title: Decapitated (band)

text: In July 2018, the band released a music video for the song "Kill The Cult" from their 2017 album. In December 2018, the band announced departure of drummer Łysejko.


title: Decapitated (band)

text: On September 28, 2019, Vogg was announced as Phil Demmel's replacement in Machine Head for a tour. Vogg revealed that Decapitated would begin writing new music in 2020 for their eighth studio album. In September 2020, Decapitated re-signed with Nuclear Blast and also announced former touring drummer James Stewart has become a full-time band member, while bassist Hubert Więcek was no longer in the band.


title: Decapitated (band)

text: The band announced dates in July 2021 for their upcoming 2022 European tour to mark their 25th anniversary, with support from Black Tongue, Heart of a Coward and INFERI. Heart of a Coward later withdrew from the tour and were replaced with Archspire.


title: Decapitated (band)

text: On March 17, 2022, the band announced their new album "Cancer Culture" would be released on May 27, and also released the title track from the album. They also revealed the album would feature guest performances from members of Jinjer and Machine Head. The album and music videos feature the return of Paweł Pasek on bass.


title: Decapitated (band)

text: Decapitated's music is written by Vogg, who co-worked with Vitek while writing prior to his death. Decapitated became known for its songwriting and technical instrumental approach at an extraordinarily young age and earned an international fan base in the underground music community. In the review of Decapitated's debut album, Allmusic said "the band has a seemingly effortless understanding and command of ... their instruments and ... the songwriting is extremely solid; even in the first listen." The characteristics of "Nihility" and "Negation" are "powerful, blastbeat-filled drumming, dissonant yet memorable guitar riffs, and inventive guitar solos" and substantially high production quality. In the review of "The Negation", "Metal Hammer" states that "Sauron is one of the most capable vocalists on the scene". With "Organic Halucinosis", Decapitated focused on non-traditional death metal aesthetics, more complex songwriting and grooves, and polyrhythmic approach; Covan contributed more versatile vocals. A notable element of groove is present in Decapitated's death metal sound, which has been often described as technical death metal. Vogg cited Dimebag Darrell of Pantera as an "inspiration for making groovy riffs". Recently, the band and their later musical output have been described as groove metal.


title: Decapitated (band)

text: Decapitated's releases are some of death metal's most significant albums of the early 21st century. "Winds of Creation" was "responsible for re-igniting a stagnating death metal scene" and "Organic Hallucinosis" proved to be substantially influential in the subsequent development of the genre. According to "Kerrang!", Decapitated have released "classic albums; (...) that have turned these youthful Poles into one of the genre's most widely respected bands. Tomas Haake, the drummer of the Swedish band Meshuggah, commented the death of Vitek: "The metal community has lost one of the most talented and skillful drummers of our time! [...] Vitek was a true talent and drummer genius." In 2017, "Alternative Press" described Decapitated as one of "death metal's elite" bands.


title: Climate of London

text: London features a humid temperate oceanic climate (Cfb). This gives the city cool winters, warm to hot summers with precipitation fairly evenly distributed all year round. London has a very rich history of meteorological observations, with precipitation records beginning as early as January 1697 at Kew Gardens. Irregular observations were made at multiple locations in the ensuing years. An observing station has been located at Greenwich since 1841, giving London its longest continuous reliable temperature series. Other stations include Heathrow, beginning in 1948, Hampstead, beginning in 1910, Northolt, beginning in 1948, and St James's Park, beginning in 1910.


title: Climate of London

text: The highest temperature ever observed in London is provisionally recorded at both Heathrow Airport and St James's Park on 19 July 2022 and the lowest is 1 January 1962. The lowest daily maximum temperature is occurring on 3 occasions: 8 January 1841, 4 January 1867 and 12 January 1987. The highest daily minimum temperature recorded is , recorded in Kenley on 19 July 2022. This is also the highest minimum temperature ever reported anywhere in the United Kingdom. In addition to this, London holds multiple national records, including the record maximum for the months of February, April, May and June.


title: Climate of London

text: The city can sometimes experience extremes. Snowfall is an infrequent occurrence in winter, falling on an average of 16 days per year, though infrequently heavy. Thunderstorms are a similarly occurring feature, occurring on average up to 16 days per year. London has been known to experience tornadoes. An F2 struck Kensal Green on 7 December 2006.


title: Climate of London

text: London is vulnerable to climate change in the United Kingdom, and there is increasing concern among hydrological experts that London households may run out of water before 2050.


title: Climate of London

text: The weather station enclosure is the most elevated of any in the London area, and as a result daytime temperatures are typically one degree lower than Heathrow, Kew, Northolt and Greenwich.


title: Lazarus syndrome

text: Lazarus syndrome (the Lazarus heart), also known as autoresuscitation after failed cardiopulmonary resuscitation, is the spontaneous return of a normal cardiac rhythm after failed attempts at resuscitation. It is also the spontaneous return of cardiac activity after pronounced dead. Its occurrence has been noted in medical literature at least 38 times since 1982. It takes its name from Lazarus who, according to the New Testament, was raised from the dead by Jesus.


title: Lazarus syndrome

text: Occurrences of the syndrome are extremely rare, and the causes are not well understood. One hypothesis for the phenomenon is that a chief factor (though not the only one) is the buildup of pressure in the chest as a result of cardiopulmonary resuscitation (CPR). The relaxation of pressure after resuscitation efforts have ended is thought to allow the heart to expand, triggering the heart's electrical impulses and restarting the heartbeat. Other possible factors are hyperkalemia or high doses of epinephrine.


title: Lazarus syndrome

text: Velma Thomas, 59, of Nitro, West Virginia, United States holds the record time for recovering from clinical death. In May 2008, Thomas went into cardiac arrest at her home. Medics were able to establish a faint pulse after eight minutes of CPR. Her heart stopped twice after arriving at the hospital and she was placed on life support. Doctors attempted to lower her body temperature to prevent additional brain injury. She was declared clinically dead for 17 hours after doctors failed to detect brain activity. Her son, Tim Thomas, stated that "her skin had already started hardening, her hands and toes were curling up, they were already drawn". She was taken off life support and funeral arrangements were in progress. However, ten minutes after being taken off life support, she revived and recovered.


title: Lazarus syndrome

text: The Lazarus phenomenon raises ethical issues for physicians, who must determine when medical death has occurred, resuscitation efforts should end, and postmortem procedures such as autopsies and organ harvesting may take place.


title: Lazarus syndrome

text: Medical literature has recommended observation of a patient's vital signs for five to ten minutes after cessation of resuscitation before certifying death.


title: Baizuo

text: Baizuo (, ; literally "white left") is a Chinese neologism used to refer to Western leftist ideologies primarily espoused by white people. The term "baizuo" is related to the term (; literally "Holy Mother") or (; literally "Holy Mother"), a reference to those whose political opinions are perceived as being overly driven by emotion.


title: Baizuo

text: "Baizuo" is a popular political epithet commonly used on the Chinese Internet. The literal translation is "white left" which refers to western white liberal leftists. According to Chinese political scientist Chenchen Zhang, the word "Baizuo" refers to those who "only care about topics such as immigration, minorities, LGBT rights and the environment", but lack a concept of "real problems in the real world". It is also used to describe those "hypocritical humanitarians who advocate political correctness just to satisfy their own sense of moral superiority". Some used this word to indicate those "ignorant and arrogant westerners" who "pity the rest of the world and think they are saviours".


title: Baizuo

text: The term "baizuo" was apparently coined in a 2010 article published on Renren Network by user Li Shuo, entitled "The Fake Morality of the Western White Left and the Chinese Patriotic Scientists" (), initially used as a general critique of certain socialist values in the American left. No further use of the term is known until 2013, where it enjoyed prominence in the Chinese forum Zhihu through 2013–2015.


title: Baizuo

text: Substantial use in Chinese Internet culture began in early 2016, at first at MIT BBS, a bulletin board system used by many Chinese Americans, during the 2016 United States presidential election. "Baizuo" was used there to criticize the Democratic Party's emphasis on the affirmative action policies perceived as discriminating against Asians.


title: Baizuo

text: This term also gained some attentions in Germany and is used to criticize Angela Merkel's immigration policies.


title: Baizuo

text: The term has been referenced approvingly by American conservatives, including Tucker Carlson and Rod Dreher.


title: Baizuo

text: A different term was widely used for similar effect in Hong Kong, called "zo gaau" (; literally "left dumbass" or "leftard"). The term gain popularity in HK in the 2010s, and became widespread after the 2014 Hong Kong protests.


title: Tod D. Wolters

text: Tod Daniel Wolters (born October 13, 1960) is a retired United States Air Force four-star general who last served as the commander of U.S. European Command and concurrently as NATO's Supreme Allied Commander Europe (SACEUR). He previously served as the commander of U.S. Air Forces in Europe and U.S. Air Forces Africa. He assumed his caption assignment at the European Command in Germany on May 2, 2019 and at the Allied Command in Belgium on May 3, 2019.


title: Tod D. Wolters

text: The son of Air Force Brigadier General Thomas E. Wolters, Wolters received his commission in 1982 as a graduate of the United States Air Force Academy. He has commanded the 19th Fighter Squadron, Elmendorf AFB, Alaska; the 1st Operations Group, Langley AFB, Virginia; the 485th Air Expeditionary Wing, Saudi Arabia; the 47th Flying Training Wing, Laughlin AFB, Texas; the 325th Fighter Wing, Tyndall AFB, Florida; the 9th Air and Space Expeditionary Task Force-Afghanistan; and the Twelfth Air Force, Davis-Monthan Air Force Base, Arizona. He has fought in operations Desert Storm, Southern Watch, Iraqi Freedom and Enduring Freedom.


title: Tod D. Wolters

text: Wolters served in the Office of the Secretary of the Air Force, as Director of Legislative Liaison, and in Headquarters' staff positions at United States Pacific Command, Headquarters United States Air Force, and Air Force Space Command.


title: Tod D. Wolters

text: Prior to Wolters' appointment as SACEUR, he was the Director for Operations, Joint Staff, Washington, D.C. He assisted the Chairman of the Joint Chiefs of Staff in fulfilling his responsibilities as the principal military advisor to the President and Secretary of Defense. Wolters develops and provides strategic guidance to the combatant commands and relays communications between the President and the Secretary of Defense to the combatant commanders regarding current operations and plans.


title: Tod D. Wolters

text: Wolters is a command pilot with more than 5,000 flying hours in the F-15C, F-22, OV-10, T-38 and A-10 aircraft.


title: Arthur Jones (American football)

text: Arthur Willis Jones III (born June 3, 1986) is a former American football defensive end who played eight seasons in the National Football League (NFL). He played college football at Syracuse. He was drafted by the Baltimore Ravens in the fifth round of the 2010 NFL Draft and won Super Bowl XLVII with them. Jones has also played for the Indianapolis Colts and Washington Redskins. He is also the older brother of former UFC Light Heavyweight Champion Jon Jones, and defensive end Chandler Jones of the Las Vegas Raiders.


title: Arthur Jones (American football)

text: Jones was born in Rochester, New York to parents Arthur Jr. and Camille Jones. After moving to Endicott, Jones attended Union–Endicott High School. At Union–Endicott he played both football and wrestled. He was a two time NY state champ in wrestling. As a senior, he had 64 tackles, six sacks, and one fumble recovery to help lead Union–Endicott to a Section IV championship. Following that championship season, Jones was ranked as the 18th best prospect in New York by "SuperPrep".


title: Arthur Jones (American football)

text: Considered only a two-star recruit by "Rivals.com", Jones was not ranked among the nation's best defensive tackle prospects. He chose Syracuse over Pittsburgh and Rutgers.


title: Arthur Jones (American football)

text: In a 34–14 win over Miami (Ohio), Jones sacked their quarterback, Daniel Raudabaugh, for a loss of seven yards. On November 11, 2006, in a game at Raymond James Stadium home of the South Florida Bulls, Jones recovered the first fumble of his collegiate career. In the same game he recorded a career-high five tackles. After playing in every game, Jones had 15 tackles (including sacks) and one fumble recovery.


title: Arthur Jones (American football)

text: Against Illinois, after Jones made a tackle on third down, Post-Standard blogger and local radio host Brent Axe wrote, "Arthur Jones is having the game of his life right now." As of October 21, 2007, Jones had five tackles for a loss. As of November 2, Jones had 14.5 tackles after the ball carrier crossed the line of scrimmage. In the beginning of the second half against South Florida on November 11, Jones injured his ankle on a chop block. On November 17, Jones was held out of the game against Connecticut and according to coach Greg Robinson the decision came because, "Arthur has been too good of a football player for us to risk putting him out there and really getting him hurt." For the season, he played in every game but the Connecticut game and was named Second-team All-Big East. His season high in tackles came against Iowa when he had nine.


title: Arthur Jones (American football)

text: On September 10, 2008, against Penn State, Jones had one sack and three tackles for a loss. After one month, Jones had four sacks to be one of the leaders for the Orange. After the 2008 season, Jones was named to the First-team All-Big East Conference and was an All-America candidate. Jones was one of only 10 players on the team to start every game. His season high in tackles came against Rutgers when he had eight. Following Syracuse's upset win over Notre Dame he was named Big East Defensive Player of the Week and was also awarded an ESPN "Helmet Sticker" for his performance. He ranks sixth on the Orange career record list for tackles for loss.


title: Arthur Jones (American football)

text: In 2009, Jones missed three games, playing in nine and made 19 tackles (7 for losses) and 1.5 sacks and recovered 2 fumbles and was named First-team All-Big East for the second consecutive season.


title: Arthur Jones (American football)

text: Jones was drafted by the Baltimore Ravens in the fifth round (157th overall) in the 2010 NFL Draft. He was signed to a three-year deal on June 21, 2010. During his rookie season in 2010, Jones played 2 games without recording a single stat.


title: Arthur Jones (American football)

text: Jones saw an increased role in the 2011 season by playing 14 games with one start, making 20 tackles.


title: Arthur Jones (American football)

text: During the 2012 season, Jones had 4.5 sacks in the regular season. The Ravens advanced to Super Bowl XLVII for the second time in franchise history against the San Francisco 49ers. In that game, Jones registered a fumble recovery as well as a key sack on 49ers Quarterback Colin Kaepernick. The Ravens ended up winning the game 34–31, earning Jones his first Super Bowl Ring.


title: Arthur Jones (American football)

text: On March 11, 2014, Jones signed a 5-year contract with the Indianapolis Colts, worth more than $30 million. During his first season with the Colts in 2014, Jones played 9 games (started 3) with 1.5 sacks and a forced fumble on 34 tackles.


title: Arthur Jones (American football)

text: Jones was suspended the first four games of the 2016 season for violating the league's policy on performance-enhancing drugs. After returning from his suspension, Jones started all eight games he appeared in and tallied 30 tackles before being placed on injured reserve on December 19, 2016, with a groin injury.


title: Arthur Jones (American football)

text: On November 1, 2017, Jones signed with the Washington Redskins. He was placed on injured reserve on November 11, 2017, with a dislocated shoulder.


title: Arthur Jones (American football)

text: Jones earned his degree in communication and rhetorical studies. His brother is mixed martial artist Jon Jones, who is the former UFC Light Heavyweight Champion, who is considered by some to be one of the best mixed martial artists of all time. His youngest brother, Chandler, is an edge rusher for the Las Vegas Raiders who previously played for the Arizona Cardinals and New England Patriots. Their teams played one another for the first time when the Ravens played the Patriots in Week 3 of the 2012 NFL season in a controversial win for Arthur and the Ravens, and again in the 2012 AFC Championship Game, which was won by Chandler and the Patriots.


title: Annie Sprinkle

text: Annie M. Sprinkle (born Ellen F. Steinberg on July 23, 1954) is an American certified sexologist, performance artist, former sex worker, and advocate for sex work and health care. Sprinkle has worked as a prostitute, sex educator, feminist stripper, pornographic film actress, and sex film producer and director. In 1996, she became the first porn star to get a doctoral degree, earning a PhD in human sexuality from the Institute for Advanced Study of Human Sexuality in San Francisco. Identifying as ecosexual, Sprinkle is best known for her self-help style of pornography, teaching individuals about pleasure, and for her conventional pornographic film "Deep Inside Annie Sprinkle" (1981). Through the production of content, Sprinkle has contributed to feminist pornography and the larger social movement of feminism; she is also known for contributing to the rise of the post-porn movement and lesbian pornography. Sprinkle, a member of the LGBTQ+ community, married her long-time partner Beth Stephens in Canada on January 14, 2007.


title: Annie Sprinkle

text: Sprinkle was born Ellen F. Steinberg on July 23, 1954, in Philadelphia, Pennsylvania, to a Russian-Jewish mother and a Polish-Jewish father. Her family moved to Los Angeles, California when she was five years old, and she lived in Panama from age thirteen to seventeen. At eighteen, she began working at the ticket booth at the Plaza Cinema in Tucson, Arizona, when "Deep Throat" (1972) was playing. The film was busted, and when Steinberg had to appear in court as a witness, she met and fell in love with "Deep Throat's" director, Gerard Damiano, and became his mistress. She followed him to New York City, where she lived for twenty-two years.


title: Annie Sprinkle

text: Not long after becoming Damiano's mistress, Steinberg began working in porn herself and, at that time, started calling herself "Annie." As her career continued, she says that one night, "as if from the goddess herself," the name "Annie Sprinkle" came to her. She later changed her name legally to Annie Sprinkle. Her first porn movie was "Teenage Deviate" released in 1975. Perhaps her best known mainstream porn featured role was in "Deep Inside Annie Sprinkle" (co-directed by Sprinkle and sexploitation veteran Joseph W. Sarno) which was the No. 2 grossing porn film of 1981.


title: Annie Sprinkle

text: In 1991, Sprinkle created the "Sluts and Goddesses" workshop, which became the basis for her 1992 production "The Sluts and Goddesses Video Workshop – Or How To Be A Sex Goddess in 101 Easy Steps." The film was co-produced and co-directed with videographer Maria Beatty, and it featured music by composer Pauline Oliveros. Sprinkle pioneered new genres of sexually explicit film and video such as edu-porn, gonzo, post porn, xxx docudrama, art porn, and feminist erotica. Sprinkle has also presented many sex workshops with fellow sex facilitator Barbara Carrellas, with whom she presented the stage production "Metamorphosex."


title: Annie Sprinkle

text: Sprinkle has appeared in almost 200 films, including hard- and softcore pornography, B movies, loops, and numerous documentaries. She starred in Nick Zedd's experimental films "War Is Menstrual Envy" (1992), "Ecstasy in Entropy" (1999), and "Electra Elf: The Beginning" (2005). She also appeared in various television shows including four HBO "Real Sex" programs. She has also produced, directed, and starred in several of her own films, such as "Annie Sprinkle's Herstory of Porn", "Annie Sprinkle's Amazing World of Orgasm", and "Linda/Les & Annie—The First Female to Male Transsexual Love Story". Her work in adult films earned her a spot on the Adult Star Path of Fame in Edison, New Jersey, and she was inducted to both the AVN Hall of Fame and the XRCO Hall of Fame in 1999. For three decades, she has presented her work as a visiting artist at many major universities and colleges in the US and Europe.


title: Annie Sprinkle

text: Annie Sprinkle is known as the "prostitute and porn star turned sex educator and artist." Her best known theater and performance art piece is her "Public Cervix Announcement", in which she invites the audience to "celebrate the female body" by viewing her cervix with a speculum and flashlight. She also performed "The Legend of the Ancient Sacred Prostitute", in which she did a "sex magic" masturbation ritual on stage. She has toured one-woman shows internationally for 17 years, some of which were titled "Post Porn Modernist", "Annie Sprinkle's Herstory of Porn", and "Hardcore from the Heart". She then performed two-woman shows with Beth Stephens titled "Exposed; Experiments in Love, Sex, Death and Art", "Dirty Sex Ecology", "Earthly: An Ecosex Bootcamp", and "Ecosex Walking Tour".


title: Annie Sprinkle

text: Her work and publications, spanning over four decades, are studied in courses at numerous universities, in theater history, women's studies, performance studies, GLBTQ studies and film studies courses. Through The New School of Erotic Touch, she has released several video classes, including "Female Genital Massage" and "Amazing World of Orgasm." Currently her lecture presentation is called "My Life and Work as a Feminist Porn Activist, Radical Sex Educator, and Ecosexual". She has also presented dozens of "Free Sidewalk Sex Clinics", offering free sex education to the public in public space.


title: Annie Sprinkle

text: Sprinkle's work has always been about sexuality, with a political, spiritual and artistic bent. In December 2005, she committed to doing seven years of art projects about love with her art collaborator and eventual wife, Beth Stephens. They called this their "Love Art Laboratory." Part of their project was to do an experimental art wedding each year, and each year had a different theme and color. The seven-year structure was adapted to their project by invitation of artist Linda M. Montano. Sprinkle and Stephens have done twenty-one art weddings, eighteen with ecosexual themes. They married the Earth, Sky, Sea, Moon, Appalachian Mountains, the Sun, and other non-human entities in nine different countries including at Montreal's Edgy Women Festival in 2011.


title: Annie Sprinkle

text: Sprinkle and her partner Beth Stephens became pioneers of ecosexuality, a kind of earth-loving sexual identity, which states, "The Earth is our lover". Their Ecosex Manifesto proclaims that anyone can identify as an ecosexual along with being "GLBTQI, heterosexual, asexual, and/or Other."


title: Annie Sprinkle

text: Sprinkle identifies as a sex-positive feminist, and much of her activist and sex education work reflects this philosophy. In 2009, she appeared in the French documentary film "Mutantes: Punk, Porn, Feminism", speaking about the beginnings of the movement as well as her own contributions to it.


title: Annie Sprinkle

text: In 2017, Sprinkle and Stephens were official artists in Documenta 14. They presented performances and visual art, lectured, and previewed their new film documentary, "Water Makes Us Wet: An Ecosexual Adventure".


title: Annie Sprinkle

text: Sprinkle has contributed to feminism and specifically to feminist pornography by redefining expectations of sexuality. She has defied the ideas of some feminists who refer to themselves as WAPs (women against pornography), who do not believe that the creation of feminist porn is possible. Women against porn believe that porn is a means of hyper sexualization of women, that it is inherently harmful, promotes violence, and objectifies women. However, Sprinkle and other feminists in favor of pornography argue that women have an inherent right to contribute to the production of erotic content and that censorship or restrictions on pornography will not cease its production. As a porn actress, Sprinkle refused to play any submissive roles; instead she displayed more aggression and dominance. She also drew greater attention to the female orgasm. Through her performance artistry, pornographic content and live shows, Sprinkle challenged the censorship of female genitals and presented a reimagination of what and who can be considered sexual.


title: Annie Sprinkle

text: Due to their creation of the ecosexual identity, Sprinkle and Beth Stephens are also important contributors to environmental activism and sexuality. Ecosexuality involves seeing nature as a lover; this implies that a relationship with the Earth is two-sided, and it therefore holds humans accountable for taking care of the planet. This challenges heteronormative ideals and redefines ideas of love, sexuality and gender. Ecosexuality also contributes to ecofeminism, which highlights how women and nature are treated similarly in a patriarchal society.


title: Annie Sprinkle

text: After receiving her breast cancer diagnosis, Sprinkle made a collage of her breast tissue scans in order to provoke questions about whether a body that has been subject to surgical procedures and illness can be a sexual one. Sprinkle continued to engage in this medical commentary by juxtaposing medical scans with erotic images and using an electrocardiogram to record the waves of an orgasm. In her performance "Public Cervix Announcement," Sprinkle inserted a speculum into her vaginal canal to display her cervix to the audience. The previous acted as satirical-commentary on the private and invasive nature of gynecological procedures. Sprinkle's use of the erotic and explicit imagery can be said to be feminist as it presents the vulva and internal female anatomy as worthy of being the subject of art and encourages individuals to explore their sexuality. The celebration of erotic imagery that is seen in Sprinkle's work can be compared to other feminist artists or art which use genital iconography to invoke questions about sexuality and anatomy such as Frida Kahlo, Georgia O'Keeffe and The Dinner Party by Judy Chicago.


title: Annie Sprinkle

text: The post-porn movement is a counterculture body of scholarship and ideals that were developed within Europe and the USA. Within the post-porn movement there is a critical lens applied to corporations producing pornography and non-corporate pornographic content is instead valued. The post-porn movement also values the production of pornography which centres queer and gender diverse folks as well as questions the racialization and reliance on stereotypes found in the pornography industry. Sprinkle has contributed to the post-porn movement explicitly in her now retired show "Post-Porn Modernist" and implicitly through her artistic body of work which engages in critical reflection and parody. Sprinkle has also contributed to this movement by challenging who can be represented in porn and which bodies are sexual ones.


title: Scikit-learn

text: scikit-learn (formerly scikits.learn and also known as sklearn) is a free software machine learning library for the Python programming language.


title: Scikit-learn

text: It features various classification, regression and clustering algorithms including support-vector machines, random forests, gradient boosting, "k"-means and DBSCAN, and is designed to interoperate with the Python numerical and scientific libraries NumPy and SciPy. Scikit-learn is a NumFOCUS fiscally sponsored project.


title: Scikit-learn

text: The scikit-learn project started as scikits.learn, a Google Summer of Code project by French data scientist David Cournapeau. The name of the project stems from the notion that it is a "SciKit" (SciPy Toolkit), a separately developed and distributed third-party extension to SciPy.


title: Scikit-learn

text: The original codebase was later rewritten by other developers. In 2010, contributors Fabian Pedregosa, Gaël Varoquaux, Alexandre Gramfort and Vincent Michel, from the French Institute for Research in Computer Science and Automation in Saclay, France, took leadership of the project and released the first public version of the library on February 1st, 2010. In November 2012, scikit-learn as well as scikit-image, were described as two of the "well-maintained and popular" . In 2019, it was noted that scikit-learn is one of the most popular machine learning libraries on GitHub.


title: Scikit-learn

text: scikit-learn is largely written in Python, and uses NumPy extensively for high-performance linear algebra and array operations. Furthermore, some core algorithms are written in Cython to improve performance. Support vector machines are implemented by a Cython wrapper around LIBSVM; logistic regression and linear support vector machines by a similar wrapper around LIBLINEAR. In such cases, extending these methods with Python may not be possible.


title: Scikit-learn

text: scikit-learn integrates well with many other Python libraries, such as Matplotlib and plotly for plotting, NumPy for array vectorization, Pandas dataframes, SciPy, and many more.


title: Scikit-learn

text: scikit-learn was initially developed by David Cournapeau as a Google Summer of Code project in 2007. Later that year, Matthieu Brucher joined the project and started to use it as a part of his thesis work. In 2010, INRIA, the French Institute for Research in Computer Science and Automation, got involved and the first public release (v0.1 beta) was published in late January 2010.


title: August Kubizek

text: August "Gustl" Friedrich Kubizek (3 August 1888 – 23 October 1956) was an Austrian musical conductor and writer best known for being a close friend of Adolf Hitler, when both were in their late teens. He later wrote about their friendship in his book "The Young Hitler I Knew" (1955).


title: August Kubizek

text: August was born in Linz, Austria, the only surviving child to parents of Czech and Sudeten-German origin. He was baptized Catholic at the St. Matthias Church where his parents had married the previous year. His father Michael Kubíček (also born in Linz) was an upholsterer while his mother Maria Panholzer-Bláhová was born illegitimate in Rosee was 14. His sisters Maria, Therese and Karoline died in early childhood. Kubizek later wrote that this was a striking parallel between his own life and that of Adolf Hitler, whose mother had lost four children prematurely. As the surviving sons of grief-stricken mothers, Kubizek and Hitler could not help but feel they had been spared or "chosen" by fate.


title: August Kubizek

text: Kubizek and Hitler first met while competing for standing room in the Landestheater in Linz. Because of their shared passion for the operas of Richard Wagner, they quickly became close friends and later roommates in Vienna while both sought admission into college. The two shared a small room in Stumpergasse 29/2/2 door 17 in the sixth district of Vienna from 22 February to early July 1908.


title: August Kubizek

text: As the only son of a self-employed upholsterer, Kubizek was expected to someday take over his father's business, but he secretly harboured dreams of becoming a conductor. With Hitler's encouragement, he devoted more and more of his time to this passion, completing all of the musical training available to him in Linz. However, to achieve his goal of being an orchestral conductor, he would require higher education in music which was offered only in Vienna. It was an 18-year-old Hitler who persuaded Kubizek's father to let his son go to the metropolis to attend the conservatory. As Kubizek wrote, this was something that changed the course of his life for good.


title: August Kubizek

text: He was immediately accepted into the Vienna Conservatory where he quickly made a name for himself. Hitler, however, was twice denied entrance into Vienna's art academy: a fact which he kept hidden from his friend for some time. In 1908, Hitler abruptly broke off the friendship and drifted into homelessness. Kubizek completed his studies in 1912 and was hired as conductor of the orchestra in Marburg on the Drau, Austria (Maribor, in Slovenia, after 1918). He was later offered a position at the Stadttheater in Klagenfurt, but this job and his musical career were cut short by the beginning of World War I. Before leaving for the front, he married Anna Funke (7 October 1887 – 4 October 1976), a violinist from Vienna with whom he had three sons: Augustin, Karl Maria and Rudolf.


title: August Kubizek

text: From August 1914 until November 1918, Kubizek served as a reservist in Regiment 2 of the Austro-Hungarian Infantry. In the Carpathian winter campaign of 1915, he was wounded at Eperjes in Hungary (now Prešov in Slovakia) and later evacuated to Budapest in an ambulance train. After months of convalescence, he returned to the front and was attached to a mechanised corps in Vienna. After the war, Kubizek accepted a position as an official in the municipal council of Eferding, Upper Austria and music became his hobby.


title: August Kubizek

text: After seeing Hitler on the front page of the "Münchner Illustrierte" (circa 1920), Kubizek followed his friend's career with some interest, although he did not attempt to contact him until 1933 when he wrote to congratulate him on having become Chancellor of Germany. On 4 August of that year, Kubizek received an unexpected reply from Hitler, who wrote to his old friend "Gustl" saying, "I should be very glad... to revive once more with you those memories of the best years of my life." Thirty years after Hitler had broken off contact with Kubizek, the two friends were reunited on 9 April 1938 during one of Hitler's visits to Linz. The two spoke for over an hour at the Hotel Weinzinger and Hitler offered Kubizek the conductorship of an orchestra, which Kubizek politely refused. Upon learning of his friend's three sons, Hitler insisted on financing their educations at the Anton Bruckner Conservatory in Linz. Hitler later invited Kubizek to attend the Bayreuth festival as his guest in 1939 and again in 1940.


title: August Kubizek

text: In 1938, Kubizek was hired by the Nazi Party to write two short propaganda booklets called "Reminiscences" about his youth with Hitler. In one episode, Kubizek said that Hitler had a great love for a girl named "Stefanie" and wrote her many love poems but never sent them. Hitler's biographer John Toland said that when Stefanie learned she had been an early subject of Hitler's affection, she was stunned.


title: August Kubizek

text: Kubizek saw Hitler for the last time on 23 July 1940; although as late as 1944, Hitler sent Kubizek's mother a food basket for her 80th birthday. Hitler told Kubizek: "This war will set us back many years in our building programme. It is a tragedy. I did not become Chancellor of the Greater German Reich to fight wars." Hitler was speaking after the successful campaigns in Poland and France that he had led as Führer.


title: August Kubizek

text: When the tide began to turn against Hitler, Kubizek, who had avoided politics all his life, became a member of the Nazi Party in 1942 as a gesture of loyalty to his friend.


title: August Kubizek

text: In December 1945, Kubizek gathered the collection of keepsakes given to him by Hitler during their youth and concealed them carefully in the basement of his house in Eferding. He was arrested by American forces shortly afterwards and held at Glasenbach, where he was imprisoned and interrogated by the U.S. Army Criminal Investigation Command. His home was searched, but the Hitler correspondence and drawings were not found. He was released on 8 April 1947.


title: August Kubizek

text: In 1951, Kubizek, who had rejected other post-war offers for his memoirs, agreed to publish "Adolf Hitler, mein Jugendfreund" ("Adolf Hitler, My Childhood Friend") through the Leopold Stocker Verlag. The original manuscript, written in 1943 at the behest of Martin Bormann (Kubizek says in his memoirs that Martin Bormann asked him to do so but he refused it due to the despotic manners of Bormann), had been only 150 pages long. However, after communications answering questions from the Hitler biographer Franz Jetzinger, his new extended version had 352 pages and included several pictures, many of which showed postcards and sketches given to Kubizek by Hitler when young, between the years 1906 and 1908. The book is divided into three parts and consists of a prologue, 24 chapters and an epilogue.


title: August Kubizek

text: It caused a stir when it was released in 1953 and was later translated into several languages. In the epilogue, Kubizek wrote, "Even though I, a fundamentally unpolitical individual, had always kept aloof from the political events of the period which ended forever in 1945, nevertheless no power on earth could compel me to deny my friendship with Adolf Hitler."


title: August Kubizek

text: Kubizek's second wife and widow, Pauline (1906–2001), was credited with having provided the Stocker Verlag with additional photographs for the book's fourth edition in 1975.


title: August Kubizek

text: On 8 January 1956, Kubizek was named the first honorary member of the Musikverein in Eferding. He died on 23 October 1956, aged 68, in Linz and is buried in Eferding, Upper Austria.


title: August Kubizek

text: Kubizek is portrayed by Rupert Grint in the short 2017 movie "Adolf Hitler: The Artist" in which Hitler calls him "Gustl".


title: Little Orphan Annie

text: Little Orphan Annie is a daily American comic strip created by Harold Gray and syndicated by the Tribune Media Services. The strip took its name from the 1885 poem "Little Orphant Annie" by James Whitcomb Riley, and it made its debut on August 5, 1924, in the New York "Daily News".


title: Little Orphan Annie

text: The plot follows the wide-ranging adventures of Annie, her dog Sandy and her benefactor Oliver "Daddy" Warbucks. Secondary characters include Punjab, the Asp and Mr. Am. The strip attracted adult readers with political commentary that targeted (among other things) organized labor, the New Deal and communism.


title: Little Orphan Annie

text: Following Gray's death in 1968, several artists drew the strip and, for a time, "classic" strips were reruns. "Little Orphan Annie" inspired a radio show in 1930, film adaptations by RKO in 1932 and Paramount in 1938 and a Broadway musical "Annie" in 1977 (which was adapted on screen four times, one in 1982, one on TV in 1999, one in 2014 and another a live TV production in 2021). The strip's popularity declined over the years; it was running in only 20 newspapers when it was cancelled on June 13, 2010. The characters now appear occasionally as supporting cast in "Dick Tracy".


title: Little Orphan Annie

text: "Little Orphan Annie" displays literary kinship with the picaresque novel in its seemingly endless string of episodic and unrelated adventures in the life of a character who wanders like an innocent vagabond through a corrupt world. In Annie's first year, the picaresque pattern that characterizes her story is set, with the major players – Annie, Sandy and "Daddy" Warbucks – introduced within the strip's first several weeks.


title: Little Orphan Annie

text: The story opens in a dreary and Dickensian orphanage where Annie is routinely abused by the cold and sarcastic matron Miss Asthma, who eventually is replaced by the equally mean Miss Treat (whose name is a play on the word "mistreat").


title: Little Orphan Annie

text: One day, the wealthy but mean-spirited Mrs. Warbucks takes Annie into her home "on trial". She makes it clear that she does not like Annie and tries to send her back to "the Home", but one of her society friends catches her in the act, and immediately, to her disgust, she changes her mind.


title: Little Orphan Annie

text: Her husband Oliver, who returned from a business trip, instantly develops a paternal affection for Annie and instructs her to address him as "Daddy". Originally, the Warbucks had a dog named One-Lung, who liked Annie. Their household staff also takes to Annie and they like her.


title: Little Orphan Annie

text: However, the staff despises Mrs. Warbucks, the daughter of a "nouveau riche" plumber's assistant. Cold-hearted Mrs. Warbucks sends Annie back to "the Home" numerous times, and the staff hates her for that. "Daddy" (Oliver) keeps thinking of her as his daughter. Mrs. Warbucks often argues with Oliver over how much he "mortifies her when company comes" and his affection for Annie. A very status-conscious woman, she feels that Oliver and Annie are ruining her socially. However, Oliver usually is able to put her in her place, especially when she criticizes Annie.


title: Little Orphan Annie

text: The strip developed a series of formulas that ran over its course to facilitate a wide range of stories. The earlier strips relied on a formula by which Daddy Warbucks is called away on business and through a variety of contrivances, Annie is cast out of the Warbucks mansion, usually by her enemy, the nasty Mrs. Warbucks. Annie then wanders the countryside and has adventures meeting and helping new people in their daily struggles. Early stories dealt with political corruption, criminal gangs and corrupt institutions, which Annie would confront. Annie ultimately would encounter troubles with the villain, who would be vanquished by the returning Daddy Warbucks. Annie and Daddy would then be reunited, at which point, after several weeks, the formula would play out again. In the series, each strip represented a single day in the life of the characters. This device was dropped by the end of the '20s.


title: Little Orphan Annie

text: By the 1930s, during the Great Depression, the formula was tweaked: Daddy Warbucks lost his fortune due to a corrupt rival and briefly died from despair at the 1944 re-election of Franklin D. Roosevelt. Annie remained an orphan, and for several years had adventures that involved more internationally based enemies. The contemporary events taking place in Europe were reflected in the strips during the 1940s and World War II. Daddy Warbucks was reunited with Annie, as his death was retconned to coma, from which he woke in 1945, coinciding with Roosevelt's real-world death.


title: Little Orphan Annie

text: By this time, the series enlarged its world with the addition of characters such as Asp and Punjab, bodyguards and servants to Annie and Daddy Warbucks. They traveled the world, with Annie having adventures on her own or with her adopted family.


title: Little Orphan Annie

text: Annie is an eleven-year-old orphan. Her distinguishing physical characteristics are curly red hair, a red dress and vacant circles for eyes. Her catchphrases are "Gee whiskers" and "Leapin' lizards!" In the comic, Annie attributes her lasting youthfulness to her birthday being on February 29 in a leap year, and ages only one year in appearance for every four years that pass. Annie is a plucky, generous, compassionate, and optimistic youngster who can hold her own against bullies, and has a strong and intuitive sense of right and wrong.


title: Little Orphan Annie

text: Sandy enters the story in a January 1925 strip as a puppy of no particular breed which Annie rescues from a gang of abusive boys. The girl is working as a drudge in Mrs. Bottle's grocery store at the time and manages to keep the puppy briefly concealed. She finally gives him to Paddy Lynch, a gentle man who owns a "steak joint" and can give Sandy a good home. Sandy is a mature dog when he suddenly reappears in a May 1925 strip to rescue Annie from gypsy kidnappers. Annie and Sandy remain together thereafter.


title: Little Orphan Annie

text: Oliver "Daddy" Warbucks first appears in a September 1924 strip and reveals a month later he was formerly a small machine shop owner who acquired his enormous wealth producing munitions during World War I. He is a large, powerfully-built bald man, the idealized capitalist, who typically wears a tuxedo and diamond stickpin in his shirtfront. He likes Annie at once, instructing her to call him "Daddy", but his wife (the daughter of a plumber's assistant) is a snobbish, gossiping "nouveau riche" who derides her husband's affection for Annie. When Warbucks is suddenly called to Siberia on business, his wife spitefully sends Annie back to the orphanage.


title: Little Orphan Annie

text: Other major characters include Warbucks' right-hand men: Punjab, an eight-foot native of India, introduced in 1935, and the Asp, an inscrutably generalized East Asian, who first appeared in 1937. Also introduced in 1937 was the mysterious Mr. Am, a bearded sage millions-of-years old, whose supernatural powers include bringing the dead back to life.


title: Little Orphan Annie

text: After World War I, cartoonist Harold Gray joined the "Chicago Tribune" which, at that time, was being reworked by owner Joseph Medill Patterson into an important national journal. As part of his plan, Patterson wanted to publish comic strips that would lend themselves to nationwide syndication and to film and radio adaptations. Gray's strips were consistently rejected by Patterson, but "Little Orphan Annie" was finally accepted and debuted in a test run on August 5, 1924, in the New York "Daily News", a "Tribune"-owned tabloid. Reader response was positive, and "Annie" began appearing as a Sunday strip in the "Tribune" on November 2 and as a daily strip on November 10. It was soon offered for syndication and picked up by the "Toronto Star" and "The Atlanta Constitution".


title: Little Orphan Annie

text: Gray reported in 1952 that Annie's origin lay in a chance meeting he had with a ragamuffin while wandering the streets of Chicago looking for cartooning ideas. "I talked to this little kid and liked her right away", Gray said. "She had common sense, knew how to take care of herself. She had to. Her name was Annie. At the time some 40 strips were using boys as the main characters; only three were using girls. I chose Annie for mine, and made her an orphan, so she'd have no family, no tangling alliances, but freedom to go where she pleased." By changing the gender of his lead character, Gray differentiated himself in the field of comics (and likely increased his readership by appealing to female readers). In designing the strip, Gray was influenced by his midwestern farm boyhood, Victorian poetry and novels such as Charles Dickens's "Great Expectations", Sidney Smith's wildly popular comic strip "The Gumps", and the histrionics of the silent films and melodramas of the period. Initially, there was no continuity between the dailies and the Sunday strips, but by the early 1930s the two had become one. The strip (whose title was borrowed from James Whitcomb Riley's 1885 poem "Little Orphant Annie") was "conservative and topical", according to the editors of "The Great Depression in America: A Cultural Encyclopedia", and "represents the personal vision" of Gray and Riley's "homespun philosophy of hard work, respect for elders, and a cheerful outlook on life". A "Fortune" popularity poll in 1937 indicated "Little Orphan Annie" ranked number one and ahead of "Popeye", "Dick Tracy", "Bringing Up Father", "The Gumps", "Blondie", "Moon Mullins", "Joe Palooka", "Li'l Abner" and "Tillie the Toiler".


title: Little Orphan Annie

text: Gray was little affected by the stock market crash of 1929. The strip was more popular than ever and brought him a good income, which was only enhanced when the strip became the basis for a radio program in 1930 and two films in 1932 and 1938. Unsurprisingly, Gray was mocked by some for his strip's lecturing to the poor on hard work, initiative, and motivation, while still enjoying his successful lifestyle.


title: Little Orphan Annie

text: Starting January 4, 1931, Gray added a topper strip to the "Little Orphan Annie" Sunday page called "Private Life Of..." The strip chose a common object each week like potatoes, hats and baseballs, and told their "stories". That idea ran for two years, ending on Christmas Day, 1932. A new three-panel gag strip about an elderly lady, "Maw Green", began on January 1, 1933, and ran along the bottom of the Sunday page until 1973.


title: Little Orphan Annie

text: In 1935 Punjab, a gigantic, sword-wielding, beturbaned Indian, was introduced to the strip and became one of its iconic characters. Whereas Annie's adventures up to the point of Punjab's appearance were realistic and believable, her adventures following his introduction touched upon the supernatural, the cosmic, and the fantastic.


title: Little Orphan Annie

text: In November 1932, Franklin Delano Roosevelt was elected president and proposed his New Deal. Many, including Gray, saw this and other programs as government interference in private enterprise. Gray railed against Roosevelt and his programs. (Gray even seemingly killed Daddy Warbucks off in 1945, suggesting that Warbucks could not coexist in the world with FDR. But following FDR's death, Gray brought back Warbucks, who said to Annie, "Somehow I feel that the climate here has changed since I went away.") Annie's life was complicated not only by thugs and gangsters but also by New Deal do-gooders and bureaucrats. Organized labor was feared by businessmen and Gray took their side. Some writers and editors took issue with this strip's criticisms of FDR's New Deal and 1930s labor unionism. "The New Republic" described "Annie" as "Hooverism in the Funnies", arguing that Gray's strip was defending utility company bosses then being investigated by the government. The "Herald Dispatch" of Huntington, West Virginia stopped running "Little Orphan Annie", printing a front-page editorial rebuking Gray's politics. A subsequent "New Republic" editorial praised the paper's move, and "The Nation" likewise voiced its support.


title: Little Orphan Annie

text: In the late 1920s, the strip had taken on a more adult and adventurous feel with Annie encountering killers, gangsters, spies, and saboteurs. It was about this time that Gray, whose politics seem to have been broadly conservative and libertarian with a decided populist streak, introduced some of his more controversial storylines. He would look into the darker aspects of human nature, such as greed and treachery. The gap between rich and poor was an important theme. His hostility toward labor unions was dramatized in the 1935 story "Eonite". Other targets were the New Deal, communism, and corrupt businessmen.


title: Little Orphan Annie

text: Gray was especially critical of the justice system, which he saw as not doing enough to deal with criminals. Thus, some of his storylines featured people taking the law into their own hands. This happened as early as 1927 in an adventure named "The Haunted House". Annie is kidnapped by a gangster called Mister Mack. Warbucks rescues her and takes Mack and his gang into custody. He then contacts a local Senator who owes him a favor. Warbucks persuades the politician to use his influence with the judge and make sure that the trial goes their way and that Mack and his men get their just desserts. Annie questions the use of such methods but concludes it is necessary to counteract criminals manipulating the justice system in their own way.


title: Little Orphan Annie

text: Warbucks became much more ruthless in later years. After catching yet another gang of Annie kidnappers he announced that he "wouldn't think of troubling the police with you boys", implying that while he and Annie celebrated their reunion, the Asp and his men took the kidnappers away to be lynched. In another Sunday strip, published during World War II, a war-profiteer expresses the hope that the conflict would last another 20 years. An outraged member of the public physically assaults the man for his opinion, claiming revenge for his two sons who have already been killed in the fighting. When a passing policeman is about to intervene, Annie talks him out of it, suggesting, "It's better some times to let folks settle some questions by what you might call "democratic" processes."


title: Little Orphan Annie

text: As war clouds gathered, both the Chicago "Tribune" and the New York "Daily News" advocated neutrality; "Daddy" Warbucks, however, was gleefully manufacturing tanks, planes, and munitions. Journalist James Edward Vlamos deplored the loss of fantasy, innocence, and humor in the "funnies", and took to task one of Gray's sequences about espionage, noting that the "fate of the nation" rested on "Annie's frail shoulders". Vlamos advised readers to "Stick to the saner world of war and horror on the front pages."


title: Little Orphan Annie

text: When the US entered World War II, Annie not only played her part by blowing up a German submarine but organized and led groups of children called the Junior Commandos in the collection of newspapers, scrap metal, and other recyclable materials for the war effort. Annie herself wore an armband emblazoned with "JC" and called herself "Colonel Annie". In real life, the idea caught on, and schools and parents were encouraged to organize similar groups. Twenty thousand Junior Commandos were reportedly registered in Boston.


title: Little Orphan Annie

text: Harold Gray, "Little Orphan Annie" creator, has done one of the biggest jobs to date for the scrap drive. His 'Junior Commando' project, which he inaugurated some months ago, has caught on all around the country, and tons of scrap have been collected and contributed to the campaign. The kids sell the scrap, and the proceeds are turned into stamps and bonds.


title: Little Orphan Annie

text: Not all was rosy for Gray, however. His application for extra gas coupons was denied by the Office of Price Administration, as cartoonists were not deemed essential to the war effort. Gray appealed, but the decision was upheld. Furious, Gray used the strip to criticize the government's decision as well as the clerk who made the original denial, whom he thinly caricatured in the strip. This storyline was controversial, with both sides garnering criticism in local papers. The clerk eventually threatened to sue for libel, and some papers cancelled the strip. Gray showed no remorse, but did discontinue the sequence.


title: Little Orphan Annie

text: Gray was criticized by a Southern newspaper for including a black child among the white children in the Junior Commandos. In his reply, Gray denied being a reformer, but pointed out that Annie was a friend to all, and his inclusion of a black character, was "merely a casual gesture toward a very large block of readers." African-American readers wrote letters to Gray thanking him for the incorporation of a black child in the strip, although no record survives of any replies from Gray.


title: Little Orphan Annie

text: In the summer of 1944 Franklin Delano Roosevelt, whom Gray despised, was nominated for a fourth term as President of the United States. Gray responded with a dramatic month-long storyline that ended with Warbucks dying of a jungle fever. Readers were generally unhappy with Gray's decision to kill off the character, although one New York Man wrote to suggest that Annie also be killed off and the strip ended.


title: Little Orphan Annie

text: By the following November, Annie was working as a maid in an abusive home. The public begged Gray to have mercy on Annie; instead he had her framed for her mistress's murder, though she was later exonerated. Following Roosevelt's death in April 1945, Gray resurrected Warbucks with the explanation that he had only been playing dead to thwart his enemies, and once again the billionaire began expounding the joys of capitalism.


title: Little Orphan Annie

text: In the post-war years, Annie took on The Bomb, communism, teenage rebellion and a host of other social and political concerns, often provoking the enmity of clergymen, union leaders and others. For example, Gray believed children should be allowed to work. "A little work never hurt any kid," Gray affirmed, "One of the reasons we have so much juvenile delinquency is that kids are forced by law to loaf around on street corners and get into trouble." His belief brought upon him the wrath of the labor movement, which staunchly supported the child labor laws.


title: Little Orphan Annie

text: A London newspaper columnist thought some of Gray's sequences a threat to world peace, but a Detroit newspaper supported Gray on his "shoot first, ask questions later" foreign policy. Gray was criticized for the gruesome violence in the strips, particularly a sequence in which Annie and Sandy were run over by a car. Gray responded to the criticism by giving Annie a year-long bout with amnesia that allowed her to trip through several adventures without Daddy. In 1956, a sequence about juvenile delinquency, drug addiction, switchblades, prostitutes, crooked cops, and the ties between teens and adult gangsters unleashed a firestorm of criticism; 30 newspapers cancelled the strip. The syndicate ordered Gray to drop the sequence and develop another adventure.


title: Little Orphan Annie

text: Gray died in May 1968 of cancer, and the strip was continued under other cartoonists. Gray's cousin and assistant Robert Leffingwell was the first on the job but proved inadequate and the strip was handed over to "Tribune" staff artist Henry Arnold and general manager Henry Raduta as the search continued for a permanent replacement. Tex Blaisdell, an experienced comics artist, got the job with Elliot Caplin as writer. Caplin avoided political themes and concentrated instead on character stories. The two worked together six years on the strip, but subscriptions fell off and both left at the end of 1973. The strip was passed to others and during this time complaints were registered regarding Annie's appearance, her conservative politics, and her lack of spunk. Early in 1974, David Lettick took the strip, but his Annie was drawn in an entirely different and more "cartoonish" style, leading to reader complaints, and he left after only three months. In April 1974, the decision was made to reprint Gray's classic strips, beginning in 1936. Subscriptions increased. The reprints ran from April 22, 1974, to December 8, 1979.


title: Little Orphan Annie

text: Following the success of the Broadway musical "Annie", the strip was resurrected on December 9, 1979, as "Annie", written and drawn by Leonard Starr. Starr, the creator of "Mary Perkins, On Stage", was the only one besides Gray to achieve notable success with the strip.


title: Little Orphan Annie

text: Starr's last strip ran on February 20, 2000, and the strip went into reprints again for several months. Starr was succeeded by "Daily News" writer Jay Maeder and artist Andrew Pepoy, beginning Monday, June 5, 2000. Pepoy was eventually succeeded by Alan Kupperberg (April 1, 2001 – July 11, 2004) and Ted Slampyak (July 5, 2004 – June 13, 2010). The new creators updated the strip's settings and characters for a modern audience, giving Annie a new hairdo and jeans rather than her trademark dress. However, Maeder's new stories never managed to live up to the pathos and emotional engagement of the stories by Gray and Starr. Annie herself was often reduced to a supporting role, and she was a far less complex character than the girl readers had known for seven decades. Maeder's writing style also tended to make the stories feel like tongue-in-cheek adventures compared to the serious, heartfelt tales Gray and Starr favored. "Annie" gradually lost subscribers during the 2000s, and, by 2010, it was running in fewer than 20 U.S. newspapers.


title: Little Orphan Annie

text: On May 13, 2010, Tribune Media Services announced that the strip's final installment would appear on Sunday, June 13, 2010, ending after 86 years. At the time of the cancellation announcement, it was running in fewer than 20 newspapers, some of which, such as the New York "Daily News", had carried the strip for its entire life. The final cartoonist, Ted Slampyak, said, "It's kind of painful. It's almost like mourning the loss of a friend."


title: Little Orphan Annie

text: The last strip was the culmination of a story arc where Annie was kidnapped from her hotel by a wanted war criminal from eastern Europe who checked in under a phony name with a fake passport. Although Warbucks enlists the help of the FBI and Interpol to find her, by the end of the final strip he has begun to resign himself to the very strong possibility that Annie most likely will not be found alive. Unfortunately, Warbucks is unaware that Annie is still alive and has made her way to Guatemala with her captor, known simply as the "Butcher of the Balkans". Although Annie wants to be let go, the Butcher tells her that he neither will let her go nor kill her—for fear of being captured and because he will not kill a child despite his many political killings—and adds that she has a new life now with him. The final panel of the strip reads "And this is where we leave our Annie. For Now—".


title: Little Orphan Annie

text: In 2013, the team behind "Dick Tracy" began a story line that would permanently resolve the fate of Annie. The week of June 10, 2013, featured several "Annie" characters in extended cameos complete with dialogue, including Warbucks, the Asp and Punjab. On June 16, Warbucks implies that Annie is still missing and that he might even enlist Tracy's help in finding her. Asp and Punjab appeared again on March 26, 2014. The caption says that these events will soon impact on the detective.


title: Little Orphan Annie

text: The storyline resumed on June 8, 2014, with Warbucks asking for Tracy's assistance in finding Annie. In the course of the story, Tracy receives a letter from Annie and determines her location. Meanwhile, the name of the kidnapper is revealed as Henrik Wilemse, and he has been tracked to the city where he is found and made to disappear. Tracy and Warbucks rescued Annie, and the storyline wrapped up on October 12.


title: Little Orphan Annie

text: Annie again visited Dick Tracy, visiting his granddaughter Honeymoon Tracy, starting June 6, 2015. This arc concluded Sept. 26 2015 with Dick Tracy sending the girls home from a crime scene to keep them out of the news.


title: Little Orphan Annie

text: A third appearance of Annie and her supporting cast in Dick Tracy's strip began on May 16, 2019, and involves both B-B Eyes' murder and doubts about the fate of Trixie. The arc also establishes that Warbucks has "formally" adopted Annie, as opposed to being just his ward.


title: Little Orphan Annie

text: "Little Orphan Annie" was adapted to a 15-minute radio show that debuted on WGN Chicago in 1930 and went national on NBC's Blue Network beginning April 6, 1931. The show was one of the first comic strips adapted to radio, attracted about 6 million fans, and left the air in 1942. Radio historian Jim Harmon attributes the show's popularity in "The Great Radio Heroes" to the fact that it was the only radio show to deal with and appeal to young children.


title: Little Orphan Annie

text: Two film adaptations were released at the height of Annie's popularity in the 1930s. "Little Orphan Annie", the first adaptation, was produced by David O. Selznick for RKO in 1932 and starred Mitzi Green as Annie. The plot was simple: Warbucks leaves on business and Annie finds herself in the orphanage again. She pals around with a little boy named Mickey, and when he is adopted by a wealthy woman, she visits him in his new home. Warbucks returns and holds a Christmas party for all. The film opened on Christmas Eve 1932. "Variety" panned it, and the New York "Daily News" was "slightly disappointed" with the film, thinking Green too "big and buxom" for the role. Paramount brought Ann Gillis to the role of Annie in their 1938 film adaptation, but this version was panned as well. One reviewer thought it "stupid and thoroughly boresome" and was uncomfortable with the "sugar-coated Pollyanna characterization" given Annie.


title: Little Orphan Annie

text: Three years after the RKO release, Gray wrote a sequence for the strip that sent Annie to Hollywood. She is hired at low wages to play the stand-in and stunt double for the bratty child star Tootsie McSnoots. Young starlet Janey Spangles tips off Annie to the corrupt practices in Hollywood. Annie handles the information with maturity and has a good time with Janey while doing her job on the set. Annie doesn't become a star. As Bruce Smith remarks in "The History of Little Orphan Annie", "Gray was smart enough never to let [Annie] get too successful."


title: Little Orphan Annie

text: In 1977, "Little Orphan Annie" was adapted to the Broadway stage as "Annie". With music by Charles Strouse, lyrics by Martin Charnin and book by Thomas Meehan, the original production ran from April 21, 1977, to January 2, 1983. The work has been staged internationally. The musical took considerable liberties with the original comic strip plot.


title: Little Orphan Annie

text: The Broadway Annies were Andrea McArdle, Shelly Bruce, Sarah Jessica Parker, Allison Smith and Alyson Kirk. Actresses who portrayed Miss Hannigan are Dorothy Loudon, Alice Ghostley, Betty Hutton, Ruth Kobart, Marcia Lewis, June Havoc, Nell Carter and Sally Struthers. Songs from the musical include "Tomorrow" and "It's the Hard Knock Life". There is also a children's version of "Annie" called "Annie Junior". Two sequels to the musical, "Annie 2: Miss Hannigan's Revenge" (1989) and "Annie Warbucks" (1992-93), were written by the same creative team; neither show opened on Broadway. There were also many "bus & truck" tours of "Little Orphan Annie" throughout the United States during the success of the Broadway Shows.


title: Little Orphan Annie

text: In addition to the two "Annie" films of the 1930s, there have been three film adaptations of the Broadway play. All have the same title. They are "Annie" (1982), "Annie "(1999, a made-for-television adaptation) and "Annie" (2014).


title: Little Orphan Annie

text: The 1982 version was directed by John Huston and starred Aileen Quinn as Annie, Albert Finney as Warbucks, Ann Reinking as his secretary Grace Farrell, and Carol Burnett as Miss Hannigan. The film departed from the Broadway production in several respects, most notably changing the climax of the story from Christmas to the Fourth of July. It also featured five new songs, "Dumb Dog", "Sandy", "Let's Go to the Movies", "Sign", and "We Got Annie", while cutting "We'd like to Thank You, Herbert Hoover", "N.Y.C", "You Won't Be an Orphan for Long", "Something Was Missing", "Annie", and "New Deal for Christmas". It received mixed critical reviews and, while becoming the 10th highest-grossing film of 1982, barely recouped its $50 million budget.


title: Little Orphan Annie

text: A direct-to-video film, "" was released in 1996 as a sequel to the 1982 film. It features Ashley Johnson as Annie and focuses on the adventures of Annie and her friends Hannah and Molly. It is set in England in 1943, about 10 years after the first film, when Annie and her friends Hannah and Molly sail to England after Daddy Warbucks is invited to receive a knighthood. None of the original 1982 cast appear and the film features no musical numbers apart from a reprise of "Tomorrow".


title: Little Orphan Annie

text: The animated "Little Orphan Annie's A Very Animated Christmas" was produced as a direct-to-video film in 1995.


title: Little Orphan Annie

text: The 1999 television film was produced for "The Wonderful World of Disney". It starred Victor Garber, Alan Cumming, Audra McDonald and Kristin Chenoweth, with Oscar winner Kathy Bates as Miss Hannigan and newcomer Alicia Morton as Annie. While its plot stuck closer to the original Broadway production, it also omitted "We'd Like to Thank You, Herbert Hoover", "Annie", "New Deal for Christmas", and a reprise of "Tomorrow." Generally favorably received, the production earned two Emmy Awards and George Foster Peabody Award.


title: Little Orphan Annie

text: The 2014 film "Annie" was produced by Jay-Z and Will Smith. It starred Quvenzhané Wallis in the title role and Jamie Foxx in the role of Will Stacks (a role similar to Warbucks). The film follows the basic plot of the musical but is set in the present day and features new songs along re-mixed versions of older ones. It was released on December 19, 2014.


title: Little Orphan Annie

text: The characters and concept of "Little Orphan Annie" have been influential in comics and other media during the original run and continuing into the modern day. Between 1936 and October 17, 1959, the comic strip "Belinda Blue-Eyes" (later shortened to "Belinda") ran in the United Kingdom in the "Daily Mirror". Writers Bill Connor and Don Freeman and artists Stephen Dowling and Tony Royle all worked on the strip over the years. In "The Penguin Book of Comics" Belinda is described as "a perpetual waif, a British counterpart to the transatlantic "Little Orphan Annie"." The strip also influenced "Little Annie Rooney" (Jan. 10, 1927–1966) and "Frankie Doodle" (1934-1938).


title: Little Orphan Annie

text: In 1995, "Little Orphan Annie" was one of 20 American comic strips included in the Comic Strip Classics series of commemorative U.S. postage stamps. Rapper Jay-Z has referenced "Little Orphan Annie" in at least two of his songs, as well as sampling "It's the Hard Knock Life" for "Hard Knock Life (Ghetto Anthem)" (1998). On the album cover of punk rock cover band Me First and the Gimme Gimmes' 1999 album "Are a Drag", rhythm guitarist and Lagwagon vocalist Joey Cape is dressed as Annie, as she was depicted in the 1982 film. Starting in 2014, red-haired comedian Michelle Wolf appeared on numerous segments on "Late Night" as her fictional persona, "Grown-Up Annie", an adult version of Little Orphan Annie.


title: Little Orphan Annie

text: In medicine, "Orphan Annie eye" (empty or "ground glass") nuclei are a characteristic histological finding in papillary carcinoma of the thyroid gland.


title: Little Orphan Annie

text: Many comics, cartoons, TV shows and other media have parodied or referenced the name "Little Orphan Annie". Early examples "Little Arf 'n Nonnie" and "Lulu Arfin' Nanny" appear in the Walt Kelly strip "Pogo". "Little Orphan Melvin" appears in the ninth issue of "Mad" magazine by Harvey Kurtzman and Wally Wood, published 1952. Kurtzman later produced a long-running erotic comic for "Playboy" called "Little Annie Fanny." In "The Fabulous Furry Freak Brothers", Gilbert Shelton satirized the strip as "Little Orphan Amphetamine". 1980s children's program "You Can't Do That on Television" parodied the character as "Little Orphan Andrea" in its "Adoption" episode, later banned. The "Teenage Mutant Ninja Turtles" comics by Mirage Studios feature a fictional toy line named "Little Orphan Aliens".


title: Little Orphan Annie

text: Harold Gray's work is in the Howard Gotlieb Archival Research Center at Boston University. The Gray collection includes artwork, printed material, correspondence, manuscripts and photographs. Gray's original pen and ink drawings for "Little Orphan Annie" daily strips date from 1924 to 1968. The Sunday strips date from 1924 to 1964. Printed material in the collection includes numerous proofs of "Little Orphan Annie" daily and Sunday strips (1925–68). Most of these are in bound volumes. There are proofsheets of "Little Orphan Annie" daily strips from the Chicago Tribune-New York Times Syndicate, Inc. for the dates 1943, 1959–61 and 1965–68, as well as originals and photocopies of the printed versions of "Little Orphan Annie", both daily and Sunday strips.


title: Little Orphan Annie

text: In 2008, IDW Publishing started a reprint series, "The Complete Little Orphan Annie", under its The Library of American Comics imprint.


title: Students for Fair Admissions v. President and Fellows of Harvard College

text: Students for Fair Admissions, Inc. v. President and Fellows of Harvard College (Docket 20–1199) and Students for Fair Admissions, Inc. v. University of North Carolina (Docket 21-707) are a pair of lawsuits concerning racial discrimination in affirmative action programs in college admissions processes. The first case involves Harvard University's undergraduate admissions process which is claimed to discriminate against Asian American applicants, while the second centers on the University of North Carolina's use of socioeconomic factors in administration, which is claimed to incorporate race and violate Title VI of the Civil Rights Act of 1964. Both cases seek review of the Supreme Court decision "Grutter v. Bollinger" (2003) which validated the use of affirmative action programs in college admissions as long as race is not used as the sole deciding factor.


text: The cases were originally certified and consolidated under the Harvard case in January 2022, but following the appointment of Justice Ketanji Brown Jackson, who is a member of the Harvard Board of Overseers, the cases were split with Jackson abstaining from the Harvard case while participating in the North Carolina one.


text: Harvard is a private university, but it receives federal funding, making it subject to Title VI of the Civil Rights Act of 1964, which outlaws racial discrimination. Race-conscious admissions policies are legal, under case law, so long as they pass the "strict scrutiny" standard, which requires that the use of race serve a "compelling governmental interest"—like the educational benefits that stem from diversity—and be "narrowly tailored" to satisfy that interest.


text: Since the Supreme Court's ruling in "Regents of the University of California v. Bakke" (1978), racial quotas have been banned in university admissions. A "whole person review" process that considers many qualities about each candidate, including race, in its admissions process, however, is legal under Supreme Court's ruling in both "Grutter v. Bollinger" (2003) and "Fisher v. University of Texas" (2016, known as "Fisher II") and its predecessors. In "Fisher v. University of Texas" (2013), the Supreme Court additionally held that colleges must prove that race-conscious admissions policies are the only way to meet diversity goals.


text: Students for Fair Admissions (SFFA) filed a lawsuit in federal district court against Harvard University on November 17, 2014, representing a group of anonymous Asian American plaintiffs rejected from Harvard. SFFA was founded by conservative legal strategist Edward Blum, who also founded the Project on Fair Representation, with a goal to end racial classifications in education, voting procedures, legislative redistricting, and employment. Blum participated in cases such as "Bush v. Vera", "Shelby County v. Holder", and "Fisher v. University of Texas". The SFFA case is the first high-profile case on behalf of plaintiffs who were not white, and who had academic credentials that were "much harder to criticize." The lawyers for SFFA stated that the initial hearing focused on the issue of discrimination against Asian American applicants, instead of trying to challenge affirmative action in general.


text: Certain Asian American advocacy groups filed amicus briefs in support of SFFA, believing that they or their children are discriminated against in college admission processes. Other Asian American advocacy groups filed amicus briefs in support of Harvard.


text: In the lawsuit, the plaintiffs claimed that Harvard imposes a soft racial quota, which keeps the numbers of Asian Americans artificially low. The percentage of Asians admitted to Harvard, plaintiffs maintained, was suspiciously similar year after year despite dramatic increases in the number of Asian American applicants, as well as the size of the Asian American population.


text: During the lawsuit, the plaintiffs gained access to Harvard's individualized admissions files from 2014 to 2019 and aggregate data from 2000 to 2019. The plaintiffs also interviewed and deposed numerous Harvard officials. From these sources, the plaintiffs alleged that Harvard admissions officers consistently rated Asian American applicants as a group lower than others on traits like positive personality, likability, courage, kindness and being widely respected. The plaintiffs alleged that Asian Americans scored higher than applicants of any other racial or ethnic group on other admissions measures like test scores, grades and extracurricular activities, but the students' personal ratings significantly dragged down their admissions chances. The plaintiffs also claimed that alumni interviewers (who, unlike admissions officers within Harvard, did actually meet with individual applicants) gave Asian Americans personal ratings comparable to white applicants. Harvard's admissions staff testified that they did not believe that different racial groups have better personal qualities than others but nevertheless Asian applicants as a racial group received consistently weaker personal scores over the period surveyed and Harvard's admissions office rated Asian Americans with the worst personal qualities of any racial group. African-Americans, on the other hand, consistently scored the lowest on the academic rating but highest on the personal rating.


text: Peter Arcidiacono, a Duke University economist testifying on behalf of the plaintiffs, concluded that Asian American applicants as a group performed stronger on measures of academic achievement (which Arcidiacono measures using applicants' SAT and ACT scores) and extracurricular activities. Despite this, they received a statistically significant penalty relative to white applicants in the "Personal Rating" and "Overall Rating" assigned by Harvard officials. As a result, the plaintiffs allege Asian American applicants have the lowest chance of admission of all racial groups in the United States despite scoring highest in all objective measurements. Arcidiacono testified that removing the personal score penalty of Asian applicants relative to white applicants would result in a 16% increase in the number of admitted Asian Americans.


text: Arcidiacono suggested that the applicant's race plays a significant role in admissions decisions. According to his testimony, if an Asian American applicant with certain characteristics (like scores, GPAs, and extracurricular activities, family background) would result in a 25% statistical likelihood of admission, the same applicant, if white, will have a 36% likelihood of admission. Hispanic and Black applicants with the same characteristics will have a 77% and 95% predicted chance of admission, respectively.


text: Arcidiacono's report also alleges that Harvard’s preferential treatment of African-American and Hispanic applicants is not the result of the university's efforts to achieve socioeconomic diversity of its student body, as "Harvard admits more than twice as many non-disadvantaged African-American applicants than disadvantaged African-American applicants." He also stated that if Harvard were to remove all other factors for admissions preference— racial preferences for under-represented minorities, penalties against Asian Americans, and legacy and athlete preferences— the number of Asian-American admits would increase by 1,241 over six years, a 50% increase.


text: The plaintiffs also claim that Harvard's own Office of Institutional Research found a statistically significant penalty against Asian American applicants in an internal investigation in 2013, but had never made the findings public or acted on them. Plaintiffs and commentators have compared the current treatment of Asians with the Jewish quota in place in the early 20th century, which used the allegedly “deficient” one-dimensional personalities of immigrant Jews and their alleged lack of leadership traits as the reason for excluding non-legacy Jews in elite universities, including Harvard.


text: Harvard denies engaging in discrimination and said its admissions philosophy of considering race as one of many factors in its admissions policy complies with the law. The school also says that it receives more than 40,000 applications, that a large majority of applicants are academically qualified, and as a result it must consider more than grades and test scores to determine admission for its 2,000 available slots. Harvard also claims that its personal rating "reflects a wide range of valuable information in the application, such as an applicant’s personal essays, responses to short answer questions, recommendations from teachers and guidance counselors, alumni interview reports, staff interviews, and any additional letters or information provided by the applicant."


text: The school also said the percentage of Asian American students admitted has grown from 17% to 21% in a decade while Asian Americans represent around 6% of the U.S. population. Harvard further claimed that it had studied more than a dozen race-neutral admissions alternatives and allegedly found none "promote Harvard’s diversity-related educational objectives as well as Harvard’s … admissions program while also maintaining the standards of excellence that Harvard seeks in its student body.”


text: Using the same data given to the plaintiffs, UC Berkeley economist David Card testified on behalf of Harvard and claimed in a report that SFFA's analysis of the personal ratings excluded applications from a sizable percentage of the applicant pool, personal essays, and letters of recommendation from teachers and guidance counselors and that there was no statistically significant difference in personal scores compared to white students. Furthermore, Card claimed that if SFFA's analysis showed that the personal ratings assigned to Asian Americans were unexpectedly poorer, Asian Americans also unexpectedly scored higher on the academic rating than other racial groups, which would add complexity to the claim that Harvard is intentionally discriminating against Asian Americans.


text: Harvard also argued that the Office of Institutional Research documents that the plaintiffs alleged were proof of discrimination against Asian Americans represented "a preliminary and incomplete analysis OIR was conducting without the benefit of the full admissions database or a full understanding of the admissions process" and that "[the] OIR documents themselves directly acknowledge various missing data and aspects of the admissions process that are not taken into account."


text: The case was paused until the Supreme Court issued its decision in "Fisher II" on June 23, 2016. The case resumed, and a three-week bench trial was held in Massachusetts federal district court in Boston in October 2018.


text: In October 2019, Judge Allison D. Burroughs ruled that Harvard College's admissions policies do not unduly discriminate against Asian Americans. While the system is "not perfect", Burroughs ruled, it nonetheless passes constitutional muster. In her ruling, Burroughs states that there were "no quotas" in place at Harvard, despite acknowledging that the school attempts to reach the same level of racial diversity each year and "uses the racial makeup of admitted students to help determine how many students it should admit overall."


text: In February 2020, SFFA filed an appeal in the United States Court of Appeals for the First Circuit. The court heard oral arguments in mid-2020 and ultimately ruled in late 2020 in favor of Harvard, concluding that Judge Burroughs had not erred in her ruling and major factual findings. The Justice Department filed friend-of-the-court briefs in both the initial hearing and the appeal, arguing that Harvard imposes "a racial penalty by systematically disfavoring Asian American applicants".


text: The University of North Carolina (UNC), as a public school, is required to follow Title VI of the Civil Rights Act, which disallows publicly-funded schools to discriminate against students within its admission processes. UNC used an approach of actively recruiting low-income and first-generation students after it determined this was the only way they could encourage a racially-diverse body. SFFA, in the wake of its ongoing lawsuit with Harvard, filed a lawsuit against UNC claiming this practice violated Title VI and the Fourteenth Amendment. The district court rejected SFFA's challenge; as the SFFA had already petitioned to the Supreme Court on its Harvard appeal, the group preemptively filed a similar request for review of the UNC case to the Supreme Court.


text: SFFA petitioned the Supreme Court to review both the First Circuit's decision in the Harvard case, which focused on the impact of the admissions process on Asian Americans, and a similar decision from the Middle District of North Carolina, "Students for Fair Admissions v. University of NC, et al.", which focused on the impact on both Caucasian and Asian American applicants at the University of North Carolina and which had been decided in the school's favor in October 2021. Both petitions sought the court to overturn "Grutter v. Bollinger". In "Harvard", SFFA asked if Harvard's admission practices were in violation of Title VI of the Civil Rights Act given possible race-neutral selection processes, while in "North Carolina", they asked if a university can reject a race-neutral admission process if they believe they need to protect the diversity of the student body and quality of education.


text: Harvard filed an opposing brief seeking to have SFFA's petition rejected by the Supreme Court, a position supported by the Solicitor General. In June the Court requested that the U.S. government brief its stance on the case;


text: in December the Solicitor General under the Biden administration urged the Supreme Court to reject the appeal.


text: The Supreme Court certified both petitions on January 24, 2022, and consolidated them under "Harvard". The case is scheduled to be argued on October 31, 2022. After Ketanji Brown Jackson testified during her confirmation hearing that she would recuse herself from the case because she is on the Harvard Board of Overseers, the Supreme Court separated the two cases, allowing her to participate in the UNC case.


text: The Court received thirty-three "amicus briefs" in support of SFFA, and sixty in support of Harvard and UNC.


text: Among those in support of SFFA, fourteen senators and 68 representives as well as 19 states wrote that "Grutter" was inconsistent with the Equal Protection Clause. Others wrote that the adminission policies at Harvard and the University of North Carolina were discriminatory, in that any favoritism towards one race results in discrimination towards others. Other arguments in the SFFA-supporting briefs including those from Cato Institute and the Pacific Legal Foundation considered that affirmative action policies are generally arbitrary, do not enhance diversity on campuses, and also violate the allowance for federal funding under Title VI.


text: In support of the universities, both the Biden administration and several current and former senators wrote that historically, both the legislative and executive branches have worked to combat racial imbalances through affirmation action and are not intended to violate Title VI. Sixty-five senators and representatives states that despite both "Brown" and "Grutter", segregation at K-12 schools continues to worsen, and affirmative action policies are needed to fight racial imbalance. Several groups, including the American Bar Association, the American Psychological Association, and the American Civil Liberties Union, wrote to support that racial diversity is essential to college and beyond.


text: A number of other Asian American groups have submitted amicus briefs in support of race-conscious admissions policies and Harvard. They include the Asian American Legal Defense and Education Fund, representing itself and 44 other Asian American groups and higher education faculty, and Asian Americans Advancing Justice - Los Angeles, representing several Asian American students. The NAACP Legal Defense and Education Fund filed a brief in support of Harvard representing 25 Harvard student and alumni organizations consisting of "thousands of Asian American, Black, Latino, Native American, and white students and alumni." One legal publication subsequently argued that Harvard’s admissions procedures “disadvantage the very African American and Hispanic students best positioned to bring instructive and underrepresented perspectives to the college”.


text: On May 15, 2015, a coalition of more than 60 Asian American organizations filed federal complaints with the United States Department of Education and Department of Justice against Harvard University. The coalition asked for a civil rights investigation into what it described as Harvard's discriminatory admission practices against Asian American applicants. The complaints at the Department of Education were dismissed in July 2015 because a lawsuit making similar allegations had already been filed by Students for Fair Admissions (SFFA) in November 2014.


text: However, in 2017, the coalition resubmitted their complaints to the Department of Justice under the Trump administration. It opened an investigation into allegations against Harvard's policies, and that investigation was ongoing as of February 2020.


title: Here I Go Again

text: "Here I Go Again" is a song by British rock band Whitesnake. Originally released on their 1982 album, "Saints & Sinners", the power ballad was re-recorded for their 1987 self-titled album. The song was re-recorded again the same year in a new "radio-mix" version, which was released as a single and hit number one on the "Billboard" Hot 100 chart on 10 October 1987 (the band's only number-one on that chart), and also number nine on the UK Singles Chart on 28 November 1987. The 1987 version also hit number one on the Canadian Singles Chart on 24 October 1987.


title: Here I Go Again

text: In 2003, "Q" magazine ranked it 962nd on their list of 1001 "Best Songs Ever". In 2006, the 1987 version was ranked number 17 on VH1's 100 Greatest Songs of the '80s. In 2012 Reader's Poll of "Rolling Stone" it ranked as 9th among Top 10 "The Best Hair Metal Songs of All Time". In 2017, "The Daily Telegraph" included it among Top 21 best power ballads.


title: Here I Go Again

text: The song was written by the lead singer, David Coverdale, and former Whitesnake guitarist, Bernie Marsden. The most notable difference between the original and re-recorded versions are a slight change in the bluesy lyrics and pace. The re-recording of the song in 1987 was advised by record labels bosses Al Coury and David Geffen as a negotiation deal with Coverdale to re-record "Crying in the Rain" for the band's self-titled album "Whitesnake" released in 1987.


title: Here I Go Again

text: In an interview, Coverdale explained that initially the lyrics had "drifter" but as that was already used in different songs he chose instead "hobo", however the latter was changed again to "drifter" in the re-recorded '87 version, reportedly to ensure that it would not be misheard as "homo".


title: Here I Go Again

text: The '82 music video features the band performing the song onstage. The music video for the '87 re-recorded version was directed by Marty Callner. The video includes, besides the band's stage performance, appearances by model Julie E. "Tawny" Kitaen, who was married to Whitesnake's David Coverdale from 1989 to 1991. Her notable sex-appeal was immediately recognized, having memorable unchoreographed scenes dressed "in a white negligee, writhing and cartwheeling across the hoods of two Jaguars XJ" which belonged to Coverdale (white) and Callner (black). Coverdale recalls that he even brought choreographer Paula Abdul to the set to show some moves to Coverdale's girlfriend Tawny, but only to positively exclaim that she couldn't "show her anything". Coverdale's iconic white Jaguar once again appeared in the music video for single "Shut Up & Kiss Me" from their 2019 studio album "Flesh & Blood".


title: Here I Go Again

text: In 1987, EMI released a limited Collectors Poster Edition 'USA Single Remix' 7" vinyl [EMP 35], the B-side of which consists of an engraved signature version, and the sleeve of which unfolds into a poster of the band. In 1997 the band recorded an acoustic version, released on their "Starkers in Tokyo" live album.


title: Here I Go Again

text: This song is notable for being the only Whitesnake song to get airplay on adult contemporary stations despite the fact "Is This Love" reached number 38 there and this song did not chart at all on the AC charts.


title: Graeme Edge

text: Graeme Charles Edge (30 March 1941 – 11 November 2021) was an English musician, songwriter and poet, best known as the co-founder and drummer of the English band the Moody Blues. In addition to his work with the Moody Blues, Edge worked as the bandleader of his own outfit, the Graeme Edge Band. He contributed his talents to a variety of other projects throughout his career. In 2018, Edge was inducted into the Rock and Roll Hall of Fame as a member of the Moody Blues.


title: Graeme Edge

text: Born in Rocester, Staffordshire, Graeme Edge was one of the original members of the Moody Blues, alongside singer/guitarist Denny Laine, singer/bassist Clint Warwick, singer/keyboardist Mike Pinder and singer/flautist/harmonica player Ray Thomas. Edge provided a foundation for the original R&B and rock-flavoured band fronted by Laine, playing on all their Decca singles, including the UK chart-topping "Go Now" (January 1965) and other 1965 hit songs: "I Don't Want to Go On Without You", "Everyday" and "From the Bottom of my Heart (I Love You)", which were additionally released in that year.


title: Graeme Edge

text: After the departure of Laine and Clint Warwick and the later recruitment of Justin Hayward and John Lodge in 1966, the band continued initially to play the R&B style material.


title: Graeme Edge

text: Edge initially was a poet for the band, contributing "Morning Glory" and "Late Lament" to "Days of Future Passed" in 1967 (narrated by Pinder). Edge himself opened "In Search of the Lost Chord" (1968) with his brief poem "Departure", though Mike Pinder narrated his "The Word" poem later on that set. Further poems provided by Edge included "In the Beginning" (co-narrated by Hayward, Edge and Pinder in turn) and "The Dream" (spoken by Pinder) for "On the Threshold of a Dream" (1969). Edge stated in 2018 that the reason most of his poetry was recited by Pinder was that he [Pinder] smoked so many cigarettes and drank so much whisky that he had the best voice for it.


title: Graeme Edge

text: Later in 1969, as the band launched their own label, Threshold Records, Edge began contributing songs. His effort "Higher and Higher" (a spoken lyric over music with a dramatic 'rocket blast off' opening; as usual, it was recited by Pinder) commenced the band's fifth album "To Our Children's Children's Children", which also featured his instrumental composition "Beyond".


title: Graeme Edge

text: Edge whispered the lyrics to his song "Don't You Feel Small" over band-sung vocals (Pinder, Thomas, Lodge and Hayward) on "A Question of Balance" (1970), on which he also contributed a closing poem/song co-written with Ray Thomas, "The Balance" (recited by Pinder).


title: Graeme Edge

text: Edge co-wrote and claimed pole position as "lead grunt" on the unusual band-composed opening track "Procession" on their album "Every Good Boy Deserves Favour" in 1971, on which his song "After You Came" features the four lead vocalists (Thomas, Pinder, Hayward and Lodge) both together and taking brief solo lead lines in turn. Edge's song was later used as UK B-side to the chart hit "Isn't Life Strange?" in 1972. The first electronic drum is said to have been created by Edge in collaboration with Sussex University professor Brian Groves. The device was used in the song "Procession" from the 1971 album "Every Good Boy Deserves Favour".


title: Graeme Edge

text: For their 1972 "Seventh Sojourn" album, Edge co-wrote "You And Me" with Hayward, who took lead vocal. In 2013 Edge said of "Seventh Sojourn":


title: Graeme Edge

text: I didn't [listen to] that album, because I was going through a divorce at the same time and so it was very, very painful for me. Once it was finished, I didn't play it for years and years and years. "Never" played it. Not that I play our stuff very much anyway, but I never ever played that one. And I hadn't really heard it apart from the [singles] from it, until [2007 when] it came out first time on CD and I had to listen to it digitalised just to sort of say "Yeah, that's fine by me." And I thought, "Well actually, that's not too bad an album!" That's the closest I'll ever be to hearing a Moodies album for the first time.