famously drunken public appearances, on both stage and television. Behan's favourite drink was champagne and sherry.


title: Brendan Behan

text: The public wanted the witty, iconoclastic, genial "broth of a boy", and he gave that to them in abundance, once exclaiming: "There's no bad publicity except an obituary." His health suffered, with diabetic comas and seizures occurring regularly. The public who once extended their arms now closed ranks against him; publicans flung him from their premises. His books, "Brendan Behan's Island", "Brendan Behan's New York" and "Confessions of an Irish Rebel", published in 1962 and 1964, were dictated into a tape recorder because he was no longer able to write or type for long enough to be able to finish them.


title: Brendan Behan

text: Behan died on 20 March 1964 after collapsing at the Harbour Lights bar (now Harkin's Harbour Bar) in Echlin Street, Dublin. He was transferred to the Meath Hospital in central Dublin, where he died, aged 41. At his funeral he was given a full IRA guard of honour, which escorted his coffin. It was described by several newspapers as the biggest Irish funeral of all time after those of Michael Collins and Charles Stewart Parnell.


title: Brendan Behan

text: Following his death, his widow had a son, Paudge Behan, with Cathal Goulding, Chief of Staff of the Irish Republican Army and the Official IRA.


title: Brendan Behan

text: Behan had a one-night stand in 1961 with Valerie Danby-Smith, who was Ernest Hemingway's personal assistant and later married his son, Dr Gregory Hemingway. Nine months later, Valerie gave birth to a son she named Brendan. Brendan Behan died two years later, having never met his son.


title: Brendan Behan

text: Behan is frequently mentioned in works of popular culture. His work has been a significant influence in the writings of Shane MacGowan, and he is the subject of "Streams of Whiskey", a song by The Pogues. The Pogues' "Thousands Are Sailing" features the lyric "and in Brendan Behan's footsteps / I danced up and down the street". Behan is also referenced in Damien Dempsey's 'Jar Song'. Behan's version of the third verse of "The Internationale", from "Borstal Boy" was reproduced on the LP sleeve of Dexys Midnight Runners's debut album, "Searching for the Young Soul Rebels".


title: Brendan Behan

text: Australian singer songwriter Paul Kelly wrote "Laughing Boy" as tribute to Behan, and it was covered by Weddings, Parties, Anything on their "Roaring Days" album.


title: Brendan Behan

text: The Mighty Mighty Bosstones 2000 album "Pay Attention" features the song "All Things Considered", which contains the lyrics "Most of what he tells us no one's verified / He swears he was there the day that Brendan Behan died".


title: Brendan Behan

text: Chicago-based band The Tossers wrote the song "Breandan Ó Beacháin", released on their 2008 album "On A Fine Spring Evening". Shortly after Behan's death a student, Fred Geis, wrote the song "Lament for Brendan Behan" and passed it on to the Clancy Brothers, who sang it on their album "Recorded Live in Ireland" the same year. This song, which calls "bold Brendan" Ireland's "sweet angry singer", was later covered by the Australian trio The Doug Anthony All Stars, better known as a comedy band, on their album "Blue". "Brendan" is Seamus Robinson's song-tribute to Behan. Behan's prison song "The Auld Triangle" (which featured in his play "The Quare Fellow" —this term being prison slang for a prisoner condemned to be hanged), has become a standard and has been recorded on numerous occasions by folk musicians as well as popular bands such as The Pogues, The Dubliners, the Dropkick Murphys and The Doug Anthony All Stars. Behan is also referenced in the opening line of the Mountain Goats song "Commandante", where the narrator proclaims that he will "drink more whiskey than Brendan Behan".


title: Brendan Behan

text: Behan's two poems from his work "The Hostage", "On the eighteenth day of November" and "The Laughing Boy" were translated into Swedish and recorded by Ann Sofi Nilsson on the album "När kommer dagen". The same poems were translated in 1966 to Greek and recorded by Maria Farantouri on the album "Ένας όμηρος" ("The hostage") by Mikis Theodorakis.


title: Brendan Behan

text: A pub named after Behan is located in the historically Irish Jamaica Plain section of Boston, Massachusetts. A bronze sculpture of the writer stands outside the Palace Bar on Dublin's Fleet Street.


title: Brendan Behan

text: According to J.P. Donleavy's "History of The Ginger Man", Behan was instrumental in bringing Donleavy in contact with M. Girodios of Olympia Press (Paris) to help Donleavy's first novel, "The Ginger Man", be published despite its having been ostracised by the world literature community for its "filth" and "obscenity".


title: Brendan Behan

text: In the season 4 "Mad Men" episode "Blowing Smoke", which premiered on 10 October 2010, Midge Daniels introduces Don to her playwright husband, Perry, and says, ""When we met, I said he looked like Brendan Behan.""


title: Brendan Behan

text: In May 2011, "Brendan at the Chelsea", written by Behan's niece Janet Behan, was the first play performed in the Naughton Studio at the new Lyric Theatre in Belfast. The production tells the story of Behan's residence at New York's Hotel Chelsea in 1963. It was a critical success and is being revived for a tour to Theatre Row in New York in September 2013 before returning to the Lyric in October 2013.


title: Brendan Behan

text: Morrissey's 2014 song "Mountjoy" references the writer: "Brendan Behan's laughter rings / For what he had or hadn’t done / For he knew then as I know now / That for each and every one of us / We all lose / Rich or poor, / We all lose / Rich or poor, they all lose".


title: Jimmie Rodgers (pop singer)

text: James Frederick Rodgers (September 18, 1933 – January 18, 2021) was an American singer and actor. Rodgers had a run of hits and mainstream popularity in the 1950s and 1960s. His string of crossover singles ranked highly on the "Billboard" Pop Singles, Hot Country and Western Sides, and Hot Rhythm and Blues Sides charts; in the 1960s, Rodgers had more modest successes with adult contemporary music.


title: Jimmie Rodgers (pop singer)

text: He was not related to country music pioneer Jimmie C. Rodgers (1897–1933), who died the same year the younger Rodgers was born. Among country audiences, and in his official songwriting credits, the younger Rodgers, Jimmie Frederick, was often credited as Jimmie F. Rodgers to differentiate the two.


title: Jimmie Rodgers (pop singer)

text: Rodgers was born in Camas, Washington. He was the second son of Archie and Mary Rodgers. Rodgers was taught music by his mother, a piano teacher, and began performing as a child, first entertaining at a Christmas show when he was only five. He learned to play the piano and guitar, and performed locally.


title: Jimmie Rodgers (pop singer)

text: After attending Camas High School, he briefly took courses at Clark Junior College in Vancouver, Washington. He later went to work in a paper mill. Although he loved music, he was uncertain whether he could turn it into a career. He was subsequently drafted and served in the United States Air Force during the Korean War.


title: Jimmie Rodgers (pop singer)

text: While in the Air Force, Rodgers joined a band called "The Melodies" started by violinist Phil Clark. During his service, he was transferred to Nashville, where he was stationed at Sewart Air Force Base from 1954-1956. It was during this time that he began expanding his musical repertoire. While he was in Nashville, he first heard the song that would become his first hit, "Honeycomb".


title: Jimmie Rodgers (pop singer)

text: Like a number of other entertainers of the era, he was one of the contestants on Arthur Godfrey's talent show on CBS television, winning $700. When Hugo Peretti and Luigi Creatore left RCA Victor for Morris Levy's company, Roulette Records, they became aware of Rodgers' talent and signed him to a recording contract.


title: Jimmie Rodgers (pop singer)

text: In the summer of 1957, he recorded his own version of "Honeycomb", which had been written by Bob Merrill and recorded by Georgie Shaw three years earlier. The tune was Rodgers' biggest hit, staying on the top of the charts for four weeks. It sold over one million copies, and was awarded a gold disc by the RIAA. Over the following year he had a number of other hits that reached the Top 10 on the charts: "Kisses Sweeter than Wine"; "Oh-Oh, I'm Falling in Love Again"; "Secretly"; and "Are You Really Mine". Other hits include "Bo Diddley", "Bimbombey", "Ring-a-ling-a-lario", "Tucumcari", "Tender Love and Care (T.L.C)", and a version of "Waltzing Matilda" as a film tie-in with the apocalyptic movie "On the Beach" in 1959


title: Jimmie Rodgers (pop singer)

text: In the United Kingdom, "Honeycomb" reached number 30 in the UK Singles Chart in November 1957, but "Kisses Sweeter than Wine" climbed to number 7 the following month. Both "Kisses Sweeter than Wine" and "Oh-Oh, I'm Falling in Love Again" were million sellers.


title: Jimmie Rodgers (pop singer)

text: The success of "Honeycomb" earned Rodgers guest appearances on numerous variety programs during 1957, including the "Shower of Stars" program, hosted by Jack Benny, on October 31, 1957, and the Big Record with Patti Page, on December 4, 1957. Rodgers also made several appearances on the Ed Sullivan Show, including on September 8, 1957, when he was seen by 48,500,000, the largest television audience of his entire career, and November 3, 1957. In 1958, he appeared on NBC's "The Gisele MacKenzie Show". Also in 1958, he sang the opening theme song of the film "The Long, Hot Summer", starring Paul Newman, Joanne Woodward and Orson Welles. He then had his own short-lived televised variety show on NBC in 1959.


title: Jimmie Rodgers (pop singer)

text: His biggest hit in the UK was "English Country Garden", a version of the folk song "Country Gardens", which reached number 5 in the chart in June 1962. In 1962, he moved to the Dot label, and four years later to A&M Records. He also appeared in some films, including "The Little Shepherd of Kingdom Come", opposite Neil Hamilton, and "Back Door to Hell", which he helped finance.


title: Jimmie Rodgers (pop singer)

text: In 1966, a long dry spell ended for Rodgers when he re-entered the Top 40 with "It's Over" (later to be recorded by Eddy Arnold, Elvis Presley, Glen Campbell, Mason Williams, and Sonny James). In 1967, he changed record labels, signing with A&M Records. It was with that label that Rodgers had his final charting Top 100 single, "Child of Clay", written by Ernie Maresca, (who had a top-40 hit back in 1962, "Shout! Shout! (Knock Yourself Out)".) He performed the song on several television variety shows, including "The Smothers Brothers Comedy Hour", but it never became a big hit; it only reached number 31 on the "Billboard" charts.


title: Jimmie Rodgers (pop singer)

text: Recovery from injuries sustained mysteriously on a highway in 1967 caused an approximately year-long period in which Rodgers ceased to perform. Meanwhile, his voice was still being heard: several of his earlier hits were used in jingles in the 1970s, one for SpaghettiOs and another for Honeycomb breakfast cereal. And Rodgers' songs continued to make the "Billboard" Country and Easy Listening charts until 1979. During the summer of 1969, he made a brief return to network television with a summer variety show on ABC (which later bought the rights to Rodgers' Dot Records releases, now owned by Universal Music Group). It was not until the early 1980s when he began doing some limited live appearances again. Among the earliest was a series of shows in late February 1983: he performed at Harrah's Reno Casino Cabaret. He also performed a few shows in other cities, including at a nightclub called Mister Days in Fort Lauderdale, Florida in late 1983.


title: Jimmie Rodgers (pop singer)

text: Rodgers appeared in a 1999 video, "Rock & Roll Graffiti" by American Public Television, along with about 20 other performers. Nevertheless, he gave "Honeycomb" a try, and he mentioned that he had a show in Branson, Missouri.


title: Jimmie Rodgers (pop singer)

text: Rodgers returned to his hometown of Camas, Washington in 2011 and 2012, performing to sell-out crowds. In 2013, his neighbors successfully got a street named after him, in the neighborhood where he grew up.


title: Jimmie Rodgers (pop singer)

text: On December 1, 1967, Rodgers suffered traumatic head injuries after the car he was driving was stopped by an off-duty police officer near the San Diego Freeway in Los Angeles. He had a fractured skull and required several surgeries. Initial reports in the newspapers attributed his injuries to a severe beating with a blunt instrument by unknown assailants. Rodgers had no specific memory of how he had been injured, remembering only that he had seen blindingly bright lights from a car pulling up behind him.


title: Jimmie Rodgers (pop singer)

text: A few days later, the Los Angeles Police Department (LAPD) stated that off-duty LAPD officer Michael Duffy (at times identified in the press as Richard Duffy) had stopped him for erratic driving, and that Rodgers had stumbled, fallen and hit his head. According to the police version, Duffy then called for assistance from two other officers, and the three of them put the unconscious Rodgers into his car and left the scene. That account was supported by the treating physicians, who had first blamed the skull fracture on a beating but, by the latter part of December, they concluded that Rodgers had in fact fallen and that had caused his injuries.


title: Jimmie Rodgers (pop singer)

text: The following month, Rodgers filed an $11 million lawsuit against the City of Los Angeles, claiming that the three officers had beaten him. The police and the L.A. County District Attorney rejected these claims, although the three officers (identified in the press as Michael T. Duffy, 27; Raymond V. Whisman, 29, and Ronald D. Wagner, 32) were given two-week suspensions for improper procedures in handling the case, particularly their leaving the injured Rodgers alone in his car. (He was later found by a worried friend.) Duffy had had a previous four-day suspension for using unnecessary force; he had used a blackjack on a juvenile.


title: Jimmie Rodgers (pop singer)

text: The three officers and the LA Fire and Police Protective League filed a $13 million slander suit against Rodgers for his public statements accusing them of brutality.


title: Jimmie Rodgers (pop singer)

text: Neither suit came to trial; the police slander suit was dropped, and in 1973 Rodgers elected to accept a $200,000 settlement from the Los Angeles City Council, which voted to give him the money rather than to incur the costs and risks of further court action. Rodgers and his supporters still believe that one or more of the police officers beat him, although other observers find the evidence inconclusive. In his 2010 biography "Me, the Mob, and the Music", singer Tommy James wrote that Morris Levy, the Mafia-connected head of Roulette Records, had arranged the attack in response to Rodgers' repeated demands for unpaid royalties he was due by the label. All of Rodgers' most successful singles had been released by Roulette, who were notorious for not paying their artists for their record sales.


title: Jimmie Rodgers (pop singer)

text: In 1993, Raymond Virgil Whisman, one of the three officers who were alleged to have assaulted Rodgers, was arrested for assaulting his wife and threatening to kill her. The arrest occurred after sheriff's deputies stormed his house after being informed that he was holding his wife at gunpoint. Deputies found 11 rifles, four shotguns, and two handguns in the home. Whisman was charged with two counts of assault and two counts of making terroristic threats.


title: Jimmie Rodgers (pop singer)

text: In 2010, Rodgers wrote and published his autobiography, "Dancing on the Moon: The Jimmie Rodgers Story."


title: Jimmie Rodgers (pop singer)

text: Rodgers and his first wife Colleen ("née" McClatchey) divorced in 1970, and she died May 20, 1977. They had two children, Michael and Michele. He had remarried in 1970, and Jimmie and Trudy Rodgers had two sons, Casey and Logan. He and Trudy divorced in the late 1970s, and he remarried again. Jimmie and Mary Rodgers were still married when he died, and they have a daughter, Katrine, who was born in 1989.


title: Jimmie Rodgers (pop singer)

text: Rodgers suffered from spasmodic dysphonia for a number of years and could hardly sing. After a 2012 concert, he returned home for open heart surgery, following a heart attack he had suffered three weeks earlier.


title: Jimmie Rodgers (pop singer)

text: Rodgers died from kidney disease on January 18, 2021, at the age of 87. He had also tested positive for COVID-19 in the time before his death, according to his publicist.


title: Jimmie Rodgers (pop singer)

text: Jimmie sang the song entitled "Half Sung Song" in the 1977 comedy film "The Billion Dollar Hobo", starring Tim Conway.


title: Jimmie Rodgers (pop singer)

text: In the mid-1960s, he re-recorded (with altered tunes and words referring to the products) two of his best-known songs, for use in television advertisements:


title: Tejanos

text: Tejanos (, ; singular: "Tejano/a"; Spanish for "Texan", originally borrowed from the Caddo "tayshas") are the residents of the state of Texas who are culturally descended from the Mexican population of Tejas and Coahuila that lived in the region prior to it becoming what is now known as the state of Texas before it became a U.S. state in 1845. The term is also sometimes applied to all Texans of Mexican descent.


title: Tejanos

text: The original word Tejano, with a "J" not an "X', comes from the indigenous Caddo people's language, from the word "tayshas", in which the word means "friend" or "ally", a title given to the indigenous population that moved northward by early Aztec and Spanish rulers and combined forces, including, but not limited to, the Lipan N'de Apache People, Coahuiltecas, and Huasteca indigenous people from Zacatecas.


title: Tejanos

text: The Aztec and Spanish combined forces (the early Casta foundations of the Mexican government) drove original Tejanos northward for nearly 500 years.


title: Tejanos

text: Alongside Californios and Neomexicanos, Tejanos are part of the larger Hispano community of the United States, who have lived in the American Southwest since the 16th century.


title: Tejanos

text: Historically, the Spanish term "Tejano" has been used to identify various groups of people. During the Spanish colonial era, the term was primarily applied to Spanish settlers of the region now known as the state of Texas, which was first part of New Spain and after 1821 was part of Mexico. After settlers entered from the United States and gained the independence of the Republic of Texas, the term was applied to mostly Spanish-speaking Texans, Hispanicized Germans, and other Spanish-speaking residents.


title: Tejanos

text: In practice, many members of traditionally Tejano communities often have varying degrees of fluency in Spanish, with some having virtually no Spanish proficiency, though they are still considered culturally part of the community.


title: Tejanos

text: Since the early 20th century, "Tejano" has been more broadly used to identify Texan Mexican Americans. It is also a term used to identify people currently living in the state, as opposed to newcomers, in the areas settled.


title: Tejanos

text: The word Tejano, with a "J" not and "X", comes from the Spanish interpretation of the original Caddo indigenous word Tayshas, which means friend or ally


title: Tejanos

text: As early as 1519, Alonso Alvarez de Pineda claimed the area which is now Texas for Spain. The Spanish monarchy paid little attention to the province until 1685. In that year, the Crown learned of a French colony in the region and worried that it might threaten Spanish colonial mines and shipping routes. King Carlos II sent ten expeditions to find the French colony, but they were unsuccessful. Between 1690 and 1693 expeditions were made to the Texas region, and they acquired better knowledge of it for the provincial government and settlers who came later.


title: Tejanos

text: Tejano settlements developed in three distinct regions: the northern Nacogdoches region, the Bexar–Goliad region along the San Antonio River, and the frontier between the Nueces River and the Rio Grande, an area used largely for ranching. These populations shared certain characteristics, yet they were independent of one another. The main unifying factor was their shared responsibility for defending the northern frontier of New Spain. Some of the first settlers were Isleños from the Canary Islands. Their families were among the first to reside at the Presidio San Antonio de Bexar in 1731, which is modern-day San Antonio, Texas.


title: Tejanos

text: Ranching was a major activity in the Bexar-Goliad area, which consisted of a belt of ranches that extended along the San Antonio River between Bexar (San Antonio area) and Goliad. The Nacogdoches settlement was located farther north and east. Tejanos from Nacogdoches traded with the French and Anglo residents of Louisiana, and they were culturally influenced by them. The third settlement was located north of the Rio Grande, toward the Nueces River. The ranchers were citizens of Spanish origin from Tamaulipas and (what is now) northern Mexico, and they identified with Spanish Criollo culture.


title: Tejanos

text: On September 16, 1810, Miguel Hidalgo y Costilla, a Catholic priest, launched the Mexican War of Independence with the issuing of his Grito de Dolores, or “Cry of Delores.” He marched across Mexico and gathered an army of nearly 90,000 poor farmers and civilians. These troops ran up into an army of 6,000 well-trained and armed Spanish troops; most of Hidalgo's troops fled or were killed at the Battle of Calderón Bridge Bernardo Gutiérrez de Lara, a believer in independence from Spain, organized a revolution army together with José Menchaca from the Villa de San Fernando de Bejar. After the defeat and execution of Father Miguel Hidalgo y Costilla, Gutiérrez de Lara traveled to Washington, D.C. to request help from the United States. He requested an audience with President James Madison, but was refused. He did meet with Secretary of State James Monroe, who was busy planning the invasion of Canada in the War against Great Britain. On December 10, 1810, Gutiérrez de Lara addressed the United States House of Representatives. There was no official help by the United States government to the revolution. However, Gutiérrez de Lara did return with financial help, weapons and almost 700 "ex-United States Army veterans". The challenges Monroe faced revolved around the Napoleonic War and American neutrality.


title: Tejanos

text: Gutiérrez de Lara's army would defeat the Spanish army and the first independent Republic of Texas, "the Green Republic" was born with the Declaration of Independence. Spain had reinforced their armies in the colonies and a well-equipped army led by General Juaquin de Arredondo known as the "El Carnicero," invaded the Green Republic of Tejas. During the time of the Republic the Spaniard José Álvarez de Toledo y Dubois, had been undermining Gutiérrez de Lara's government. Toledo was successful and de Lara was ousted. Toledo then led the Republican Army of the North (the Green Army) into a trap against the Spanish army and no prisoners were taken by the Spanish at the Battle of Medina. The Spanish army would march into San Antonio. The Spanish army rounded everyone they could find from Nacogdoches to El Espiritu de Santo (Goliad) and brought them to San Antonio. The Spanish murdered four males a day for 270 days, eradicating the Tejano population and leaving the women when the Spanish army left in 1814. Toledo returned to Spain, a Spanish hero.


title: Tejanos

text: In January 1840, the northern Mexican states of Nuevo León, Coahuila, and Tamaulipas seceded from Mexico to establish the Rio Grande Republic, with its capital in what is now Laredo, Texas, but became part of Mexico again in November 1840.


title: Tejanos

text: By 1821 at the end of the Mexican War of Independence, about 4,000 Tejano lived in Mexican Texas, alongside a lesser number of foreign settlers. In addition, several thousand New Mexicans lived in the areas of Paso del Norte (now El Paso, Texas) and Nuevo Santander, incorporating Laredo and the Rio Grande Valley.


title: Tejanos

text: During the 1820s, many settlers from the United States and other nations moved to Mexican Texas, settling mostly in the eastern area. The passage of a national colonization law encouraged immigration, granting the immigrants citizenship if they declared loyalty to Mexico. By 1830, the 30,000 recent settlers in Texas (who were primarily English speakers from the United States) outnumbered the Hispanos Tejano six to one.


title: Tejanos

text: The Texians and Tejano alike rebelled against attempts by the government to centralize authority in Mexico City and other measures implemented by Santa Anna. Tensions between the central Mexican government and the settlers eventually resulted in the Texas Revolution.


title: Tejanos

text: In 1915, insurgents in south Texas wrote a manifesto that was circulated in the town of San Diego and all across South Texas. The manifesto "Plan de San Diego" called on Mexicans, American Indians, Blacks, Germans, and Japanese to liberate south Texas and kill their racist white American oppressors. Numerous cross-border raids, murders, and sabotage took place. Some Tejanos strongly repudiated the Plan. According to Benjamin H. Johnson, middle class Mexicans born in the US desire to affirm their United States loyalty resulted in their founding the League of United Latin American Citizens (LULAC). It was headed by professionals, business leaders, and progressives, and it became the central Tejano organization promoting civic pride and civil rights.


title: Tejanos

text: Other sources attribute the founding of the organization in 1929 largely to Tejano veterans of World War I, who wanted to improve civil rights for Mexican-American citizens of the United States. They were socially discriminated against in Texas. Only American citizens were admitted as members to LULAC, and there was an emphasis on people becoming educated and assimilated in order to advance.


title: Tejanos

text: In 1963, Tejanos in Crystal City organized politically and won elections; their candidates dominated the city government and the school board. Their activism signaled the emergence of modern Tejano politics. In 1969–70, a different Tejano coalition, the La Raza Unida Party, came to office in Crystal City. The new leader was José Ángel Gutiérrez, a radical nationalist who worked to form a Chicano nationalist movement across the Southwest, 1969–79. He promoted cultural terminology ("Chicano, Aztlan") designed to unite the militants; but his movement split into competing factions in the late 1970s.


title: Tejanos

text: Most Tejanos are concentrated in southern Texas, in historic areas of Spanish colonial settlement and closer to the border that developed. The city of San Antonio is the historic center of Tejano culture. During the Spanish colonial period of Texas, most colonial settlers of northern New Spain – including Texas, northern Mexico, and the American Southwest – were descendants of Spaniards.


title: Tejanos

text: Although the number of Tejanos whose families have lived in Texas since before 1836 is unknown, it was estimated that 5,000 Tejano descendants of San Antonio's Canarian founders lived in the city in 2008. The community of Canarian descent still maintains the culture of their ancestors.


title: Tejanos

text: Tejanos may identify as being of Mexican, Chicano, Mexican American, Spanish, Hispano, American and/or Indigenous ancestry. In urban areas, as well as some rural communities, Tejanos tend to be well integrated into both the Hispanic and mainstream American cultures. Especially among younger generations, a number identify more with the mainstream and may understand little or no Spanish.


title: Tejanos

text: Most of the people whose ancestors colonized Texas and the northern Mexican states during the Spanish colonial period identified with the Spaniards, Criollos, or Mestizos who were born in the colony. Many of the latter find their history and identity in the history of Spain, Mesoamerica and the history of the United States. Spain's colonial provinces (Spanish Texas and Spanish Louisiana) participated on the side of the rebels in the American Revolutionary War.


title: Tejanos

text: Tejanos are descended from the colonists of Spaniard, Mestizo, or indigenous origin, or Hispanicized European heritage, including Frenchmen such as Juan Seguin, Italians such as Jose Cassiano, or Corsican like Antonio Navarro. Spanish post-colonial settlers stayed in Texas as refugees fleeing Spanish Civil War. Their descendants were added to the Tejano population. Also represented are ethnic Germans, who were concentrated in the Edwards Plateau following mid-19th century immigration. The region's Poles, Czechs, Slovaks, Danes, Dutch, Swedes, Irish ("see also" Irish Mexican), Scots, Welsh, and Anglo Americans who arrived in the 19th century – were also considered Tejanos, as they were Hispanicized. The former two ethnicities (with Germans) would contribute greatly to Tex-Mex music. Some Arabs are also considered Tejanos, as Arab Mexicans settled Texas during the Mexican Revolution.


title: Tejanos

text: Genuine Tejano music is descended from a mixture of German and Czechoslovakian polka and oom papa sounds and Mexican Spanish strings, and is similar to the French folk music of Louisiana, known as "Cajun music", blended with the sounds of rock and roll, R&B, pop, and country, and with Mexican influences such as conjunto music. Narciso Martinez is the father of Conjunto Music, followed by the legendary Santiago Jimenez (Father of Flaco Jimenez).


title: Tejanos

text: Sunny and the Sunglows lead the rock and roll era in the 1950's along with Little Joe, and Rudy Guerra, who were originators of the Rock and roll portion of genre. Today Tejano music is a wide array of multi cultural genres including Rockteno and Tejano Rap. The American cowboy culture and music was born from the meeting of the European-American Texians, Indigenous people, colonists mostly from the American South, and the original Tejano pioneers and their "vaquero," or "cowboy" culture.


title: Tejanos

text: The cuisine that would come to be known as "Tex-Mex" originated with the Tejanos. It developed from Spanish and North American indigenous commodities with influences from Mexican cuisine.


title: Tejanos

text: Tex-Mex cuisine is characterized by its widespread use of melted cheese, meat (particularly beef), peppers, beans, and spices, in addition to corn or flour tortillas. Chili con carne, burritos, carne asada, chalupa, chili con queso, enchiladas, and fajitas are all Tex-Mex specialties. A common feature of Tex-Mex is the combination plate, with several of the above on one large platter. Serving tortilla chips and a hot sauce or salsa as an appetizer is also a Tex-Mex development. "Cabrito", "barbacoa", "carne seca", and other products of cattle culture have been common in the ranching cultures of South Texas and northern Mexico. In the 20th century, Tex-Mex took on Americanized elements such as yellow cheese, as goods from the rest of the United States became cheap and readily available. Tex-Mex has imported flavors from other spicy cuisines, such as the use of cumin. Cumin is often referred to by its Spanish name, "comino."


title: Tejanos

text: A common Tex-Mex breakfast dish served is a "breakfast taco." This usually consists of a flour tortilla or corn tortilla served using a single fold. This is in contrast to the burrito-style method of completely encasing the ingredients. Some of the typical ingredients used are a combination of: eggs, potatoes, cheese, peppers, bacon, sausage, and barbacoa. Breakfast tacos are traditionally served with an optional red or green salsa.


title: Tejanos

text: Historically, the majority of the Tejano population in South Texas had voted for Democratic Party since the first half of the 20th century. The 2020 United States presidential election was considered a turning point in their political support, as part of a "red tide" for South Texas, where Republican candidate Donald Trump performed better in areas associated with Tejano population than during former elections. Zapata was the only county that turned majority Republican from Democratic in South Texas, while Starr County saw the strongest pro-Trump swing of any county in the U.S., a 55% increase compared to the 2016 election.


title: Tejanos

text: Tejanos are noted to be more supportive of the Republican Party than other Latino populations in Texas. Politically, Tejanos have been compared to Cuban Americans in Miami and Venezuelan Americans, who also disproportionately vote for Republican candidates among Latino voters. "The New York Times" attributed the relative success of Donald Trump among the Tejano community to concerns about regional economy, which is based on gas and oil. "The Wall Street Journal" described concerns about possible unemployment caused by COVID-19 lockdowns as another source of Republican Tejano support. Reporter Jack Herrera argues that Tejanos are culturally conservative and identify with Republican positions on gun rights, Christianity, and abortion. Tejanos are also more likely to be Protestant Evangelical Christian than Roman Catholics.


title: Research question

text: A research question is "a question that a research project sets out to answer". Choosing a research question is an essential element of both quantitative and qualitative research. Investigation will require data collection and analysis, and the methodology for this will vary widely. Good research questions seek to improve knowledge on an important topic, and are usually narrow and specific.


title: Research question

text: To form a research question, one must determine what type of study will be conducted such as a qualitative, quantitative, or mixed study. Additional factors, such as project funding, may not only affect the research question itself but also when and how it is formed during the research process. Literature suggests several variations on criteria selection for constructing a research question, such as the FINER or PICOT methods.


title: Research question

text: The answer to a research question will help address a research problem or question. Specifying a research question, "the central issue to be resolved by a formal dissertation, thesis, or research project," is typically one of the first steps an investigator takes when undertaking research. Considerations, such as project funding or methodological approaches may influence the research process, including when and how the research question is developed. Clearly and accurately defining the research question can become an iterative process. How the question is constructed can depend on the type of research or discipline.


title: Research question

text: Specifying the research question is one of the first methodological steps the investigator has to take when undertaking research. Having an interest in or knowledge of a particular subject can be useful in the construction of a research question. Formation of the research question is largely determined by, and likewise influences, where and what kind of information will be sought. The research question must be accurately and clearly defined. Choosing a research question is the central element of both quantitative and qualitative research and in some cases it may precede construction of the conceptual framework of study; in all cases, it makes the theoretical assumptions in the framework more explicit and indicates what the researcher wants to know most and first. Therefore, the investigator must first identify the type of study (qualitative, quantitative, or mixed) before the research question is developed. Forming the research question may become an iterative process when parameters of the research process, such as field of study or methodology, do not fit the original question. Literature suggests several methods for selecting criteria in the development of a research question, two of which are the FINER and PICO methods.


title: Research question

text: The FINER method can be a useful tool for outlining research criteria used in the construction of a research question. Due to the flexibility of the criteria, this method may be used for a variety of research scenarios. The FINER method prompts researchers to determine whether one has the means and interest to conduct the study. It also asks one to consider the ethical ramifications, as well as the relevancy of the research.


title: Research question

text: According to Farrugia et al., the FINER criteria "highlight useful points that may increase the chances of developing a successful research project". These criteria were first suggested in the book "Designing Clinical Research" by Hulley et al., detailed below.F – Feasible


title: Research question

text: PICOT criteria tend to be used to frame questions used in evidence-based studies, such as medical studies. Such research may focus on assessment or evaluation of patients or problems, as well as what may be the causal factor(s) with control and experimental groups.P – Patient (or Problem)


title: Research question

text: T – Time Continuing the research process, the investigator then carries out the research necessary to answer the research question, whether this involves reading secondary sources over a few days for an undergraduate term paper or carrying out primary research over years for a major project. When the research is complete and the researcher knows the (probable) answer to the research question, writing up can begin (as distinct from writing notes, which is a process that goes on through a research project). In term papers, the answer to the question is normally given in summary in the introduction in the form of a thesis statement.


title: Research question

text: Scientists often communicate open research questions. Sometimes such questions are crowdsourced and/or aggregated, sometimes supplemented with priorities or other details. A common way open research questions are identified, communicated, established/confirmed and prioritized are their inclusion in scientific reviews of a sub-field or specific research question, including in systematic reviews and meta-analyses. Other channels include reports by science journalists and dedicated (sub-)websites such as 80000hours.org's "research questions by discipline" or the Wikipedia articles of the lists of unsolved problems,<ref name="10.1088/1402-4896/aa83c1"></ref> aggregative/integrative studies, as well as unsolved online posts on Q&A websites and forums, sometimes categorized/marked as unsolved. There have been online surveys used to generate priority research topics which were then classified into broader themes. Such may improve research relevance and value or strengthen rationale for societal dedication of limited resources or expansions of the limited resources or for funding a specific study.


title: Research question

text: In terms of priorities and related concepts, the proposed strategy of differential technological development suggests research to focus primarily on questions and tools that are thought to increase safety and mitigate issues rather than risky technologies which are instead best to delay. Concerning control strategies for gene drives, researchers have however cautioned that such may lead to a counterproductive false sense of security. Not all technological progress may be beneficial in general or in contemporary contexts (environments or systems) and various research may for example result in engineered pandemics.


title: Research question

text: Many studies "ask uninteresting research questions, [and] make only marginal contributions". One study suggests that while research on climate change "is valuable, it does not tackle head-on the most urgent question: how to change society to mitigate climate change right now". In the ethical framework of effective altruism, research questions with the greatest potential benefits from investments (not necessarily of financial nature) are identified to maximize research benefits. 80,000 Hours has compiled a small list of "Research questions that could have a big social impact, organised by discipline". In public health research, "it is vital that research questions posed are important and that funded research meets a research need or a gap in evidence".


title: Research question

text: Platforms, e.g. citizen science ones, can "support identification of problems, formulation of research questions, and study design". Participatory research can "improve study outcomes and foster greater data accessibility and utility as well as increase public transparency". Participants can have continued discussions and iterations regarding new questions. Research questions can be or are positioned at varying levels of detail – from broad to very specific questions – which are semantically or can be displayed as nested – for instance via category trees. In one platform, about invasion science and based on Wikidata, users "can zoom into the major research questions and hypotheses" of the field, "which are connected to the relevant studies published in the field and, if available, the underlying raw data" with tools like the Wikimedia project Scholia. Individuals "who can ask novel, field-altering questions" may vary from "those who can answer them" or vary per question. Translation of a (societal) problem "from its meaning in an everyday context into a scientifically valid research question means defining the goals of research in such a way that their contribution to practical solutions of a societal problem is narrow enough to be useful". Both everyday practical knowledge and scientific knowledge play a role in this process. In interdisciplinary research, integration "takes place at the level of the posing of research questions in the overlapping areas between various disciplines". There is research into enabling presenting scholarly knowledge "flexibly enriched with contextual information" for specific research questions.


title: Research question

text: Identification of open research questions may be useful for the adoption and application of science in society and accelerating specific research and development. There has been a suggestion for establishing a public non-profit organization that would identify "gaps in the science that need addressing", referring to the field of sustainable food system.


title: Research question

text: Similar to outlining open research questions, there have also been proposals to e.g. combine specific fields or sources of data and knowledge as the subject or method of new research<ref name="10.1016/j.tem.2018.11.005"></ref> or to engage more and more scientifically in specific research topics along with the establishment of new high-quality data gathering systems. One approach for the generation of research questions is [identifying, highlighting, and] challenging assumptions of existing theories and studies.


title: Research question

text: Sometimes research questions overlap with or also refer to challenges of a specific theory or field such as how to solve known problems with the Standard Model. Research issues and knowledge gaps can also overlap or be synonymous.


title: Research question

text: Examples of lists of open significant research questions in reviews include a list of "major outstanding questions" for (applied) human life extension, "fundamental" research questions in subterranean biology, open research questions for digital twins (across fields), open questions in performance measurement of sustainable supply chains, knowledge gaps in antimicrobial resistance, and unaddressed or neglected questions in the literature about 100% renewable energy systems.


title: Research question

text: Therefore, the writer must first identify the type of study (qualitative, quantitative, or mixed) before the research question is developed.


title: Research question

text: A qualitative study seeks to learn why or how, so the writer's research must be directed at determining the what, why and how of the research topic. Therefore, when crafting a research question for a qualitative study, the writer will need to ask a why or how question about the topic. For example: How did the company successfully market its new product? The sources needed for qualitative research typically include print and internet texts (written words), audio and visual media.


title: Research question

text: A quantitative study seeks to learn where, or when, so the writer's research must be directed at determining the where, or when of the research topic. Therefore, when crafting a research question for a quantitative study, the writer will need to ask a where, or when question about the topic. For example: Where should the company market its new product? Unlike a qualitative study, a quantitative study is mathematical analysis of the research topic, so the writer's research will consist of numbers and statistics.


title: Research question

text: A mixed study integrates both qualitative and quantitative studies, so the writer's research must be directed at determining the why or how and the what, where, or when of the research topic. Therefore, the writer will need to craft a research question for each study required for the assignment. A typical study may be expected to have between 1 and 6 research questions.


title: Research question

text: Once the writer has determined the type of study to be used and the specific objectives the paper will address, the writer must also consider whether the research question passes the "so what" test. The "so what" test means that the writer must construct evidence to convince the audience why the research is expected to add new or useful knowledge to the literature.


title: Research question

text: is a term that functions analogously to the research problem or question used typically when addressing global systemic problems. The term achieved prominence in 1970 when Hasan Özbekhan, Erich Jantsch and Alexander Christakis conceptualized the original prospectus of the Club of Rome titled "The Predicament of Mankind". In this prospectus the authors designated 49 Continuous Critical Problems facing humankind, saying "We find it virtually impossible to view them as problems that exist in isolation – or as problems capable of being solved in their own terms... It is this generalized meta system of problems, which we call the 'problematique' that inheres in our situation."