Conservapedia - User contributions [en]

Talk:Jane Austen

2008-12-11T03:47:18Z

Leffingwell: /* Vandalism? */ new section

I never was able to finish P&P until I saw the version with [[Colin Firth]]. That Jane Austen is one smart cookie! --[[User:Ed Poor|Ed Poor]] 16:55, 18 April 2007 (EDT)

Added Republic of Pemberley goto. A good site for those who want to get into Austen in a big way. [[User:Leffingwell|Leffingwell]] 13:17, 22 August 2007 (EDT)

== Vandalism? ==

I noticed that KimEide appears to be the party who inserted anarchist Emma Goldman into this article. Maybe this party just had a mental slip, but she plainly was no Austen fan. The ID appears to be dead, so 'nuf said.

Jane Austen

2008-12-11T03:40:42Z

Leffingwell: Removed reference to infamous anarchist Emma Goldman and corrected it to character's correct name and book's actual plot

'''Jane Austen''' (December 16, 1775 – July 18m 1817) was a British writer in the early nineteenth century.
Her works include various comic stories, six completed novels, and two unfinished novels, but her best-known works may be ''[[Pride and Prejudice]]'' and ''[[Emma]]''.

She wrote her first two works, ''[[Sense and Sensibility]]'' and ''Pride and Prejudice'', in her early twenties. ''Northanger Abbey'', her third manuscript, sold to a publisher for ten pounds, but was not immediately published.

Austen's family moved to Bath when she was 25. This marks the beginning of a fallow period in her writing, and eight years of much family upheaval. In 1809, Austen, her sisters, and her mother moved to Chawton, where she was able to write again.

''Sense and Sensibility'' was finally published in 1811, and ''Pride and Prejudice'' followed in 1813. ''Mansfield Park'' and ''Emma'' followed in 1814 and 1815. Austen finished her work ''Persuasion'' in 1816, when the rights for ''Northanger Abbey'' were bought back by Austen's brother.

Jane Austen died July 18, 1817, just a few months before her last two novels were published together in December, finally identifying her and her previous works.

==Novel outlines==
In ''Pride and Prejudice'', the two antagonists are the immensely wealthy Mr. Darcy and the middle-class Elizabeth Bennet. Her [[prejudice]] against his [[pride]] and disdain is gradually broken down by his kindness.

In 'Emma', the protagonist, Emma Woodhouse, is a comically incompetent matchmaker who almost misses her own true love.

==External links==
*[http://www.jimandellen.org/austen/janeausten.onfilm.html Film Adaptations of Jane Austen's Novels]
*[http://www.pemberley.com Online appreciation of Jane Austen fansite]
*[http://www.jasna.org/info/about_austen.html]
*[http://www.janeausten.co.uk/ The Jane Austin Center, Bath]

{{DEFAULTSORT:Austen, Jane}}

[[category:Women Authors]]

Measure for Measure

2007-10-12T17:21:39Z

Leffingwell:

'''Measure for Measure''' is one of [[Shakespeare]]’s [[problem plays]], along with [[Troilus and Cressida]] and [[All’s Well That Ends Well]]. Students of Shakespeare’s works call these plays “problem plays” because the theme, subject matter and resolution of the plays does not allow them to be clearly classed as either comedies or tragedies. Some scholars also include other plays, such as [[Twelfth Night]], [[The Merchant of Venice]], and others, among the problem plays, because of the difficulties presented by certain characters (such as [[Malvolio]] or [[Shylock]]) or subplots which are present in those works.
Measure for Measure deals in a harsh way with the problem of sexual morality and governance in a [[Christian]] state. The title of the play is usually attributed to the [[New Testament]], and is believed to refer either to the [[gospel]] of [[Matthew]] 7:1-3 or to the gospel of [[Mark]] 4:24. Other themes concern the weakness and corruption of individual men, and the difficulties of balancing the need of the law to protect the weak and innocent against the need for society to show mercy to wrongdoers.
Measure for Measure is a deeply disturbing play, and remains among Shakespeare’s most controversial. The theme of the difficulty of tempering justice with mercy has maintained the play’s relevance. However, much of the tension in the play reflects the conflict between [[Catholic]] and [[Evangelical]] or [[Puritan]] factions during the [[English Reformation]] in Shakespeare’s own time.

==Synopsis==

The ruler of the city of Vienna, Duke Vicentio, has decided to go on a journey. Vicentio announces that while he is away, his place will be filled by two [[courtier]]s, the aged counselor Escalus and the young Angelo. Angelo has the reputation of being both morally upright and zealous, and Vicentio entrusts him with the full authority of the Duke himself, but appoints Escalus to advise him. The Duke then goes to a [[monastery]], where he disguises himself as a monk in order to sneak back into Vienna and secretly observe Angelo’s performance. Vicentio explains to a [[friar]] of the monastery the reason for this ruse: although Vienna has very harsh laws, the Duke has always been a man of mercy, and as a result, the criminals have become scofflaws, and crime has run out of control. The Duke believes that if he was to start enforcing the laws himself, the public would feel that he had become a tyrant, and so he intends to let the strict Angelo put the law into action. Vicentio also expresses an interest in seeing if political power corrupts the seemingly moral Angelo.

Back in Vienna, Angelo does indeed begin to enforce the law. He has the [[brothel]]s pulled down, and takes [[pimp]]s and their customers and other criminals into custody. Among those arrested is Claudio, a young man who has engaged in [[premarital sex]], and impregnated his fiancée. Angelo sentences Claudio to death for this offense. Claudio sends his friend Lucio, a “rake” or playboy, to take a message to Claudio’s sister Isabella, asking for her help. Isabella is a novice or [[nun]] in training, in an order so strict that once she takes her final vows she will be forbidden to speak to a man unsupervised, and even then subject to a rule that if she speaks to a man she must hide her face, and that if she shows her face, she must not speak. Isabella obtains permission to go to court to plead for her brother’s life.

At court, Angelo is at first unwilling to help Isabella. But before long, he displays a sexual obsession with her, an obsession he realizes is perverse, and which he speculates is based upon her very devotion to God: “Having waste ground enough, Shall we desire to raze the sanctuary And pitch our evils there? O, fie, fie, fie! What dost thou, or what art thou, Angelo? Dost thou desire her foully for those things That make her good?” (Act II, scene 2). Eventually, Angelo offers Isabella a deal: if she will submit to him sexually, Angelo will pardon her brother. Isabella is appalled by this offer, and refuses. She then visits Claudio in prison, to explain that he must die because she has refused this arrangement. But to Isabella’s horrified disappointment, Claudio tells her that she should accept the offer and save his life.

Duke Vicentio, disguised in a monk’s robe and cowl, has been carefully observing these events. Posing as a [[confessor]] in the prison, he then engages the assistance of Isabella in a scheme to save Claudio’s life. Vicentio knows that Angelo was engaged to a virtuous woman, Mariana, but when Mariana lost her dowry and fortune, Angelo falsely accused her of infidelity and jilted her. Vicentio directs Isabella to agree to Angelo’s sexual demands, but only on condition that Angelo should meet her in a dark garden in the middle of the night. Vicentio then goes to Mariana, and advises her to disguise herself as Isabella, and meet Angelo in the garden. Angelo then engages in premarital sex with Mariana, believing that he is defiling Isabella.

Vicentio stations himself in the prison, where he awaits Claudio’s pardon. To the Duke’s shock, however, Angelo does not pardon Claudio. Believing that he is now subject to [[blackmail]] by Isabella based on the sex he mistakenly believes he had with her, Angelo has decided to execute Claudio, knowing that no one will believe the accusations of a woman whose brother he has killed, since people will suspect Isabella of accusing him falsely as an act of revenge. Vicentio enlists the help of the prison Provost, and they disguise the head of a different prisoner, who has died of natural causes, to look like Claudio’s. This head is sent to Angelo as proof of Claudio’s death.

In the final scene, the Duke returns to Vienna. Gradually all is revealed: that Angelo sought to corrupt Isabella, that he actually had sex with his own jilted fiancée instead, that Claudio is actually alive, and that the mysterious friar was actually Duke Vicentio in disguise. Claudio is pardoned, Angelo is condemned to death (using his own measure, as in the title) but is later pardoned based on the pleadings of both Mariana and Isabella, and the Duke proposes marriage to Isabella. In one of the most famous disconnects between the word and the action in Shakespeare, the script does not say whether or how Isabella reacts to the Duke’s proposal, which has allowed a wide variety of stage interpretations of the end of the play.

The play also has a number of minor comic characters of a notably dark variety, including the pimp Pompey, the prostitute Mistress Overdone, the sleazy playboy Lucio, and a grim executioner, as well as the Shakespearean commonplace: an incompetent policeman (Constable Elbow).

==External links==
http://www.opensourceshakespeare.org/views/plays/playmenu.php?WorkID=measure

[[Category:Plays]]
[[Category: Shakespeare]]

Love's Labour's Lost

2007-10-12T17:20:50Z

Leffingwell: minor edit

Loves Labour’s Lost is one of [[Shakespeare]]’s earlier romantic comedies. It is the story of the king of [[Navarre]], who along with three of his nobleman friends decides to take an oath to study for three years, and that during that time the four will, among other things, totally abstain from the company of women. Almost immediately, however, the plan of the king and his friends is challenged by a state visit from the princess of [[France]] and three of her ladies. The king falls in love with the princess, and each of his three friends is smitten with one of the princess’s ladies. The four couples engage in wooing which includes a variety of absurdities, as the young men don disguises which fool no one but themselves in an attempt to win the girls without being caught in oath breaking. But just as love begins to flower, news comes of the death of the princess’s father, and the couples must face a year of separation while the princess returns to France to mourn.

==External links==
http://www.opensourceshakespeare.org

[[Category:Plays]]
[[Category: Shakespeare]]

Love's Labour's Lost

2007-10-12T17:17:44Z

Leffingwell: New page: Loves Labour’s Lost is one of Shakespeare’s earlier romantic comedies. It is the story of the king of Navarre, who along with three of his nobleman friends decides to take an o...

Measure for Measure

2007-09-20T19:33:13Z

Leffingwell: New page: '''Measure for Measure''' is one of Shakespeare’s problem plays, along with Troilus and Cressida and All’s Well That Ends Well. Students of Shakespeare’s works call these...

'''Measure for Measure''' is one of Shakespeare’s [[problem plays]], along with [[Troilus and Cressida]] and [[All’s Well That Ends Well]]. Students of Shakespeare’s works call these plays “problem plays” because the theme, subject matter and resolution of the plays does not allow them to be clearly classed as either comedies or tragedies. Some scholars also include other plays, such as [[Twelfth Night]], [[The Merchant of Venice]], and others, among the problem plays, because of the difficulties presented by certain characters (such as [[Malvolio]] or [[Shylock]]) or subplots which are present in those works.
Measure for Measure deals in a harsh way with the problem of sexual morality and governance in a [[Christian]] state. The title of the play is usually attributed to the [[New Testament]], and is believed to refer either to the [[gospel]] of [[Matthew]] 7:1-3 or to the gospel of [[Mark]] 4:24. Other themes concern the weakness and corruption of individual men, and the difficulties of balancing the need of the law to protect the weak and innocent against the need for society to show mercy to wrongdoers.
Measure for Measure is a deeply disturbing play, and remains among Shakespeare’s most controversial. The theme of the difficulty of tempering justice with mercy has maintained the play’s relevance. However, much of the tension in the play reflects the conflict between [[Catholic]] and [[Evangelical]] or [[Puritan]] factions during the [[English Reformation]] in Shakespeare’s own time.

==Synopsis==

The ruler of the city of Vienna, Duke Vicentio, has decided to go on a journey. Vicentio announces that while he is away, his place will be filled by two [[courtier]]s, the aged counselor Escalus and the young Angelo. Angelo has the reputation of being both morally upright and zealous, and Vicentio entrusts him with the full authority of the Duke himself, but appoints Escalus to advise him. The Duke then goes to a [[monastery]], where he disguises himself as a monk in order to sneak back into Vienna and secretly observe Angelo’s performance. Vicentio explains to a [[friar]] of the monastery the reason for this ruse: although Vienna has very harsh laws, the Duke has always been a man of mercy, and as a result, the criminals have become scofflaws, and crime has run out of control. The Duke believes that if he was to start enforcing the laws himself, the public would feel that he had become a tyrant, and so he intends to let the strict Angelo put the law into action. Vicentio also expresses an interest in seeing if political power corrupts the seemingly moral Angelo.

Back in Vienna, Angelo does indeed begin to enforce the law. He has the [[brothel]]s pulled down, and takes [[pimp]]s and their customers and other criminals into custody. Among those arrested is Claudio, a young man who has engaged in [[premarital sex]], and impregnated his fiancée. Angelo sentences Claudio to death for this offense. Claudio sends his friend Lucio, a “rake” or playboy, to take a message to Claudio’s sister Isabella, asking for her help. Isabella is a novice or [[nun]] in training, in an order so strict that once she takes her final vows she will be forbidden to speak to a man unsupervised, and even then subject to a rule that if she speaks to a man she must hide her face, and that if she shows her face, she must not speak. Isabella obtains permission to go to court to plead for her brother’s life.

At court, Angelo is at first unwilling to help Isabella. But before long, he displays a sexual obsession with her, an obsession he realizes is perverse, and which he speculates is based upon her very devotion to God: “Having waste ground enough, Shall we desire to raze the sanctuary And pitch our evils there? O, fie, fie, fie! What dost thou, or what art thou, Angelo? Dost thou desire her foully for those things That make her good?” (Act II, scene 2). Eventually, Angelo offers Isabella a deal: if she will submit to him sexually, Angelo will pardon her brother. Isabella is appalled by this offer, and refuses. She then visits Claudio in prison, to explain that he must die because she has refused this arrangement. But to Isabella’s horrified disappointment, Claudio tells her that she should accept the offer and save his life.

Duke Vicentio, disguised in a monk’s robe and cowl, has been carefully observing these events. Posing as a [[confessor]] in the prison, he then engages the assistance of Isabella in a scheme to save Claudio’s life. Vicentio knows that Angelo was engaged to a virtuous woman, Mariana, but when Mariana lost her dowry and fortune, Angelo falsely accused her of infidelity and jilted her. Vicentio directs Isabella to agree to Angelo’s sexual demands, but only on condition that Angelo should meet her in a dark garden in the middle of the night. Vicentio then goes to Mariana, and advises her to disguise herself as Isabella, and meet Angelo in the garden. Angelo then engages in premarital sex with Mariana, believing that he is defiling Isabella.

Vicentio stations himself in the prison, where he awaits Claudio’s pardon. To the Duke’s shock, however, Angelo does not pardon Claudio. Believing that he is now subject to [[blackmail]] by Isabella based on the sex he mistakenly believes he had with her, Angelo has decided to execute Claudio, knowing that no one will believe the accusations of a woman whose brother he has killed, since people will suspect Isabella of accusing him falsely as an act of revenge. Vicentio enlists the help of the prison Provost, and they disguise the head of a different prisoner, who has died of natural causes, to look like Claudio’s. This head is sent to Angelo as proof of Claudio’s death.

In the final scene, the Duke returns to Vienna. Gradually all is revealed: that Angelo sought to corrupt Isabella, that he actually had sex with his own jilted fiancée instead, that Claudio is actually alive, and that the mysterious friar was actually Duke Vicentio in disguise. Claudio is pardoned, Angelo is condemned to death (using his own measure, as in the title) but is later pardoned based on the pleadings of both Mariana and Isabella, and the Duke proposes marriage to Isabella. In one of the most famous disconnects between the word and the action in Shakespeare, the script does not say whether or how Isabella reacts to the Duke’s proposal, which has allowed a wide variety of stage interpretations of the end of the play.

The play also has a number of minor comic characters of a notably dark variety, including the pimp Pompey, the prostitute Mistress Overdone, the sleazy playboy Lucio, and a grim executioner, as well as the Shakespearean commonplace: an incompetent policeman (Constable Elbow).

==External links==
http://www.opensourceshakespeare.org/views/plays/playmenu.php?WorkID=measure

[[Category:Plays]]
[[Category: Shakespeare]]

Talk:Jane Austen

2007-08-22T17:17:29Z

Leffingwell:

Jane Austen

2007-08-22T17:15:59Z

Leffingwell:

'''Jane Austen''', was the author of ''[[Pride and Prejudice]]'',
the 200-year-old classic novel of upper-middle-class British leisure society.

She wrote her first two novels ten years before they came out, and later re-issued them as ''Sense and Sensibility'' (1811) and ''Pride and Prejudice'' (1813). ''Mansfield Park'' and ''Emma'' followed in 1814 and 1815.

==Novel outlines==

In ''Pride and Prejudice'', the two antagonists are the immensely wealthy Mr. Darcy and the middle-class Elizabeth Bennett. Her [[prejudice]] against his [[pride]] and disdain is gradually broken down by his kindness.

==Movie treatments==

The definitive edition is the 5-hour 1995 miniseries starring [[Colin Firth]]. The star is really [[Jennifer Ehle]], who shines (or glows) as Elizabeth.

==External links==
*[http://www.jimandellen.org/austen/janeausten.onfilm.html Film Adaptations of Jane Austen's Novels]

*[http://www.pemberley.com Online appreciation of Jane Austen fansite]

{{DEFAULTSORT:Austen, Jane}}
[[category:Authors]]
[[Category:Women]]

Talk:Jack Dempsey

2007-08-19T21:16:02Z

Leffingwell: for Ed Poor

Just a bio of a boxer [[User:Leffingwell|Leffingwell]] 00:19, 18 August 2007 (EDT)

== for Ed Poor ==

Ed Poor somehow left the following message re this page (I don't know how, I am seriously unsophisticated as to the HTML part of things here):
(Can we keep the month and year of his dates?)

I'm not sure what this means. Are you referring to his birth and death, or to other dates in the article? Is there a Conservapedia style preference in this regard and where is it at?
I'm sorry to be so ignorant of these things but I'm doing my best (sad as that is), so please clue me. Thanks.
[[User:Leffingwell|Leffingwell]] 17:16, 19 August 2007 (EDT)

User talk:David R

2007-08-18T21:44:36Z

Leffingwell: Perhaps you could help me out a bit

<div style="-moz-border-radius-topleft: 20px; -moz-border-radius-topright: 20px; background-color: #FFAF00; color: white; height: 95px; border-color: #FFFFFF; border-width: 3px; border-style: dashed; padding: 10px; margin-bottom: -3px; margin-left: -3px; width: 807px">

{{User Talk1}}
</div>

<div style="-moz-border-radius-bottomleft: 20px; -moz-border-radius-topleft: 16px; float: right; background-color: #FFFFFF; width: 10%; height: 160px; margin-top: 20px; text-align: center;">
<div style="color: #FFAF00">Archives [[User talk:David R/Archive 1|Archive 1]]</div>
</div>

<div style="width: 100%; background-color: #FFAF00; height: 100%; color: white; padding-bottom: 20px;">
<div style="-moz-border-radius-topleft: 20px; -moz-border-radius-topright: 20px; -moz-border-radius-bottomleft: 20px; -moz-border-radius-bottomright: 20px; border:3px dashed #FFFFFF; width: 75%; margin: 0 auto 1em auto; padding: 5px; background: #FFFFFF; color: #000000">

Ha ha David. Great banner!--[[User:Aschlafly|Aschlafly]] 00:11, 5 April 2007 (EDT)

Thanks! :) I kind of borrowed from yours a bit and then changed a lot around. I still haven't fully grasped how to use divs in Wiki; my HTML tables don't seem to work very well. --[[User:David R|<<-David R->>]] 00:12, 5 April 2007 (EDT)

== Thanks. ==

Honestly, I thought it was a programming error that my name was mentioned in his comment. Please forgive, I'm VERY new to the site. I haven't gotten a straight answer on this: Is any variant on the word Sex forbidden on this site?

Still, you should not have edited his comment. As for your question, I'm not exactly sure what you want to put up. I suppose a good safety measure is to not write anything you wouldn't like your little brother or sister to see. I don't know what that is for you, but you will certainly know if you cross the line. --[[User:David R|<<-David R->>]] 23:53, 6 April 2007 (EDT)

== personal talk pages ==

I don't have a problem with someone clearing their own talk page. replace it if you must, please don't block someone for doing it. --[[User:CPAdmin1|CPAdmin1]] 00:03, 7 April 2007 (EDT)

Talk pages can be placed in Archives, but they shouldn't be cleared. I don't know what user you really are, but last I heard, comments are not supposed to be deleted unless they're obscene. --[[User:David R|<<-David R->>]] 00:05, 7 April 2007 (EDT)

==Complaint==

Please, tell me how my edit violated any of those "Commandments". [[User:_Ace|_Ace]]

See [[Conservapedia:Commandments|Commandment #3]]. --[[User:David R|<<-David R->>]] 13:57, 9 April 2007 (EDT)

Please cite the commandment I violated and the Edit that violated it. Also, I think it should be added in the Commandments that conservative bias must be found in all edits. [[User:_Patriot101|_Patriot101

==Proposed Block Policy==
There has recently been some disagreement over blocks, so I have created a [[User:CPAdmin1/Proposed Block Policy|proposed block policy]]
Tell me what you think. --[[User:CPAdmin1|CPAdmin1]] 23:23, 12 April 2007 (EDT)

==Sysop Pledge==

As my good deed of the day I am requesting that you place this template on your userpage. Participating sysops will earn my respect and gratitude. --[[User:BenjaminS|BenjaminS]] 23:58, 12 April 2007 (EDT)

{{Sysop Pledge}}

== Hard to read ==

The whit lettering on the bluish background ar hard to read, i suggest changing it to black lettering. --[[User:CPAdmin1|CPAdmin1]] 13:20, 16 April 2007 (EDT)

Thanks for the suggestion. --[[User:David R|<<-David R->>]] 13:28, 16 April 2007 (EDT)

== ==

This looks like your MySpace... [[User:CPWebmaster|CPWebmaster]] 13:41, 16 April 2007 (EDT)

Haha....yeah, it was definitely a guideline. :) --[[User:David R|<<-David R->>]] 13:41, 16 April 2007 (EDT)

== The word "parody" ==

Please forgive me for pointing this out... People are starting to use the word "parody" a little bit incorrectly, and it's starting to grate on me. If your comments were just typographical errors, my apologies.

A "parody" is to writing what a "caricature" is to sketching. A parody is a piece of writing which imitates its target, but exaggerates or warps it for comic effect. For example, the 1991 movie "Hot Shots!" was a parody of the movie "Top Gun."

The parody is the work, not the person who creates it.

In the context of Conservapedia, it is the remarks or articles which an insincere user writes, not the user himself. The user would properly be called '''a parodist,''' not "a parody." Similarly, one would not say "you are not that good a parody" but "you are not that good '''at''' parody." [[User:Dpbsmith|Dpbsmith]] 05:56, 19 April 2007 (EDT)

== RFB? ==

*Please no more unilaterial actions as a Sysop. Who was this approved by? --[[User:TK|Sysop-TK]] [[User_talk:TK|/MyTalk]] 22:37, 21 April 2007 (EDT)

See your talk page. --[[User:David R|<<-David R->>]] 22:39, 21 April 2007 (EDT)

*Andy has explained, David. Please try and let a guy know about stuff...this has all been very controversial, and my intention was to avoid more pot-stirring, and trouble. Sorry for the confusion. --[[User:TK|Sysop-TK]] [[User_talk:TK|/MyTalk]] 23:16, 21 April 2007 (EDT)

==Tigers letter D==
Now how do you go about making one of those little info boxes, like what you have for the Yankees, but inserting the Old English letter "D" in it? I would love to have one for the Detroit Tigers. [[User:Karajou|Karajou]] 22:54, 21 April 2007 (EDT)
::Many thanks for the userbox, and to a fan of (and I admit it!) the greatest baseball team in history...but I still love my Tigers! [[User:Karajou|Karajou]] 23:19, 21 April 2007 (EDT)

== nice user page! ==

Nice user page! The best I've seen!--[[User:Aschlafly|Aschlafly]] 22:59, 21 April 2007 (EDT)

Haha, thanks. Do you use Mozilla Firefox? It works best in that browser. --[[User:David R|<<-David R->>]] 23:00, 21 April 2007 (EDT)

== Don't let the new position go to your head if you get it. ==

Don't let the new position go to your head if you get it. [[User:Conservative|Conservative]] 00:06, 22 April 2007 (EDT)conservative

== Please vote for me ==

Please vote for me here: http://www.conservapedia.com/Conservapedia:Request_for_Bureaucratship [[User:Conservative|Conservative]] 19:40, 22 April 2007 (EDT)

== Lactose intolerance ==

I will only say this once, and then move on, and let you decide what to do.

Lactose intolerance is an example of microevolution, which creation scientists have no problem with. [http://www.trueauthority.com/cvse/micromacro.htm] And the claims of the natural selection are supported by reference 2 of the article. [http://evolution.berkeley.edu/evolibrary/news/070401_lactose] You don't have to scrub a sentence just because it has "natural" and "selection" in succession with each other.

But I will let you decide what to do. [[User:Sterile|Sterile]] 09:03, 23 April 2007 (EDT)

==Red Sox logo Image:BOS Red Sox.png==
I have made a userbox thingy for Juaquin Martinez, as he is a Red Sox fan, and I did use the logo...with the required warning that it might be changed, etc. I am thinking of the possibility that such a logo can be used by a fan as mere fan support for his team, but for that we'd have to check with the owner of the logo. Do you think it's possible? If so, then we could have the real thing displayed on our pages! [[User:Karajou|Karajou]] 19:30, 23 April 2007 (EDT)

I sent a message to the powers that be on the Tigers official website about the fan-use of their logo yesterday. I should get an answer shortly, and I'm thinking that they allow it; this reasoning is based on official fan-sites which support a positive image of the Tigers. If it's a yes, then the same rule may apply for the Yankees...so get to writing them! [[User:Karajou|Karajou]] 10:32, 25 April 2007 (EDT)

====the bad news====
This came in my email from Ron Wade, an official from the internet side of the Detroit Tigers website:
:''"I'm sorry, but use of our marks or logos on the internet is prohibited. Major League Baseball Advanced Media has exclusive internet rights to MLB team marks and logos. The only exceptions are news gathering and reporting sites and only if the use of the logo is in conjunction with box scores or game summaries. (ESPN, Fox Sports, etc.)"''

So that means no one can use a baseball logo as a fan on a website. Both your's and mine are different enough to get away with it, but Juaquin's is not. [[User:Karajou|Karajou]] 18:52, 25 April 2007 (EDT)

Okay, I'd better remove a couple of sports logos off of my page knowing that now. It's probably safe enough, but I'd rather err on the side of caution. [[User:DanH|DanH]] 18:58, 25 April 2007 (EDT)

== 6000 years old? ==

I'm honestly not in the mood for an argument (major migraine) but could you just sum up how the heck you can think the worlds only 6000 years old?? I don't get it. Thx[[User:AtheistKathryn|AtheistKathryn]] 23:49, 23 April 2007 (EDT)

== I will let Andy know about icewedge ==

I will let Andy know about icewedge. I will send him an email. [[User:Conservative|Conservative]] 23:51, 23 April 2007 (EDT)

== I have to leave in 5 minutes. I will let andy know about icewedge ==

I have to leave in 5 minutes. I will let andy know about icewedge. [[User:Conservative|Conservative]] 23:54, 23 April 2007 (EDT)

== An idea to build more internet traffic to conservapedia ==

Wikipedia gives the top 1,000 articles for its website as can be seen here: http://hemlock.knams.wikimedia.org/%7Eleon/stats/wikicharts/index.php?lang=en&wiki=enwiki&ns=articles&limit=1000&month=04%2F2007&mode=view

I think we might be able to drive more http://www.google.com and other traffic to Conservapedia if we make the following articles at Conservapedia better based on the first 100 or so most popular articles at Wikipedia:

- [[United States]]

- [[Columbine High School massacre]]

- [[World War II]]

- [[Global warming]]

- [[World War I]]

- [[Adolf Hitler]]

- [[Battle of Thermopylae]]

- [[Canada]]

- [[William Shakespeare]]

- The [[Holocaust]]

- [[Abraham Lincoln]]

- [[Jesus]]

- [[Vietnam War]]

- [[China]]

'''What do you think about starting a Conservapedia improvement drive for these articles?''' Clearly these are serious subjects that people are interested in based on Wikipedia statistics. Therefore, I believe from a strategic point of view in regards to creating internet traffic to Conservapedia it makes a lot of sense to start a improvement drive in regards to these Conservapedia articles. [[User:Conservative|Conservative]] 22:56, 28 April 2007 (EDT)

== Why did you delete my page? ==

I worked hard on that article, why did you delete it? --[[User:Protocletos|Protocletos]] 15:34, 2 May 2007 (EDT)

: What if you restored it, and I worked some more on it? Obviously I had not completed it, it is simply convenient for me to work on articles small parts at a time. --[[User:Protocletos|Protocletos]] 15:48, 2 May 2007 (EDT)

:: Well, which pieces were "said pieces"? I assume you mean the examples, which are vital to the article. If they were not there it would be infintely harder and more tedious to explain what exactly a "Your mum" joke is, and the end result would be just as offensive. (And I fail to see how the jokes could be taken as offensive when they are not directed at anyone.)

::: Fair enough, you're the boss, I suppose.--[[User:Protocletos|Protocletos]] 15:56, 2 May 2007 (EDT)

:::: Apologies, by boss, I just meant someone whose rank was superior to mine. I agree with what you say and will do my best to clean up the article if you restore it.

== User page in main space category ==

Typically, it is considered good wiki style to not include user pages in main space categories. You have your user page in [[:Category:Anti-secular humanist]]. Would you consider either removing that or moving it to a User category name space? --[[User:Mtur|Mtur]] 17:16, 17 May 2007 (EDT)

: I am refering to [[User:David R]] - not [[User talk:David R]]. These are probably included from templates. --[[User:Mtur|Mtur]] 16:33, 21 May 2007 (EDT)

== Perhaps you could help me out a bit ==

I was writing up a draft dodging article, andd linked out to your Alvin York article. I have written that York changed his mind about filing for CO, your article basically says he was sent despite it. I just do not know the truth, and may have been influenced by Hollywood in my version, so if you are certain or have a good souce, I will be glad to conform my article and resolve the discrepancy. If you get a moment, please get back to me on this. Thanks very much.
[[User:Leffingwell|Leffingwell]] 17:44, 18 August 2007 (EDT)

Coast Guard

2007-08-18T21:17:21Z

Leffingwell: Redirecting to United States Coast Guard

#redirect [[United States Coast Guard]]

Talk:Draft dodging

2007-08-18T21:15:50Z

Leffingwell: New page: This is an effort on my part to provide a link from my Jack dempsey article. In following the link to the Alvin York page, I see that the author there suggests that York did not change his...

This is an effort on my part to provide a link from my Jack dempsey article. In following the link to the Alvin York page, I see that the author there suggests that York did not change his mind about his CO status but was merely compelled by legal process to fight. I am unsure of my facts, and may have been influenced by Hollywood in this regard. When I get a moment I'll try to find the truth, but if meantime anyone knows, please help.
[[User:Leffingwell|Leffingwell]] 17:15, 18 August 2007 (EDT)

Alvin York

2007-08-18T21:11:57Z

Leffingwell: spelling

Alvin C. York was born in Pall Mall, [[Tennessee]] on December 13, 1887. He had minimal schooling as a child, totaling about 9 months of education. This was because the back-woods region of Tennessee saw little use for a good education. Many viewed hunting as a more desirable trait than a strong mind. So through many hunting trips with his father, William York, Alvin grew to be an excellent marksman, gaining a legendary reputation throughout Fentress County, Tennessee. Soon, he became a heavy drinker and gambler, getting himself into all sorts of trouble. The death of his father could have contributed to his harmful lifestyle. But that all changed in 1914, when he converted to [[Christianity]]. Many say the change was instantaneous. It was due in part to his mother’s constant requests asking him to stop drinking and gambling. The conversion could also be attributed to the death of his friend after he had been killed in a bar fight. He started going to the Church of Christ in Christian Union.

==World War I==

On April 6, 1917, the United States entered [[World War I]] on the side of the allies. And on June 5, 1917, York received a draft notice ordering him to join the U.S. forces. He appealed the draft, explaining that his church abhorred war and prohibited killing of any kind. His appeal was refused, however, and he was forced to go to [[France]] to protect democracy. His story of heroism began in Argonne, France. His squad saw a few German soldiers and ordered them to halt, but they ignored the squad and ran away. The American squad chased them down and captured them. Strangely, a German officer came and surrendered his whole squad over to the Americans, even though the small American squad of sixteen was inferior to his. Then German machine-gunners fired upon the Americans, killing nine of them. Alvin York shot and killed at least twenty of the Germans. Then he took the German officer and promised he would be next if the officer did not tell the machine-gunners to surrender. The officer blew a whistle and all but one of them surrendered. York shot the final gunner. In total, York captured 135 Germans with his small squad of nine. He was praised throughout the world for this feat and promoted to sergeant.

==Back Home==

When the war was won and York returned home, he came back with a new respect for education. He used the money he received as gifts to build the York Institute. While trying to promote education, he drove himself into deep debt. And with his health failing, it looked as if he would not be able to pay off such amounts of money. When the IRS hassled him for the money, President [[John F. Kennedy]] reprimanded them, saying their “actions in the case were a national disgrace”. Congressman Joe L. Evins started the York relief fund to help York pay off his debts. They raised $100,000 and gave his family the remainder of $30,000 to keep them from ever getting in such debt again. Alvin C. York died at the age of 76 on September 2, 1964.

[[Category:Military personnel|York, Alvin]]

Draft dodging

2007-08-18T21:10:32Z

Leffingwell: New page: Draft dodging is a term referring to the practice of avoiding, by legal or illegal means, the duty to serve in the military when selected by the Selective Service System. Draft dodging...

Draft dodging is a term referring to the practice of avoiding, by legal or illegal means, the duty to serve in the military when selected by the [[Selective Service System]]. Draft dodging is a problem in all nations which utilize conscription, that is, the forcible enrollment of persons who do not volunteer into the military. Among the many methods used to avoid the draft is the bribing of the draft board members, the faking of serious illnesses to appear to be unfit to serve, and false claims that the draft dodger is the sole financial support of a family. In the United States, particularly, there are other methods used to avoid induction into the military, including pretending to be a [[homosexual]], maintaining that one is in the middle of a course of study such as matriculating in college, and claiming to be a "conscientious objector" without being one.

It is important to remember with regard to the status of conscientious objector that many people, particularly in certain Christian congregations, have a sincere belief that they have a religious obligation to refrain from participating in war. It is primarily for these persons that the status of conscientious objector was created by the Selective Service System and continues to be recognized whenever a draft is in force. However, the sincerity of the claim that one is a conscientious objector is naturally sometimes suspect. It is worth noting that some persons who initially struggled with their consciences elected to join the military and went on to serve honorably, most famously Sergeant [[Alvin York]], who initially filed as a conscientious objector but changed his mind and went on to become the most decorated American soldier of [[World War I]].

Draft

2007-08-18T20:57:02Z

Leffingwell: Redirecting to Selective Service System

#redirect [[Selective Service System]]

United States marine

2007-08-18T20:55:42Z

Leffingwell: Redirecting to United States Marine Corps

#redirect [[United States Marine Corps]]

Jack Dempsey

2007-08-18T20:53:19Z

Leffingwell: Sorry, minor gremlins being struggled with.

Jack Dempsey (given name William Harrison Dempsey, also known as The Manassa Mauler) (born June 24, 1895 – died May 31, 1983) was a professional [[prizefighter]] and [[heavyweight champion]] of the world from July 4, 1919 through September 23, 1927. Dempsey was an extremely popular and successful champion, a public figure so iconic that decades later in the 1980s President [[Ronald Reagan]] could say “…nobody ever insulted Jack Dempsey” with the expectation that his hearers would understand his meaning.

Dempsey was born in Colorado to a [[Mormon]] couple, and was raised in that faith, but would later describe himself as a “Jack-Mormon”, a term meaning a Mormon who had left the faith. From about the age of 10, he developed an ambition to be heavyweight champion of the world. He adopted an intense training regimen, which included jump roping, racing against farm and wagon horses, punching bag work, and “pickling”, which was a process which involved soaking the hands in horse urine and the face in brine and which was believed to toughen the skin and to help prevent cuts. At 16, Dempsey left home, and began earning a living by entering mining camp bars and saloons and offering to “lick anyone for a buck” (one dollar). In 1916, Dempsey came to New York City, where he began his formal career as a prizefighter. He rose rapidly in the rankings, and took the heavyweight championship from [[Jess Willard]], a fighter who was 50 pounds heavier. Dempsey defended his title several times, notably against K.O. Bill Brennan, Georges Carpentier, and Luis Firpo. He finally lost his title to former [[United States marine]] [[Gene Tunney]].

Among other things, Dempsey's reign as heavyweight champion is notable for being the first time an athlete earned more than one million dollars in a year.

Dempsey married four times. At age 20, while still living an itinerant lifestyle, he married a 35 year old prostitute, Maxine Cates. They were divorced within three years. He next married [[silent film]] actress Estelle Taylor, but this marriage also ended in divorce. His third marriage was to singer Hannah Williams, who bore him two daughters, but this marriage too ended in divorce. Finally he married Deanna Piattelli, who would survive him.

Dempsey received a [[deferment]] form the [[draft]] during [[World War I]], a circumstance which was used by his critics to accuse him of [[draft dodging]]. This charge dogged Dempsey throughout his boxing career. After the [[attack on Pearl Harbor]], Dempsey volunteered for the armed forces, but was initially rejected as too old. He later was accepted into the [[Coast Guard]]. Late in the war his unit was assigned to support the invasion of [[Okinawa]] Island in the [[Pacific Theater]] of Operations, and Dempsey participated in the landing at age 49.

After his retirement from boxing, Dempsey opened a restaurant which remained a [[New York City]] landmark until its closing in 1974.

==Sources and Further Reading==

Kahn, Roger (1999) A Flame of Pure Fire, Harcourt Brace and Co.

{{DEFAULTSORT:Dempsey, Jack}}
[[Category:Biography]]

Jack Dempsey

2007-08-18T20:51:33Z

Leffingwell:

Jack Dempsey (given name William Harrison Dempsey, also known as The Manassa Mauler) (born June 24, 1895 – died May 31, 1983) was a professional [[prizefighter]] and [[heavyweight champion]] of the world from July 4, 1919 through September 23, 1927. Dempsey was an extremely popular and successful champion, a public figure so iconic that decades later in the 1980s President [[Ronald Reagan]] could say “…nobody ever insulted Jack Dempsey” with the expectation that his hearers would understand his meaning.

Dempsey was born in Colorado to a [[Mormon]] couple, and was raised in that faith, but would later describe himself as a “Jack-Mormon”, a term meaning a Mormon who had left the faith. From about the age of 10, he developed an ambition to be heavyweight champion of the world. He adopted an intense training regimen, which included jump roping, racing against farm and wagon horses, punching bag work, and “pickling”, which was a process which involved soaking the hands in horse urine and the face in brine and which was believed to toughen the skin and to help prevent cuts. At 16, Dempsey left home, and began earning a living by entering mining camp bars and saloons and offering to “lick anyone for a buck” (one dollar). In 1916, Dempsey came to New York City, where he began his formal career as a prizefighter. He rose rapidly in the rankings, and took the heavyweight championship from [[Jess Willard]], a fighter who was 50 pounds heavier. Dempsey defended his title several times, notably against K.O. Bill Brennan, Georges Carpentier, and Luis Firpo. He finally lost his title to former [[United States marine]] [[Gene Tunney]].

Among other things, Dempsey's reign as heavyweight champion is notable for being the first time an athlete earned more than one million dollars in a year.

Dempsey married four times. At age 20, while still living an itinerant lifestyle, he married a 35 year old prostitute, Maxine Cates. They were divorced within three years. He next married [[silent film]] actress Estelle Taylor, but this marriage also ended in divorce. His third marriage was to singer Hannah Williams, who bore him two daughters, but this marriage too ended in divorce. Finally he married Deanna Piattelli, who would survive him.

Dempsey received a [[deferment]] form the [[draft]] during [[World War I]], a circumstance which was used by his critics to accuse him of [[draft dodging]]. This charge dogged Dempsey throughout his boxing career. After [[Pearl Harbor]], Dempsey volunteered for the armed forces, but was initially rejected as too old. He later was accepted into the [[Coast Guard]]. Late in the war his unit was assigned to support the invasion of [[Okinawa]] Island in the [[Pacific Theater]] of Operations, and Dempsey participated in the landing at age 49.

After his retirement from boxing, Dempsey opened a restaurant which remained a [[New York City]] landmark until its closing in 1974.

==Sources and Further Reading==

Kahn, Roger (1999) A Flame of Pure Fire, Harcourt Brace and Co.

{{DEFAULTSORT:Dempsey, Jack}}
[[Category:Biography]]

Talk:Jack Dempsey

2007-08-18T04:19:40Z

Leffingwell: New page: Just a bio of a boxer ~~~~

Just a bio of a boxer [[User:Leffingwell|Leffingwell]] 00:19, 18 August 2007 (EDT)

Jack Dempsey

2007-08-18T04:17:48Z

Leffingwell: New page: Jack Dempsey (given name William Harrison Dempsey, also known as The Manassa Mauler) (born June 24, 1895 – died May 31, 1983) was a professional prizefighter and [[heavyweight champi...

Jack Dempsey (given name William Harrison Dempsey, also known as The Manassa Mauler) (born June 24, 1895 – died May 31, 1983) was a professional [[prizefighter]] and [[heavyweight champion]] of the world from July 4, 1919 through September 23, 1927. Dempsey was an extremely popular and successful champion, a public figure so iconic that decades later in the 1980s President [[Ronald Reagan]] could say “…nobody ever insulted Jack Dempsey” with the expectation that his hearers would understand his meaning.

Dempsey was born in Colorado to a [[Mormon]] couple, and was raised in that faith, but would later describe himself as a “Jack-Mormon”, a term meaning a Mormon who had left the faith. From about the age of 10, he developed an ambition to be heavyweight champion of the world. He adopted an intense training regimen, which included jump roping, racing against farm and wagon horses, punching bag work, and “pickling”, which was a process which involved soaking the hands in horse urine and the face in brine and which was believed to toughen the skin and to help prevent cuts. At 16, Dempsey left home, and began earning a living by entering mining camp bars and saloons and offering to “lick anyone for a buck” (one dollar). In 1916, Dempsey came to New York City, where he began his formal career as a prizefighter. He rose rapidly in the rankings, and took the heavyweight championship from [[Jess Willard]], a fighter who was 50 pounds heavier. Dempsey defended his title several times, notably against K.O. Bill Brennan, Georges Carpentier, and Luis Firpo. He finally lost his title to former [[marine]] [[Gene Tunney]].

Dempsey married four times. At age 20, while still living an itinerant lifestyle, he married a 35 year old prostitute, Maxine Cates. They were divorced within three years. He next married [[silent film]] actress Estelle Taylor, but this marriage also ended in divorce. His third marriage was to singer Hannah Williams, who bore him two daughters, but this marriage too ended in divorce. Finally he married Deanna Piattelli, who would survive him.

Dempsey received a [[deferment]] form the [[draft]] during [[World War I]], a circumstance which was used by his critics to accuse him of [[draft dodging]]. This charge dogged Dempsey throughout his boxing career. After [[Pearl Harbor]], Dempsey volunteered for the armed forces, but was initially rejected as too old. He later was accepted into the [[Coast Guard]]. Late in the war his unit was assigned to support the invasion of [[Okinawa]] Island in the [[Pacific Theater]] of Operations, and Dempsey participated in the landing at age 49.

After his retirement from boxing, Dempsey opened a restaurant which remained a [[New York City]] landmark until its closing in 1974.

==Sources and Further Reading==

Kahn, Roger (1999) A Flame of Pure Fire, Harcourt Brace and Co.

Artemis

2007-07-31T14:24:07Z

Leffingwell: Clarifying text to indicate that the Greek Artemis and the Roman Diana are the same deity, as suggested by Jinkas (thanks).

'''Artemis''' was the [[Greece|Greek]] goddess of the hunt, who was known as Diana to the Romans. She was the daughter of [[Zeus]] and [[Leto]] and the twin sister of [[Apollo]]. She was represented by the full [[moon]].

Artemis was the subject of several legends which have survived. In [[Ovid]]’s [[Metamorphoses]], the story is told of how the hunter Actaeon, having accidentally spied the goddess naked at her bath, is transformed into a stag, and hunted down and torn to death by his own hounds and the other members of his hunting party <ref> Ovid, Metamorphoses, Book III, lines 138-252</ref>. Elsewhere in Ovid, we learn of Artemis’s slaughter, with the help of Artemis’s brother [[Apollo]], of Niobe’s children in revenge for Niobe’s brag that she had fourteen children, while Latona ([[Leto]]) had but two<ref> Ovid, Metamorphoses, Book VI, lines 146-312</ref>.

The cult of Artemis was extremely popular in the ancient world, in particular at her temple in the city of Ephesus, in what is modern day [[Turkey]]. At that temple the goddess was represented in statuary as a woman with many breasts. In the [[Acts]] of the Apostles in the [[New Testament]] the story is told of a riot fomented by the silversmith Demetrius and other merchants in Ephesus to protest the success of [[St. Paul]] and other early christians in discrediting Artemis as a man-made god. The merchants are concerned that if the public ceases to believe in Artemis, they will lose their lucrative trade providing goods and services to the temple of Artemis and its many visitors. <ref> Acts 19:23-41</ref>.

Artemis / Diana was a virgin goddess, and was often referred to in that context in [[Renaissance]] literature and thereafter. For example, in [[Shakespeare]]’s play “Much Ado About Nothing”, the confused Claudio accuses his fiancée of infidelity this way:

You seem to me as Diana in her orb, 
As chaste as is the bud ere it be blown; 
But you are more intemperate in your blood 
Than Venus, or those pamper'd animals 
That rage in savage sensuality.

<ref> Shakespeare, William, Much Ado About Nothing, Act IV Scene I</ref>

==References==
<references/>

{{Nb mythology greece}}

Talk:Diana

2007-07-31T14:20:19Z

Leffingwell:

I'm lost here. Ideally, this query should redirect to Artemis, but I can't figure out how to do it. If anyone can give me a clue, please do. I often find that a redirect would be a good thing, but my knowledge of the metalanguage is quite poor. Thanks.

[[User:Leffingwell|Leffingwell]] 17:02, 30 July 2007 (EDT)

:Are you sure they should be redirected? Aren't they two different goddesses? [[User:Learn together|Learn together]] 18:57, 30 July 2007 (EDT)

No, it's the same. To be sure, these ancient pagans used to amalgamate their deities (and also differentiate them sometimes to suit a particular place or function) but the Romans accepted the unity of their pantheon and the Greeks, and the myths that have come down to us seem to show that the Romans adopted the Greek myths about Artemis (and all the rest). Obviously there is a big conceptual difference between the many breasted statue at Ephesus and the Renaissance conception of the lithe, virginal lunar huntress that Shakespeare is evoking (following Ovid, certainly), but it's hard for me to see how we should differentiate those usages at Conservapedia. I mean, we could go on for 200 pages or so as Wikipedia probably would (I haven't peeked). But I'm not sure it would be clearer and I thought we were going for a more concise format here. Basically, paganism didn't have to make sense,and mostly probably didn't, and it had no unifying hierarchical doctrinal structure that I'm aware of. So these concepts are fluid, and I tried to write something that would connect the notion of Diana /Artemis with a) the pagan belief system, b) christian history (since Ephesus turns out to be somewhat important there in New Testament understanding, though I deliberately limited myself here as I don't consider myself a stellar Bible man among the Conservapedians), and c) modern literary usage.
But I have often noticed that articles I have written involve aliases. For example, I think a Meyer Wolfsheim search should redirect to Arnold Rothstein, an Extreme Unction search should redirect to Anointing of the Sick, and so on. Is there a way? [[User:Leffingwell|Leffingwell]] 10:12, 31 July 2007 (EDT)

:I added the redirect. Redirects are made by putting <nowiki>#REDIRECT [[Article name]]</nowiki> on a page. However, [[Artemis]] should probably contain some explanation of why Diana redirects there, beyond that which is already present. I know that I would be confused if, while searching for Diana, I wound up on a page about Artemis. [[User:Jinkas|Jinkas]] 10:15, 31 July 2007 (EDT)

Thanks, Jinkas. I agree about the suggested improvement, and will try to add it today.[[User:Leffingwell|Leffingwell]] 10:20, 31 July 2007 (EDT)

Talk:Diana

2007-07-31T14:12:05Z

Leffingwell:

Talk:Diana

2007-07-30T21:02:46Z

Leffingwell:

Talk:Diana

2007-07-30T21:02:32Z

Leffingwell: New page: I'm lost here. Ideally, this query should redirect to Artemis, but I cn't figure out how to do it. If anyone can give me a clue, please do. I often find that a redirect would be a good thi...

I'm lost here. Ideally, this query should redirect to Artemis, but I cn't figure out how to do it. If anyone can give me a clue, please do. I often find that a redirect would be a good thing, but my knowledge of the metalanguage is quite poor. Thanks.

[[User:Leffingwell|Leffingwell]] 17:02, 30 July 2007 (EDT)

Diana

2007-07-30T20:58:51Z

Leffingwell: I'm lost here. Ideally, this inquiry should redirect to the Artemis article, but I can

Diana

2007-07-30T20:56:39Z

Leffingwell: New page: :Artemis

:[[Page linked to|Artemis]]

Artemis

2007-07-30T20:55:20Z

Leffingwell:

'''Artemis''' was the [[Greece|Greek]] goddess of the hunt. She was the daughter of [[Zeus]] and [[Leto]] and the twin sister of [[Apollo]]. She was represented by the full [[moon]]. She was associated with the Roman goddess [[Diana]].

Artemis was the subject of several legends which have survived. In [[Ovid]]’s [[Metamorphoses]], the story is told of how the hunter Actaeon, having accidentally spied the goddess naked at her bath, is transformed into a stag, and hunted down and torn to death by his own hounds and the other members of his hunting party <ref> Ovid, Metamorphoses, Book III, lines 138-252</ref>. Elsewhere in Ovid, we learn of Artemis’s slaughter, with the help of Artemis’s brother [[Apollo]], of Niobe’s children in revenge for Niobe’s brag that she had fourteen children, while Latona ([[Leto]]) had but two<ref> Ovid, Metamorphoses, Book VI, lines 146-312</ref>.

The cult of Artemis was extremely popular in the ancient world, in particular at her temple in the city of Ephesus, in what is modern day [[Turkey]]. At that temple the goddess was represented in statuary as a woman with many breasts. In the [[Acts]] of the Apostles in the [[New Testament]] the story is told of a riot fomented by the silversmith Demetrius and other merchants in Ephesus to protest the success of [[St. Paul]] and other early christians in discrediting Artemis as a man-made god. The merchants are concerned that if the public ceases to believe in Artemis, they will lose their lucrative trade providing goods and services to the temple of Artemis and its many visitors. <ref> Acts 19:23-41</ref>.

Artemis / Diana was a virgin goddess, and was often referred to in that context in [[Renaissance]] literature and thereafter. For example, in [[Shakespeare]]’s play “Much Ado About Nothing”, the confused Claudio accuses his fiancée of infidelity this way:

You seem to me as Diana in her orb, 
As chaste as is the bud ere it be blown; 
But you are more intemperate in your blood 
Than Venus, or those pamper'd animals 
That rage in savage sensuality.

<ref> Shakespeare, William, Much Ado About Nothing, Act IV Scene I</ref>

==References==
<references/>

{{Nb mythology greece}}

Helios

2007-07-30T17:24:28Z

Leffingwell:

'''Helios''', later known as Phoebus [[Apollo]], was the god of the sun in [[pagan]] Greek mythology. Portrayed as a relatively young man, Helios was often depicted as traversing the sky in a chariot pulled by four white horses with winged hooves.<ref>Ovid, Metamorphoses, Book 2, lines 1-400</ref>. It is evident from the various ancient literary sources which have survived that Helios was once a deity separate from Apollo, with a different lineage and family, but over time the two cults tended to be combined. The most famous story of Helios himself regards the death of his son Phaethon, and closely parallels the later legend of [[Daedalus]] and [[Icarus]].
==References==

<references/>

{{Nb mythology greece}}

Countee Cullen

2007-07-29T02:44:49Z

Leffingwell:

'''Countee Cullen''' (born @ 1903 – died January 9, 1946) was a poet and one of the most important figures of the [[Harlem Renaissance]]. Little is known of Cullen’s early life, as he was vague about his birthplace and parentage. As a teenager he was adopted by the pastor Reverend Dr. Frederick A. Cullen and his wife Carolyn, of the Salem Methodist Episcopal Church in [[Harlem]]. The Reverend Dr. Cullen was active in the [[NAACP]] throughout his life, and in that capacity knew both [[W.E.B. DuBois]] and [[James Weldon Johnson]], men who would serve as patriarchal figures of the Harlem Renaissance. In 1928, Cullen would marry DuBois’s only daughter, Yolande, but the marriage was a failure and would end in divorce within two years.

Cullen was something of a prodigy, successful at academics in every school he attended, including DeWitt Clinton High School and [[New York University]] and [[Harvard]], and with a precocious genius for poetry which was recognized at an early age. Throughout his career Cullen heavily favored classical verse forms, such as [[sonnet]]s, and perhaps in part because of this was the most successful [[crossover artist]] of the Harlem Renaissance poets. Arguably, this same factor may account for the decline in popularity of his work in the years since, compared to the less traditional style of [[Langston Hughes]].

===Further Reading===

Cullen Countee, edited and with introduction by Gerald Early (1991) My Souls High Song: The Collected Writings of Countee Cullen, Anchor Books.

{{DEFAULTSORT:Cullen, Countee}}

[[Category:Biographies]]
[[category:poets]]

Clara Bow

2007-07-29T02:43:10Z

Leffingwell: fixing category

Clara Bow (born June 29, 1905 - died September 26, 1965) was a [[silent film]] star and one of the leading box office draws of the 1920s. Born in Brooklyn, New York to an alcoholic father and a mother with serious psychiatric illness, Bow entered and won a magazine contest which included a small part in a motion picture. Subsequently she was placed under contract to producer [[B.P. Schulberg]] (the father of [[Bud Schulberg]], who would later write the screenplay for [[On the Waterfront]]). Bow made a great many films during her relatively brief career, many of which have been derided by critics for their low production values. Her best known film today is [[It]], which is available on DVD in versions which differ as to musical soundtrack. The title of this film refers to an undefineable sex appeal supposedly possessed by certain persons and not by others, but the plot of the film itself is a typical [[romantic comedy]] familiar to viewers from that time to this. Thereafter Bow was referred to as "The 'It' Girl", a title still associated with her in the present day.

Author [[F. Scott Fitzgerald]], who was already considered the voice of the new generation of the [[jazz age]], described Bow as the quintessence of the [[flapper]].

Bow later starred in [[Wings]], a [[World War I]] drama which won the [[Academy Award]] for [[Best Picture]].

After the introduction of sound, Bow's career began to fail. A number of scandals appeared in the press, particularly after Clara's secretary, Daisy DeVoe, was tried for embezzlement. Clara Bow eventually married [[Rex Bell]], a former cowboy film star and a future Republican Lieutenant Governor of Nevada. The couple had two sons. Clara Bow continued to make occasional appearances as an actress for much of her life, on stage and radio, but did not achieve any notable successes. She died in relative obscurity after bouts of psychiatric and coronary illness.

Bow's reputation was considerably damaged by the allegations of sexual impropriety in [[Kenneth Anger]]'s book [[Hollywood Babylon]]. These charges remain controversial and unproven.

Bow was romantically linked with several Hollywood leading men prior to her marriage to Rex Bell, and she is sometimes suggested to have helped further the careers of some relative unknowns who were later destined for stardom, including [[Gary Cooper]] and [[John Wayne]].

'''Further reading'''

Stenn, David. (2000) ''Clara Bow: Runnin' Wild'', Cooper Square Press

{{DEFAULTSORT: Bow, Clara}}
[[Category:Actors]]

Robinson Jeffers

2007-07-29T02:40:31Z

Leffingwell: Trying to add category biography. Wondering if there should be a poets category?

Robinson Jeffers (born 1887 – died 1962) was an American poet. Jeffers has been an extremely controversial figure. Politically, he has been claimed by both [[conservative]] and [[liberal]] readers as a kindred voice. Similarly, his poetry has been cited both for its robust [[Christianity]] and its “[[Nietzche]]an” effort to look beyond man.

Jeffers’ most famous poem is likely “Shine, Perishing Republic”, which protests against the corruption of American democracy during the urbanization of the 1920s. Many of the poet’s other works play on similar themes of disillusionment, notably “Woodrow Wilson”, and “We Are Those People”. Later in his career Jeffers unflinching view of political morality led some to question his patriotism.

Jeffers was the son of a professor of Old Testament Literature and Biblical History. He married his wife Una in 1913, and the couple remained together until Una’s death in 1950; he never remarried. The couple had two sons.

==Further reading==

http://www.jeffers.org/

http://www.torhouse.org/

Jeffers, Robinson (1987), “Selected Poems”, Carcenet Press

{{DEFAULTSORT:Jeffers, Robinson}}

[[Category:Biographies]]

Robinson Jeffers

2007-07-29T02:38:28Z

Leffingwell:

Robinson Jeffers

2007-07-29T02:37:38Z

Leffingwell: New page: Robinson Jeffers (born 1887 – died 1962) was an American poet. Jeffers has been an extremely controversial figure. Politically, he has been claimed by both conservative and [[liberal...

Talk:Apollo(god)

2007-07-23T02:42:11Z

Leffingwell: New page: A very brief discussion. Thanks to the author of the Zeus article for style tips, etc. ~~~~

A very brief discussion. Thanks to the author of the Zeus article for style tips, etc.
[[User:Leffingwell|Leffingwell]] 22:42, 22 July 2007 (EDT)

Apollo(god)

2007-07-23T02:39:07Z

Leffingwell: Changed Roman form Diana to Greek Artemis

Apollo was one of the most important of the [[pagan]] Greek gods, being responsible for many things, including healing and plague, archery, the arts (particularly music), and most especially prophecy. Later on he would also become the sun god. It should be noted that, with the exception of prophecy, all of Apollo's areas of responsibility also sometimes belong to other pagan mythological figures: healing to [[Asclepius]], the arts to the [[Muses]], the sun to [[Helios]], and archery to Apollo's sister goddess [[Artemis]]. Even with respect to Apollo's role as the god of prophecy, it is sometimes suggested that Apollo derives his knowledge of the future from [[Zeus]], and then acts as a go between to humans.

Nonetheless, as the god of prophecy Apollo is one of the Greek gods most likely to interact with man. He appears at the beginning of what is generally considered to be the oldest non-[[Judaic]] text in the [[Western tradition]], the [[Iliad]] of [[Homer]]. It is Apollo's anger at the Greek troops outside the walls of [[Troy]] which results in the plague which is besetting the Greeks, and the attempts of the pagan priests to deal with the crisis lead directly to the conflict between [[Achilles]] and [[Agamemnon]] which is the basis of this great [[epic poem]]<ref>Homer, The Iliad, Book I</ref>.

Apollo's cryptic prognostications received at the [[Oracle of Delphi]] play a crucial role in the actions of both Greeks and Persians (as well as some other peoples) in [[Herodotus]]'s History, which is generally considered the first work of history. He also appears frequently as a moving force in the surviving Greek dramas, where a prophecy from Delphi sometimes foreshadows the action of the play or sets up an important conflict.

Apollo is always portrayed as a young man, in contrast with some of the other Greek gods, such as Zeus, who are always portrayed as middle aged. He is frequently portrayed with a bow and arrow or a lyre (a stringed instrument).

==References==

<references/>

==Further reading==
Herodotus, The History

{{Nb mythology greece}}

Apollo(god)

2007-07-23T02:37:39Z

Leffingwell: conformed spelling of Asclepius to box

Apollo was one of the most important of the [[pagan]] Greek gods, being responsible for many things, including healing and plague, archery, the arts (particularly music), and most especially prophecy. Later on he would also become the sun god. It should be noted that, with the exception of prophecy, all of Apollo's areas of responsibility also sometimes belong to other pagan mythological figures: healing to [[Asclepius]], the arts to the [[Muses]], the sun to [[Helios]], and archery to Apollo's sister goddess [[Diana]]. Even with respect to Apollo's role as the god of prophecy, it is sometimes suggested that Apollo derives his knowledge of the future from [[Zeus]], and then acts as a go between to humans.

Nonetheless, as the god of prophecy Apollo is one of the Greek gods most likely to interact with man. He appears at the beginning of what is generally considered to be the oldest non-[[Judaic]] text in the [[Western tradition]], the [[Iliad]] of [[Homer]]. It is Apollo's anger at the Greek troops outside the walls of [[Troy]] which results in the plague which is besetting the Greeks, and the attempts of the pagan priests to deal with the crisis lead directly to the conflict between [[Achilles]] and [[Agamemnon]] which is the basis of this great [[epic poem]]<ref>Homer, The Iliad, Book I</ref>.

Apollo's cryptic prognostications received at the [[Oracle of Delphi]] play a crucial role in the actions of both Greeks and Persians (as well as some other peoples) in [[Herodotus]]'s History, which is generally considered the first work of history. He also appears frequently as a moving force in the surviving Greek dramas, where a prophecy from Delphi sometimes foreshadows the action of the play or sets up an important conflict.

Apollo is always portrayed as a young man, in contrast with some of the other Greek gods, such as Zeus, who are always portrayed as middle aged. He is frequently portrayed with a bow and arrow or a lyre (a stringed instrument).

==References==

<references/>

==Further reading==
Herodotus, The History

{{Nb mythology greece}}

Apollo(god)

2007-07-23T02:36:48Z

Leffingwell: Added box swiped from Zeus article, good connecting piece, Thanks! to author

Apollo was one of the most important of the [[pagan]] Greek gods, being responsible for many things, including healing and plague, archery, the arts (particularly music), and most especially prophecy. Later on he would also become the sun god. It should be noted that, with the exception of prophecy, all of Apollo's areas of responsibility also sometimes belong to other pagan mythological figures: healing to [[Aesclepius]], the arts to the [[Muses]], the sun to [[Helios]], and archery to Apollo's sister goddess [[Diana]]. Even with respect to Apollo's role as the god of prophecy, it is sometimes suggested that Apollo derives his knowledge of the future from [[Zeus]], and then acts as a go between to humans.

Nonetheless, as the god of prophecy Apollo is one of the Greek gods most likely to interact with man. He appears at the beginning of what is generally considered to be the oldest non-[[Judaic]] text in the [[Western tradition]], the [[Iliad]] of [[Homer]]. It is Apollo's anger at the Greek troops outside the walls of [[Troy]] which results in the plague which is besetting the Greeks, and the attempts of the pagan priests to deal with the crisis lead directly to the conflict between [[Achilles]] and [[Agamemnon]] which is the basis of this great [[epic poem]]<ref>Homer, The Iliad, Book I</ref>.

Apollo's cryptic prognostications received at the [[Oracle of Delphi]] play a crucial role in the actions of both Greeks and Persians (as well as some other peoples) in [[Herodotus]]'s History, which is generally considered the first work of history. He also appears frequently as a moving force in the surviving Greek dramas, where a prophecy from Delphi sometimes foreshadows the action of the play or sets up an important conflict.

Apollo is always portrayed as a young man, in contrast with some of the other Greek gods, such as Zeus, who are always portrayed as middle aged. He is frequently portrayed with a bow and arrow or a lyre (a stringed instrument).

==References==

<references/>

==Further reading==
Herodotus, The History

{{Nb mythology greece}}

Apollo(god)

2007-07-23T02:34:11Z

Leffingwell: New page: Apollo was one of the most important of the pagan Greek gods, being responsible for many things, including healing and plague, archery, the arts (particularly music), and most especial...

Apollo was one of the most important of the [[pagan]] Greek gods, being responsible for many things, including healing and plague, archery, the arts (particularly music), and most especially prophecy. Later on he would also become the sun god. It should be noted that, with the exception of prophecy, all of Apollo's areas of responsibility also sometimes belong to other pagan mythological figures: healing to [[Aesclepius]], the arts to the [[Muses]], the sun to [[Helios]], and archery to Apollo's sister goddess [[Diana]]. Even with respect to Apollo's role as the god of prophecy, it is sometimes suggested that Apollo derives his knowledge of the future from [[Zeus]], and then acts as a go between to humans.

Nonetheless, as the god of prophecy Apollo is one of the Greek gods most likely to interact with man. He appears at the beginning of what is generally considered to be the oldest non-[[Judaic]] text in the [[Western tradition]], the [[Iliad]] of [[Homer]]. It is Apollo's anger at the Greek troops outside the walls of [[Troy]] which results in the plague which is besetting the Greeks, and the attempts of the pagan priests to deal with the crisis lead directly to the conflict between [[Achilles]] and [[Agamemnon]] which is the basis of this great [[epic poem]]<ref>Homer, The Iliad, Book I</ref>.

Apollo's cryptic prognostications received at the [[Oracle of Delphi]] play a crucial role in the actions of both Greeks and Persians (as well as some other peoples) in [[Herodotus]]'s History, which is generally considered the first work of history. He also appears frequently as a moving force in the surviving Greek dramas, where a prophecy from Delphi sometimes foreshadows the action of the play or sets up an important conflict.

Apollo is always portrayed as a young man, in contrast with some of the other Greek gods, such as Zeus, who are always portrayed as middle aged. He is frequently portrayed with a bow and arrow or a lyre (a stringed instrument).

==References==

<references/>

==Further reading==
Herodotus, The History

Talk:Helios

2007-07-23T01:55:16Z

Leffingwell:

I through this together as a basic guide, relying only on Ovid, because this was number two on the unconnected link page. However, the majority of links are due to the user name Helios. Perhaps that user can do a better job here.

Ooops. It seems like that party is now persona non grata. Well, anyway, the Colossus article will link here.

[[User:Leffingwell|Leffingwell]] 21:55, 22 July 2007 (EDT)

Talk:Helios

2007-07-23T01:51:04Z

Leffingwell: New page: I through this together as a basic guide, relying only on Ovid, because this was number two on the unconnected link page. However, the majority of links are due to the user name Helios. Pe...

Helios

2007-07-23T01:49:20Z

Leffingwell: New page: Helios, later known as Phoebus Apollo, was the god of the sun in pagan Greek mythology. Portrayed as a relatively young man, Helios was often depicted as traversing the sky in a ch...

Helios, later known as Phoebus [[Apollo]], was the god of the sun in [[pagan]] Greek mythology. Portrayed as a relatively young man, Helios was often depicted as traversing the sky in a chariot pulled by four white horses with winged hooves.<ref>Ovid, Metamorphoses, Book 2, lines 1-400</ref>. It is evident from the various ancient literary sources which have survived that Helios was once a deity separate from Apollo, with a different lineage and family, but over time the two cults tended to be combined. The most famous story of Helios himself regards the death of his son Phaethon, and closely parallels the later legend of [[Daedalus]] and [[Icarus]]. He was known to the Romans as Sol.

==References==

<references/>

Talk:Pagan

2007-07-23T01:29:04Z

Leffingwell: New page: I have added to the text to make clear that the modern use of this term -where there no longer are living practitioners of the ancient pagan religion, sacrificing bulls to Zeus or seeking ...

I have added to the text to make clear that the modern use of this term -where there no longer are living practitioners of the ancient pagan religion, sacrificing bulls to Zeus or seeking guidance from Apollo through the sybil- is really no longer perjorative. I foresee a problem at Conservapedia as to how we are going to link articles concerning the mythology, practice, and historical consequences of the Greek and Roman paganism under a central category. Most lectures and articles I have heard or read use Pagan in this sense. I also note a high number of unconnected links to this area of knowledge. [[User:Leffingwell|Leffingwell]] 21:29, 22 July 2007 (EDT)

Countee Cullen

2007-07-17T03:47:08Z

Leffingwell:

Countee Cullen

2007-07-17T03:45:25Z

Leffingwell:

Confidence game

2007-07-16T21:04:27Z

Leffingwell:

Confidence games (also known as “grift”) are criminal enterprises in which the victim is persuaded to become a criminal himself, and then taken advantage of. Almost all confidence games rely upon the victim’s greed, although occasionally other character weaknesses, such as lust, may be exploited. Confidence men almost always work in teams, although there are a handful of exceptions.

In a typical confidence game, the victim is presented with an opportunity to make a great deal of money through cheating or stealing, but in order to do so the victim must first invest some of his own money to bring the scheme to fruition. Once the victim has lost control of his money, something goes wrong with the criminal plan, and the money is lost. Since the victim has himself committed a crime, he is not in a good position to report the confidence game to the authorities. As a result, most confidence crimes go unreported.

Because all true confidence games require the victim to act dishonestly before he can be hurt, the well known saying has arisen that “You can’t cheat an honest man.”

Confidence games can be simple, involving only two con men and a simple prop such as a wallet or personal check, or elaborate, with dozens of con men playing a variety of roles and elaborate props and sets worthy of a Broadway show. When an office or similar location is used in the con after having been dressed up to look like a gambling den or similar location, it is called “The Big Store”.

In his definitive book “The Big Con”, linguist and amateur criminologist David W. Maurer lists the 10 steps of all “Big cons”, which are paraphrased below: 
1) Finding the victim 
2) Befriending the victim (gaining the victim’s confidence) 
3) Steering him to the con man’s partner (called the “insideman”) 
4) The insideman tempts the victim with a plan to make a lot of money dishonestly 
5) Letting the victim make some money in the scheme (to convince him it will work) 
6) Determining how much the victim should invest 
7) Sending the victim to the bank or home to get the money 
8) Taking the money from the victim while making it look like the dishonest scheme failed 
9) Getting rid of the victim 
10) Forestalling action by the law <ref>Maurer, David (1940, reprinted 1999) The Big Con: The Story of the Confidence Man, Bobbs-Merrill, reprinted Anchor Books, p.4 of reprint edition</ref>

A variation of confidence games which relies on lust to motivate the victim is the “badger game”. In this variation, a married man is approached by a woman who seduces him into an adulterous liaison. At the appropriately embarrassing moment, the woman’s “husband” (actually her con man partner) bursts in and accuses the victim of carrying on with his wife. The “husband” then threatens violence and/or to expose the victim’s infidelity to his wife or community, unless money is paid.

Confidence games appear in many aspects of popular culture, particularly mystery and detective fiction, and have provided the theme for many films, notably including “The Flim Flam Man” (1967), and “The Sting” (1973).

===References===

<references/>

===Further reading===

Maurer, David (1940, reprinted 1999) The Big Con: The Story of the Confidence Man, Bobbs-Merrill, reprinted Anchor Books

Confidence game

2007-07-16T21:03:15Z

Leffingwell:

Confidence games (also known as “grift”) are criminal enterprises in which the victim is persuaded to become a criminal himself, and then taken advantage of. Almost all confidence games rely upon the victim’s greed, although occasionally other character weaknesses, such as lust, may be exploited. Confidence men almost always work in teams, although there are a handful of exceptions.

In a typical confidence game, the victim is presented with an opportunity to make a great deal of money through cheating or stealing, but in order to do so the victim must first invest some of his own money to bring the scheme to fruition. Once the victim has lost control of his money, something goes wrong with the criminal plan, and the money is lost. Since the victim has himself committed a crime, he is not in a good position to report the confidence game to the authorities. As a result, most confidence crimes go unreported.

Because all true confidence games require the victim to act dishonestly before he can be hurt, the well known saying has arisen that “You can’t cheat an honest man.”

Confidence games can be simple, involving only two con men and a simple prop such as a wallet or personal check, or elaborate, with dozens of con men playing a variety of roles and elaborate props and sets worthy of a Broadway show. When an office or similar location is used in the con after having been dressed up to look like a gambling den or similar location, it is called “The Big Store”.

In his definitive book “The Big Con”, linguist and amateur criminologist David W. Maurer lists the 10 steps of all “Big cons”, which are paraphrased below: 
1) Finding the victim 
2) Befriending the victim (gaining the victim’s confidence) 
3) Steering him to the con man’s partner (called the “insideman”) 
4) The insideman tempts the victim with a plan to make a lot of money dishonestly 
5) Letting the victim make some money in the scheme (to convince him it will work) 
6) Determining how much the victim should invest 
7) Sending the victim to the bank or home to get the money 
8) Taking the money from the victim while making it look like the dishonest scheme failed 
9) Getting rid of the victim 
10) Forestalling action by the law <ref>Maurer, David (1940, reprinted 1999) The Big Con: The Story of the Confidence Man, Bobbs-Merrill, reprinted Anchor Books, p.4 of reprint edition</ref>

A variation of confidence games which rely on lust to motivate the victim is the “badger game”. In this variation, a married man is approached by a woman who seduces him into an adulterous liaison. At the appropriately embarrassing moment, the woman’s “husband” (actually her con man partner) bursts in and accuses the victim of carrying on with his wife. The “husband” then threatens violence and/or to expose the victim’s infidelity to his wife or community, unless money is paid.

Confidence games appear in many aspects of popular culture, particularly mystery and detective fiction, and have provided the theme for many films, notably including “The Flim Flam Man” (1967), and “The Sting” (1973).

===References===

<references/>

===Further reading===

Maurer, David (1940, reprinted 1999) The Big Con: The Story of the Confidence Man, Bobbs-Merrill, reprinted Anchor Books

Confidence game

2007-07-16T21:01:46Z

Leffingwell: New page: Confidence games (also known as “grift”) are criminal enterprises in which the victim is persuaded to become a criminal himself, and then taken advantage of. Almost all confidence game...

Confidence games (also known as “grift”) are criminal enterprises in which the victim is persuaded to become a criminal himself, and then taken advantage of. Almost all confidence games rely upon the victim’s greed, although occasionally other character weaknesses, such as lust, may be exploited. Confidence men almost always work in teams, although there are a handful of exceptions.

In a typical confidence game, the victim is presented with an opportunity to make a great deal of money through cheating or stealing, but in order to do so the victim must first invest some of his own money to bring the scheme to fruition. Once the victim has lost control of his money, something goes wrong with the criminal plan, and the money is lost. Since the victim has himself committed a crime, he is not in a good position to report the confidence game to the authorities. As a result, most confidence crimes go unreported.

Because all true confidence games require the victim to act dishonestly before he can be hurt, the well known saying has arisen that “You can’t cheat an honest man.”

Confidence games can be simple, involving only two con men and a simple prop such as a wallet or personal check, or elaborate, with dozens of con men playing a variety of roles and elaborate props and sets worthy of a Broadway show. When an office or similar location is used in the con after having been dressed up to look like a gambling den or similar location, it is called “The Big Store”.

In his definitive book “The Big Con”, linguist and amateur criminologist David W. Maurer lists the 10 steps of all “Big cons”, which are paraphrased below:
1) Finding the victim
2) Befriending the victim (gaining the victim’s confidence)
3) Steering him to the con man’s partner (called the “insideman”)
4) The insideman tempts the victim with a plan to make a lot of money dishonestly
5) Letting the victim make some money in the scheme (to convince him it will work)
6) Determining how much the victim should invest
7) Sending the victim to the bank or home to get the money
8) Taking the money from the victim while making it look like the dishonest scheme failed
9) Getting rid of the victim
10) Forestalling action by the law <ref>Maurer, David (1940, reprinted 1999) The Big Con: The Story of the Confidence Man, Bobbs-Merrill, reprinted Anchor Books, p.4 of reprint edition</ref>

A variation of confidence games which rely on lust to motivate the victim is the “badger game”. In this variation, a married man is approached by a woman who seduces him into an adulterous liaison. At the appropriately embarrassing moment, the woman’s “husband” (actually her con man partner) bursts in and accuses the victim of carrying on with his wife. The “husband” then threatens violence and/or to expose the victim’s infidelity to his wife or community, unless money is paid.

Confidence games appear in many aspects of popular culture, particularly mystery and detective fiction, and have provided the theme for many films, notably including “The Flim Flam Man” (1967), and “The Sting” (1973).

===References===

<references/>

===Further reading===

Maurer, David (1940, reprinted 1999) The Big Con: The Story of the Confidence Man, Bobbs-Merrill, reprinted Anchor Books

Arnold Rothstein

2007-07-16T00:51:24Z

Leffingwell:

Arnold Rothstein (born January 17, 1882 – died November 5, 1928) <ref>http://www.davidpietrusza.com/Rothstein-Chronology.html</ref> was a professional gambler and criminal who was involved in a great many criminal enterprises, but who is primarily remembered for his role in “fixing” the 1919 [[World Series]], known as the [[Black Sox Scandal]]. Rothstein was never convicted of any crime in connection with the fix, but was widely assumed by the public to be the force behind it. He would also become famous as a literary character: Rothstein is portrayed as the sinister “Meyer Wolfsheim” in [[F. Scott Fitzgerald]]’s novel [[The Great Gatsby]]. In Gatsby, Rothstein/ Wolfsheim is a figure of menace, and symbolic of the corruption and cynicism which was (in Fitzgerald’s view ) overtaking the American dream. A more pleasant portrayal of Rothstein appears in the works of [[Damon Runyon]], under the names “Nathan Detroit” and “The Big Brain”.

Rothstein was born on New York’s Lower East Side to a family of Orthodox Jews. His father was a successful and well-respected businessman. However, from an early age, Arnold Rothstein evidenced an affinity for gambling, an illegal but extremely popular pastime, then as now. By the early 1900s, Rothstein was a noted gambler, with a reputation for winning by underhanded methods if necessary. He became known as “The Big Bankroll’ for his habit of carrying a large roll of bills in his pocket, which he would use to, among other things, lend money to other gamblers: in effect, a form of [[loan sharking]]. By 1909 he was running his own illegal casino in the [[Times Square]] area, and was using pretty young women, including a young [[Peggy Hopkins Joyce]] and showgirls from the [[Ziegfeld Follies]] and other Broadway shows as “steerers”, whose job it was to bring wealthy gamblers to Rothstein’s establishment <ref>Pietrusza, David (2003) Rothstein, Carroll & Graf, pp. 61-64</ref>. He would go on to take financial interests in racetracks, the illegal drug trade, union corruption and political graft. But primarily he was associated with gambling and with “fixing” the outcome of sporting events. In addition to the 1919 World Series, Rothstein has been alleged (but never proven) to have fixed numerous horse races and boxing matches, including the heavyweight championship bouts between [[Jack Dempsey]] and [[Gene Tunney]].

In the course of his life, Rothstein associated with some of the most colorful characters of the 1920s, including lawyer [[William Fallon]] (known as “the Mouthpiece”, and the basis of the character Billy Flynn in the musical “Chicago”), [[vaudeville]] star [[Fanny Brice]] (subject of the musical “Funny Girl” and wife of Rothstein associate Nicky Arnstein), New York Mayor [[James Walker]] known as “Gentleman Jimmy”, and many others. He also was associated with some of the ugliest names in organized crime, such as [[Salvatore Lucania]] known as “Lucky Luciano”, and [[Meyer Lansky]]. Rothstein is believed to have been an integral part of the New York City [[Democratic Party]]’s notorious system of corruption known as [[Tammany Hall]].

Rothstein married a showgirl in 1909, but the marriage was not a happy one, and the couple had no children. Rothstein was mortally wounded with a handgun in Room 349 of the Park Central Hotel on November 4, 1928, and died early the next morning. No one was ever convicted of his murder.

===References===
<references/>

Arnold Rothstein

2007-07-16T00:04:36Z

Leffingwell:

Arnold Rothstein (born January 17, 1882 – died November 5, 1928) <ref>http://www.davidpietrusza.com/Rothstein-Chronology.html</ref> was a professional gambler and criminal who was involved in a great many criminal enterprises, but who is primarily remembered for his role in “fixing” the 1919 [[World Series]], known as the [[Black Sox Scandal]]. Rothstein was never convicted of any crime in connection with the fix, but was widely assumed by the public to be the force behind it. He would also become famous as a literary character: Rothstein is portrayed as the sinister “Meyer Wolfsheim” in [[F. Scott Fitzgerald]]’s novel [[The Great Gatsby]]. In Gatsby, Rothstein/ Wolfsheim is a figure of menace, and symbolic of the corruption and cynicism which was (in Fitzgerald’s view ) overtaking the American dream. A more pleasant portrayal of Rothstein appears in the works of [[Damon Runyon]], under the names “Nathan Detroit” and “The Big Brain”.

Rothstein was born on New York’s Lower East Side to a family of Orthodox Jews. His father was a successful and well-respected businessman. However, from an early age, Arnold Rothstein evidenced an affinity for gambling, an illegal but extremely popular pastime, then as now. By the early 1900s, Rothstein was a noted gambler, with a reputation for winning by underhanded methods if necessary. He became known as “The Big Bankroll’ for his habit of carrying a large roll of bills in his pocket, which he would use to, among other things, lend money to other gamblers: in effect, a form of [[loan sharking]]. By 1909 he was running his own illegal casino in the [[Times Square]] area, and was using pretty young women, including a young [[Peggy Hopkins Joyce]] and showgirls from the [[Ziegfeld Follies]] and other Broadway shows as “steerers”, whose job it was to bring wealthy gamblers to Rothstein’s establishment <ref>Pietrusza, David (2003) Rothstein, Carroll & Graf, pp. 61-64</ref>. He would go on to take financial interests in racetracks, the illegal drug trade, union corruption and political graft. But primarily he was associated with gambling and with “fixing” the outcome of sporting events. In addition to the 1919 World Series, Rothstein has been alleged (but never proven) to have fixed numerous horse races and boxing matches, including the Dempsey-Tunney heavyweight championship bouts.

In the course of his life, Rothstein associated with some of the most colorful characters of the 1920s, including lawyer [[William Fallon]] (known as “the Mouthpiece”, and the basis of the character Billy Flynn in the musical “Chicago”), [[vaudeville]] star [[Fanny Brice]] (subject of the musical “Funny Girl” and wife of Rothstein associate Nicky Arnstein), New York Mayor [[James Walker]] known as “Gentleman Jimmy”, and many others. He also was associated with some of the ugliest names in organized crime, such as [[Salvatore Lucania]] known as “Lucky Luciano”, and Meyer Lansky. Rothstein is believed to have been an integral part of the New York City [[Democratic Party]]’s notorious system of corruption known as [[Tammany Hall]].

Rothstein married a showgirl in 1909, but the marriage was not a happy one, and the couple had no children. Rothstein was mortally wounded with a handgun in Room 349 of the Park Central Hotel on November 4, 1928, and died early the next morning. No one was ever convicted of his murder.

===References===
<references/>