title: Ketubah

text: The content of the "ketubah" is in essence a two-way contract that formalizes the various requirements by Halakha (Jewish law) of a Jewish husband "vis-à-vis" his wife. The Jewish husband takes upon himself in the "ketubah" the obligation that he will provide to his wife three major things: clothing, food and conjugal relations, and also that he will pay her a pre-specified amount of cash in the case of a divorce. The principal endowment pledged in a "ketubah" is 200 "zuz" for a virgin, and 100 "zuz" otherwise (such as for a widow, a convert, or a divorced woman, etc.). Today, such pledges are made in local currency, and often exceed that of the principal. Thus the content of the "ketubah" essentially dictates the wife's rights in the marriage and provides for her security and protection. (Conservative Jews often include an additional paragraph, called the Lieberman clause, which stipulates that divorce will be adjudicated by a modern rabbinical court (a beth din) in order to prevent the creation of a chained wife.) The conditions written in the marriage contract may vary between communities, as in the case of the Yemenite "ketubah", where the custom in Yemen was not to consolidate the different financial obligations, or pledges, into one single, aggregate sum as is practised by some communities. Rather, all financial obligations were written out as individual components, and had the same fixed sums for all persons. The Chief Rabbinate in Israel has sought to bring uniformity to the "ketubah", particularly where Jewish communities in the Diaspora had upheld conflicting traditions.


title: Ketubah

text: As in most contracts made between two parties, there are mutual obligations, conditions and terms of reciprocity for such a contract to hold up as good. Thus said R. Yannai: "The conditions written in a "ketubah", [when breached], are tantamount to [forfeiture of] the "ketubah"." A woman who denied coitus unto her husband, a condition of the "ketubah", was considered legal grounds for forfeiture of her marriage contract, with the principal and additional jointure being written off.


title: Ketubah

text: The Mishna and Talmud Bavli record that the "Beth-Din of Kohanim" would oversee that the ketubah of a Bat-Kohen would contract the amount of four hundred Zuz (an increase from the standard amount of two hundred Zuz) in the event the Bat-Kohen would be given a Get (bill of divorce) – the increase was written as the base amount due the Bat-Kohen and not as a bonus.


title: Ketubah

text: The Talmud Yerushalmi opines that the Bat-Kohen who marries a non-Kohen receives that standard two hundred Zuz amount, as a penalty for not marrying within the greater family of Kohanim.


title: Ketubah

text: Based on the research of A. Epstien, in his work "Toldot HaKetubah B'Yisrael", the recording of Four hundred Zuz in the ketubah of the Bat-Kohen was well in effect during the Amora period, but from thence onward, no mentioning of the increased amount is found in Rabbinic sources.


title: Ketubah

text: The "ketubah" is a significant popular form of Jewish ceremonial art. "Ketubot" have been made in a wide range of designs, usually following the tastes and styles of the era and region in which they are made. Today, styles and decorations on ketubahs are chosen by the couple as a representation of their personal styles. This is contrasting to other Jewish legal or sacred texts (such as the Talmud, Mishnah, etc.), which cannot be decorated.


title: Ketubah

text: Traditional "ketubot" are not written in the Hebrew language, but in Aramaic, the lingua franca of Jews at the time "ketubot" became standardized. This was done in order to make sure the bride and groom understood the contract that was being signed. Many contemporary "ketubot" have translations into English or other vernacular languages or an accompanying vernacular text. Many Conservative Jews and other non-Orthodox Jews use "ketubot" written in Hebrew rather than in Aramaic. Others may use Aramaic "ketubot" but also have an additional official version in Hebrew.


title: Ketubah

text: In recent years "ketubot" have become available in a variety of formats as well as the traditional Aramaic text used by the Orthodox community. Available texts include Conservative text, using the Lieberman Clause, Reform, Egalitarian and Interfaith texts. Some congregations have texts available for same sex couples too. In addition, Secular Humanist and Anniversary texts are also available today.


title: Ketubah

text: In a traditional Jewish wedding ceremony, the "ketubah" is signed by two witnesses and traditionally read out loud under the chuppah between the erusin and nissuin. Friends or distant relatives are invited to witness the ketubah, which is considered an honour; close relatives are prohibited from being witnesses. The witnesses must be halakhically valid witnesses, and so cannot be a blood relative of the couple. In Orthodox Judaism, women are also not considered to be valid witnesses. The ketubah is handed to the bride (or, more commonly, to the bride's mother) for safekeeping.


title: Ketubah

text: Ketubot are often hung prominently in the home by the married couple as a daily reminder of their vows and responsibilities to each other.


title: Ketubah

text: However, in some communities, the ketubah is either displayed in a very private section of the home or is not displayed at all. Various reasons given for this include the fact that the details specify personal details, prominent display may invite jealousy or fears of the evil eye. Historically, the ketubah specified whether the bride was a virgin. In Sephardic communities, it still specifies the actual contributions of the family to the new household and the divorce settlement; Ashkenazi communities have adopted the custom of having set amounts for all weddings.


title: Ketubah

text: According to Jewish law, spouses are prohibited from living together if the ketubah has been destroyed, lost, or is otherwise unretrievable. In such case a second ketubah is made up (called a Ketubah De'irkesa), which states in its opening phrase that it comes to substitute a previous ketubah that has been lost.


title: Ponderosa Ranch

text: The Ponderosa Ranch was a theme park based on the television western "Bonanza", which housed the land, timber and livestock-rich Cartwright family. The amusement park operated in Incline Village, Nevada, near Lake Tahoe, from 1968 until 2004. Portions of the last five seasons of the TV series and three television films were also filmed at that location.


title: Ponderosa Ranch

text: The Ponderosa was the fictional setting for "Bonanza". According to the 9th episode ("Mr. Henry Comstock") in the first season, it was a thousand-square mile (640,000 acre or 2,600 km) ranch on the shores of Lake Tahoe, nestled high in the Sierra Nevada, with a large ranch house in the center of it. Ben Cartwright was said to have built the original, smaller homestead after moving from New Orleans with his pregnant third wife Marie and his two sons, Adam and Hoss. The grown Adam, an architect/engineer, designed the later sprawling ranch house as depicted on TV ("Bonanza, The Philip Diedesheimer Story", Oct. 31, 1959, NBC-TV; "Bonanza: The Return", April 1993, NBC-TV). The fictional ranch was roughly a two-hour horse ride from Virginia City, Nevada. (Note: There are slight variations as to the origin of the Ponderosa Ranch, from the original "Bonanza" series, Lorne Greene's 1964 song "Saga of the Ponderosa", the 1988–95 TV movies, and the 2001 PAX prequel series "Ponderosa"). The ranch house was a single-level structure that had a facade second storey. Inside, a staircase seemingly led to the second-floor corridor, but it was a dead end. The bedroom scenes were filmed at Burbank Studios. David Dortort, the show's producer, said that the inspiration for the name was the large number of Ponderosa pines, which grow above 5,000 foot altitude, in the fictional ranch's location. A Latin derivation would be "large" (root of the English word "ponderous"). The exteriors for the television show were occasionally shot in Nevada, usually out of sequence. Crews were sometimes able to complete an entire season's work in just a few days.


title: Ponderosa Ranch

text: The first Virginia City set used on the show from 1959–1970 was located on a back lot at Paramount. It was also used in episodes of "Have Gun, Will Travel", "Mannix" and "The Brady Bunch". In the 1970 "Bonanza" episode "The Night Virginia City Died", Deputy Clem Foster's pyromaniac fiancée leveled the town in a series of fires. This allowed for a switch to the less-expensive Warner Studios from September 1970 through January 1973. Very few of the original "Bonanza" episodes were shot at the theme park's Virginia City site, although the town was prominently featured in three "Bonanza" television movies. Because the movies showcased the next generation of Cartwrights, they began circa 1905. The Ponderosa park expanded beyond the buggy era to include an exhibit featuring antique cars. It was a fledgling endeavor as tourists wanted to see horses flanked by Cartwright saddles.


title: Ponderosa Ranch

text: The idea for the theme park came about in 1965. Bill and Joyce Anderson owned a small horse ranch, which is located in about the same area as the fictional Ponderosa on the burning map. According to the Andersons, tourists would regularly show up at their gates asking where the Ponderosa was. Smelling opportunity, the Andersons contacted NBC and "Bonanza" creator-producer David Dortort. They proposed turning their small ranch into a theme park. NBC, Dortort, and the cast saw the tie-in as a "bonanza" for everyone. All parties being of one accord, the cast agreed to promos being shot at the ranch site and the Virginia City set including the nearby Silver Dollar Saloon for financial consideration. The ads stimulated revenue for the park.


title: Ponderosa Ranch

text: The park opened to the public in 1968, complete with a scale replica of the Cartwright ranch house and barn similar to the ones seen on television. A replica of Virginia City was later added. The original plan was to open the set to tourists once filming had wrapped. However, shuttling cast and crew up to Incline Village on a weekly basis became cost-prohibitive. Thus, only 15 episodes of "Bonanza" were shot there. A majority of ranch-specific scenes were shot on a sound stage at Paramount Studios in Hollywood. Outdoor scenes were filmed on location at nearby Big Bear Lake, Red Rock Canyon, Mojave, or eastern Kern County, California. However, Michael Landon, Lorne Greene, Dan Blocker, and David Canary often made appearances at the ranch in costume to mingle with fans and sign autographs. Blocker died in 1972, and NBC canceled the series the following year. Canary, dressed in character as Candy, made his last visit there in 2002 for a PAX-TV special. Mitch Vogel (Jamie Cartwright) appeared at the ranch for the Travel Channel's "TV Road Trip" in 2002, in which he pitched a behind-the-scenes look at the Ponderosa Ranch and Incline Village. Copies of the "Ponderosa Map", autographed by three of the Cartwrights, became souvenirs at the ranch for decades afterward, along with tin cups bearing their likenesses. Episodes that were filmed entirely or in part at the ranch bear a title plate at the end of the credits. These episodes are from the tenth season through the end of the series (1968–73).


title: Ponderosa Ranch

text: Parking for visitors was at the highway level; only official vehicles, such as the park's Conestoga wagons, were allowed at the top of the ridge, where the park was located. Depending on the time of day, a park visit could include breakfast. Lunch, including a "Hoss Burger", could also be purchased. Estimates are that more than three million of these were sold during the park's existence.


title: Ponderosa Ranch

text: A visit to the park consisted of visitors riding up on the wagon, being "robbed" by "outlaws", and then disembarking at the main house. Adjacent to the house were the "graves" of Ben Cartwright's three wives, each of whom had given birth to one of the three (half) brothers. Graves of the Cartwrights and cook Hop Sing were later added, following the deaths of Dan Blocker (1972), Victor Sen Yung (1980), Lorne Greene (1987), and Michael Landon (1991). The house contained a less-than-realistic carved figure of Ben Cartwright sitting at his desk, and of Hop Sing working in the kitchen. The only parts of the house that actually existed were the living room, dining room, kitchen, and office. The stairs led nowhere, as the "bedrooms" were actually located on a sound stage in Hollywood. Thus, the tour of the house took very little time.


title: Ponderosa Ranch

text: The main attraction was the ranch's version of Virginia City, which was miles from the real Virginia City but immediately adjacent to the rear of the house set (on the show, the ranch was about a two-hour ride on horseback from Virginia City). There were activities such as a haunted house, panning for gold, amusements based on old-time Wild West shows, as well as concessions and souvenirs.


title: Ponderosa Ranch

text: Only the front of the ranch house was ever shown on television because a highway ran directly to the right of the house. In episodes shot in-studio, the home exterior has a backdrop of sky and trees. The ranch house was a single-story structure, although from the outside it appeared to have a second story. Little Joe's green corduroy jacket and Hoss's brown suede vest were displayed hanging on a rack.


title: Ponderosa Ranch

text: When the ranch opened in 1967, Pernell Roberts (Adam Cartwright) had long since departed the series. Consequently, he was not featured in Ponderosa's promotional campaign until after the show's initial run. At that time most of the shows broadcast in syndication featured the Adam Cartwright character. His picture was in the group painting on the sign promoting the park at the entrance. When the park folded in autumn 2004 Pernell Roberts was still alive, so no Adam grave marker was added. Pernell Roberts died on January 24, 2010.


title: Ponderosa Ranch

text: Near the main house were sculptures of the horses ridden by Lorne Greene, Dan Blocker and Michael Landon that visitors could have their pictures taken either on or alongside of. The park also had a church that could be reserved for weddings near the church where the grave markers are located. In 1999, a VHS tour was made available to patrons. In 2002, David Canary appeared at the ranch in Candy's wardrobe for a special produced by PAX TV.


title: Ponderosa Ranch

text: The ranch and park remained a popular seasonal attraction for decades after the network run of "Bonanza" ended, having outlived most of the series' original cast. Business remained strong into the late 1990s. The land was purchased by billionaire software entrepreneur David Duffield in 2004. In September of that year he closed the Ponderosa "indefinitely".


title: Kings of Pain

text: Kings of Pain is an American television series which airs on History. The show features Adam Thorn, a wildlife biologist, and Rob "Caveman" Alleva, an animal handler. In the show, they attempt to get stung and bitten by animals and insects from different parts of the world, in order to measure the amount of pain they each receive from each bite or sting.


title: Kings of Pain

text: Inspired by the Schmidt Pain Index, biologist Adam Thorn and handler Rob "Caveman" Alleva test the bites and stings of animals with a new 30 point scale within 3 categories: intensity of initial physical pain, the duration of the pain, and the after effects or "damage". The scores from the three are rated from 1-10 (10 being worst) and then added together and averaged out.


title: Kings of Pain

text: The animal is then ranked among the scale using the honeybee sting as the baseline. Along with creatures from the Schmidt Pain Index, animals from other categories such as reptiles and marine animals are also tested. In addition to testing the bites and stings of animals, Thorn and Alleva have started another pain index which they call the "nature hurts" pain index, which is intended to measure the pain from hot peppers.


title: Tom Junod

text: Tom Junod (born April 9, 1958) is an American journalist. He is the recipient of two National Magazine Awards from the American Society of Magazine Editors.


title: Tom Junod

text: In 1980, Junod graduated with a Bachelor of Arts degree in English from the State University of New York at Albany.


title: Tom Junod

text: Junod worked as a writer for "Esquire" magazine beginning in 1997, after following editor David Granger to the magazine from "GQ". He also worked for "Atlanta" magazine, "Life", and "Sports Illustrated". Junod has published award-winning pieces for several magazines. Among his notable works are "The Abortionist", "The Rapist Says He's Sorry", "The Falling Man" and a controversial 2001 piece on R.E.M. lead singer Michael Stipe, in which he satirically fabricated information for an interview that never happened. As of November 2019, he is a writer for "ESPN The Magazine".


title: Tom Junod

text: Junod is also noted for his "Esquire" profile of Fred Rogers. Junod has stated that his encounter with Rogers changed his perspective on life. The event is the premise of the 2019 feature film "A Beautiful Day in the Neighborhood". Junod also appeared in the critically acclaimed documentary "Won't You Be My Neighbor?" (2018).


title: Tom Junod

text: Among his controversial articles, Junod came to regret the tone of his 1997 profile of Kevin Spacey for "Esquire" that "more or less outed the actor". At the time Spacey described the profile as "mean-spirited" and "homophobic" and called for a boycott of both the author and publication. "That story had the reek of bad faith to it, to be quite honest with you," Junod admitted when interviewed by "Atlanta Magazine" in 2019, noting that the negative response to his Kevin Spacey profile had stalled his career prior to his Fred Rogers assignment.


title: Tom Junod

text: Junod is the recipient of two National Magazine Awards from the American Society of Magazine Editors; one for a profile of John Britton, an abortion doctor, and one for a profile of a rapist undergoing therapy while enduring what is known as "civil commitment" finalist for the award.


title: Tom Junod

text: In 2011, Junod won the James Beard Award for his essay "My Mom Couldn't Cook", published in "Esquire" in September 2010.


title: Charlton Comics

text: Charlton Comics was an American comic book publishing company that existed from 1945 to 1986, having begun under a different name: T.W.O. Charles Company, in 1940. It was based in Derby, Connecticut. The comic-book line was a division of Charlton Publications, which published magazines (most notably song-lyric magazines), puzzle books and, briefly, books (under the Monarch and Gold Star imprints). It had its own distribution company (Capital Distribution).


title: Charlton Comics

text: Charlton Comics published a wide variety of genres including; crime, science fiction, Western, horror, war and romance comics, as well as talking animal and superhero titles. The company was known for its low-budget practices, often using unpublished material acquired from defunct companies and paying comics creators among the lowest rates in the industry. Charlton was also the last of the American comics publishers still operating to raise its cover prices from ten cents to 12 cents in 1962.


title: Charlton Comics

text: It was unique among comic book companies in that it controlled all areas of publishing – from editorial to printing to distribution – rather than working with outside printers and distributors as did most other publishers. It did so under one roof at its Derby headquarters.


title: Charlton Comics

text: The company was formed by John Santangelo Sr. and Ed Levy in 1940 as T.W.O. Charles Company, named after the co-founders' two sons, both named Charles, and became Charlton Publications in 1945.


title: Charlton Comics

text: In 1931, Italian immigrant John Santangelo Sr., a bricklayer who had started a construction business in White Plains, New York, five years earlier, began what became a highly successful business publishing song-lyric magazines out of nearby Yonkers, New York. Operating in violation of copyright laws, however, he was sentenced in 1934 to a year and a day at New Haven County Jail in New Haven, Connecticut, near Derby, Connecticut, where he and his wife by then lived. In jail, he met Waterbury, Connecticut, attorney Ed Levy, with whom he began legitimate publishing in 1935, acquiring permissions to reproduce lyrics in such magazines as "Hit Parade" and "Big Song Magazine". Santangelo and Levy opened a printing plant in Waterbury the following year, and in 1940 founded the T.W.O. Charles Company, eventually moving its headquarters to Derby. Charlton purchased the company Song Lyrics, Inc., which published "Song Hits" magazine and was owned by Lyle Engel in 1949.


title: Charlton Comics

text: After deciding to publish comics in order to keep their presses active, the company's first comic book was "Yellowjacket", an anthology of superhero and horror stories launched September 1944 under the imprint Frank Comunale Publications, with Ed Levy listed as publisher. "Zoo Funnies" was published under the imprint Children Comics Publishing; "Jack in the Box", under Frank Comunale; and "TNT Comics", under Charles Publishing Co.. Another imprint was Frank Publications.


title: Charlton Comics

text: Following the adoption of the Charlton Comics name in 1946, the company over the next five years acquired material from freelance editor and comics packager Al Fago (brother of former Timely Comics editor Vincent Fago). Charlton additionally published "Merry Comics", "Cowboy Western", the Western title "Tim McCoy", and "Pictorial Love Stories".


title: Charlton Comics

text: In 1951, when Al Fago began as an in-house editor, Charlton hired a staff of artists that included its future managing editor, Dick Giordano. Others (staff or freelance) who would eventually work with Charlton included; Vince Alascia, Jon D'Agostino, Sam Glanzman, Rocco "Rocke" Mastroserio, Bill Molno, Charles Nicholas and Sal Trapani. The primary writer was the remarkably prolific Joe Gill.


title: Charlton Comics

text: The company began a wide expansion of its comics line, which would include notoriously gory horror comics (the principal title being Steve Ditko's "The Thing!"). In 1954–55, it acquired a stable of comic book properties from the defunct Superior Comics, Mainline Publications, St. John Publications, and most significantly, Fawcett Publications, which was shutting down its Fawcett Comics division. Charlton continued publishing two of Fawcett's horror books—"This Magazine Is Haunted" and "Strange Suspense Stories"—initially using unpublished material from Fawcett's inventory. Artistic chores were then handed to Ditko, whose moody, individualistic touch came to dominate Charlton's supernatural line. Beset by the circulation slump that swept the industry towards the end of the 1950s, "Haunted" struggled for another two years, published bi-monthly until May 1958. "Strange Suspense Stories" ran longer, lasting well into the 1960s before "giving up the ghost" in 1965.


title: Charlton Comics

text: Charlton published a wide line of romance titles, particularly after it acquired the Fawcett line, which included the romance comics "Sweethearts", "Romantic Secrets", and "Romantic Story". "Sweethearts" was the comic world's first monthly romance title (debuting in 1948), and Charlton continued publishing it until 1973. Charlton had launched its first original romance title in 1951, "True Life Secrets", but that series only lasted until 1956. Charlton also picked up a number of Western titles from the defunct Fawcett Comics line, including "Gabby Hayes Western", "Lash LaRue Western", "Monte Hale Western", "Rocky Lane Western".


title: Charlton Comics

text: Seeking to save money on second-class postage permits, Charlton, like many comic book publishers of the era, frequently changed the titles of their comics, rather than start new ones at #1. Notable examples of this practice include the titles "Billy the Kid" (originally "Masked Raider"), "Blue Beetle" vol. 2 (originally "The Thing!"), "Blue Beetle" vol. 3 (originally "Unusual Tales"), "Fightin' Air Force" (originally "Never Again"), "Fightin' Army" (originally "Soldier and Marine Comics"), "Fightin' Marines" (originally "The Texan"), "Fightin' Navy" (originally "Don Winslow of the Navy"), "Ghostly Haunts" (originally "Ghost Manor"), "Ghostly Tales" (originally "Blue Beetle" vol. 3), "I Love You" (originally "In Love"), and "Sweethearts" (originally Fawcett's "Captain Midnight").


title: Charlton Comics

text: Al Fago left in the mid-1950s, and was succeeded by his assistant, Pat Masulli, who remained in the position for ten years. Masulli oversaw a plethora of new romance titles, including the long-running "I Love You", "Sweetheart Diary", "Brides in Love", "My Secret Life", and "Just Married"; and the teen-oriented romance comics "Teen-Age Love", "Teen Confessions", and "Teen-Age Confidential Confessions".


title: Charlton Comics

text: Superheroes were a minor part of the company. At the beginning, Charlton's main characters were Yellowjacket, not to be confused with the later Marvel character, and Diana the Huntress. In the mid-1950s, Charlton briefly published a "Blue Beetle" title with new and reprinted stories, and in 1956, several short-lived titles written by Superman co-creator Jerry Siegel, such as "Mr. Muscles", "Zaza the Mystic", and "Nature Boy" (the latter with artist Mastroserio).


title: Charlton Comics

text: The company's most noteworthy period was during the "silver age" of comic books, which had begun with DC Comics' successful revival of superheroes in 1956. In March 1960, Charlton's science fiction anthology title "Space Adventures" introduced Captain Atom, by Gill and the future co-creator of Marvel Comics' Spider-Man, Steve Ditko. (After the mid-1980s demise of Charlton, Captain Atom would go on to become a stalwart of the DC stable, as would Blue Beetle, the old Fox Comics superhero revived by Gill and artists Bill Fraccio and Tony Tallarico as a campy, comedic character in "Blue Beetle" #1 [June 1964].)


title: Charlton Comics

text: Charlton also had moderate success with Son of Vulcan, its answer to Marvel's Thor, in "Mysteries of Unexplored Worlds" #46 (May 1965).


title: Charlton Comics

text: During the Silver Age, Charlton, like Marvel and DC, published war comics. Notable titles included the "Fightin'" line of "Fightin' Air Force", "Fightin' Army", "Fightin' Marines", and "Fightin' Navy"; the "Attack" line of "Army Attack" and "Submarine Attack"; "Battlefield Action"; "D-Day", "U.S. Air Force Comics", and "War Heroes". Though primarily anthologies of stories about 20th-century warfare, they included a small number of recurring characters and features, including "The American Eagle", "Shotgun Harker and the Chicken", "The Devil's Brigade", "The Iron Corporal" and "The Lonely War of Capt. Willy Schultz". "Army War Heroes" and "Marine War Heroes" depicted stories based on actual Medal of Honor recipients.


title: Charlton Comics

text: Charlton threw itself into the resurgent horror comics genre during this period with such titles as "Ghostly Tales", "The Many Ghosts of Doctor Graves", and "Ghost Manor". It also created a pair of identical horror-movie magazines: "Horror Monsters" (1961–1964) and "Mad Monsters" (1961–1965). Additionally, Charlton produced comics based on monsters featured in motion pictures such as "Konga", "Gorgo" and "Reptilicus".


title: Charlton Comics

text: Charlton continued its commitment to romance comics with such new titles as "Career Girl Romances", "Hollywood Romances" (later to change its name to "For Lovers Only"), and "Time for Love".


title: Charlton Comics

text: In 1965, Charlton revived the Captain Atom character in "Strange Suspense Stories" numbers 75, 76 and 77, reprinting the Steve Ditko illustrated stories which had originally appeared in "Space Adventures" in the early 1960s. Retitling the comic, "Captain Atom" Volume 2 #78 (cover dated Dec. 1965), Charlton began publishing newly created stories by Ditko of the superhero. In 1967, Ditko stopped working at Marvel and returned to Charlton full-time. After his celebrated stint at Marvel, he had grown disenchanted with that company and his Spider-Man collaborator, writer-editor Stan Lee. Having the hugely popular Ditko back helped prompt Charlton editor Giordano to introduce the company's "Action Hero" superhero line, with characters including Captain Atom; Ditko's the Question; Gill and artist Pat Boyette's The Peacemaker; Gill and company art director Frank McLaughlin's Judomaster; Pete Morisi's "Peter Cannon... Thunderbolt"; and Ditko's new "Ted Kord" version of the Blue Beetle. The company also developed a reputation as a place for new talent to break into comics; examples include Jim Aparo, Dennis O'Neil and Sam Grainger. As well, Charlton in the late 1960s published some of the first manga in America, in "Ghost Manor" and other titles (thanks to artist Sanho Kim), and artist Wayne Howard became the industry's first known cover-credited series creator, with the horror-anthology "Midnight Tales" blurbing "Created by Wayne Howard" on each issue—"a declaration perhaps unique in the industry at the time".


title: Charlton Comics

text: Yet by the end of 1967, Charlton's superhero titles had been canceled, and licensed properties had become the company's staples, particularly cartoon characters from Hanna-Barbera ("The Flintstones", "The Jetsons", "Top Cat", , others). Charlton took over publication of a number of King Features Syndicate characters from that company's short-lived King Comics, including "Beetle Bailey", "Blondie Comics", "Flash Gordon", "Jungle Jim", "The Phantom", and "Popeye". Charlton also published "Bullwinkle and Rocky", and "Hoppity Hooper", based on Jay Ward Productions' "Hoppity Hooper", and "Rocky and His Friends/The Bullwinkle Show".


title: Charlton Comics

text: Charlton dabbled occasionally in adaptations of live-action TV comedies. The most successful was "My Little Margie", based on the 1952-55 network series starring Gale Storm; the Charlton version ran for a full 10 years (1954-64, 54 issues) and inspired two spinoffs, "My Little Margie's Boy Friends" (1955-58, 11 issues) and "My Little Margie's Fashions" (1959, five issues). "Abbott and Costello", debuting in 1968, was based on the Abbott and Costello television episodes of 1952-54 and ran for 22 issues. "Hee Haw", a remarkably faithful rendition of the current CBS-TV series, bowed in 1970 but ran for only seven issues. Both the "Abbott and Costello" and "Hee Haw" comics were discontinued in the summer of 1971, although Charlton's "Hee Haw" was revamped for general audiences as a 50-cent magazine, printed in black-and-white with cast photos and jokes supplemented by advertising. The last of the comedy vehicles was "The Partridge Family", based on the current ABC-TV sitcom; launched in 1971, the comic book ran for 21 issues until it was canceled in 1973.


title: Charlton Comics

text: Nicola Cuti made creative improvements to Charlton's line in the early 1970s, which had been referred to as comics' 'Bronze Age' during which he worked as assistant editor under George Wildman, who was occupied primarily with administrative duties. Cuti brought Mike Zeck, among others, into Charlton's roster of artists, and his writing enlivened the "Ghostly" titles, now including "Ghostly Haunts". Other Bronze Age Charlton horror titles included "Haunted", "Midnight Tales", and "Scary Tales".


title: Charlton Comics

text: In 1973, Charlton debuted the gothic romance title "Haunted Love", but this same period saw the mass cancellation of almost all of Charlton's vast stable of traditional romance titles, including such long-running series as; "Sweethearts", "Romantic Secrets", "Romantic Story", "I Love You", "Teen-Age Love", "Just Married", and "Teen Confessions", all of which dated from the 1950s.


title: Charlton Comics

text: In the mid-1970s, there was a brief resurgence of talent, energized by Cuti, artist Joe Staton and the "CPL Gang" – a group of writer/artist comics fans including John Byrne, Roger Stern, Bob Layton, and Roger Slifer, who had all worked on the fanzine "CPL (Contemporary Pictorial Literature)". Charlton began publishing such new titles as "E-Man", "Midnight Tales" and "Doomsday + 1". The CPL Gang also produced an in-house fanzine called "Charlton Bullseye", which published, among other things, such commissioned but previously unpublished material as the company's last "Captain Atom" story. Also during this period, most of Charlton's titles began sporting painted covers.


title: Charlton Comics

text: Early in 1975, Cuti, already writing freelance for the company in addition to his staff duties, quit to write freelance exclusively for Charlton when its line expanded to include black-and-white magazines in addition to the King Features and Hanna-Barbera franchised titles. He was replaced by Bill Pearson, who became assistant editor after promoting Don Newton as the new "Phantom" artist and writing scripts for that title.


title: Charlton Comics

text: Charlton's black-and-white comics magazines were based upon current television series and aimed at older readers. One of these was "The Six Million Dollar Man" #1–7 (July 1976 – August 1977). Retailing for $1, it featured art by Neal Adams' studio, Continuity Associates, as well as some stories by veteran illustrators Jack Sparling and Win Mortimer. Also published in magazine form were adaptations of "The Six Million Dollar Man" spinoff "The Bionic Woman", "", and "Emergency!", as well as a comic based on teen heartthrob David Cassidy, then starring in the musical sitcom "The Partridge Family".


title: Charlton Comics

text: By 1976, however, most of these titles had been canceled, and most of the company's remaining titles went on hiatus during the period January to August 1977. Much of the new talent took the opportunity to move on to Marvel and DC.


title: Charlton Comics

text: By the 1980s, Charlton was in decline. The comic book industry was in a sales slump, struggling to reinvent a profitable distribution and retail system. Charlton's licensed titles lapsed, its aging presses were deteriorating towards uselessness, and the company did not have the resources to replace them. In 1981, there was yet another attempt at new material, with a comic book version of "Charlton Bullseye" serving as a new-talent showcase that actively solicited submissions by comic book fans, and an attempt at new Ditko-produced titles. A number of 1970s-era titles were also reprinted under the Modern Comics imprint and sold in bagged sets in department stores (in much the same way Gold Key Comics were published under the Whitman Comics moniker around the same time). None of these measures worked, and in 1984 Charlton Comics suspended publication.


title: Charlton Comics

text: In 1985, a final attempt at a revival was spearheaded by new editor T. C. Ford with a direct-market "Charlton Bullseye Special". But later that same year, Charlton Comics went out of business; Charlton Publications followed suit in 1991, and its building and presses were demolished in 1999.


title: Charlton Comics

text: Editor Robin Snyder oversaw the sale of some properties to their creators, though the bulk of the rights was purchased by Canadian entrepreneur Roger Broughton. He would produce several reprint titles under the company name of Avalon Communications and its imprint America's Comics Group (ACG for short, Broughton having also purchased the rights to the defunct American Comics Group properties), and announced plans to restart Charlton Comics. This did not occur beyond its publishing a number of reprints and changing his company name to "Charlton Media Group".


title: Charlton Comics

text: Most of Charlton's superhero characters were acquired in 1983 by DC Comics, where former Charlton editor Dick Giordano was then managing editor. These "Action Hero" characters were proposed to be used in the landmark "Watchmen" miniseries written by Alan Moore, but DC then chose to save the characters for other uses. Moore instead developed new characters loosely based on them. The Charlton characters were incorporated into DC's main superhero line, starting in the epic "Crisis on Infinite Earths" miniseries of 1985.


title: Charlton Comics

text: In 2014, comics writer Mort Todd founded a revival imprint named Charlton Neo, which relied heavily on crowdfunding, and printed stories featuring Charlton characters and titles not owned by DC. In May 2017, AC Comics announced that they had entered into an agreement to bring print versions of Charlton Neo's comics to the direct sales comic shop market, starting with "Charlton Arrow" #1 in September. "The Charlton Arrow", an anthology series featuring many Charlton characters, was the company's main product and only title sold in stores, but the company ran a number of other titles through mail-order and digital sales. In January 2018, citing poor sales and "a variety of financial calamities," Todd launched a GoFundMe campaign to "help save" the company.


title: Mistborn: The Hero of Ages

text: Mistborn: The Hero of Ages is an epic fantasy novel written by American author Brandon Sanderson. It was published on October 14, 2008, by Tor Books and is the third novel in the "Mistborn" trilogy. It is preceded by "" in 2007 and followed by "" in the "Mistborn: Era 2" series, "Wax and Wayne" in 2011.


title: Mistborn: The Hero of Ages

text: The Hero of Ages is the prophesied savior of the Terris people, foretold to find and give up the power at the Well of Ascension, in a selfless act to save the world from the Deepness. A thousand years before the fall of the Final Empire, the Terrisman Worldbringer Kwaan believed that he had found the Hero of Ages in Alendi, a blacksmith's son who rose to become the last ruler of Khlennium. However, as Alendi's quest for the Well continued, Kwaan discovered that the Terris prophecies had been altered by a mysterious force called Ruin, whose power was contained within the Well. If the Hero of Ages released the power as the prophecies claimed needed to be done, Ruin would be free to destroy the world. Kwaan betrayed Alendi, instructing his nephew Rashek to kill him. Rashek then claimed the power for himself, remaking the world and forming the Final Empire which he ruled as the immortal Lord Ruler. A thousand years later, the Mistborn Vin defeated the Lord Ruler and, tricked by the same prophecies, released the power from the Well of Ascension, freeing Ruin.


title: Mistborn: The Hero of Ages

text: Ruin wanted to destroy the world instantaneously but his power was too weak, as part of it had been taken and hidden by the opposing force, Preservation, long ago. Freedom from the Well of Ascension enabled Ruin to directly affect the world more, increasing ashfall from the ashmounts and summoning earthquakes to break the world apart; he could also influence people and control entire koloss armies. He used his thousand years of imprisonment to plot his escape and the subsequent destruction he would reap.


title: Mistborn: The Hero of Ages

text: The Lord Ruler, in preparation of such an event, created storage caches containing resources such as food and water in cave complexes beneath certain cities, each one providing directions to the next. As Vin and Elend struggle to consolidate the remaining outposts of humanity, they hunt the storage caches, seeking hints left by the Lord Ruler and the missing atium stash. As they journey from cache to cache, the world itself begins to crumble, ash spewing forth in greater quantities, while the mists claim more people. The last two major unconquered cities are Fadrex City, which has reverted to the Lord Ruler's old structure of mass oppression under the obligator Yomen, and Urteau, a rebel city where the Skaa are free, the nobility overpowered, and a former commoner titled the Citizen rules with increasing violence.


title: Mistborn: The Hero of Ages

text: Sazed tries to establish diplomatic relations with the people of Urteau, while continuing to struggle with trauma from the recent death of his beloved, the Terriswoman Keeper Tindwyl. He studies religions, but has lost his own faith and yearns to find a religion that makes sense to him. He and Breeze work with Spook (who has developed strange abilities) to try and help Elend secretly take over Urteau. Meanwhile, TenSoon the kandra is imprisoned and sentenced to death by the kandra elders, while still trying to convince them that the kandra prophecies of the world ending are now happening, and that they must work together with the humans to save the world.


title: Mistborn: The Hero of Ages

text: Vin and Elend try to conquer the city of Fadrex and discover more about how their world works; they discover strange patterns in the numbers of people dying after being exposed to the mists, as well as secrets regarding the art of Hemalurgy, which is used to create the koloss, the kandra, and the Inquisitors. Fearing that Ruin will discover their plans, they are unable to discuss their plans with each other. Yomen, the King of Fadrex City, captures Vin on an infiltration mission gone wrong. Elend, left without any choice, takes another koloss army under his control, but the last remnants of Preservation appear to him, warning him to not attack the city. Shortly later, Preservation finally dies. On the verge of the attack, Vin escapes, and Ruin reveals his ability to seize ultimate control over the koloss. Ruin turns the koloss against Elend and Yomen's human armies, but before he can destroy them, Vin leads Ruin's attention and armies away to Luthadel. There, Marsh and the remaining Steel Inquisitors (who are under Ruin's control) battle Vin. On the verge of her death, Marsh briefly reasserts control and removes Vin's earring (which is actually a Hemalurgic spike), allowing Vin to draw upon the true power of the mists, Preservation's power. Vin ascends to become Preservation, trapped with Ruin upon another plane of existence, watching the world.


title: Mistborn: The Hero of Ages

text: The kandra finally accept their doom, and Sazed finds his faith in the ancient Terris religion and the Hero of the Ages. Urteau is saved, at a great physical cost to Spook, who has discovered that Ruin was influencing him with Hemalurgy. Elend leads the last of humanity to the Kandra homeland, the Pits of Hathsin, where Ruin's power, or body, has been stored. Ruin has been fooling Vin and Elend into leading him to his body, which turns out to be the atium stash, hidden in the Kandra homeland all along. Surrounded and outnumbered, Elend realizes that the Mists have been snapping mistings, and that he has been provided with an army of atium mistings. He leads a desperate battle against the koloss, in vain. Marsh appears again and faces down Elend. Though Elend receives mystical aid from Vin, giving him unlimited metallic power, Marsh strikes Elend in the chest with an axe, which proves fatal. As he is dying, Elend reveals that his soldiers have burnt away all of Ruin's body, the atium, in battle, so now Ruin can never recover his missing power. Vin realizes that Preservation gave of himself to create mankind so that mankind would be able to manifest both Preservation's ability to create and Ruin's ability to destroy. Having both abilities within her, Vin attacks Ruin directly, killing herself/Preservation, but also destroying Ruin.


title: Mistborn: The Hero of Ages

text: Vin and many others thought that she was the Hero of Ages, but it is revealed to actually be the Terris Keeper Sazed. One major prophecy, "The Hero will bear the future of the world on his arms", referred to Sazed's Feruchemical copperminds on his arms. He uses the knowledge in these copperminds, along with the combined power of Preservation and Ruin, claimed from the fallen bodies of Vin and Ruin, to help reshape the world, re-aligning the sun and planets to stabilize the world, changing the red, volcanic ecology into a new paradise of blue skies, green foliage, gentle warming sun and rainbow flowers. Spook, Ham, Breeze, and the other survivors emerge to this newly reformed world, finding Vin and Elend's reformed but still lifeless bodies in a field of flowers. A thick tome is found, written by Sazed, explaining his role as the Hero of Ages, the history of Ruin and Preservation's conflict, and extensive knowledge about the Three Metallic Arts. A note is also left for Spook, revealing that Sazed had made him a Mistborn and healed the damages he had done to his own body over the course of the book, as well as the revelation that there are two metals which have yet to be discovered. Under Spook's leadership, they begin their mission of rebuilding society.


title: George Gipp

text: George Gipp (February 18, 1895 – December 14, 1920), nicknamed "The Gipper", was a college football player at the University of Notre Dame under head coach Knute Rockne. Gipp was selected as Notre Dame's first Walter Camp All-American, and played several positions, particularly halfback, quarterback, and punter.


title: George Gipp

text: Gipp died at age 25 of a streptococcal throat infection and pneumonia, three weeks after a victory over Northwestern in his senior season, and was the subject of Rockne's "Win just one for the Gipper" speech. In the 1940 film "Knute Rockne, All American", he was portrayed by Ronald Reagan.


title: George Gipp

text: Born and raised in Laurium, Michigan, on the Keweenaw Peninsula in the Upper Peninsula, Gipp entered Notre Dame intending to play baseball for the Fighting Irish. While on campus, he was recruited by Rockne for the football team, despite having no experience in organized football.


title: George Gipp

text: During his Notre Dame career, Gipp led the Irish in rushing and passing each of his last three seasons (1918, 1919, and 1920). His career mark of 2,341 rushing yards lasted over fifty years, until Jerome Heavens broke it Gipp was also an ideal handler of the forward and threw for 1,789


title: George Gipp

text: He scored 21 career touchdowns, averaged 38 yards a punt, and gathered five interceptions as well as 14 yards per punt return and 22 yards per kick return in four seasons Gipp is still Notre Dame's all-time leader in average yards per rush for a season (8.1), career average yards per play of total offense (9.37), and career average yards per game of total offense (128.4).


title: George Gipp

text: Gipp died December 14, 1920, two weeks after being elected Notre Dame's first All-American by Walter Camp, and second consensus All-American (after Gus Dorais).


title: George Gipp

text: A frequently told but probably apocryphal story of Gipp's death begins when he returned to Notre Dame's campus after curfew from a night out. Unable to gain entrance to his residence, Gipp went to the rear door of Washington Hall, the campus' theatre building. He was a steward for the building and knew the rear door was often unlocked. He usually spent such nights in the hall. On that night, however, the door was locked, and Gipp was forced to sleep outside. By the morning, he had contracted pneumonia and eventually died from a related infection.


title: George Gipp

text: It is more likely that Gipp contracted strep throat and pneumonia while giving punting lessons after his final game, November 20 against Northwestern. Since antibiotics were not available in the 1920s, treatment options for such infections were limited.


title: George Gipp

text: Gipp's hometown of Laurium built a memorial in his honor; he is buried in Lake View Cemetery near West Tamarack, Michigan.


title: George Gipp

text: It was on his hospital bed that he is said to have delivered the "win just one for the Gipper" line. He apparently said this line to the full quotation from which the line is derived is:


title: George Gipp

text: Rockne used the story of Gipp, along with this deathbed line that he attributed to Gipp, to rally his team to a upset of the previously undefeated Army team in 1928, with Jack Chevigny scoring the "that's one for the Gipper" tying touchdown at Yankee Stadium. Chevigny was later killed in action in World War II at Iwo Jima.


title: George Gipp

text: The phrase "Win one for the Gipper" was later used as a political slogan by Ronald Reagan, who in 1940 portrayed Gipp in "Knute Rockne, All American" and was often referred to as "The Gipper". At the Republican National Convention in 1988 in New Orleans, he told Vice President Bush, "George, go out there and win one for the Gipper." The term was also used by President George W. Bush at the 2004 convention in New York City, when he honored the recently deceased President Reagan by stating, "this time we can truly win one for the Gipper." The Republicans won both presidential elections.


title: George Gipp

text: On October 4, 2007, Gipp's body was exhumed for DNA testing to determine if he had fathered a child out of wedlock with an 18-year-old high school student. The right femur was removed and the rest of the remains were reburied the same day. A sports author who was present at the exhumation said it was requested by Rick Frueh, the grandson of one of Gipp's sisters.


title: George Gipp

text: The tests showed that he was not the father of the child who was born within days of Gipp's Other Gipp relatives claimed in a subsequent lawsuit that the exhumation was conducted in an improper manner and under questionable circumstances. The lawsuit was subsequently


title: George Gipp

text: In 2002, the NCAA published "NCAA Football's Finest," researched and compiled by the NCAA Statistics Service. For Gipp they published the following statistics:


title: Drag show

text: Typically, a drag show involves performers singing or lip-synching to songs while performing a pre-planned pantomime or dancing. There might also be some comedy, skits, and audience interaction. The performers often don elaborate costumes and makeup, and sometimes dress to imitate various famous opposite sex singers or personalities. And some events are centered around drag, such as Southern Decadence where the majority of festivities are led by the Grand Marshals, who are traditionally drag queens.


title: Drag show

text: Instances of drag have been recorded well before drag shows began. There have been independent examples of drag in England and China in the 1500s. Since women were not allowed to participate in drama or theater, men impersonated women when acting on stage. In the Victorian period English actresses impersonated men in theater, and in America actresses like Anne Hindle also impersonated men in her performances. She had a low voice and shaved regularly her facial hair to cause it to form a stubble. The impersonation of the opposite sex was popular in theater and film until 1933 when the Hollywood Motion Picture Production Code was passed. This law or code was aimed at eliminating what it saw as perversion and disallowed men impersonating women in film, temporarily ending the era of male impersonation in film and theater.


title: Drag show

text: The first known drag "balls" in the United States were in Harlem in the 1920s, at the Rockland Palace. These shows featured extravagant performances of gays and lesbians impersonating the opposite sex and competing against one another in fashion shows. Harlem drag balls primarily had people of color. White people were not excluded but did not typically participate. Drag balls were social events that brought people together who were on the margins of society and they often had to meet in secret.


title: Drag show

text: Women of the Harlem Renaissance like Gladys Bentley, a prominent Blues singer, regularly wore tuxedos and dressed in men's clothing while performing. Butch African American women constructed their own forms of masculinity inside and outside of Blues performances which set the stage for future performers in drag. It was not until about 50 years later that the term drag king was coined and performances started popping up across the United States. According to Elizabeth Ashburn, "A drag king is anyone, regardless of gender or sexual preference or orientation, who consciously makes a performance of masculinity." Therefore, drag performers of the drag king scene typically identify as women, but some may be cisgender men or transgender men.


title: Drag show

text: During World War II, parody drag shows were also a regular kind of entertainment for soldiers who dressed up as humorous-looking women and put on shows for each other.


title: Drag show

text: Doc Benner, and Danny Brown produced the show which started in Miami, Florida, at a gay bar known as Club Jewel Box. This show would go on to set the stage for the touring drag show known as the Jewel Box Revue. The Jewel Box Revue was the longest running drag show that performed from the 1940s until the 1970s across the United States. They had at least ten specific performances in their repertoire, which was helpful for shows that ran for longer periods of time at the same place. The show had their own music and dances that were composed and choreographed for performers, they also did comedy sketches and some stand-up performances. The revue was made up of a diverse group that included African Americans, Latinos, Native Americans, and whites, which was unusual for the times before the Civil Rights Movement.


title: Drag show

text: Many of the venues they performed at were part of the "chitlin' circuit", the Howard Theatre (Washington, D.C.), the Baltimore-Royal Theatre, Uptown Theatre (Philadelphia) and the Regal Theater in Chicago. In 1959 they began performing at The Apollo Theater in New York City and it was always a full house when they came to town.


title: Drag show

text: In the 1960s laws and regulations were put in place against cross-dressing and the Jewel Box Revue slowed down a bit. Although places like Los Angeles had bans in place they were still allowed to play at certain theaters. Ultimately the laws and regulations against cross-dressing made it difficult for the Jewel Box Revue to perform.


title: Drag show

text: In 1975, the Jewel Box Revue performed for the last time in a production at the Bijou Theater in New York City.


title: Drag show

text: In 1955 the Pearl Box Revue began its performances in New York City. Pearl Box Revue was an all Black drag show that ran for twenty seven years until 1982. Dorian Corey was a performer in the Pearl Box Revue and also one of the drag queens in the documentary by Jennie Livingston known as "Paris is Burning."


title: Drag show

text: Disposable Boy Toys (DBT) were a drag king group out of Santa Barbara, California. The group was started in May 2000 and had 31 members, mostly white, queer and transgender, and were a feminist collective. Their performances were centered on dismantling racism, sexism, gender binaries, ideal bodies and even militarism and they mostly performed in queer spaces or progressive spaces for fundraising and marches. Lip synching and dancing were regular components of their shows. DBT was known for performing at benefits to raise money for political and community causes.


title: Drag show

text: DBT disbanded in August 2004, and although they did not officially break up they never performed together again.


title: Drag show

text: "After Dark" was a Swedish group founded in 1976 which performed for over 40 years, mostly in Sweden, but intermittently also in the United States and Spain.


title: Drag show

text: Provincetown, Massachusetts, is home to some of the most famous drag performers and in the summers months there are several performances on any given night. On July 24, 2018, Provincetown was home to the first ever Drag Camp, a camp for drag performers to hone their skills and perform for live audiences. The camp lasted for two weeks (until August 4, 2018) and showcased famous drag performers. Jinkx Monsoon, Peaches Christ, and Raja were some of the most famous drag performers who attended Drag Camp and had their own workshops sessions on how to apply makeup, or comedic performance, amongst many others. The drag performances in Provincetown, also known as Ptown, are legendary, hence why Drag Camp landed there.


title: Drag show

text: A drag brunch is a type of drag show in which drag kings and drag queens perform for an audience while the audience is served typical brunch foods and drinks. The events feature dance, song and comedy performances.


title: Drag show

text: Although typically held at LGBTQ bars and nightclubs, restaurants have also become a popular site for drag brunches. The practice is especially popular in urban centers with large gay populations, such as cities like New York City, Miami, Atlanta, Las Vegas, Quebec, and New Orleans. Drag historian and New York University professor, Joe E. Jeffreys, believes that the drag brunch's rise in popularity has been due to LGBTQ venues that arose between the 1950s and 1990s, such as Lucky Cheng's, Lips NYC, and Club 82. In an article titled "The Importance of Drag Brunch in NYC", Jefferys described how these venues have the ability to expose new audiences to drag performance. "[People] are able to sit at drag brunch and have a lovely spinach frittata and Bloody Mary while learning this lesson through observation. They start to understand that gender and drag aren't these scary things," said Jeffreys. “It’s fun and festive like brunch can be.”


title: Drag show

text: Gospel-themed drag brunches have been staged across the United States. The drag venue Lips first started gospel drag brunches in Fort Lauderdale, Florida in 2007. Other places, such as San Antonio, Texas, have also seen a rise in gospel drag brunches. In addition to food, drinks, and the usual performances one would expect to see at a drag brunch, gospel drag brunches also feature performers in choir robes doing renditions of classic gospel songs.


title: Drag show

text: Drag shows have become more popular with the documentary "Paris is Burning," and shows like "RuPaul's Drag Race." Films such as "The Birdcage" and "Too Wong Fu, Thanks for Everything Julie Newmar" have popularized drag culture too. These films along with "RuPaul's Drag Race" have a large heterosexual fanbase. Both the stage musical and film version of A Chorus Line reference drag shows, with the character of Paul relating his experiences as a performer with the touring company of the Jewel Box Revue.


title: Lithium hydride

text: Lithium hydride is an inorganic compound with the formula LiH. This alkali metal hydride is a colorless solid, although commercial samples are grey. Characteristic of a salt-like (ionic) hydride, it has a high melting point, and it is not soluble but reactive with all protic organic solvents. It is soluble and nonreactive with certain molten salts such as lithium fluoride, lithium borohydride, and sodium hydride. With a molar mass of 7.95 g/mol, it is the lightest ionic compound.


title: Lithium hydride

text: LiH is a diamagnetic and an ionic conductor with a conductivity gradually increasing from at 443 °C to 0.18 Ωcm at 754 °C; there is no discontinuity in this increase through the melting point. The dielectric constant of LiH decreases from 13.0 (static, low frequencies) to 3.6 (visible-light frequencies). LiH is a soft material with a Mohs hardness of 3.5. Its compressive creep (per 100 hours) rapidly increases from < 1% at 350 °C to > 100% at 475 °C, meaning that LiH can't provide mechanical support when heated.


title: Lithium hydride

text: The thermal conductivity of LiH decreases with temperature and depends on morphology: the corresponding values are 0.125 W/(cm·K) for crystals and 0.0695 W/(cm·K) for compacts at 50 °C, and 0.036 W/(cm·K) for crystals and 0.0432 W/(cm·K) for compacts at 500 °C. The linear thermal expansion coefficient is 4.2/°C at room temperature.


title: Lithium hydride

text: This reaction is especially rapid at temperatures above 600 °C. Addition of 0.001–0.003% carbon, and/or increasing temperature and/or pressure, increases the yield up to 98% at 2-hour residence time. However, the reaction proceeds at temperatures as low as 29 °C. The yield is 60% at 99 °C and 85% at 125 °C, and the rate depends significantly on the surface condition of LiH.


title: Lithium hydride

text: Less common ways of LiH synthesis include thermal decomposition of lithium aluminium hydride (200 °C), lithium borohydride (300 °C), "n"-butyllithium (150 °C), or ethyllithium (120 °C), as well as several reactions involving lithium compounds of low stability and available hydrogen content.


title: Lithium hydride

text: Chemical reactions yield LiH in the form of lumped powder, which can be compressed into pellets without a binder. More complex shapes can be produced by casting from the melt. Large single crystals (about 80 mm long and 16 mm in diameter) can be then grown from molten LiH powder in hydrogen atmosphere by the Bridgman–Stockbarger technique. They often have bluish color owing to the presence of colloidal Li. This color can be removed by post-growth annealing at lower temperatures (~550 °C) and lower thermal gradients. Major impurities in these crystals are Na (20–200 ppm), O (10–100 ppm), Mg (0.5–6 ppm), Fe (0.5-2 ppm) and Cu (0.5-2 ppm).


title: Lithium hydride

text: Bulk cold-pressed LiH parts can be easily machined using standard techniques and tools to micrometer precision. However, cast LiH is brittle and easily cracks during processing.


title: Lithium hydride

text: A more energy efficient route to form lithium hydride powder is by ball milling lithium metal under high hydrogen pressure. A problem with this method is the cold welding of lithium metal due to the high ductility. By adding small amounts of lithium hydride powder the cold welding can be avoided.


title: Lithium hydride

text: LiH powder reacts rapidly with air of low humidity, forming LiOH, and . In moist air the powder ignites spontaneously, forming a mixture of products including some nitrogenous compounds. The lump material reacts with humid air, forming a superficial coating, which is a viscous fluid. This inhibits further reaction, although the appearance of a film of "tarnish" is quite evident. Little or no nitride is formed on exposure to humid air. The lump material, contained in a metal dish, may be heated in air to slightly below 200 °C without igniting, although it ignites readily when touched by an open flame. The surface condition of LiH, presence of oxides on the metal dish, etc., have a considerable effect on the ignition temperature. Dry oxygen does not react with crystalline LiH unless heated strongly, when an almost explosive combustion occurs.


title: Lithium hydride

text: LiH is less reactive with water than Li and thus is a much less powerful reducing agent for water, alcohols, and other media containing reducible solutes. This is true for all the binary saline hydrides.


title: Lithium hydride

text: LiH pellets slowly expand in moist air, forming LiOH; however, the expansion rate is below 10% within 24 hours in a pressure of 2 Torr of water vapor. If moist air contains carbon dioxide, then the product is lithium carbonate. LiH reacts with ammonia, slowly at room temperature, but the reaction accelerates significantly above 300 °C. LiH reacts slowly with higher alcohols and phenols, but vigorously with lower alcohols.


title: Lithium hydride

text: LiH reacts with acetylene to form lithium carbide and hydrogen. With anhydrous organic acids, phenols and acid anhydrides, LiH reacts slowly, producing hydrogen gas and the lithium salt of the acid. With water-containing acids, LiH reacts faster than with water. Many reactions of LiH with oxygen-containing species yield LiOH, which in turn irreversibly reacts with LiH at temperatures above 300 °C:


title: Lithium hydride

text: Lithium hydride is rather unreactive at moderate temperatures with or . It is, therefore, used in the synthesis of other useful hydrides, e.g.,


title: Lithium hydride

text: With a hydrogen content in proportion to its mass three times that of NaH, LiH has the highest hydrogen content of any hydride. LiH is periodically of interest for hydrogen storage, but applications have been thwarted by its stability to decomposition. Thus removal of requires temperatures above the 700 °C used for its synthesis, such temperatures are expensive to create and maintain. The compound was once tested as a fuel component in a model rocket.


title: Lithium hydride

text: LiH is not usually a hydride-reducing agent, except in the synthesis of hydrides of certain metalloids. For example, silane is produced in the reaction of lithium hydride and silicon tetrachloride by the Sundermeyer process:


title: Lithium hydride

text: Lithium hydride is used in the production of a variety of reagents for organic synthesis, such as lithium aluminium hydride () and lithium borohydride (). Triethylborane reacts to give superhydride ().


title: Lithium hydride

text: Lithium hydride (LiH) is sometimes a desirable material for the shielding of nuclear reactors, with the isotope lithium-6 (Li-6), and it can be fabricated by casting.


title: Lithium hydride

text: Lithium deuteride, in the form of lithium-7 deuteride ( or LiD), is a good moderator for nuclear reactors, because deuterium (H or D) has a lower neutron absorption cross-section than ordinary hydrogen or protium (H) does, and the cross-section for Li is also low, decreasing the absorption of neutrons in a reactor. Li is preferred for a moderator because it has a lower neutron capture cross-section, and it also forms less tritium (H or T) under bombardment with neutrons.


title: Lithium hydride

text: The corresponding lithium-6 deuteride ( or LiD) is the primary fusion fuel in thermonuclear weapons. In hydrogen warheads of the Teller–Ulam design, a nuclear fission trigger explodes to heat and compress the lithium-6 deuteride, and to bombard the LiD with neutrons to produce tritium in an exothermic reaction:


title: Lithium hydride

text: The deuterium and tritium then fuse to produce helium, one neutron, and 17.59 MeV of free energy in the form of gamma rays, kinetic energy, etc. The helium is an inert byproduct.


title: Lithium hydride

text: Before the Castle Bravo nuclear weapons test in 1954, it was thought that only the less common isotope Li would breed tritium when struck with fast neutrons. The Castle Bravo test showed (accidentally) that the more plentiful Li also does so under extreme conditions, albeit by an endothermic reaction.


title: Lithium hydride

text: LiH reacts violently with water to give hydrogen gas and LiOH, which is caustic. Consequently, LiH dust can explode in humid air, or even in dry air due to static electricity. At concentrations of in air the dust is extremely irritating to the mucous membranes and skin and may cause an allergic reaction. Because of the irritation, LiH is normally rejected rather than accumulated by the body.


title: Lithium hydride

text: Some lithium salts, which can be produced in LiH reactions, are toxic. LiH fire should not be extinguished using carbon dioxide, carbon tetrachloride, or aqueous fire extinguishers; it should be smothered by covering with a metal object or graphite or dolomite powder. Sand is less suitable, as it can explode when mixed with burning LiH, especially if not dry. LiH is normally transported in oil, using containers made of ceramic, certain plastics or steel, and is handled in an atmosphere of dry argon or helium. Nitrogen can be used, but not at elevated temperatures, as it reacts with lithium. LiH normally contains some metallic lithium, which corrodes steel or silica containers at elevated temperatures.


title: Darling (1965 film)

text: Darling is a 1965 British romantic drama film directed by John Schlesinger from a screenplay written by Frederic Raphael. It stars Julie Christie as Diana Scott, a young successful model and actress in Swinging London, toying with the affections of two older men, played by Dirk Bogarde and Laurence Harvey. The film was shot on-location in London, Paris, Rome and Shepperton Studios by cinematographer Kenneth Higgins, with a musical score composed by Sir John Dankworth.


title: Darling (1965 film)

text: The film premiered at the 4th Moscow International Film Festival on July 16, 1965, and was released theatrically in the United Kingdom on September 16 by Anglo-Amalgamated. It became a critical and commercial success, grossing $4.5 million and received five nominations at the 38th Academy Awards, including Best Picture, and won in three categories: Best Actress (for Christie), Best Original Screenplay, and Best Costume Design. It also won four BAFTA Awards: Best British Actor (Bogarde), Best British Actress (Christie), Best British Screenplay and Best Art Direction (Black-and-White).


title: Darling (1965 film)

text: Diana Scott is a beautiful, bored young model married to Tony Bridges. One day, Diana meets Robert Gold, a literary interviewer/director for television arts programs, by chance when she is spotted on the street by his roving film crew and interviewed by him about young people's views on convention. Diana is invited to watch the final edit in the TV studio, and it's there that their relationship starts. After liaisons in bleak hotel rooms, they leave their spouses (and, in Robert's case, children) and move into an apartment.


title: Darling (1965 film)

text: As a couple, they become part of the fashionable London media/arts set. Initially, Diana is jealous when Robert sees his wife while visiting his children, but she quickly loses this attachment when she mixes with the males of the media, arts, and advertising scene, particularly Miles Brand, a powerful advertising executive for the Glass Corporation who gets her a part in a trashy thriller after she has sex with him. The bookish Robert prefers the quiet life; it is he who now becomes jealous, but increasingly detached, depressed and lonely.


title: Darling (1965 film)

text: Diana attends a high-class charity draw for world hunger for which she is the face. The event, adorned by giant images of African famine victims is juxtaposed with wealthy guests behaving decadently and gorging themselves with food. Diana later becomes pregnant and decides to have an abortion to sustain her career.


title: Darling (1965 film)

text: She flies to Paris with Miles for more jet-set sophistication. There she finds the wild party, beat music, strip dance mind game, and cross-dressing vaguely repellent, but slowly adjusts and holds her own, gaining the respect of the crowd when she taunts Miles during the game. On her return to London, Robert calls her a whore upon discovering her affair with Miles and leaves her, for which she is not emotionally prepared. Miles, then, casts her as "The Happiness Girl" in the Glass Corporation's advertising campaign for a chocolate firm.


title: Darling (1965 film)

text: Diana finds comfort in the company of gay photographer Malcolm who has created her new famous look. They go shopping, where she randomly decides to shoplift multiple items. On location at a palazzo near Rome, Diana smiles in her medieval/Renaissance costume and completes "The Happiness Girl" shoot. She is taken with the beauty of the building and the landscape, getting on well with the prince, Cesare, who owns the palazzo. With the friendly Malcolm, Diana decides to stay in Italy. They stay in a simple house by a small harbor in Capri, where Diana flirts half-heartedly with Catholicism. They are visited by Cesare, who arrives at a huge launch, invites them on board, and proposes to Diana. She politely declines his proposal, but Cesare leaves the offer open.


title: Darling (1965 film)

text: Diana returns to London, still living in the flat she shared with Robert, where she has a party with Miles and other assorted media characters. Robert comes by to visit Diana but sees that she's with Miles and departs. Soon disillusioned with Miles and the vacuous London jet set, Diana flirts with the Catholic Church again. Impulsively, she flies to Italy and marries the prince, which proves to be ill-fated. Though waited on hand and foot by the servants, she is almost immediately abandoned in the vast palazzo by Cesare, who visits Rome frequently.


title: Darling (1965 film)

text: Diana flees to London to visit Robert, who charms her into bed, making her believe they are ready for a stable, long-term relationship. However, in the morning, he tells her that he's leaving her and that he fooled her only as an act of revenge. He reserves a flight to Rome, packs her into his car, and takes her to Heathrow airport to send her back to her life as Princess Della Romita. At the airport, Diana is hounded by the press, who address her as Princess. She boards the plane to leave.


title: Darling (1965 film)

text: According to Richard Gregson, agent for John Schlesinger, the budget was around £300,000 and was entirely provided by Nat Cohen at Anglo-Amalgamated.


title: Darling (1965 film)

text: Shirley MacLaine originally was cast as Diana, but was replaced by Christie. Production on "Darling" commenced in August 1964 and wrapped in December.<ref name="Darling (1965) – Box office / business">Box office / business for "Darling" at the Internet Movie Database</ref> It was filmed on location in London, Paris, and Rome. The Romita palazzo was portrayed by the Medici villa in Poggio a Caiano. The final scene was shot at Heathrow Airport in London.


title: Darling (1965 film)

text: In 1971, "New York" magazine wrote of mod fashion and its wearers: "This new, "déclassé" English girl was epitomized by Julie Christie in "Darling"—amoral, rootless, emotionally immature, and apparently irresistible."


title: Darling (1965 film)

text: Despite receiving many awards at the time of release, the film later developed a mixed reputation. In his "New Biographical Dictionary of Film" entry on Schlesinger, David Thomson writes that the film "deserves a place in every archive to show how rapidly modishness withers. Beauty is central to the cinema and Schlesinger seems an unreliable judge of it, over-rating Christie and rarely getting close enough to the action to make a fruitful stylistic bond with it". "Leonard Maltin's Movie Guide" described it as a "trendy, influential '60s film – in flashy form and cynical content". Tony Rayns though, in the "Time Out Film Guide", is as damning as Thomson. For him, the film is a "leaden rehash of ideas from Godard, Antonioni and Bergman", although with nods to the "Royal Court school", which "now looks grotesquely pretentious and out of touch with the realities of the life-styles that it purports to represent."


title: Darling (1965 film)

text: On the review aggregator website Rotten Tomatoes, "Darling" holds an approval rating of 67% from 18 reviews, with an average rating of 7.1/10.


title: Darling (1965 film)

text: The film was a commercial success, grossing $12 million at the worldwide box office against a budget of only £400,000. It earned $4 million in theatrical rentals.


title: Darling (1965 film)

text: According to Richard Gregson, the film only earned £250,000 in the United Kingdom, but Nat Cohen sold the U.S. rights to Joe E. Levine for $900,000 and made a profit – and the film was more successful in the U.S.


title: Renal pelvis

text: The renal pelvis or pelvis of the kidney is the funnel-like dilated part of the ureter in the kidney. It is formed by the covnvergence of the major calyces, acting as a funnel for urine flowing from the major calyces to the ureter. It has a mucous membrane and is covered with transitional epithelium and an underlying lamina propria of loose-to-dense connective tissue.


title: Renal pelvis

text: The renal pelvis is situated within the renal sinus alongside the other structures of the renal sinus.


title: Renal pelvis

text: The renal pelvis is the location of several kinds of kidney cancer and is affected by infection in pyelonephritis.


title: Renal pelvis

text: The renal pelvis is the location of several kinds of kidney cancer and is affected by infection in pyelonephritis. A large "staghorn" kidney stone may block all or part of the renal pelvis.


title: Renal pelvis

text: The size of the renal pelvis plays a major role in the grading of hydronephrosis. Normally, the anteroposterior diameter of the renal pelvis is less than 4 mm in fetuses up to 32 weeks of gestational age and 7 mm afterwards. In adults, 13% of the normal population have a transverse pelvic diameter of over 10 mm.


title: Renal pelvis

text: Like the bony pelvis, the renal pelvis () gets its English name via New Latin from the older Latin word "pelvis", "basin", as in "wash basin". In both cases the name reflects the shape of the structure, and in the case of the renal pelvis, it also reflects the function. The name reflects that each renal pelvis collects urine from the calyces and funnels it into the ureter like a wash basin collects water and funnels it into a drain pipe. The renal pelvis is occasionally called the pyelum (from Greek πύελος "pýelos", "trough", ‘anything hollow’), and the combining form "pyelo-" denotes the renal pelvis ("pyelo-" is not to be confused with "pyo-"). The words "infundibulum" and "choana" are other words for funnel-shaped cavities (which medical English got from the Latin and Greek words for "funnel", respectively), and the renal pelvis is sometimes called the renal infundibulum. The form "*renal choana" is logical but is not used.


title: Bleecker Street

text: Bleecker Street is an east–west street in the New York City borough of Manhattan. It is most famous today as a Greenwich Village nightclub district. The street connects a neighborhood today popular for music venues and comedy, but which was once a major center for American bohemia. The street is named after the family name of Anthony Lispenard Bleecker, a banker, the father of Anthony Bleecker, a 19th-century writer, through whose family farm the street ran.


title: Bleecker Street

text: Bleecker Street connects Abingdon Square (the intersection of Eighth Avenue and Hudson Street in the West Village) to the Bowery and East Village.


title: Bleecker Street

text: Bleecker Street is named by and after the Bleecker family because the street ran through the family's farm. In 1808, Anthony Lispenard Bleecker and his wife deeded to the city a major portion of the land on which Bleecker Street sits.


title: Bleecker Street

text: Originally Bleecker Street extended from Bowery to Broadway, along the north side of the Bleecker farm, later as far west as Sixth Avenue. In 1829 it was joined with Herring Street, extending Bleecker Street northwest to Abingdon Square.


title: Bleecker Street

text: LeRoy Place is the former name of a block of Bleecker Street between Mercer and Greene Streets. This was where the first palatial "winged residences" were built. The effect was accomplished by making the central houses taller and closer to the street, while the other houses on the side were set back. The central buildings also had bigger, raised entrances and lantern-like roof projections. The houses were built by Isaac A. Pearson, on both sides of Bleecker Street. To set his project apart from the rest of the area, Pearson convinced the city to rename this block of the street after the prominent international trader Jacob LeRoy.


title: Bleecker Street

text: Bleecker Street is served by the at Bleecker Street/Broadway – Lafayette Street station. The serve the Christopher Street – Sheridan Square station one block north of Bleecker Street.


title: Bleecker Street

text: Traffic on the street is one-way, going southeast. In early December 2007, a bicycle lane was marked on the street.


title: Bleecker Street

text: In addition, there are several Federal architecture-style row houses at 7 to 13 and 21 to 25 Bleecker Street on easternmost block of Bleecker Street, in NoHo between Lafayette Street and the Bowery. 21 and 29 Bleecker Street were also once the home of the National Florence Crittenton Mission, providing a home for "fallen women". 21 Bleecker Street's entrance now bears the lettering "Florence Night Mission", described by "The New York Times" in 1883 as "a row of houses of the lowest character". The National Florence Crittenton Mission was an organization established in 1883 by Charles N. Crittenton. It attempted to reform prostitutes and unwed pregnant women through the creation of establishments where they were to live and learn skills.


title: Bleecker Street

text: The building at 58 Bleecker Street (formerly 64 Bleecker Street) was built in 1823 for James Roosevelt, great-grandfather of president Franklin Delano Roosevelt. It was there that Elizabeth Blackwell, America's first female doctor, established a clinic with her sister Emily.


title: Bleecker Street

text: Across the street from the former home of the National Florence Crittenton Mission is both the headquarters of Planned Parenthood, and the Catholic Sheen Center, immediately adjacent to it. Bleecker Street now features the Margaret Sanger Square, at the intersection with Mott Street. Bleecker Street was the original home of Sanger's Birth Control Clinical Research Bureau, operated from another building from 1930 to 1973. The street features in the 2020 drama film "Never Rarely Sometimes Always", written and directed by Eliza Hittman.


title: Claremont Institute

text: The Claremont Institute is a conservative think tank based in Upland, California. The institute was founded in 1979 by four students of Harry V. Jaffa. It produces the "Claremont Review of Books," "The American Mind", and other publications.


title: Claremont Institute

text: The institute was an early defender of Donald Trump. After Joe Biden won the 2020 election and Trump refused to concede while making claims of fraud, Claremont Institute senior fellow John Eastman aided Trump in his failed attempts to overturn the election results.


title: Claremont Institute

text: The institute was founded in 1979 by four students of Straussian political theorist Harry V. Jaffa, a professor emeritus at Claremont McKenna College and the Claremont Graduate University, although the institute has no affiliation with any of the Claremont Colleges. Under Jaffa and Larry P. Arnn, the institute became a leading Straussian-influenced conservative think tank, publishing on topics such as statesmanship, Lincoln scholarship and modern conservative issues.


title: Claremont Institute

text: Arnn served as its president from 1985 until 2000, when he became the twelfth president of Hillsdale College. Michael Pack was president from 2015 to 2017. Ryan Williams was named president in 2017.


title: Claremont Institute

text: The Claremont Institute publishes "The Claremont Review of Books", "The American Mind", "The American Story Podcast" and Claremont Books. The Washington, D.C., branch of the Claremont Institute, called the Center for the American Way of Life, opened in February 2021.


title: Claremont Institute

text: The Claremont Institute provides fellowships. Fellowships in the past have gone to prominent figures on the right such as Laura Ingraham, Ben Shapiro, Mark Levin, Mary Kissel, and Charles C. Johnson. The institute caused controversy by granting a fellowship in 2019 to the Pizzagate conspiracy theorist Jack Posobiec. "National Review" columnist Mona Charen wrote that "Claremont stands out for beclowning itself with this embrace of the smarmy underside of American politics." In 2020, Mark Joseph Stern of "Slate" magazine called the institute "a racist fever swamp with deep connections to the conspiratorial alt-right", citing Posobiec's fellowship and the publication of a 2020 essay by senior fellow John Eastman that questioned Kamala Harris' eligibility for the vice presidency. In 2022, the "American Mind" published an editorial by Raw Egg Nationalist, an author affiliated with neo-Nazi publishing house Antelope Hill.


title: Claremont Institute

text: The institute was an early defender of Donald Trump. "The" "Daily Beast" stated Claremont "arguably has done more than any other group to build a philosophical case for Trump’s brand of conservatism."


title: Claremont Institute

text: In September 2016 the institute's "Claremont Review of Books" published Michael Anton's "The Flight 93 Election" editorial. The editorial, written under a pseudonym, compared the prospect of conservatives letting Trump lose to Hillary Clinton in the 2016 presidential election with passengers not charging the cockpit of the United Airlines aircraft hijacked by Al-Qaeda. The article went viral and received widespread coverage across the political spectrum. Rush Limbaugh devoted a day of his radio series to reading the entire essay. Anton would go on to serve under President Trump as spokesman for the National Security Council, holding the position from 2017 to 2018.


title: Claremont Institute

text: The institute became a significant player in the Trump administration, adding a Washington office and contributing ideas and personnel to the administration. In 2019, Trump awarded the Claremont Institute with a National Humanities Medal. In June 2020, former Claremont Institute president Michael Pack became head of the U.S. Agency for Global Media (USAGM) under Trump.


title: Claremont Institute

text: During the 2020 COVID-19 pandemic, the institute received between $350,000 and $1 million in federally backed small business loans from Chain Bridge Bank as part of the Paycheck Protection Program. The institute stated this would allow it to retain 29 jobs.


title: Claremont Institute

text: According to a November 4, 2021 "Vice" article, the actions of pro-Trump Claremont Institute leaderssenior fellows John Eastman, Brian Kennedy, Angelo Codevilla, and Michael Anton, as well as Ryan Williams, the institute's president, and Thomas Klingenstein, chairman of the boardculminated in the January 6 attack on the Capitol. Williams has stated that the institute's mission "is to save western civilization." "Vice" asserts that Codevilla, who frequently denounced the "ruling class," coined the term "cold civil war" in 2017. On January 5, using the hashtag #HoldTheLine, Claremont president emeritus Brian Kennedy tweeted from Capitol Hill: "We are in a constitutional crisis and also in a revolutionary moment...We must embrace the spirit of the American Revolution to stop this communist revolution." In early January 2021, along with Trump and other advisors, Eastman unsuccessfully attempted to persuade then-vice president Mike Pence to overturn the 2020 presidential election results. He then spoke at Trump's rally on January 6, 2021, before the attack on the Capitol. The details of Eastman's attempt, described in a book by journalists Bob Woodward and Robert Costa, made national headlines in September 2021.


title: Claremont Institute

text: Shortly afterward, the American Political Science Association canceled panels involving Eastman and Claremont at its 2021 conference. In April 2022 Thomas B. Edsall of the "New York Times" wrote in a guest essay that the Claremont Institute, as well as the institute's magazine "American Mind" and other publications, comprised the "substantial intellectual infrastructure that has buoyed the Trumpist right and its willingness to rupture moral codes and to discard traditional norms." An anonymous former fellow said Eastman's ideas are based on the doctrine of natural rights, which has been a key element of the institute's politics for many years. He said "That’s how Claremont goes from this quirky intellectual outfit to one of the main intellectual architects of trying to overthrow the republic." Senior fellow Charles Kesler, who believes Eastman's advice was wrong, said the institute is split between "some who continue to believe that the election was stolen and some who have denied that from the beginning."


title: Claremont Institute

text: In 2021, Claremont senior fellow Glenn Ellmers wrote a controversial essay in Claremont's "The American Mind" arguing that the United States had been destroyed by internal enemies and that a "counter-revolution" was necessary to defeat the majority of the people who "can no longer be considered fellow citizens”. According to Ellmers, "Most people living in the United States today—certainly more than half—are not Americans in any meaningful sense of the term."


title: Claremont Institute

text: Wiliams, the institute's president, said its mission is to "save Western civilization", particularly from the threat he said is posed by the progressive movement.


title: Claremont Institute

text: The Claremont Institute publishes the "Claremont Review of Books". The "CRB" is edited by Charles R. Kesler and features regular columns by Martha Bayles, Mark Helprin, Michael Anton and Spencer Klavan. The institute also publishes "The American Mind". Claremont Vice President of Education Matt Peterson serves as editor; and James Poulos is executive editor. The publication has featured essays by Newt Gingrich, Sen. Todd Young, Sen. Marco Rubio, Rep. Jim Banks, and Sen. Tom Cotton.


title: Juke joint

text: Juke joint (also jukejoint, jook house, jook, or juke) is the vernacular term for an informal establishment featuring music, dancing, gambling, and drinking, primarily operated by African Americans in the southeastern United States. A juke joint may also be called a "barrelhouse". The Jook was the first secular cultural arena to emerge among African American Freedmen.


title: Juke joint

text: Classic Jooks, found for example at rural crossroads, catered to the rural work force that began to emerge after the emancipation. Plantation workers and sharecroppers needed a place to relax and socialize following a hard week, particularly since they were barred from most white establishments by Jim Crow laws.


title: Juke joint

text: Set up on the outskirts of town, often in ramshackle, abandoned buildings or private houses — never in newly-constructed buildings — juke joints offered food, drink, dancing and gambling for weary workers. Owners made extra money selling groceries or moonshine to patrons, or providing cheap room and board.


title: Juke joint

text: The term "juke" is believed to come from the Gullah word "joog" or "jug", meaning rowdy or disorderly which itself is derived from the Wolof word "dzug" meaning to misconduct one's self.


title: Juke joint

text: The origins of juke joints may be the community rooms that were occasionally built on plantations to provide a place for Black people to socialize during slavery. This practice spread to the work camps such as sawmills, turpentine camps and lumber companies in the early twentieth century, which built barrel-houses and chock-houses to be used for drinking and gambling. Although uncommon in populated areas, such places were often seen as necessary to attract workers to sparsely populated areas lacking bars and other social outlets. Also, much like "on-base" officer's clubs, such "company"-owned joints allowed managers to keep an eye on their underlings; it also ensured that the employees' pay was coming back to the company. Constructed simply like a field hand's "shotgun"-style dwelling, these may have been the first juke joints.


title: Juke joint

text: During the Prohibition era, it became common to see squalid independent juke joints at highway crossings and railroad stops. These were almost never called "juke joints," but rather were called by names such as "Lone Star" or "Colored Cafe". They were often open only on weekends.


title: Juke joint

text: Juke joints may be considered the first "private space" for blacks. Paul Oliver writes that juke joints were "the last retreat, the final bastion for black people who want to get away from whites, and the pressures of the day." Jooks occurred on plantations, and classic juke joints found, for example, at rural crossroads began to emerge after the Emancipation Proclamation. At the beginning of the twentieth century, the fiddle was the most popular instrument for Southern musicians, white and black alike. The fiddle-based music that was played for slaves at their dances formed the foundation of much of what is now termed "old-timey" or "hillbilly" country music. These dances were often referred to at the time as jigs and reels; Elijah Ward notes that there were "terms routinely used for any dance that struck respectable people as wild or unrestrained, whether Irish or African." The banjo was popular before guitars became widely available in the 1890s.


title: Juke joint

text: Juke joint music began with the blues, then Black folk rags ("ragtime stuff" and "folk rags" are a catch-all term for older African American music) and then the boogie woogie dance music of the late 1880s or 1890s, which influenced the blues, barrel house, and the slow drag dance music of the rural South (moving to Chicago's Black rent-party circuit in the Great Migration), often "raucous and raunchy" good time secular music. Dance forms evolved from group dances to solo and couples dancing. Some Black people opposed the amorality of the raucous "jook crowd".


title: Juke joint

text: Until the advent of the Victrola, and juke boxes, at least one musician was required to provide music for dancing, but as many as three musicians would play in jooks. In larger cities like New Orleans, string trios or quartets were hired.


title: Juke joint

text: Paul Oliver, who tells of a visit to a Jook joint outside of Clarksdale some forty years ago and was the only white man there, describes juke joints of the time as, "unappealing, decrepit, crumbling shacks" that were often so small that only a few couples could Hully Gully. The outside yard was filled with trash. Inside they were "dusty" and "squalid" with the walls "stained to shoulder height".


title: Juke joint

text: In 1934, anthropologist Zora Neale Hurston made the first formal attempt to describe the juke joint and its cultural role, writing that "the Negro jooks...are primitive rural counterparts of resort night clubs, where turpentine workers take their evening relaxation deep in the pine forests." Jukes figure prominently in her studies of African American folklore.


title: Juke joint

text: Early figures of blues, including Robert Johnson, Son House, Charley Patton, and countless others, traveled the juke joint circuit, scraping out a living on tips and free meals. While musicians played, patrons enjoyed dances with long heritages in some parts of the African American community, such as the slow drag.


title: Juke joint

text: Many of the early and historic juke joints have closed over the past decades for a number of socio-economic reasons. Po' Monkey's, one of the last remaining rural jukes in the Mississippi Delta, closed in 2016 after the death of its owner. It began as a renovated sharecropper's shack which was probably originally built in the 1920s or so. Po' Monkey's featured live blues music and "Family Night" on Thursdays. Run by Willie "Po' Monkey" Seaberry until his death in 2016, the popular juke joint had been featured in national and international articles about the Delta. The Blue Front Cafe is a historic old juke joint made of cinder blocks in Bentonia, Mississippi which played an important role in the development of the blues in Mississippi. It was still in operation as of 2006. Smitty's Red Top Lounge in Clarksdale, Mississippi, is also still operating as of last notice.


title: Juke joint

text: Juke joints are still a strong part of African American culture in Deep South locations such as the Mississippi Delta where blues is still the mainstay, although it is now more often featured by disc jockeys and on jukeboxes than by live bands.


title: Juke joint

text: Peter Guralnick describes many Chicago juke joints as corner bars that go by an address and have no name. The musicians and singers perform unannounced and without microphones, ending with little if any applause. Guralnick tells of a visit to a specific juke joint, Florence's, in 1977. In stark contrast to the streets outside, Florence's is dim, and smoke-filled with the music more of an accompaniment to the "various "business"" being conducted than the focus of the patrons' attention. The "sheer funk of all those packed-together bodies, the shouts and laughter" draws his attention. He describes the security measures and buzzer at the door, there having been a shooting there a few years ago. On this particular day Magic Slim was performing with his band, the Teardrops, on a bandstand barely big enough to hold the band.


title: Juke joint

text: Katrina Hazzard-Gordon writes that "[t]he honky-tonk was the first urban manifestation of the jook, and the name itself later became synonymous with a style of music. Related to the classic blues in tonal structure, honky-tonk has a tempo that is slightly stepped up. It is rhythmically suited for many African-American dances…", but cites no reference.


title: Juke joint

text: The allure of juke joints has inspired many large-scale commercial establishments, including the House of Blues chain and the Ground Zero in Clarksdale, Mississippi. Traditional juke joints, however, are under some pressure from other forms of entertainment, including casinos.


title: Juke joint

text: Jukes have been celebrated in photos and film. Marion Post Wolcott's images of the dilapidated buildings and the pulsing life they contained are among the most famous documentary images of the era. A juke joint is featured prominently in the movie "The Color Purple".


title: Paternalistic conservatism

text: Paternalistic conservatism is a strand of conservatism which reflects the belief that societies exist and develop organically and that members within them have obligations towards each other. There is particular emphasis on the paternalistic obligation of those who are privileged and wealthy to the poorer parts of society. Consistent with principles such as duty, hierarchy and organicism, it can be seen an outgrowth of traditionalist conservatism. Paternalistic conservatives support neither the individual nor the state in principle, but are instead prepared to support either or recommend a balance between the two depending on what is most practical.